Forms is a collaborative film series devised by London based, creative sound studio Mount Audio. The ongoing project sees Mount team up with leading visual artists each month to create unique audiovisual works.Forms II showcases the vibrant motion work of LA based designer Bryant Nichols. The artists’s warped figures bend and contort, twisting around one another to form abstract human structures.Inspired by Bryant’s alternate reality, Mount have created an entirely synthesised soundtrack layering rich, modulating textures to create an unsettling atmosphere. The effect is hypnotic yet disorientating.
πTon/2 is a sound installation that intervenes in the continuity of the researches of Cod.Act on mechanical and sound organicity. It results from an experience on the deformation of an elastic form and its incidence on the evolution of a musical work. The object is a flexible ring closed on itself. It is set in motion by torsional engines located inside its body. πTon, by twisting and waving on itself, moves in a very natural and unpredictable way.
Garden of Russolo
‘Garden of Russolo’ is an interactive sound installation by Yuri Suzuki allowing visitors to have a sonic experience using their own voice. The auditory installation, shown at the V&A during the 2013 London design festival, is based on Suzuki’s previous series of sound-activated work ‘white noise machines’. Influenced by futurist painter and composer Luigi Russolo – one of the first experimental composers – the series of phonograph-like wooden boxes compose the exhibition, re-interpreting audio inputs into a muffled atmospheric output, twisting and amplifying the original soundtracks.
Jon & Vangelis
In amongst the rings of confusion
Silencing the thought powers one by one
It seems all so incredible
Our own ability to confuse – to sacrifice
To enlighten like a shakespearian play
We foolish and happily hold on to sanity
While all around the pushing feelings
The twisting and turning of our hearts
Displaying an almost indefinable strength
Of purpose – a reason a reason a reason
Where no reasons seems to exist
Yet, as in a vision, a voice transcending
All our imagination, jewel of life
Guiding light heralding a joyous new dawn
Clear and gifted time
Divine nature – super nature
The supreme gift of knowledge and space
In this cacophony of life
Peace will come
Herzog & de Meuron
Bird’s Nest Stadium
The innovative structure was designed by Herzog & De Meuron Architekten, Arup Sport and the China Architecture Design and Research Group, and has been nicknamed the “bird’s nest” due to the web of twisting steel sections that form the roof.
As well as designing a modern stadium, the team was challenged with creating a venue that was part of the culture of China and would put Beijing on the map.
[…]Her first collection reflects her inspirational playground of sculpturing leather by moulding it to the body, twisting buckles, leather straps creating volume, a fabric made out of medical bandages and all over ruffled silk. This fashion statement comes along with a high level of quality and handcraft. A lot of the pieces are fully studded by hand and profoundly processed. The vegetably tanned leather is hand painted and one dress consists out of more than 100 meters auf silk strips. By adding accessories such as leather headpieces and armcuffs, she balances a striking inspiration to a high level of contemporary fashion.
Stressato – Samurai Serpents
Samurai Serpents” resembles Jean-Pierre Gauthier’s drawing machines (such as Marqueurs d’incertitude). Like many of the artist’s creations, the work emphasizes graphic quality and the movement of a line in space. On a large panel covered by an “action painting” (that is reminiscent of the textured and dark surfaces of a Borduas, Soulages or Kline), which looks like a (drawing?) table, cables are activated by an approaching viewer and begin to wiggle all over the place, twisting and intertwining in a surprising way – as though they were actually reacting to a threat. In moving about in this way, these silver lines on a black ground continuously change the “painting’s” composition and transform it into an animated image. Like a musical improvisation, the line’s disorganized movements create sounds that vary each time.
Coffin’s Untitled (Spiral Staircase) takes the idea of a simple architectural fitting to an absurd extreme. Reminiscent of Escher’s Infinite Staircase, Coffin’s winding steps are moulded into a circle, inexhaustibly twisting in impossible logic made real. By remodeling the steps, Coffin strips the staircase of its function, turning a thing which is normally engaged with physicality into a dizzying conceptual game. Through his humorous constructions, Coffin bridges art history and everyday experience, subverting the preconceptions of both.