Experimental abstract animation, pencil-drawn, which searches to explore the mental resonance and graphic suggestions that certain urban noises and sounds suggest to the artist.

The soundtrack was designed by Germán Sánchez.

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RUBÉN RIVERA
[Bayamón·Puerto Rico 1961]

From an early age Rubén Rivera began studying drawing, painting and engraving with his father, Rubén Rivera Aponte, a renown painter and engraver. His interest as an artist includes portraits, the human figure and landscapes as much as abstract drawing and painting, and during the 80’s he also experiments with video-art.

In 1990 he establishes “Fuga Cinética”, an animation studio with traditional equipment where he realizes several short films as an independent animator. After working in various formats of digital painting, graphic design and animation for several companies, Rubén starts to focus on web design and digital media’s possibilities.

Soundtrack and moving images are equal parts in this film. They develop a quite loose relation and, as the film progresses, they get more synchronous. Inspired on Steve Reich’s work, Hagenguth and soundtrack designer Dennis Graef, used visual and musical loops of different lengths. Thus, the viewer may find different connections. This work was produced in a two-way process: first there were the pictures, then came the music, and finally, the editing.

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ASTRID HAGENGUTH
[1978·Germany]

Since her graduation at Kassel School of Art in 2005, Hagenguth has worked on various film-productions, like participating as a story consultant on the feature film “The House Is Burning”.

She is currently finishing her work on a animated short-film.

Loop 12/06
Astrid Hagenguth
2007 · 5’17’’ · color · scratch · 35mm Braunschweig, Germany

Tensions are fragmented by the constant wind. Scratch technique on 16mm film, soundtrack designed by the author himself.

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BRUNO BRESANI
[Pernambuco·Brasil 1973]

Born in Brasil from a Peruvian family. He grows up in Mexico where he studies visual arts. Currently he lives in Barcelona.

Among his many international participations, his work has been screened at the “BAC” festival (Barcelona, 2007), “SIART” (Bolivia, 2007), “OPTIKA” festival (Puerto Rico, 2006) and “Paraty em Foco 06” (Brasil, 2006).

Viento
Wind
Bruno Bresani
0’55’’ · b&w · scratch · 2007 · Barcelona, Spain

A very funny and suggestive animation made in Flash.

Soundtrack by John Bungle and Chris Casady.

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CHRIS CASADY
[California·USA 1952]

He learned to animate by accident. He was hired to rotoscope explosions on large paper, so he spent hours and hours behind a black curtain tracing mattes around explosions frame by frame. After seeing dozens of explosions this way, he understood how to animate them.

He grew into an effects animator, added water, lightning, fire, shadows and bubbles to his repertoire and worked freelance on the fringes of Hollywood during the 80's and 90's.

He worked on the first 3 Star Wars films, also Airplane!, TRON, Beetle Juice, Highlander, among many others. He also made commercials for cigarettes, raisins and Michael Jackson, and directed a music video for the Beastie Boys.

Now he makes illustrations for the National Park Service. To him, animation is for fun only.

Puddle Jumper
Chris Casady
2’10’’ · color · cgi · 2007 · L.A., USA


Q&A featuring Chris Casady at the Silent Movie Theater, Los Angeles, Dec. 2nd, 2008

The 19th century quest for synaesthetic colour music forms the conceptual starting point for Fleshtones, a piece for pixelated pornography and auto generated accompaniment. Footage from webcams and other online sites is broken down into a simple tableau of colour bands. Given the subject matter this palette is either predominately pink or coffee coloured; these fleshtones are turned into lyrical piano music thanks to the wonders of max/msp/jitter. A music that rises and falls in response and exact correspondence to the onscreen movement. Soundtrack by Philip Sanderson.

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PHILIP SANDERSON
[England 1960]

Working with sound, video and software Philip Sanderson makes pieces in which the audible is made visible and the visual is sonified. He has screened and exhibited widely, both in the UK and internationally, and released a number of CD's.

Currently Sanderson teaches at Birkbeck College and has previously been Director of Camerawork Gallery, Chair of the London Filmmakers CO-OP and a contributor to publications such as Art Monthly.
www.psouper.co.uk

Fleshtones
Philip Sanderson
2006 · 2’53’’ · color · pixelization · London, UK

The first notion of an idea is expressed on a draft, and this is how the idea of dots and lines is expressed on a draft that acquires life and movement, very much like everything and nothing around us. The soundtrack is from ISAN’s album “Plans drawn in Pencil".

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SOLANGE MORELLO Z.
[Chile 1982]

She started her introductory courses in the world of drawing and colour at the Instituto Santo Tomás in Santiago de Chile, with two years of formation in publicity design.

Afterwards, she started a stage where she searched to broaden her knowledge, satisfy her curiosity about materials and work in different disciplines related to space and industrial and graphic design, studies that she undertook at the Universidad Mayor de Santiago.

She is currently finishing her BA in Design at L'Escola Massana in Barcelona, Spain.

drawn 0.0
Solange Morello Z.
1’02’’ · b&w · drawing · 2007 · Barcelona, Spain

In this film Osborne uses a rule based computer program which determines the next image based on the previous image. Each rule is associated with a colour and the author can change the rules as the pattern evolves, but he cannot control how the pattern is generated at each step.

The sequences were edited together using After Effects to fit the sound track. He chose a simple matrix of small circular dots using primary and secondary colours to illustrate the evolving patterns. The soundtrack, created by the author, features open source sound loops.

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JOHN OSBORNE
[London·UK 1944]

His formal training is in Chemical Engineering; however, he’s also pursued personal explorations in art and animation since 1968. He began working with computer animation in London in the early 1970's on a hybrid analogue computer.

Much more recently he began exploring pattern generation using evolutionary algorithms programming in the Java language to create computer images. He has used these patterns for 2-D art and is now working on using animation techniques with the generated patterns.

Lines are made up of dots and sometimes they flow from one state to the other. The author uses 1·pixel lines “composed” with Photoshop, which he later edits and “de-composes” with Premiere.
Soundtrack by Sebastià Urrea Rafael.

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IVÁN HERNÁNDEZ MONTERO
aka KLEE
[Madrid·Spain 1977]

Graduated in Bellas Artes at the University of Salamanca, for 4 years he’s been pursuing different artistic disciplines in Barcelona, such as installation and video-art, participating regularly in several main cultural events: BAC!06, Stripart, Barcelona Visual Sound, Función Vídeo, MauMau, Memora...

Since December 2006 he works with sound designer Sebastià Urrea Rafael in the experimental audiovisual formation KLEE.

Genesis and transformation of a pentagram by playful moving dots.

The technique is graphism and cgi animation (using Photoshop and Final Cut).

The soundtrack was designed by Ricardo Nillni.

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LAURA & RICARDO NILLNI
[Buenos Aires·Argentina 1961 · idem 1960]

Laura is a fine artist and Ricardo, a composer. They work together creating audiovisual pieces since 1996.

Their work has been exhibited in Canada, Belgium, Argentina, Israel, Germany, France and Spain.

Since 1987 they live and work in France.

In the complete version, a 2’45’’ film showing the movements of some bubbles in a little pond is looped several times; the film itself, representing a sort of theme, is totally untreated and reported in its natural beauty.

The following repetitions are electronically treated according to different techniques and topics, as variations on a theme.

Every single section is synchronized to the detail with a sound plot as in an animation movie. The basic idea is to transform a by-chance landscape event into a real score, a visible scheme regulating the delicate borderline between randomness and structure.

The soundtrack was also designed by Stefano Giannotti.
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STEFANO GIANNOTTI
[Lucca·Italy 1963]

Composer, author, director and performer. He studied composition with Pietro Rigacci and between 1983 and 1990 he performed in several European countries with the chamber music group “Trio Chitarristico Lucchese”.

His repertoire ranges from performance, radio-art, dance and theatre to chamber music, orchestral scores and songs.

Landscape, memory, life cycles, voices of people, languages; these are some of the main themes developed in Giannotti’s work, performed widely around the globe.

The artist’s goal is to empty the image of all content by constant repetition, thus inducing the audience into an altered state of consciousness that won’t allow them to interpret what they see.

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XAVIER GUIX BONÁS
[Barcelona·Spain 1952]

After studying Computer Science he undertakes various studies ranging from Psychology and Musical Pedagogy and Dalcroze Rhythmic, sound recording, cinema direction and Image Synthesis. Since 1987 he’s an audiovisual director at multinational SOLVAY.

In the artistic domain he’s author and director of different artistic projects, ranging from theatre-dance performances and multimedia installations to short·films.

He’s collaborated among many others with Ooff Company, designing the visual band for Jessica Walter’s “No Hamlet” and directing Enric Casasses’ video-promo “Monòleg del perdó”.

Colour, shape and sound in unison. The technique is pure vector animation to the rhythm of “raindrops” by Foraudiofans: Javier Navinés and Andreas Frey.

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NICO JUAREZ aka ICONISH
[Spain 1971]

Nico Juárez Latimer-Knowles, architect and audiovisual designer.

He has developed several online and offline projects for public and private clients, creating and producing websites, interactive screens, CD-rom’s, videos, trailers and credits for television.

He currently works as a creative director and is a professor of the master in Motion Graphics at the Escuela BAU in Barcelona.

A live audiovisual set associated with colours, shapes and forms. The set consists of three abstract live visuals associated with three primary colour states.

Premiered in NY.

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CHIAKI WATANABE
aka c.h.i.a.k.i.

This New York-based media artist with minimalist and abstract aesthetics, explores multiple formats including video, motion graphics, installation and live video performance.

Her primary sources of creative inspiration are sound, form, colour and movement. She draws on ideas of neuroscience and psychology to integrate audiovisual media and cross sensory experiences and explore media boundaries.

Her work “One over three” [2006] has been selected for the festival’s retrospective section.
www.vusik.net