2’43’’ · cgi · color · 2006-07 · Lafayette·IN, USA

This work is an investigation of the expressive potential of a minimalist palette of fundamental design elements and motion design parameters: line - grid - color - after image (optical illusion) - move left - move right - flash – fade. Using this set of constraints, I explore the expressive potential of a minimalist visual vocabulary in association with the music (excerpt) of Didier Guigue. Produced in Flash.

Soundtrack by Didier Guigue
Didier Guigue composes instrumental and electro-acoustic music in a variety of styles. He has composed for many films including the award-winning music for A margem da Luz. His works have been played in several international festivals and included in compilation CDs published by Organized Sound, Leonardo Music Journal... Didier Guigue lives in Brazil and teaches music analysis and computer music at the Federal University of Paraiba.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Petronio Bendito
[Itabaiana, Brazil]

Petronio A. Bendito works in a variety of media, including inter-media, performance and digital art. He has exhibited his work internationally. His major research interests are in the areas of color aesthetics, RGB color system, motion design, interactive systems and visual literacy. He teaches art and design at Purdue University, USA and is in the editorial board of media-N, the online journal of the New Media Caucus.

www.petroniobendito.com

2’ · stop-motion · color · 2008 · Los Angeles·CA, USA

Harmonics is a visual music piece, which takes viewers through a sensory journey using experiments in light, color and sound. The interplay of the visuals with the audio track allows the viewer to experience the piece differently each time and demand a heightened state of their senses. Shot on 35mm film, Harmonics is the filmmaker’s first fully-analog project. The piece exposes the traits of film stock, which cannot be achieved through digital means. It is an experiment using capabilities of light manipulation and how light is captured onto film.

Soundtrack by The Cytokine Storm

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Diana Reichenbach
[Fort Lauderdale·FL, USA 1982]

Diana attended the University of Florida and obtained a BA in Anthropology and a BS in Telecommunications in 2006. At the end of her undergraduate studies, her expansive interests and curiosity led her to discover animation. Her main interest lies in visual music, as she feels the most powerful pieces are those which incorporate a working relationship of visuals and sound design. Just as music enables a viewer to experience an emotion, space and time on and abstract level, she aims to portray this same kind of experience to her viewers.

7’29’’ · cgi, video comp. · b&w · 2009 · Los Angeles·CA, USA

Using a limited number of elements, including a minimalist soundtrack, the purpose of the visuals is to create a motion metaphor for life in cities, and perhaps of the roads and streets that join and crisscross them. Part of the multilayering of life is expressed as color intersections that produce transitory shapes and the motion chosen blurs the distinctions between "line" and "dot", perhaps again suggesting the complexities that simple-element based systems --such as living beings and societies -- can reach.

Soundtrack by Joaquin Gil

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Joaquin “Kino” Gil
[San Jose · Costa Rica 1952]

Joaquin Gil graduated from CalArts with a formal education spanning biology, sciences, music, art and computers. His professional film background includes Bob Zemeckis' “Contact”, Roland Emmerich's “Godzilla” , Verhoeven's “Starship Troopers”, “Stuart Little”, “Sphere” and “City of Angels”. Today, Kino works from a boutique studio in Marina Del Rey, California, focused on digital films and animation-rich productions. His shorts “Sfereti” and “Tanz” were premiered at the Kodak Theater and are in the Renderyard Permanent Exhibition. “Mecanismo” is a “Punto y Raya Festival 2007” finalist. His feature film “THE OUTSIDER” has won awards in the US and Europe.

http://home1.gte.net/kino

3’18’’ · video comp. · color · 2009 · Barcelona, Spain

"L'art de la fuga" has been created from the perspective photos of a building taken by the author. The editing process started with the conversion of each of the windows into video frames, fitting them into other windows on the same photo to build up the following video frame (no windows from different photos have been combined here). The order of the windows is sometime consecutive (a line or a column), but it may also follow other motifs or series. Briefly, it’s about deforming the lines of the fugue to create animation, which destroys the original perspective from where it started. It’s a re-framing and re-ordering process that allows for the static fugue to develop in time.

Soundtrack by Johann Sebastian Bach: Die Kunst der Fugue / Incarnadine: modulated_radio_static

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Daniel Pitarch Fernández
[Barcelona, Spain 1980]

Daniel Pitarch Fernández studies, teaches, researches, writes, does programming, watches, reads and imagines… all of it, once in a while.

5’42’’ · scratch, video comp. · 2009 · Salamanca, Spain

Cosmic energies captured by our un-programmed analog receivers are manipulated and, in their chaos, re-ordered for optimized digital reception.

Soundtrack by Tmori

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Carlos TMori
[Valladolid, Spain 1970]

TMori has develop  video works since 1987, combining ideological and formal principles. Manipulating images as a live and studio Vj performer, he explores the spectator’s behavior as a culture recipient. “Nieve alienada” belongs to a series of short films called “Poder Analógico” (Analogic Power).

2’03’’ · drawing · color · 2008 · Los Angeles·CA, USA

This spontaneous expression with a WACOM stylus pen is meant to frustrate the left hemisphere -the linear mind-, and delight the right hemisphere, the under appreciated Dot, or Being. By refocusing our attention to the textural qualities in our language symbols we see a merely sensory aspect of our appealing visual tools, while in turn losing respect for their so called meaning.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Chris Casady
[Los Angeles·CA, 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.

1’20’’ · drawing, cgi, video comp. · b&w · 2007 · São Paulo, Brazil

Pictorial experimentation.

Soundtrack by Bárbara de Azevedo

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Bárbara de Azevedo
[Feira de Santana, Brazil 1977]

She studied Audiovisual Production and graduated in Visual Arts from the São Paulo University of Fine Arts. She works as a filmmaker and visual artist developing video art projects, video-installations, animations, experimental films and research focused on experimenting with space and matter transformations. Her works split into various expanded possibilities, adding a new kind of dialogue between art, contemporaneity, technology and convention. Since 2007 her works have been exhibited at several festivals, museums and galleries.

www.youtube.com/azevedobarbara

5’29’’ · cgi · color · 2009 · Bucharest, Romania

The soundtrack was composed with "Mozart The Music Processor" Software (England), while the visual track was realized with Stephen Malinowski's "Music Animation Machine" software (USA).

Soundtrack by Liana Alexandra

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Liana Alexandra
[Bucharest, Romania 1947]

Married to Serban Nichifor, she studied Musical Composition from 1965 to 1971 at the "Ciprian Porumbescu" University of Music, Bucharest. She’s currently undergoing Master classes in music; teaches composition, orchestration and musical analyses at the National University of Music of Bucharest; is a Member of “Duo Intermedia” and is co-director of the Nuova musica consonante-living music Foundation Inc. Festival (U.S.A) with Serban Nichifor.

http://romania-on-line.net/whoswho/AlexandraLiana.htm

2’19’’ · stop-motion, op-art · b&w · 2009 · Lisbon, Portugal

This work’s main goal is illustrating the mutation of a point into a line… It’s almost like analyzing under a microscope the composition of the point to observe how it evolves, generating new forms that will eventually create the line; to observe the computer raw-data of a point while processing the codes for the visualization of the new forms. The video was made animating digital hand-drawn frames, processed with filters to granulize the images step by step... Each frame is the result of the filtering on the previous one in a decomposition and re-composition of pixels, bringing a fluid-randomness look to the video. It’s about ordering the chaos while respecting its nature...

Soundtrack design: idrioema

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Luigi Scotti & Teresa Aguas
_Idrioema
[Lisbon · Portugal]

Idrioema is a multimedia project of Luigi Scotti and Teresa Aguas, a married couple living in Portugal. Its goal is to explore sound using our sensorial organs not only as passive absorption tools, but giving them true organic conscience of what the sounds provoke interacting with themselves... To create a physical experience of the intellect...

www.myspace.com/idrioema

2’ · video comp. · color · 2009 · Madrid, Spain

Through digital manipulation, I transformed the images of an old American documentary about Coney Island into a festive milieu full of shapes and colors.

Soundtrack by Ninotchka Art Project.
Visual and sound artist, who builds up his works through the appropriation and manipulation of existing files.
http://ninotchkaartproject.wordpress.com

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Enrique Piñuel Martín
[Salamanca · Spain 1978]

Author of several short films exhibited and awarded at the festivals The dancer’s cut (2007), Colorín colorado (2005), Duermevela (2003). Since 2007 he’s the co-founder and creative director of Playtime Audiovisuales, curating --among other things-- the touring cinema screening Playtime.

www.playtimeaudiovisuales.com

6’42’’ · cgi · b/n · 2009 · San Francisco·CA, USA

This work’s goal is to experiment with the correlation between “musical movement” and “visual movement”. The lines express musical gestures using geometric resources, which articulate the movements. A musical pause, a silence, can be conveyed through a visual pause. The lines have common characteristics that are noticeable throughout the film: they never get to be completely straight, nor completely vertical or horizontal. They are generated from simple mathematical operations and combined to create different visual effects. A simple programming language has been developed to create and manipulate the geometry in real time, without cuts or editing.

Soundtrack by Javier Sánchez Sierra

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Javier Sánchez Sierra
[Murcia, Spain 1971]

Javier Sanchez currently teaches at CCRMA (Center for Computer Research in Music and Acoustics), Stanford University, USA, where he focuses on audiovisual creation and on experimenting with new interactive ways to facilitate audiovisual expression. He finished his studies in Industrial Engineering at the University of Navarra, where he later doctorated. His research work has been related to the study of curves and parametric surfaces to represent free forms in several contexts: industrial design, textile architecture, rapid prototyping and visual design, among others.

www.javiersanchez.eu

5’06’’ · cgi · b&w · 2007-09 · Linz, Austria

Algorithmic video programmed with Macromedia Director. Visualization of a soundtrack by Martijn Tellinga.

Soundtrack by Martijn Tellinga
www.martijntellinga.nl

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Dextro
[Vienna, Austria 1978]

Since 1994:Abstract graphic design experiments, algorithmic animations and videos: www.dextro.org
1997-2001: interactive animations: turux.org