Time to dig a little deeper into some newly released audiovisual treats. Breaking the boundaries between contemporary art and electronic music these contributions may guide us to the evolution of music. First off is Tellurian Visions – an audiovisual accompaniment to Untold and Untold: A Tellurian Memorandum, the new album and poetry collection from Sophia Loizou. A collaboration with visual artist Annie Tådne, the work “re-interprets complex geological formations and their entangled states of existence, highlighting the deep connections between living systems, technological developments and earthly flows.”
“In the face of looming ecological crisis it is vital that we are able to extend our love and respect beyond human boundaries – reaching out to try to hear the sentience of other forms of life” continues Loizou. “This audio-visual work envisions a series of speculative landscapes, whose vibrant and dynamic gestures communicate beyond the boundaries of species and form.”
Untold, the 30-minute soundscape that was released via Houndstooth last month, is the record of the speculative sounds of these landscapes, while Untold: A Tellurian Memorandum, Loizou’s debut collection of poetry, features written dispatches from these imagined places. Loizou continues: “We hope that it offers glimpses of possible futures in which the sense of belonging to the fabric of life enhances our ability to empathise with and to live well alongside other forms of life.”
Using generative motion graphics and an architectural approach to spatial design, artist and director Florence To condenses her interests in psychoacoustics, neuroscience and computational methods into ambitious sound and light installations.
With ‘ALUCIIN’, the artist turns her attention to her dreams, examining the relationship between movement and time by rendering conceptual visualisations of her different dream states.
DROP is a self-initiated lab project that challenges the idea of a new-age digital experience by realizing it using only analog methods. The viewer is thrown into an audiovisual sensoric journey that blurs the line between virtual and organic. Read on for insights into how the project came to life. By Ömer Mutlu, Fernanda Sabaudo, Lisa Marleen Mantel, Matthias Rosenthal Music by Sebastion Schubert aka. Skip Beats: http://skipbeats.com/
‘Catchment Areas (Spiritual Pollution)’ is the first single to be released from Left My Brain @ Can Paixano (La Xampanyeria) OST, the new album from Jesse Osborne-Lanthier.
For the track’s entropic visual, director Daniele Guerrini decided to reflect the angst of the first three months of the pandemic by setting up a sprawling still-life of spores, soil, fruit and flowers, only to watch it decompose over the peak of COVID-19.
“Originally, I was meant to be in Milan during the duration of the filming, but COVID-19 meant that we had to cancel my IRL involvement”, explains Jesse. “Therefore, the process of tending to the decaying still-life fell solely to Daniele, myself being only able to participate via FaceTime or text. Finding solace in the project during Italy’s peak pandemic crisis, the video created an odd loop, whereby Guerrini took care of the mushrooms, which took care of the rats and bugs, all of which took care of Guerrini.”
‘Catchment Areas (Spiritual Pollution)’ is described by the producer as “about sweeping dirt under the carpet”. He continues: “The track was composed using complex FM synthesis / formant patches and field recordings captured around the forest surrounding my late-mother’s home.”
“The elements then processed through decaying tape on a Nagra IV reel-to-reel were eventually re-arranged in a DAW and performed live through a mixing console in a one-shot recording session, and further produced afterwards.”
‘Catchment Areas (Spiritual Pollution)’ is taken from the album Left My Brain @ Can Paixano (La Xampanyeria) OST, which arrives on September 8 and is available to pre-order now, from Haunter Records.
Zero-point energy is a concept in quantum mechanics that states that the energy level of a quantum mechanical system can never be zero, even in a perfect vacuum. Multidisciplinary artist Rob Clouth describes the random quantum fluctuations that make up the lowest possible energy of any given system as “the dodgy headphones jack of the universe, a subtle background static that is always there” and it is from this space of randomness, chance and chaos that he drew the inspiration for his debut album, Zero Point.
Using data from the ANU Quantum Random Number Server, which publishes real-time measurements from the zero-point energy field, Clouth creates complex compositions of quantum noise that riff on the phenomenon of pareidolia, the tendency of the human brain to incorrectly perceive order in chaos.