Works with video
For some time now, I have been searching for bringing the musical material into another dimensions. That is why I was searching for possibilities of collaborating with visual artists on creating truly integrated works of art. In the end of 2009 I started working with Mexican artist Emmanuel Flores.
My collaborations with him have resulted in several interesting projects.
Turbulence
fragment of Turbulence from Kasia Glowicka
The first project that stems from that collaboration, is inspired by physical phenomenon of turbulenceÐ its force, unpredictability and its complexity. In Turbulence visual soundscapes are pulsating, developing into an abstract narrative that is driven by physical models of turbulence and the growing dramaturgy of the music. From simple the complex and forceful is emerging, growing by multilayered complexity in space and time. And when its coming into multidisciplinary field it becomes an extended experience. Its about visualizing the sound that gives the audience possibility to immerse into that new reality.
The mini virtual realities are formed, with its own physicality and logic and the audience is drown into those audio-visual spaces and the abstract narrative of music and visuals give the spectator imaginative story that will be solely individual. Much like in the work of Gustav Deutsch, where old movies are cut into loosely connected scenes, that put into a new sequence become new stories in each of the spectators individual interpretations. Here the viewer gives narrative that is achieved thru formal processes and that is going into a forbidden layer that is only apparent at the end. The nature of it is based on association and contemplation.
Live performance
In our most recent work, we concentrate creating live response between audio and video.
Below is a fragment from live performance during Gaudeamus Music Festival 2010.
Fragment of perfomance at Gaudeamus Music Week
Retina
fragment of Retina
RETINAn is a 15 minute performance that includes piano in a setting that immerse it with live video and electronics and putting the classical idiom into modern context.
It is an artistic study in the kinetic relationships between sound, image, motion and space. It takes its inspiration from the early cinematic practices of Etienne-Jules Marey, whose work in studying and photographing movement revolutionized the way we visualize time and motion, and puts them in the contemporary perspective.
The main question of this project is the ontology of the cinematic
praxis: what is contained on the audiovisual material that allows the
cinematic experience to be constructed? How is the narrative material
developing? Is modern human differs in attention? How to present the material to the modern audience?
The soundscape of sober electronics promotes the image and brings the sound and time dimension to the visual aspect. The nostalgic and familiar sounds of piano bridge the modern and old sounds from the early cinematic world into the modern world.
Our goal is to explore the audiovisual phenomena form the perspective
of emergence much like the image emerges onto the eyes retina. The spectator is provided with an audio-visual objects that are observed by the virtual cameras eye. This observation gives a dynamic perspective in time and space and allows the creation of narrative of sound, image, motion and space as an individual experience. By contemplation of the virtual reality model connected with electronic sound the audience is given tools and elements and is invited to enter the reality with their own imagination. The infinity of imagined virtual realities (n) creates exponential number of possible parallel universes.
The inspirations of the project are the early cinematic practices of
Etienne-Jules Marey and the Russian filmmaker Dziga Vertov. The deep
technical limitations they faced and the creative solutions they came up
with are a start point for the creative techniques that are used in this project.
On one hand Etienne-Jules Marey dealt with the idea of motion based on the continuos development of space: the image that evolves is cloistered on canvases where the motion is just an articulated manifestation of time.
On the other, Vertov attacks the ontology of the image by switching the perspective of what is observed and the observer. By creating a deep ambiguity of the beholder, the camera becomes an eye that looks into an eye. The poetry of the cinematic experience, thus, emerges from the act of contemplating.
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