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Which clippings match 'Harry Smith' keyword pg.1 of 1
07 DECEMBER 2013

A history of colour organs and visual music

"'The early history of this art was driven by an interest in color. In the eighteenth century, a Jesuit priest, Louis Bertrand Castel, invented the first color organ. Others, including D.D. Jameson, Bainbridge Bishop, and A. Wallace Rimington, created color organs through the next century [2]."

(Maura McDonnell, 2002)



1730 • 1742 • 18th century • Alexander Scriabin • Alexander Wallace Rimington • amplitudeanalogue correspondence • Arnaldo Ginna • Audiovisual Environment Suite (AVES) • Bainbridge Bishop • Bruno Corra • clavecin oculaire • Clavilux • colourcolour and music • colour and sound • colour light • colour music • colour organ • colour tone • coloured light • coloured notes • compositioncorrelative analogue • D.D. Jameson • experimental instrument • experimental musical instrumentFernand Leger • Fred Callopy • Georg Telemann • GesamtkunstwerkGolan LevinHans Richter • harpsichord • Harry SmithhueinventionJames WhitneyJohn Whitneykeyboard • Lejf Marcussen • Len Lye • Leopold Survage • light organ • Louis Bertrand Castel • Luigi RussoloMan RayMarcel Duchamp • Mary Ellen Bute • Maura McDonnell • music historymusical instrumentNorman McLaren • Ocular Harpsichord • organOskar Fischinger • Paul Friedlander • piano style keyboard • pitch to hue • projected light • Prometheus (mythology) • rhythmiclight • Roy De Maistre • soundStan Brakhagesynaesthesia • synesthesia • Thomas Wilfred • timbre • tone colour • Viking Eggelingvisual music • Wallace Rimington • Walter Ruttmann • Wurlitzer


Simon Perkins
01 JANUARY 2011

Len Lye: an innovative explorer of cameraless filmmaking

"Cameraless film refers to a method of producing moving image where the artist or filmmaker bypasses the photographic process and directly manipulates film stock (either additively or subtractively) with methods such as drawing, collage and painting. Due to the inherent difficulties of generating handmade images on film, direct animation doesn't lend itself to pictorial illusion or linear narratives. The imagery tends to be atavistic, animistic, frenetic; and due in part to this visual proximity to pure abstraction, the conceptual content of this genre has been largely overlooked. Since they sit so ambivalently between fine art and cinema, both camps have historically positioned these films as being principally concerned with formalism and material experimentation. But revising this apprehension, Zelluloid: Filme Ohne Kamera brings together a selection of films, tracing the ideational threads which significantly inform and influence this manner of filmmaking.

In 1935, Len Lye's film A Colour Box was so different in its use of filmic language that the Brussels Film Festival had to invent a new prize for it to win. As vivid and enchanting today as they were visionary and challenging, Lye's animated shapes dancing to the percussion of popular Cuban and African music were a hit with audiences more accustomed to viewing cinema in its industrial, commercial capacity. The very act of painting abstract imagery on film was a conceptual leap in terms of severing film's indexical relationship with the world and using it to explore an abstract, synaesthetic experience."

(Genevieve Allison, 5 August 2010, EyeContact)





1935 • A Colour Box • abstraction • Aldo Tambellini • Amy GranatanimationAotearoa New Zealandart • Barbel Neubauer • Belgium • Brussels Film Festival • cameraless film • Cecile Fontaine • cinematic languagecolourcraftcreative practicedesign formalismDieter Rothdirect animationdirect filmdirect manipulationdrawing • Emmanuel Lefrant • experienceexperimental filmfilm making • film stock • filmmakerfine arthandmadeHarry Smith • Hy Hirsh • Ian Helliwell • imageryJennifer ReevesJennifer West • Jose Antonio Sistiaga • kiwi short filmsLen Lye • Luis Recoder • Marcelle Thirache • material experimentationmaterial practicematerialist cinemamethodmoving imageNew Zealand cultureNorman McLarenpaintingpattern • Pierre Rovere • pioneerpure abstraction • Schmelzdahin • scratch filmsequence designStan Brakhagesynaesthesia • Takahiko Iimura • Tony Conradvisual artsvisual culturevisual languagevisual spectacle


Simon Perkins

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