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Which clippings match 'Rhythm' keyword pg.1 of 5
02 NOVEMBER 2015

Hakanaï dance performance 2013

"Hakanaï is a solo choreographic performance that unfolds through a series of images in motion. In Japanese Hakanaï denotes that which is temporary and fragile, evanescent and transient, and in this case something set between dreams and reality. While widely associated with nature, the term is now often used to elicit an intangible aspect of the human condition and its precariousness. It encompasses two elements: that concerning the human being as well as that related to dreams. This symbolic relationship is the foundation of the dance composition in which a dancer gives life to a space somewhere between the borders of imagination and reality, through her interactions with the images she encounters. The images are on-stage animations that move in physical patterns according to the rhythm of the live sounds that they follow. The performance's outcome is the revelation of a digital installation to its audience."

Fig.1 Composed and Directed by Adrien Mondot & Claire Bardainne; Dance (alternating) Akiko Kajihara, Satchie Noro, Virginie Barjonet, Francesca Ziviani; Digital Interpretation (alternating); Adrien Mondot, Claire Bardainne, Jérémy Chartier, Loïs Drouglazet; Sound Design; Christophe Sartori, Loïs Drouglazet, Pierre Xucla; Sound Interpretation Christophe Sartori, Loïs Drouglazet, Jérémy Chartier, Pierre Xucla; Set Design Martin Gautron, Vincent Perreux; Digital Toolset Loïs Drouglazet; Light Design Jérémy Chartier; Outside Viewer Charlotte Farcet; Costume Design Johanna Elaouf; Technical Director Alexis Bergeron; Administrator Marek Vuiton; Booking Charlotte Auché; Production assistant Margaux Létang; Produced by; Adrien M / Claire B; Co-productions, Funding & Support; Les Subsistances, Lyon / Centre Pompidou-Metz; La Ferme du Buisson, Scène nationale de Marne-la-Vallée, Noisiel / Hexagone Scène Nationale Arts Sciences – Meylan / Les Champs Libres, Rennes / Centre des Arts, Enghien-les-Bains / Maison de la Culture de Nevers et de la Nièvre / City of Lille / DICRéAM; The Adrien M / Claire B Company is accredited by DRAC Rhône-Alpes, Rhône-Alpes Region and is supported by the City of Lyon.

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TAGS

2013 • Adrien Mondot • Akiko Kajihara • Alexis Bergeron • algorithmic composition • algorithmic pattern • art and technology • artistic duo • between dream and reality • black and white • Charlotte Farcet • choreographic performance • Christophe Sartori • Claire Bardainne • computational artscube • dance composition • dance performancedesign formalism • digital backdrop • digital interpretation • digital puppetry • evanescence • fragilityFrancesca Zivianigenerative designgeometric pattern • Hakanai (2013) • immersive worksinteractive installation • Jeremy Chartier • Johanna Elaouf • light projection • Lois Drouglazet • Margaux Letang • Martin Gautron • movement performance • performance installation • Pierre Xucla • projection mappingpuppetryrhythm • Satchie Noro • sensors • snowflake • solo choreographic performance • solo performance • spider web • symbolic relationship • synapsetemporarytransiencetransitory movementtranslucence • translucent veils • Vincent Perreux • Virginie Barjonet • visual journey

CONTRIBUTOR

Simon Perkins
01 APRIL 2014

Kawehi lays down The Way You Make Me Feel layer by layer

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beat • beatbox • beatbox artist • beatbox music • bedroom • Boss FS6 Dual Footswitch • Boss RC-300 Loop Station • digital creativitydrum beat • effects pedal • effects unit • FX pedal • generated loopsHawaiianHonolulu • Kawehi • layered technique • loopingloopsmaking musicMichael Jacksonmulti-trackmusic covermusic loopsmusical interpretationmusiciannew approachespattern • Paul Wight • performerplaying music • realtime recording • revelationreverse-engineerrhythmsamplingsequencersingersound performance • The Way You Make Me Feel (song) • tracksvirtual band • vocal effects • voiceswomen in music

CONTRIBUTOR

Simon Perkins
06 FEBRUARY 2014

Pierre Hébert: Around Perception (1968)

"Around Perception is a groundbreaking experiment on computer–based animation, consisting of 11 audiovisual events designed to baffle cognition and unrest comfortable notions of reality. Unlike most of his later films, Hébert chose not to collaborate with top–notch experimental musicians and created the soundtrack himself. In this, he followed a method also used by Norman McLaren: to scratch sound directly onto the film itself. The relation between sound and picture, however, is not as symbiotic as in McLaren's Synchromy: although there are organic reactions between the two domains, one is not a direct translation of the other. This, of course, need not be seen as a weakness. Indeed, with its fast–paced changes of color and geometrical patterns, and the employment of Columbia–like richly crafted electronic tones, Around Perception works as a tremendously hallucinatory exercise in trompe l'oeil (and l'oreille) techniques. Or, as stated by Hébert himself at the beginning of the film, an exercise 'for the mind and against the mind'."

(The Sound of Eye)

Fig.1 "Around Perception", Director: Pierre Hébert, Year: 1968, Time: 16 mins, Music: Pierre Hébert.

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CONTRIBUTOR

Simon Perkins
13 MARCH 2013

Op Hop/Hop Op by Pierre Hébert

"Ročno izdelan eksperiment z utripajočo animacijo v slogu praskanke na filmski trak. Prikazuje skupino štiriindvajsetih abstrahiranih podob, ki se na zaslonu razporejajo in prerazporejajo v različnih kombinacijah. Rezultat je spreminjajoč se vzorec zvoka in slike, ki ima za oko in uho drugačen ritem.

A hand–made, scratched–on film experiment in intermittent animation. The images are a group of twenty–four visuals, all non–representational, which arrange and rearrange on the screen in many combinations. The result is a changing pattern of sound and image that has its own rhythm for eye and ear. "

(Animateka International Animation Film Festival, Ljubljana, Slovenia)

Pierre Hébert (NFB), Kanada/Canada, 1966, 35 mm, 3'30''

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1966 • Animateka festival • arrange and rearrange • black and whiteCanadachanging pattern • combinations • experimental filmeyes and earsgeometric formshandmade • intermittent animation • materialist cinemanon-representational • Op Hop Hop Op • patternPierre Hebert • popping • rhythmscratchscratch film • scratched film • sound and imagevisual abstraction

CONTRIBUTOR

Simon Perkins
24 JANUARY 2013

Anemic Cinema (1926) by Marcel Duchamp

"This characteristically dada film by Marcel Duchamp consists of a series of visual and verbal puns with nonsense phrases inscribed around rotating spiral patterns, creating an almost hypnotic effect. Silent.

Anemic Cinema (various versions were made in 1920, 1923 and, finally, in 1926). Essentially a film by Duchamp with help from Man Ray. Calvin Tomkins: 'Duchamp used the initial payment on his inheritance to make a film and to go into the art business. The film, shot in Man Ray's studio with the help of cinematographer Marc Allégret, was a seven–minute animation of nine punning phrases by Rrose Sélavy. These had been pasted, letter by letter, in a spiral pattern on round black discs that were then glued to phonograph records; the slowly revolving texts alternate with shots of Duchamp's Discs Bearing Spirals, ten abstract designs whose turning makes them appear to move backward and forward in an erotic rhythm. The little film, which Duchamp called Anemic Cinema, had its premiere that August at a private screening room in Paris.'"

(UbuWeb)

Marcel Duchamp (1926). "Anémic Cinéma", 7 minutes, B&W.

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1926 • Anemic Cinema • art historyavant-garde cinema • Calvin Tomkins • circle • concentric cirles • Dadadada filmdiscs • disk • erotic rhythm • gyrating • hypnotic effectMan Ray • Marc Allegret • Marcel Duchampmovement • nonsense phrase • op artoptical artoptical effectoptical illusionpatternperceptual phenomenonphonograph • phonograph turntable • pulsating alternation • revolving • rhythm • rotary demisphere • rotating spiral patterns • rotation • Rotoreliefs • Rrose Selavy • spinning • spiral • spiral pattern • spiraling • stereo-kinetic effect • surrealist cinematurntableUbuWebvelvet • verbal pun • visual experience

CONTRIBUTOR

Simon Perkins
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