Transmedia

The city sounds continuously although we are not always aware of this activity. What we call ‘noise’ induces annoyance but very often we miss the subtle changes of tones and sounds that surround us, sound waves generated by every single entity in the city maze. The Transmedia Postgraduate in Arts, Media and Design of Sint-Lukas Brussels launches the ‘City of Sounds’ research project. With students, visiting artists and researchers, Boris Debackere, Steven Devleminck and Joost Fonteyne will create strategies to catalog and present these ’sound-objects’. This symposium is the first step in a series of actions to kick off the project. Three lectures by invited noise diggers, tone architects and sound wanderers.

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Visual Music

Robert Fry used the term Visual Music in order to discribe the work of Kandinsky. Kandinsky made a connection between painting and music: “he first related the act of painting to creating music in the manner for which he would later become noted and wrote, “Color is the keyboard, the eyes are the hammer, the soul is the piano with the strings (…). The influence of music has been very important on the birth of abstract art, as it is abstract by nature — it does not try to represent the exterior world but rather to express in an immediate way the inner feelings of the human soul.

Kandinsky sometimes used musical terms to designate his works; he called many of his most spontaneous paintings “improvisations”, while he entitled more elaborated works “compositions”.” His painting “Impression III (Concert)” (1911) was a hommage to the composer Schönberg (who also was a painter!). Castels’ “Occular Harpsichord” was the predecessor of the “Color Organ”. The Optophonic Piano was a silent instrument invented by Vladimir Baranoff Rossiné that projected colours and images.

Research Studies – Methodology – Dossier

Pam M. Lee (San Francisco) is Associate Professor of Art History at Stanford University. She is the author of ‘Object to be Destroyed: The Work of Gordon Matta-Clark’ and ‘Chronophobia: On Time in the Art of the 1960s’, both published by the MIT Press.

Geoff Kaplan (San Francisco) of General Working Group has produced projects for range of academic and cultural institutions including MOCA, Walker Art Center, Cranbrook Academy of Art, Cal Arts, and California College of the arts.

Video Review. Origin and Themes.An illustrated overview of video art based on a discussion of historical and medial conditions.Video Preview. Challenges and Extensions.An illustrated overview of contemporary aspirations of video artists.Mutating Media. Video, Photography, Documentary and Performance.An illustrated overview of crossovers between video and other media.

Malcolm Le Grice (Plymouth) studied painting at the Slade School London but began to experiment with other media in the mid 1960’s, at that time mainly working with film. He started a film department at St Martin’s School of Art and was a founder member of the London Filmmakers Co-operative Workshop. In 1969 he began to experiment with computers and made a computer-generated film in that year.

His work has been shown internationally in major art exhibitions like the Paris Biennale No.8 and Documenta 6, in film retrospectives and festival screenings including shows at the Museum of Modern Art, New York, the Louvre, Paris and recently at the Tate Modern in London.