“A super melty, lighting feedback in-browser visual experiment created by Andrew Benson using HTML5/WebGL graphics.”
Try it out here.
Spheres 1-20, 2013, 20 min, HD video, sound
by Sara Ludy
“In Spheres 1-20, ambiguous forms float in polygonal landscapes created from snippets sourced from Ludy’s wanderings of the internet, personal photos, and samples of computer-aided-drafting motifs. Taking two-dimensional screen captures and image-mapping them onto three-dimensional rotating forms, Ludy creates her Spheres as virtual architectures that refer to an amorphous and psychological space. Between each 1-minute episode of the video, abrupt cuts shift the focus to new structures while an audible synthesized drone changes pitch with each reveal, similar to the shift found between levels in video gameplay.
Ludy’s interest in spatial compositions stems from her lifelong captivation with video games, haunting second life and google warehouse looking for imagery and her professional experience creating immersive environments as a VJ for Los Angeles nightclubs. She pursues a sense of familiarity and the uncanny, pointing to the flexible spectrum of spaces designed for human habitation and the facsimiles of those spaces found online.” – Rob Hult, Klaus Gallery
Thalé by Barry Doupé
2009, 5 min, video, sound
Barry Doupé’s Thalé (2009) experiments with the phenomenology of light and colour through fiber-optic flower arrangements. Doupé’s animations are inspired by the Thale Cress plant, which is commonly used in biological mutation experiments. His rotating electronic floras, which resemble neon lights, sex toys and fireworks, glow in the dark digital void.
– Amy Kazymerchyk, Fabulous Festival of Fringe Film
“Similar Images, Associatively, Transparent GIF”
by Sebastian Schmieg
Netherlands, 2011, 1 min, video, silent
“Search by Image is a series of algorithmic and experimental videos analyzing Google’s image search function of the same name.” (S.S.)
by Chris King
2013, 2 min, video, sound
“A little video using mostly standard wipes to generate both the imagery and audio, light and dark content of the signal directly influence pitch and wave shape, the sound of the video signal was also processed through audio effects controlled live in parallel to the wipes and video effects. I then cut together my favourite parts in to a short work. It was influenced by early video art and visual music experiments.” (CK)
THREE LEGGED RACE
Saturday, June 21, 2014, 8pm
Graham Foundation @ Madlener House
4 West Burton Place, Chicago, IL
Admission FREE; RSVP here
On June 21, 2014, American artist and electronic musician Three Legged Race (Robert Beatty) closes out Lampo‘s spring 2014 season with a performance and screening of new and recent work, as well as sound and video collaborations with artist Takeshi Murata, including the Chicago premiere of OM Rider and a new video piece commissioned by Lampo.
The program will also include three recent Takeshi Murata works including:
About Robert Beatty
Robert Beatty (b.1981, Lexington, KY) is an artist and electronic musician who performs solo under the name Three Legged Race. He is a long-running member of the bands Hair Police, Eyes and Arms of Smoke, and C. Spencer Yeh’s Burning Star Core. Through Beatty’s collaboration with video artist Takeshi Murata, Three Legged Race has performed at the Ullens Center for Contemporary Art, Beijing, China; Deitch Projects, New York; the Mattress Factory, Pittsburgh; and the New Museum, New York. In 2013, Beatty released the acclaimed “Soundtracks for Takeshi Murata” (Glistening Examples), a collection of his audio work for Murata. Beatty’s performances and recordings explore the repetition and decay of simple musical themes, evoking minimalist sci-fi soundtracks, clouded hypnotic landscapes, and primal industrial techno. He lives in Lexington, Kentucky.
Robert Beatty first appeared at Lampo in October 2008, when he premiered a two-movement work, “Falling Order I and II.” In March 2010, he and Takeshi Murata appeared together in the Lampo series, in a live performance and screening co-presented by Lampo and Conversations at the Edge.
About Takeshi Murata
Takeshi Murata (b.1974, Chicago, IL) graduated from the Rhode Island School of Design in 1997 with a BFA in Film/Video/Animation. In 2007, Murata was the subject of a solo exhibition, Black Box: Takeshi Murata, at the Hirshhorn Museum and Sculpture Garden in Washington, DC. His work has been included in solo and group shows at The Museum of Modern Art, New York; Museum of Fine Arts, Houston; Yerba Buena Center for the Arts, San Francisco; Taka Ishii Gallery, Tokyo, Japan; Peres Projects, Los Angeles; Gavin Brown’s Enterprise, New York; Eyebeam, New York; FACT Centre, Liverpool, UK; Contemporary Arts Center, Cincinnati; Mattress Factory, Pittsburgh; New York Underground Film Festival; Smack Mellon, Brooklyn; Foxy Production, New York, and Deitch Projects, New York, among others.
About OM Rider (from Electronic Arts Intermix)
In OM Rider, Takeshi Murata deftly weaves the aesthetics of retro-noir, video games, and Italian giallo film into a cinematic exercise in cool, narrative minimalism and distilled rebellion. In a vast desert bathed in neon hues, a misfit lycanthrope blasts syncopated techno rhythms into the night. Meanwhile, an old man sits at a large, round table in a void-like space, rigidly sipping coffee and rolling snake-eyed dice as the faint sound of the werewolf’s pulsating, phantasmic synth grows louder. Hopping on his motorcycle and ripping a bowl, the werewolf tears full speed ahead over forbidding terrain while his hoary counterpart becomes increasingly anxious…
At once opaque and thrilling, OM Rider expands upon Murata’s previous 3D character-based animation and references to horror cinema, benefiting from the integral collaboration of longtime composer Robert Beatty, here joined by musicians Devin Flynn and C. Spencer Yeh.
Joshua Gen Solondz, Los Angeles, 2012, 10 min, video, sound
Essentially a trance-inducing flicker film, Prisoner’s Cinema opens by establishing a simple, yet aggressive, black and white flashing sequence, defined by its frenetic pace and hypnotic pattern. It assaults and entrances the viewer with its rapid optical rhythm; a low-toned droning sound and a high frequency stuttering provide a sonic anchor that augments the hypnotic effects of the flashing imagery.
Before long, the flashing evolves into a sequence that introduces faint optical art patterns, which are sprinkled between the flickering of black and white and grey frames, jolting the visual shock even further. These faint patterns become brighter, and clearer, and more bold, flash-morphing onward to reveal a circular portal emblazoned with an op art pattern.
It’s a blinding and spellbindingly fun ride of coruscation.