Living Cinema : Bob Ostertag & Pierre Hébert

Living cinema at Reading Room

 

Living Cinema: Live Experimental Sound and Image Performance

By Bob Ostertag & Pierre Hébert
Saturday April 27, 7pm
At The Reading Room, Silom 19

The project brings the creation of cinema out of the movie and recording studios and on to the stage. Ostertag has created innovative software which allows the two artists to actually perform an animated movie with soundtrack, live of stage.

For decades, Pierre Hébert was considered one of the masters of the unusual craft of creating animated films by engraving directly on film. Living Cinema allows him to apply the craftsmanship acquired through years of engraving on film to whatever materials he wishes to use. Ostertag brings his years of experience with live manipulation of sampled sound to the project, using a variety of objects and techniques to create a soundtrack that is synchronized with the image as both are both being created. The flexible, open-ended character of Living Cinema gives the artists the ability to respond immediately to political and cultural events in a way that conventional cinema never could. The work is thus profoundly influenced by world events.

Living Cinema has performed at major museums of modern art in the US, Europe, and Japan, at Lincoln Center, and at many major international film festivals since 2000.

About the artists:
Bob Ostertag is a composer and writer who has been doing experimental music at major venues around the world since the late 1970s. Composer, performer, historian, instrument builder, journalist and activist, Ostertag’s work cannot be easily pigeonholed. He is widely hailed as one of the great exponents of spontaneous electronic composition of the last 30 years. He has performed at music, film, and multi-media festivals around the globe. His radically diverse collaborators include the Kronos Quartet, John Zorn, Mike Patton and Anthony Braxton. His writings on contemporary politics have also been published on every continent and in many languages. He is currently Professor of Technocultural Studies and Music at the University of California at Davis.

Pierre Hébert is a filmmaker and protégé of Norman McLaren. He has been a major figure in animation for many decades and the recipient of several lifetime achievement awards. He was first known for his abstract experimental films dealing with perception phenomena; later, his films became more socially and politically involved. He has also taken part in live performances with musicians and choreographers and his films evolve from multidisciplinary practices. Throughout his career, Hébert has experimented with hybrid cinematic forms as a way of expressing his anthropological and humanistic view of the world, exploring themes of urban alienation, social politics, the particularities of place and geography, the presence of forgotten histories in everyday life, and the impact of industry upon the environment.

More info:
http://bobostertag.com/music-liveprojects-livingcinema.htm
http://en.wikipedia.org/wiki/Bob_Ostertag
http://www.pierrehebert.com/
http://www.youtube.com/watch?v=UoKEYBVld6I

Image from the gallery Inner Shields. ©Pierre Hébert

Focus on Animation : Pierre Hebert

Couldn’t believe that I met them today and really talked to Hebert! Even it’s a very short conversation due to a lot of people is also waiting to talk to him, he’s very very kind artist. I really wish that I could talk to both of them! The performance tonight was epic! Hebert talking about his life and he’s mention about Norman McLaren that I’ve already forgot about him so I searching about him again. And after that I research more about Bob Ostertag & Pierre Hébert, I recommend you, if you haven’t heard this name before or you’re interesting in animation, to spend sometime visit those links. You won’t be disappoint! 🙂

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Jonsi live performance: 59productions

Here’s a breathtaking live performance design and produce by 59production from UK. I’ve fall in love with this production house since I was third year. Really wish that I could have my internship there! (But I ended up internship nearby Thailand because of finical problem = =!)

I love all those happening on the stage. The integration of animation, installation, and light is going really well with Jonsi’s music.
See the Making of below for more interesting stuff.

http://59productions.co.uk/project/jonsi

Religion Numbs Self-Definition discussion

according to http://www.viduraproject.com/religion-numbs-self-definitionBy Vidura Amranand / November 28, 2012

Photo credit: Nitipong Ruangurai
 
Discussions

Belle • a day ago

I’m so lucky to found this interesting perspective from a performer. Since by the time I’m in the space, watching her noting herself, I was wondered if the audiences who have an experience with their bodies and their relationship with surrounding space (as every performers do, if I’m not mistaken) will be more understand, more able sink into the piece, or can link themselves with what they see (which is very personal) in front of their eyes, better than a person who rarely consciously aware of their bodies?- a person like me, to say, who are not practice to work with body and space. I think it’s because I don’t have experience enough to sink into the work somehow.

I’m curious to see how the personal exploring of self will interact with the other, what I’ll be inspired by the work that is really work from within the artist herself? The result is quite vague to me, I have got some interesting idea eventually but I feels like I’m a witness of the monologue. A useful monologue indeed.

It’s interesting to be part of the conceptual process though, since it’s research and we are part of this research. The question you raise about ‘self’ to her also boarder my point of view about the theme she is talking about. Even it’s herself to delicately question again and we are there only to witness and shared with her.

Sorry but I have some question to ask, I’m so new to this kind of thing(but it’s always fascinating me) Could you please explain a bit more on how one could allow freedom into an artistic process to dig more deeply and honestly into a search of oneself?

and the question of “is that how you would define yourself or are you only letting a Buddhist belief define you?”, it’s seem so hard to realize ‘self’ out of the process of ‘searching self’. Can we really notice whether it is us to define ourselves not defined by Other? To notice that may really take one lifetime as you said… but it’s worth to try.

Hope to read more from you again,
Thank you ka 🙂

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    vidura project  Belle • 3 hours ago

    @Belle. Thanks so much for your thoughtful comments and questions. To answer you about how one can allow more freedom into an artistic process… what I mean by that in this case is to allow a concept to inspire your work, but you should expect that your concept and opinions about that concept will change during your work process. The ideas you started with when you began rehearsing might not be the same ideas you end up with when you’re done creating the piece. What I saw with Tanatchaporn’s work is that she seemed to stick with one belief of self and never allowed it to change from start to finish; she pushed herself towards one goal, even when she could’ve gone onto other paths. If she had allowed her ideas some flexibility, I believe her movements would’ve changed and that may have allowed us to take a deeper look into her “self.”

    I agree with you that it’s hard to realize who we are and that we are not only defined by ourselves, but also by the people and space around us. But again, in Tanatchaporn’s case, I felt that her relationship with the Buddhist belief of self was forced. As an audience, I felt I was seeing her from a perspective of a static, written belief, but not even from my or her own perspective. Again, a journey of self-definition should be a journey without any pre-set conclusion. Thanks again and hope to hear more from you.

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      Belle  vidura project • a few seconds ago

      Thank you for your reply, it will definitely help me a lot on my final project too. The way you answer me is like I’m talking with thesis advisor in my university 🙂 I also face the same problem with P’Tanatchaporn but now, from your useful comment, I will try my best first then let’s discuss more later.

      Couldn’t find a word to say thank you as your reply has so much meaning to me, I really do thanks.. : )

Innovative and creative inspiration for theatre and animation

Perfume : Japanese band

Triangle

I love Perfume’s concert, it’s really innovative and always surprise us. Most of the music video also creatively made so I will shared you some of the works I really like with a description why I like it. (Top Tracks for Perfume : http://www.youtube.com/playlist?list=ALHTd1VmZQRNplkAows9al7jDfpaQkQ0Kr) GLITTER from Perfume 3rd Tour JPN (The performing in the introduction part make use of the green laser lighting very well and interesting)

EDGE ⊿-mix (really creative and innovative! I love the way they become invisible from the scene by lighting and very well design visual on the boxes as part of Perfume’s member)
Company Adrien M : Cinématique
Cinématique” may be a trip, or a game, or a dream… With one breath, the artist generates a virtual veil of words; with one hand, he commands the lines of the horizon; with one foot, he lifts up the ground, jumbles all landmarks, and makes one question reality… The journey begins on a raft over flowing seas and travels through landscapes of virtual matter. Digital lines, dots, letters, and objects projected on flat surfaces weave a poetic space that clings to bodies and to movements. Imagination modifies density and plane surfaces and reveals freedom of movement through transparency, desire, and the infinity within each of us. Reality and virtuality are constantly superimposed. Although the dancer is subject to the laws of physics, he dances with magic in a virtual world. adrien mondot – design, software development and interpretation satchie noro – dance christophe sartori and laurent buisson – music / sound design elsa revol – light creation charlotte farcet – drama alexis lecharpentier – it development and technical assistant jeremy chartier and hervé lonchamp (alternating) – stage management and lighting lawrence lechenault – sound control http://www.am-cb.net/projets/cinematique They develop their own programing to make and interactive stage design not only a video projection on the space but the video also react with movement/ light/ heat on the stage. It’s the first innovative and poetic performance in my life I have ever watch and addicted to it! It’s a combination of poetic and sense of circus

this scene is incredibly beautiful.

this is an ocean scene

here’re some interview and blog on them http://www.thecreatorsproject.com/en-uk/blog/icinématiquei-a-poetic-digital-theatre-performance http://artswise.blogspot.com/2011/07/cinematique-gift-of-inheritance.html Continue reading

Inspiration for theatre set design : Light / Shadow

Light/shadow

Interesting article

“Cold Dark Matter: An Exploded View.”

The Tenth Sentiment is the creation of Japanese artist Ryota Kuwakubo

The Tenth Sentiment by Japanese artist Ryota Kuwakubo

having tree and geometry form

light reflecting on metallic material

Flying Quadrotor Light Show Spectacular

mirror can also reflect light and add more depth to the scene

projector is another light source but and create more on texture

light-bulb using its shape as part of the design

shadow is beaming

LIGHT AND SHADOW ART BY KUMI YAMASHITA

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