A journal by artist and designer John Coulthart.
Abstract cinema
YouTube keeps turning up the abstract cinema goods with this great seven-minute John Whitney showreel from 1961. And recent additions include a better copy of Whitney’s Arabesque as well as Permutations from 1966.
Update: Two masterpieces by John Whitney’s brother, James, Yantra and Lapis, are now on YouTube at last!
Elsewhere on { feuilleton }
• The abstract cinema archive
The Demon Regent Asmodeus (2006).
Alan Moore readers have finally discovered my little easter egg on the Mindscape of Alan Moore DVD so I can now talk about the creation of this miniature work. Director Dez Vylenz and I thought it would be nice to have a hidden extra somewhere on the main disc and this was the result.
Glykon and Asmodeus by Alan Moore (1994).
I’d always liked the Asmodeus section that Alan reads on the first Moon & Serpent CD and had the idea for some kind of animation based around the reading using his 1994 portrait of Asmodeus for the visuals. I used Apple’s Motion application for the animation of the DVD menus and it was this application that also animated the three-minute film. Alan’s picture was the sole source for all the visuals even though for most of the running time these are a kaleidoscopic mesh of circles and hexagons. The reading (with sound effects by Tim Perkins) works symmetrically, building to a central point then reversing itself so that the words from the first half are read in reverse order. I followed this scheme with the animation; the film begins in abstraction, evolves into the Asmodeus portrait then devolves back into abstraction. There’s also a symmetrical split to the visuals which are matched along a vertical axis in the centre of the screen. I had James Whitney’s Lapis in mind when creating these circular patterns although Whitney’s forty-year-old film remains abstract throughout. Whitney’s film was also done the hard way, one frame at a time, without the luxury of computer filters.
The Mindscape of Alan Moore is available via mail order from Shadowsnake Films.
Previously on { feuilleton }
• Alan Moore in Arthur magazine
• Of Moons and Serpents
• Lapis by James Whitney
I made the complaint in November last year when writing about James Whitney’s Lapis that few of the classic works of abstract cinema have yet to find their way to YouTube. Happily, things change fast in the online world and you can now see a clip of Lapis here. Another recent addition is the whole of Arabesque by James’s brother, John, a very early (1975) example of using computer graphics to create animations. This is necessarily crude by today’s standards—coloured lines and shapes—but it was made at a time when computers frequently filled entire rooms and recording their visual output meant pointing a camera at a monitor. Arabesque has a suitably Arabian santur soundtrack by Manoochehr Sadeghi.
Update: link changed to a better copy.
Elsewhere on { feuilleton }
• The abstract cinema archive
Great abstract animation from the Trollbäck design company for Moonlight in Glory, a track from My Life in the Bush of Ghosts by Brian Eno & David Byrne. Via Design Observer.
In a similar vein there’s Bruce Connor‘s 1981 film for another track, Mea Culpa. Connor also produced a film for America is Waiting from the same album. Continuing the interpretative theme, Eno & Byrne made the album tracks publicly available in 2006 to potential remixers. Some results of that, Our Lives in the Bush of Disquiet, can be found here and here.
Update: the original Moonlight link was deleted but you can still see the video on their site if you hunt through the sample of works shown on the Trollbäck home page.
Elsewhere on { feuilleton }
• The abstract cinema archive
Previously on { feuilleton }
• Tiger Mountain Strategies
• Generative culture
• My Life in the Bush of Ghosts
Samadhi (1967).
“Jordan Belson is one of the greatest artists of visual music. Belson creates lush vibrant experiences of exquisite color and dynamic abstract phenomena evoking sacred celestial experiences.” William Moritz
Good things come to those who wait. Following their collection of Oskar Fischinger films, the Center for Visual Music releases Jordan Belson: 5 Essential Films in March. Fischinger worked on Fantasia and Belson also exerted some small influence on Hollywood with the special sequences he created for Donald Cammell’s Demon Seed (imaginings of the film’s Proteus computer) and Philip Kaufman’s The Right Stuff (the vortex seen by Sam Shephard at the edge of the stratosphere). You can read more about Belson’s work in Expanded Cinema by Gene Youngblood, an essential guide to film outside the narrative mainstream.
Elsewhere on { feuilleton }
• The abstract cinema archive