Archive for the 'Note to self' Category

e-Performance and Plug-Ins

Published on November 11, 2005 in Modes of analyzing new media and Note to self. 0 Comments

e-Performance and Plug-Ins: A Mediatised Performance Conference

On the 1st and 2nd of December I am heading up to Sydney to check out the e-Performance and Plug-Ins Congerence at UNSW. The conference focusses on cross- and multi-disciplinary investigations of issues around media/technology-based performance.

Over the last year or so I have started to think of my own work in terms of performance more and more. This performance stretches from private improvisation while programming in real time, to ‘live-coding’ experiments and VJ performances made using Vidgets.

After a quick look at the program, the following papers/presentations in particular caught my eye:

Sound Walk West Melbourne

Published on November 6, 2005 in Note to self. 0 Comments

Australian Forum for Acoustic Energy West Melbourne Sound Walk Map

On Saturday morning I went on a ‘sound walk’ around the wetlands, docks, industrial areas and bridges of the inner west of Melbourne organised by Anthony Magen. The walk was one in a series of events by the Australian Forum for Acoustic Ecology, affiliated with the World Forum for Acoustic Ecology who are concerned with relationships between sound, nature and culture.

The World Forum for Acoustic Ecology (WFAE), founded in 1993, is an international association of affiliated organizations and individuals, who share a common concern with the state of the world’s soundscapes. Our members represent a multi-disciplinary spectrum of individuals engaged in the study of the social, cultural and ecological aspects of the sonic environment.

A group of about 15 or 20 of us started at Newell’s Paddock Wetlands, near Flemington racecourse and followed a series of paths and roads leading down the Maribyrnong River, past Melbourne Port, winding back along creeks and through residential areas before returning to the wetlands. See a Google satellite map of the area here. The idea of the sound walk is that there is no talking so the the sounds of the environment become your focus.

Over the course of the walk we traversed a wide range of sonic and visual environments, often juxtaposing nature with highly constructed industry. It was quite amazing how by simply framing the walk as a ‘sound walk’ my attention was drawn to the subtleties of the audio environment as though it was a sound performance. I plan on returning to the area to make some recordings and take some photos soon.

Graduate Research Conference

Published on October 26, 2005 in Note to self and Research Methods. 0 Comments

On Saturday I presented at the School of Applied Communications Graduate Research Conference at RMIT. In the past MA and PhD students have been assessed by their supervisors every six months or so as either not satisfactory, satisfactory, good or excellent. This was the first time the school has run a GRC which allows students to present their projects publicly in front of a panel, answer questions and receive advice and critique from other students and staff. In the past I have been along to see GRCs run by the design and architecture schools who make a big production out of the event, flying in special panel guests and really forcing students to defend their work with tough questions.

I found the process of getting ready for the GRC and presenting to be very helpful, making me look back over what I’ve been reading and doing and what I need to write more about. I made a couple of mistakes in my presentation, the main one was that I didn’t keep track of how much time I had. I was concerned about not rushing through my points without explaining them properly, and at the same time not repeating myself too much, I think I still repeated myself a bit. I spent a bit of time at the start of the presentation explaining my background and my initial ideas for the project. This was good on one hand because it framed my work and the developments I have made. It also put me at ease, since it was very easy to talk about. On the other hand it took too long which meant I didn’t have enough time to go into my latest research and Vidgets in enough depth towards the end of the presentation. For a 20 min presentation I guess you only have time for the highlights.

The general mood of the conference was pleasant and helpful from my experience and the presentations I saw. Unlike the architecture style panels which can be very intense, challenging the presenters on any mistakes or unclear points, my panel gave me opportunities to clarify a couple of points I explained badly in the Q & A session which followed and actually highlighted some links between ideas that I hadn’t identified.

Rock over London, Rock on Thornbury High

Published on October 14, 2005 in Music, Note to self, Video and Vidget - Discussion. 0 Comments

Today I played live visuals for Legs For Fish at Thornbury High school. Kent Macpherson from the band is a music teacher there and organised a performance / presentation for the kids from music, media and IT classes. We played three improvised AV sets and the kids seemed not to hate it :-)

As Paul from the band said, it makes you acutely aware of how self indulgent this sort of improvised performance is when are doing it in front of a room full of kids who aren’t necessarily there by choice. Some of the kids seemed to dig it and some asked some good questions. “Why do you do this?” “What does it mean? The pictures just looked like colours and shapes.”

I used the Quartz Vidget I prepared for the Liquid Architecture gig in July as it works fairly well and made it easy for me to show the kids what I was doing without the confusion of showing a huge messy Quartz Composer patch. After each set we took questions. I showed how I can grab any two video files or sequences of still images and mix them together, manipulating colour, brightness, contrast etc. as well as layering multiple copies over each other. After the second performance I showed very briefly how Quartz Composer works by dropping in a video file, connecting it to a Billboard and then running it through a couple of effects.

Looking back at the QC presentation I gave at Electrofringe after this one I realise I should have shown heaps more examples and started much more slowly in Newcastle. Assuming no prior knowledge meant I explained things much more clearly, and I introduced things in a much more logical order (having slept the night before also helped!).

Kiss-My-Fringe

Published on October 12, 2005 in Gigs, Music, Note to self and Video. 0 Comments

I’ve been back in Melbourne for a week now and have started to catch up on some sleep so its time to reflect on the past couple of weeks’ gigs and event.

On the 27th and 28th of September I performed as part of Kiss my after effects, an experimental video art festival which is part of the larger Melbourne Fringe Festival 2005.

melbOURne FRINGE 2005 FESTIVAL 21st Sept - 9 Oct

On the 27th, after much last minute tinkering, I provided visual accompaniment for Null Hypothesis (aka Elaine Carter) who played a set of crunchy industrial beats and glitchy tones. Parts of my old Quartz Composer patches refused to work on my new laptop (I think I had a second ‘Video Input’ node hidden somewhere in a macro-patch, connected to nothing which prevented my use of live video in) so I ended up using my old computer with an older patch and copied my newer images across. The set ended up going pretty well, visually based almost entirely on sequences of still images manipulated and fed back upon themselves. I really like the effect of adding in a layer of video feedback over the images so that the highlights bleed out and move across the screen. I’ll post some examples of how this looks soon.

On the 28th I played two sets with Doktorb Robotnik (Adrian Lucas) and Soul Mirage (Simon Gorman), also as part of KMAE / Melbourne Fringe Festival. For the first set I played audio and video simultaneously with Adrian on feedback electronics and Simon on keyboards. I used pretty much the same video set up as the night before and found the task of playing both audio and video a bit overwhelming. I would either get lost concentrating on the audio and realise that I hadn’t changed the video for 5 minutes, or fade myself out of the mix and focus only on the video. It was an interesting exercise but far too stressful to allow for good improvisation. I don’t think I want to try it again any time soon. For the second set I focussed on audio only (playing with ableton live) and felt an enormous sense of relief and freedom in contrast. I was able to listen to what Adrian and Simon were playing much more easily and improvise without having to ‘think’.

After the gig Adrian and I started the long drive up to Newcastle for Electrofringe…

Template Cinema

Published on July 13, 2005 in Note to self, Video and Web. 0 Comments

Template Cinema: A short film about nothing, by Thompson & Craighead

Template_Cinema is a collection of “low-tech movies made from existing data appropriated in realtime from the world wide web” by London artists Thomson & Craighead.

The works feature live camera feeds from various locations around the world accompanied by haunting mp3 scores, again appropriated from elsewhere online. Whilst beginning with film leader and ending with credits, these ‘templates’ are filled different every time they are viewed. Some are fixed views, others controlled by unknown ‘directors’.

The Template Cinema project began in 2002 with a networked installation: Short Films about Flying which featured live views of an airfield, snippets of audio from online radio stations and text from message boards.

In my own work I am interested in combining this is the sort of work (network/database cinema) with the real time malleability of sound art and VJ performance.

Also worth a look are these net.arty Web specific artworks and gallery works by Thomson & Craighead.

Metal Music Machines

Published on July 2, 2005 in Music, Note to self and Vidget - Discussion. 0 Comments

This week I spent a day improvising and recording audio with Doktorb Robotnik (Adrian Lucas) and was reminded of one of the key aims driving my research. I am developing software devices which allow the user to manipulate audio, video and other data in real time. By creating these works I am attempting to give the user the same feeling of control that I experience when performing live audio, of creating order out of chaos and letting it fall apart again.

Adrian and I have been making improvised sound art / noise / music together, for about 9 years. During this time we have developed various methods for collaborative performance and our production methods have evolved considerably.

Initially we would assemble, manipulate and sequence sound objects on computer in to create finished ‘tracks’, often to accompany short video works. While our process was improvisational in many ways, the combination of unlimited levels of ‘undo’ afforded by the computer software and the goal of producing a piece of a set duration meant that hours of work went into seconds of sound.

A significant shift occurred when we agreed to perform live at a music festival at uni: Rusfest 98 :-) . With no idea of exactly what we were doing, we assembled a very basic setup consisting of two multi-effect guitar pedals and two basic synthesisers. Each of the pedals was set to a 2 second delay which let us play various sounds on the synths and have them repeat endlessly. Rather than spending hours obsessing over a few seconds of meticulously cut up audio, we were improvising in real time – in front of an audience. It was exhilarating. We had no interest in melody and our pedals were keeping time, we were free to play with sound. We had constructed a kind of machine for the generation and manipulation of sound in real time and given ourselves a set of variables with which to control it. While our individual noise making machines have diverged technologically since then to consist of a series of interconnected guitar effects pedals which feed back on themselves and a computer running live audio sequencing / processing software, the processes at work in our first performance are still employed.

We build ‘machines’ with fixed number of variables and manipulate them to generate audio in real time. This is exactly what I am doing with images and data in both my Quicktime and Quartz Composer Vidgets.

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Quartz Quartz Quartz ?

Published on May 18, 2005 in Note to self, Video, Vidget - Discussion, Vidget - Download and Web. 0 Comments

I’ve been having a good play with Quartz Composer over the last couple of weeks. It is very exciting and a bit scary at this late stage of my MA research: “Does it make what I’ve been doing for the past two years redundant?”; “Should I drop the whole interactive QuickTime thing and start from scratch in this new environment?”; “Should I ignore it for now and continue with QT because it is cross platform and more accessible?”.

In many ways it lets me do what I have been doing, experimenting with, and wanting to do (real time interactive online video) much more quickly and with exciting new visual results. In some ways it makes basic QT redundant but it is quite a different beast.

QuickTime excels on the network. Child movies can be sourced from anywhere, XML and QTlists while a pain to set up sometimes are very powerful and I’ve only really scratched the surface of their potential when combined with server side scripting such as php. Quartz Composer is much more at home on the desktop. It can import still image files from a URL but not movies. It can read RSS very easily, but is designed for human readable text and requires custom scripting to deal with generic XML files and attributes. I have had some success getting QC to load movies from the network via a local QuickTime link file pointing to a URL, but the targeting it is local, relative to the QC composition. It seems this link is lost if the composition is exported to a .mov file.

Here is a quick example (requires Mac OS 10.4). Apologies for the cheesy kaleidoscope imagery :-) once downloaded and unzipped, the .qtz file should play in Quartz Composer, importing link.mov which points to a video file on my server. The zip file is about 4k.

The cool thing is, in many ways this (Quartz Composer), builds upon what I have been doing in QuickTime and is mostly playable by both the QT player and plugin. While the linking to movie files online is problematic at this point, surprisingly live video and audio inputs are supported even in the QuickTime browser plugin! Here is an example which takes a live feed from a FireWire camera, layers it over itself on 3 differently coloured layers (red green and blue) and scales in real time based upon audio input from the computer’s built in microphone. Link to livergb.mov. This has been tested in Safari with a Sony HandyCam and my PowerBook’s built in microphone. Here’s the source .qtz file. While live video input into a movie playing in a browser is pretty exciting, unfortunately more simple things like keyboard and mouse input are missing.

Stay tuned for more examples as I play more…

WordPress is go!

Published on May 10, 2005 in Note to self. 1 Comment

If all goes well this will be my first post in this new blog…

The obligatory ‘I’ve been too busy to post’ post

Published on March 5, 2005 in Note to self. Closed

OK, since my last post (eep, just before christmas) I’ve:

  • started a new job (DVD authoring)
  • quit an old job (no more retail!)
  • moved house (twice in two weeks)
  • started working way too many hours at the new job

Over the last couple of months I’ve found heaps of good information and links (which I’ll start to post now) and the whole online video / videoblogging / podcasting / playlisting thing has developed extremely rapidly and is growing in popularity faster than ever.

Time to start catching up.

Re: Vidget 3.5

Published on December 23, 2004 in Note to self, Tech, Video, Vidget - Discussion and Web. Closed

Ok, this version (Vidget 3.5) follows on from previous versions:

Vidget 1

Flickr Image Viewer (Vidget 2), and

Vidget 3

Vidget 3.5 is an experimental interactive audiovisual performance device which allows the user to manipulate video in real time online. As well as mixing a number of video clips together, the user may search for still images from the Flickr photo sharing site and mix them together. For a instructions on usage see previous versions above.

Continue reading ‘Re: Vidget 3.5′

Touchdown…

Published on December 10, 2004 in Note to self and Vidget - Discussion. Closed

I arrived in Brisbane this morning VERY early, caught the 6am flight from Melbourne which (due to regional time distortion fields) arrived around 7am local time even though it took just over two hours.

I’ve been battling with my latest revision vidget over the past few days and the saga continues. To get photos from flickr I use the site’s RSS feeds, only they keep changing on me! On Tuesday I had everything sorted, they started using the tag so I reworked my script to use it to grab the urls of the photos. By Thursday the tags were gone so I’ve gone back to using the < description> tag which is a little messier.

On the plane I accidentally opened my LiveStage Pro project in an old version of the app (4.5 instead of the latest 4.5.4) and saved and now while the flickr search works – I can’t get it to load any movies. D’oh! I have, however got inter-movie communication working really well so that I have a separate movie for output and controls. This means I can resize the output to 640*480 really nicely to go to a second monitor.

BTW, I’m writing this from a very cool cafe called The Alibi Room on the corner of Brunswick St and Annie St in Bris-vegas. It has yummy food, good coffee and FREE WIFI!

Straight Out of Brisbane, crazy mofo named dpwolf

Published on November 22, 2004 in Gigs and Note to self. Closed

Just found out my proposal was accepted and I’m presenting a session on Vidgets at the Straight Out of Brisbane Festival. I’ll be in the games-hacklab part of the festival, I can’t wait! It should be lots of fun, I hope I manage to get to lots of the other sessions.

From the site:

Straight Out of Brisbane

A festival of independent and emerging arts, culture and ideas

Brisbane, December 2nd – 12th, 2004 Presents: the hacklab and GAMEs selection ..

in the words of allegra geller, legendary games designer and radical realist in cronenberg’s film eXistenZe, the world of games in in a trance. people are programmed to accept so little but the possibilities are so great.

the SOOB games and hacklab program invites you to workshops, event and a few rants, the odd frag fest and some retro delight – trance breaking a speciality!

…frame rate

Published on November 16, 2004 in Gigs, Note to self and Video. Closed

For the past few months Tim Webster and I have been organising a monthly forum where VJs, video artists, experimental filmmakers and developers present their respective bodies of work and we all have a good chat. So far we have had an amazing line up of Melbourne based artists (follow the links or google the names for hours of interesting information):

jean p00le (Sean Healy) and Tim Parish

Dale Nason and John Power

Kirsten Bradley and Anna Helme

Kim Bounds and Steve Middleton

Troy Innocent and Olaf Meyer

Marcus Lyall (interview) and Paul Rodgers

… and last night Tim and I spoke about our works and ideas.

This was the last …frame rate for this year but next year we plan to increase the promotion a bit and set up a dedicated site. We’ve been documenting the presentations and chats as we go so we currently have at least 16hrs of footage to watch through. I’d really like to produce some kind of online documentary with some of the content and imagery down the track.

Inspiration

Published on November 5, 2004 in Design, Note to self, Tech, Video, Vidget - Discussion, Vidget - Download and Web. Closed

I recently completed work on an experimental internet radio program with Hannah Miller and Kate Eccles. Hannah and Kate are final year Media students at RMIT majoring in Radio and TV production. My role in the production was to take various pieces of audio, video, still images and text, and create an interface which would allow the user to mix and match the elements in an exploratory, non-linear way.

The result of this work is a program called “Inspiration”, which features interviews, live footage, sound recordings and lyrics from Reset://0 a Japanese influenced Melbourne band.

The program was authored in LiveStage Pro and is a Quicktime file that consists of a sprite track, several movie tracks and a text track which features lyrics. The above image shows the partially completed work as I was assigning sounds to various non-square shaped roll-over buttons. The idea was that rather than presenting the user with a list of options, or even a grid of non-labelled options, the work should encourage the user to explore the screen space with the cursor, almost like they are feeling their way in the dark. To give the users some feedback, and a little direction as to where may be a good place to explore, I used Hanna’s fire twirling image as a guide. I placed invisible sprites over the background image which reacted to the “MouseEnter” event, triggering sounds which played in specific movie tracks, and changing the sprite image for the background so that different parts of the fire twirling would be illuminated and hi-lighted.

You can view the completed work in context on the interadio site. Or, to go straight to Inspiration(requires Quicktime, a fairly recent computer and a decent broadband connection – 15Mb)

This is Not Art Day Two

Published on October 25, 2004 in Modes of analyzing new media and Note to self. 1 Comment

Next day I chaired Christy Dena‘s paper at Critical Animals: Towards a Poetics of Multi-Channel Storytelling.

“Transmedia storytelling is, simply put, franchises: a movie is followed by a game, then perhaps a comic, website and so on. This paper outlines the poetics being developed for multi-channel storytelling; suggesting narrative schema intended to guide story creation and literary criticism.”

A couple of weeks before I was a little scared about chairing and running out of things to say or ask but once I read the paper I realised that it would be no problem at all – I had a million questions to ask. Christy began her current research topic when she was writing a novel and thought it would be interesting to let the reader chat online with a character (a bot) from the book as they read. When she looked into what had been written and done before she found quite a gap. While much had been written about spin offs and franchises such as Star Wars, there was very little on multi-channel storytelling whereby a single story is told across multiple media.

Some interesting research in this area (referenced in Dena’s paper) is Jane McGonical’s Avant Game and her paper from melbourneDAC. McGonical looks at alternate and mixed reality gaming whereby the use of multiple media such as websites, email, faxes, telephone answering machines and posters are required to traverse and piece together a story. (After I saw McGonical’s presentation at DAC I really wanted to produce an alternate reality game for my MA along the lines of The Beast. I soon realised how massively complex and time consuming its production it must have been.)

Christy’s paper can be found here: Star of Dena: Multi-channel Poetics paper

Later that day was Michelle Phillipov’s presentation on Death Metal vocality. It drew by far the largest crowd of all the Critical Animals sessions I saw. I wrote a little bit about it back here

I headed over to the Cambridge Hotel to help set up the video projectors etc for the weekend’s gigs. I brought my laptop with me just in case there was a need for an emergency VJ. Sure enough, I ended up playing a set in the main room with a band who’s name I never found out. It was quite good, with guitars and beats played live with a MIDI drumkit I think (it all happened very fast). I continued to play through until the next band and VJ were set up. Again, I used the Vidget.

On the Friday night I also documented Ben Frost (sound) and Khalid Abdullahi’s (video) School of Emotional Engineering set. It was cool to watch and listen intensely as I focused, framing shots. I got some really nice silhouetted images of Ben and Khalid with the video projections behind them. I also got some good closeups of their faces which were softly lit by their laptop screens. Hopefully some excerpts will show up online at some point soon.

This is Not Art Day One

Published on October 24, 2004 in Gigs, Modes of analyzing new media, Note to self and Tech. Closed

THIS IS NOT ART 2004

I arrived in Newcastle late on the Wednesday night, its was a very long drive from Melbourne.

I stayed at an Irish themed pub called the Northern Star Hotel. The room was clean, fairly big (bigger than my room at home!), had two desks for me to set up all my equipment on and a tv with Channel V (doubled as a handy preview monitor too).

On Thursday morning I finished preparation for my Critical Animals presentation. I brought my printer/scanner/multifunction thing with me so I could scan in some last minute images from books (I still need to find some video of John Whitney’s films) and print out some notes to refer to.

I decided to use the Finder as my presentation tool after a bad experience a few months ago trying to use Keynote on the 2nd monitor output of my laptop with the notes on my own screen. It was very messy and the audience couldn’t see what I was doing properly. This time I set up a series of folders for each of my main points. Within each of these folders I had either examples (Quicktime files, jpegs etc) or sub-folders with sub-points. This worked very well, letting me keep track of where I was up to and letting the audience see exactly what I was doing.

Finder as presentation tool screenshot

I just caught the end of Keir Smith‘s presentation From Transmission to Multiplicity: Interactive Art Installations as a Site for Research which looked very interesting. Keir is a Phd candidate from iCinema at UNSW in Sydney. He is studying as part of both the Collage of Fine Arts (COFA) and the Computer Science department.

“Keir Smith explores the changing methods with which interactive art installations are being designed, built and experienced, and the shift from singular author/creators, to groups of collaborators and multiple users.”

I look forward to reading his full paper when it is published in New Media Poetics.

Later that night I headed over to the QuantaCrib, an all-in improvised AV jam space. If I expanded the collection of computer and music bits and pieces that fill my tiny room to fill a hall sized venue this is what it would look like. Great fun. They had two video projectors going so I plugged into one and Tim plugged into the other. While he played with video feedback off his laptop monitor with Universal Access effects, I played with Vidget 3. Later another guy (who’s name I forget) played with a MAX patch he had written. I continued to play, matching some of his dark and heavily masked imagery. I tried to keep up but after a while I couldn’t stand to look at my low frame rate / low resolution video next to his super-fast, super-smooth lovely images. It was all good fun anyway.

Faxed Head & Critical Animals

Published on October 23, 2004 in Music, Note to self and Research Methods. Closed

It has been deathly quiet around dpwolf/blog land lately so I thought I’d bring some deathly noise.

Faxed Head are an extreme / death / black / noise / metal band from Coalinga USA with an excellent (very dark) sense of humor. See their bio on the site for their complete mythology and read how the members’ group suicide pact went horribly wrong leaving Mc Patrick Head confined to a wheelchair and permanently covered in plaid, Neck Head with no head at all and LaBreya Tar Pits Head with his face covered in tar.

The site also features mp3s and some video of their 1997 tour of Australia. I remember seeing them on Channel 31 way back then, hilarious ;-) Their most recent album features a ‘re-imagining’ of the 2pac/Dr Dre classic California Love as Coalinga Love. It looks like their site hasn’t been updated in a couple of years (maintained by ASCII Head!) so I wonder if they are still around.

Listening to Faxed Head also reminds me of Michelle Phillipov’s presentation at Critical Animals in Newcastle: ‘Septic vomit of chyme’: Death metal vocality and the disavowal of identification.

“Rock’s “authenticity” has long been predicated on its ability to “represent” the everyday lives of its audience, with the singing voice functioning as the primary identificatory locus of listening. Michelle Phillipov explores how death metal troubles this literal reading of the power of rock and voice.”

While I missed most of the actual paper, I caught the discussion which followed in a room full of lively metal enthusiasts. Christy Dena has posted a a full rundown of the Critical Animals Papers (including my presentaion) at the ANU underthesun collaborative weblog.

Hand Shadows To Be Thrown Upon The Wall

Published on September 26, 2004 in Note to self. Closed

Hand based shadow puppetry was probably the first ever screen based interactive media. Take one pair of hands, a light source and surface to project onto and there you have it!

Tim is right into the whole hand gesture / shadow puppetry thing, performing visuals to accompany my noises at the last Segmentation Fault using a light, a rear projection screen and a roll of gaffer tape [post something on your blog Tim :-p].

This is an image from Hand Shadows To Be Thrown Upon The Wall by Henry Bursill. It was originally published in 1859 and has been scanned and presented online by Project Gutenberg, a free online book distribution initiative.

Via Boing Boing

Music and Media

Published on September 26, 2004 in Music and Note to self. Closed

I just read about this series of lectures at the MoMA in New York, Laurie Anderson, Michel Gondry, Brian Eno speaking about the mixing of media and music, one each week. I wish I was there!

From the site:

“The mixing of media took off in the late 1960s, as the barriers between artistic disciplines broke down and artists began moving freely between painting, sculpture, photography, film, and video. …
Music is at the forefront of this interdisciplinary experimentation. Musicians led the way in developing new working methods–they were interdisciplinary from the start. The work of Laurie Anderson, Brian Eno, and Michel Gondry evinces their backgrounds in music; Anderson was a teenage violin soloist, Gondry played drums in a rock band, and Eno is a well-known pioneer of electronic music.

Music is infused with a wild, innovative energy that has proven especially invigorating to media art, an art form that thrives on trampling conventional restrictions.The development of media art over the recent decades paralleled the transformation of our musical environment. For Anderson, Eno, and Gondry, music and art are not separate forms. In their art and in their careers, these artists merge the two forms seamlessly. Installations, feature films, performance pieces, and other hybrid projects are imbued with a sensibility that owes much to the artists musical background.”

Via www.danwinckler.com