music videos by Yoshi Sodeoka

"It’s Where The World Ends" (2017) for Indian Wells. From the third album by Italian producer Pietro Iannuzzi.

"Norrin Radd Dreaming" (2018) for Oliver Coates. Taken from the album Shelley's on Zenn-La (released by RVNG Intl.) by London-based cellist and producer Oliver Coates.

"Utopia" (2016) for Digitalism, a Hamburg electronic music duo (Jens "Jence" Moelle and Ismail "Isi" Tüfekçi) formed 2004.

"Elephant" (2012) for Tame Impala, using analog video synthesis.

Yoshi Sodeoka is an artist based in New York for over two decades, whose work is characterised by his neo-psychedelic aesthetic and exploration of multiple media and platforms. Primarily comprising of video, GIFs and print his practice also simultaneously inhabits the world of fine art, music, publications, and advertising.

Sodeoka’s work has been exhibited internationally, including at Centre Pompidou, Tate Britain, Museum of Modern Art, Deitch Projects, La Gaîté lyrique, Channel 4 Random Acts UK, Baltimore Museum of Art, OneDotZero, Sonar Festival, Transmediale, Whitney Museum of America's Art Artport. His artworks are in the permanent collections of Museum of the Moving Image as well as the San Francisco Museum of Modern Art. In 2013, Sodeoka co-founded the experimental video art collective, Undervolt & Co. He has collaborated with bands like Psychic TV, Tame Impala, Yeasayer, Beck, The Presets, has created art prints for New York Times, Wired Magazine, San Francisco Magazine, Entertainment Weekly and has produced advertising work for brands such as Apple, Samsung and Nike.

Artist website.

Particles 01 (2012) by Damien Borowik

Work done in Processing, using Monome 40h as live performance tool. This is a recording from a live performance where I control various parameters of patterns made by simulated particles. In the memory of the Japanese Tsunami victims, and the belated Jordan Belson who inspired this piece. Soundtrack by Kenji Kawai (川井憲次): Kugutsuuta Aratayo ni Kamutsudo Hite.

Damien Borowik is a French artist based in London, UK. In his work, he explores the use of technology in the art of making and subsequent creative processes. He is also interested in the act of perception, with a strong emphasis on serendipity and aesthetics. Working across media and medium, he seamlessly embeds technology and digital processes as an integral part of the work. Borowik develops his own creative tools digitally and physically, using mechanical components, electronics and programming code. His work spans many disciplines including video, sound, light, virtual reality as well as kinetic installations and performances.

Graduated from Central Saint Martins with a BA in Graphic design, and he later on went on to study at Goldsmiths, University of London on an MA in Computational Arts. Borowik has won numerous awards and exhibited worldwide while working with clients such as Christian Dior Couture, Samsung Electronics, Southbank Centre and BBC Worldwide. Recently, the Victoria & Albert Museum have also acquired several of Borowik’s artworks to be included in their permanent collection.

artist website

"Graf" (2008) by Dienstelle for Lithops

Karl Kliem (1969-) is based in Frankfurt am Main, Germany and creates video work under the name Dienstelle. He has worked with Jan Jelinek, Burial, Alva Noto & Ryuichi Sakamoto, Mouse on Mars, and others.

artist website

"STM~ Duality" by Luis Sanz and Niculin Barandun

«STM~ Duality» is inspired by wave–particle duality. Two live performing artists use digital sound production and particle simulation through interconnected data-systems to create a unique synesthetic experience.

Indivisible elements that shape a sculpture of space-time and result in a sensory experience. An indeterminate journey with its own natural laws and principles unfolding before the eyes of the spectator. The laws that influence both the particles and the sound are created by the artists, but they include randomness. Eventually the performance results in an exploration of the artists’ own a priori.

website

"Concrete Jungle" (2004) by Pfadfinderei & Modeselektor

Modeselektor are an electronic duo from Berlin who began performing in 1996. Since then they have many musical collaborations including, famously, Thom Yorke. Artist website.

Pfadfinderei are a design studio formed in Berlin, 1998. They are known for VJ work. Artist website. This track was included on the DVD Labland (released on Label Dalbin, Paris). Read more about it, here.

Massive Attack live visuals (UVA)

Above is a short promotion for a Massive Attack tour that shows some of their live visuals, designed by United Visual Artists. While these are not reactive to the music as such, the system can be configured on the fly. On some tours the contents have been changed for each gig, to adapt to the local language and political scene.

"Commercial Entertainment Product" from The Emergency Broadcast Network (EBN)

Excerpt from the VHS tape released 1992.

"Media are a weapon," says EBN front man Josh Pearson. And he means just that, as the performance of the five media guerillas from Rhode Island proves. They point this weapon at those who normally wield it. Politicians, television companies and time and again the military are the target, the victims, of the brilliant video samplings of EBN. With hard beats, brutal cutting and an uncompromising live performance, EBN shows the way forward to a pro-active attitude in the age of information that not only challenges the image of the media, but can also transform it.

With revolutions every minute in entertainment and creative technology; audio-visual manipulation software, the advances brought about by digital encoding, optical transfer and digital storage and the new entertainment systems that these advances are creating, there has to be a new take on what is providing the entertainment. It’s all very well having flat screen surround audio-visual in every room of your house, operated from a remote control and beamed direct into your control box by a satellite that’s transmitting the signal from an optical disc being accessed in Houston, but are you really going to get excited by another Rolling Stone reunion plastered all over your walls once the millennium is just a memory of a well spent defence budget?

Enter Emergency Broadcast Network, the first of a new strain, perched somewhere between a band, a DJ and MTV. They’ve been under construction since Pearson met Gardner Post [Systems Manager] at Rhode Island School Of Design over ten years ago, where they began collaborating on multimedia "press conferences" featuring painting, sculpture and video. Their ideas came closer to fruition, though, when Ron O’Donnel, a DJ, introduced himself at one of their seminars in 1990. Taking the role of "Spin Control", O’Donnel offered the duo a focus for their visual experiments.

This is the key to what makes EBN so different. Unlike many new acts who spend their formative years cutting and pasting tape loops and samples of their favourite records, EBN spend theirs cutting, pasting and sampling their favourite videos, using as source material a cataloque of tapes they’ve been collecting since the early ’80s. So, unlike any conventional group, who compose and create their music, then making a visual to go with it, EBN painstakingly create their music on threequarter inch offline, frame by frame, note by note, thus making a soundtrack that is already completely interactive with an array of provoking, stimulating and entertaining video footage.

And unlike a band that might tour toilets for years before attracting a record company, EBN converted an ’80s Chevy Impala truck into the Emergency Broadcast Vehicle, complete with projector and screen in the form of a satellite dish mounted on its roof, which they took on the 1991 Lollapalooza tour, broadcasting their first messages to a bemused new audience.

"What we’re doing is a direct parody of a major broadcast system, hence the name – to point out all of its absurdities and its methods of control over people, at the same time as entertaining and stimulating them", concludes Pearson.

Clip from an ORF documentary about Ars Electronica 1996 follows.

"Timber" (1997) by Hexstatic and Coldcut

Hexstatic is the duo of Stuart Warren-Hill and Robin Brunson who have been produced audio-visual work since 1997. "Timber" is the third part of the Natural Rhythms Trilogy, Warren-Hill's first experiment in video sampling. Created with the support of Greenpeace.

The music release of "Timber" was credited to Coldcut and Hexstatic. The song is in the 2001 Guinness Book of Records as "Most Music Videos For One Song".

In 1998 the video won the MCM Atlas, the French TV Award for Best Video Editing.

Belief Defect live at Atonal Festival 2017

on august 18th, 2017 we had the opportunity to premier our album along with the first public performance as belief defect from within the entrails of the iconic kraftwerk building which, among other things, serves as the church of atonal yearly.

Given the coincidences of multiple extraordinary circumstances that aligned under the exceptional commitment atonal has with their audience, we planned a show specifically for the occasion, the stage, the technical freedom and resources offered by the festival to annex oktaform and his skill set to the endeavor.

the visual counterpart to the album developed with the same instinctual impulse the music did: recurring to found footage evidencing the general despair emanating from all media juxtaposed with over stylized precision graphics as counterbalance, we aimed to build the experiential incarnation of the album and its narrative threads.

Visual Director: Greg Sullivan AKA Oktaform

"Gantz Graf" by Alex Rutterford

Something of a classic. Music by Autechre. Video painstakingly created by Alex Rutterford. There are no generative elements; it's all synchronised manually.

"Chronomops" (2005) by Tina Frank

The doors of perception, electronic style. Tina Frank’s Chronomops opens doors to truly different dimensions: different than digital art’s reductionist studies so common today, different than the serially laid out minimalist images, and different than the omnipresent filtering and layering experiments.

Chronomops opens up a shimmering, colorful space that is simultaneously an excess of color, frenzy of perception, and pop carousel. An abstract architecture of vertical color bars is set in endless rotation, whereby the modules and building blocks fly around themselves—and the entire system likewise rotates. The forced movement forms a digital maelstrom whose suction pulls the observer deep into it.

A system surfacing as though out of a void, steadily plunging through its own dynamic into new excesses of mobility, while adventurously hopping axes, temporarily dissolving into two-dimensional stripes, then lapsing again into a prismatic staccato of light and color, tending towards a 90 degree angle, sideward— leaving an extreme dizzying feeling in its wake. Chronomops, accompanied by music from General Magic, which is also composed as a slip stream, thus shows what the pop psychedelics always knew to be true: that the “other” side looms right around the corner of the perfect groove, a labyrinth of colors and forms set in irregular motion, which merely has to be raised from its invisibility and liberated from its incomprehensible state. Electronic music’s inner life has seldom appeared so colorful and captivating.

artist website

"064cde_audd" by dextroorg (2014)

Update: This artist's videos have disappeared.

Video_64 is an invitation into one's subconscious mind.

The aim was to generate the effect a waving corn field and the moving surface of water have on our mind, by mathematic means alone, and using a kind of movement that does not occur in nature. It looks natural and organic nonetheless, thereby luring the viewer into analyzing its behaviour. Ideally, this temporarily lets his/her rational mind step back and allows the subconscious mind to come to the fore, which can result in introspection and contemplation. The code is based on experiments spanning over 10 years. The sound was constructed from samples.

Video_64 is currently by far the most popular video on Dextro.org.

"Fallout 3" (2008, Bethesda Softworks) opening

Contrapuntal music works against what is on screen, creating a sense of irony or tension. The opening cut-scene from Fallout 3 (2008, Bethesda Softworks) illustrates this perfectly. The Ink Spots 1941 version of "I Don't Want to Set the World on Fire" (1938) issues from a car radio set as a slow zoom out begins. This reveals a scene of post-apocalyptic decay.

This use of a sentimental song set against nuclear devastation echoes the final scene of Dr. Strangelove (1964, dir. Stanley Kubrick), which utilises "We'll Meet Again".

This cut scene also plays with diagesis, since it is uncertain whether the music might actually be issuing from the radio, or whether the song's lyrics are a commentary on the visuals. The use of reverberation supports a reading of the music as diagetic, that is, embedded in the narrative. But the exaggerated nature of the presentation hints that the music is a nondiagetic soundtrack.

The fact that all of these possibilities are in play simultaneously creates an aesthetic depth. The viewer knows already that this might not be a conventional game experience.

"Drift" (2003) and "MTV HD Crow" (2008) by Psyop

An advert for Bombay Sapphire, designed for television, produced by Margeotes|Fertitta.

"MTV HD Crow" (2008)

Directed by Marie Hyon, Marco Spier
Design by Marie Hyon, Mate Steinforth, Mato Bilic
3D by Todd Akita, Alvin Bae, Dave Barosin, Laurent Barthalemy, Pakorn Bupphavesa, Damon Ciarelli, Kevin Estey, Jason Goodman, Ajit Menon, Naomi Nishimura, Melanie Tonkin, Lutz Vogel
Flame by Jamie Aguirre, Eben Mears, Joe Vitale
Roto by Ella Boliver, J Bush, Stephania Gallico, Carlos Rosario
Producer Angela Bowen, Lucia Grillo, Brett Goldberg, Chad Nau
Executive Producer Justin Booth-Clibborn

"UnityGain sampler" (2000) by Benton C Bainbridge

UNITYGAIN is not:
a “show” in the usual theatrical sense of the word…
nor can it be strictly defined as a “concert” or “installation…”
it is certainly not a “band…” (digital or otherwise)
it is not even a fixed work of art authored or produced by any particular individual or fixed group of individuals…
( & the hausofouch is not a promotional organ but an idea about what can happen in lieu of one…)

reclaimer—-

UNITYGAIN is:
an ongoing live electronic media performance platform/environment inviting a diverse consensual group of sound and image makers to “plug in” to a unifying spacio-temporal technological matrix designed to promote balanced spontaneous synergistic interactivity among all constituent elements over time in co-relationship to a participating audience within shared social space amid “pooled” production resources. UG is, foremost, an idea in the direction of an ongoing social experiment among a shifting group of participating artists geared to test and explore new models for interacting in the face of other more prominent vastly unsatisfying commercial and institutional normalsies…

No two unitygain events are ever that much alike, although some aspects remain remarkably consistent over a broad range of variables in space, time, and participating individual artists…
we hope it stays that way…

project website

COH FRANK live performance (2013) by Tina Frank

Frank writes:

This year I found myself collaborating with Ivan Pavlov on several occasions. First we worked together on the design for his album cover RETRO2038, then came my first film colterrain, followed by our first live gig in vienna, documented here.

All images were created live with analogue devices played through a Synchronator. The output is digitized and fed into a computer to create a bigger size (HD) and sometimes doubling the screen.

Go here for another collaboration between these artists.

Artist website.

Howled on Their Knees by David Matthews

Howled on Their Knees was Turner’s Senior Composition Thesis and funded by Ohio University’s 2013-14 Provost’s Undergraduate Research Fund. He built and invented all of the instruments used in the recital. The instruments include a four-octave steel plate marimba, a four-octave EMT pipe marimba, a two-and-a-half-octave copper glockenspiel, multiple whirly tubes on three separate ceiling fans controlled by dimmer switches, and three string instruments called the "Turner Winch."

The composition challenges the cultural expectation of sound. By using non-standard instruments, Turner created a new experience for listeners by insisting that there are more interesting, legitimate, and beautiful sounds to be found and created.

The work was premiered by Turner’s percussion trio, Triangulus, which consists of Eli Chambers, D. Turner Matthews, and Jacob Schlaerth.

website

ndial by triangleline

The ndial combines automated sampling and sequencing with manual controls to navigate sound worlds in unpredictable ways. The system selects samples at random from a live or prerecorded source and maps them to a hardware interface—an 8-step sequencer that goes around instead of along. The interface can match pulses, record live samples, reorganize patterns, add effects, and remix performances in real time. Recordings are explored out of order, and because control of the content is limited, preconceived strategies give way to the matters at hand.

The ndial is designed for use with the onism software system. Four ndials were used in the performance-game-nterplay, Re. A typical nterplay lasts between 8-15 minutes with each ndial drawing from one sound world—a recording, song, speech or live input. nterplays can involve anywhere from 1 to 4 players.

website

The D-Box by Victor Zappi and Andrew McPherson

The D-Box is a new digital instrument intended to be repurposed and rewired by the performer in unusual ways. It is designed to be initially simple and constrained, but to allow the performer hack and subvert these constraints using circuit bending techniques. The D-Box was developed by Victor Zappi and Andrew McPherson as part of the EPSRC-funded Hackable Instruments project (2013-14).

On Kickstarter as part of the Bela platform.

website

Yaybahar by Görkem Şen

Yaybahar is an electric-free, totally acoustic instrument designed by Gorkem Sen. The vibrations from the strings are transmitted via the coiled springs to the frame drums. These vibrations are turned into sound by the membranes which echo back and forth on the coiled springs. This results in an unique listening experience with an hypnotic surround sound.

What you hear in this performance is captured in realtime without any additional effects and with no post audio processing.

website