Adding sound to GIFs

I’m adding sound to some of my Glifcker animated GIFs. This was the first test. Sounds and images are the same files, I just saved all frames as AIFF.

The process is simple, I save each frame as JPG, then as RAW and finally as AIFF, and then I add the sounds to the video.

The synchronization is perfect because what you see and what you hear is exactly the same.

Let me put my sound inside your noise

There are many sounds of dashing disappearance, and she’d lick all of them off his flesh.

“Would you let me bite your ear?”

The wild effects of his noise enchained her to his body; and in spite of the rapidity with which the sound hit her subconscious ear she heard his din.

“Your noise excites me so much I can’t hear myself.”

Physiological cinema

“Thus Kubelka initiated the flicker film, what Regina Cornwell has described ‘phenomenologically as the short and very rapid succession of recurrent images which flutter or fluctuate in various structures.’ The effect is abrasive yet revolutionary. [Arnulf] Rainer values the process of cinematic projection and the immediacy of vision over the illusionistic three-dimensional representation of past events; it is a film that appeals not to the psychological or emotional but rather to the neurological and physiological brain, creating optical illusions and even fleeting hallucinations that at once disabuse viewers of the limiting priorities of mainstream cinema while inviting them into new worlds of perception.”

Flashes of Brilliance: A brief history of the flicker film, Michael Joshua Rowin.

Work in progress: Nonobjective Cinema

Some days ago I discovered this film by Dwinell Grant entitled Color Sequence (1943)—I think that this is just a fragment because the film is supposed to last 3 minutes.

Grant was an illustrator, painter, and animator who in 1940 wrote the following about nonobjective painting, and nonobjective cinema: “(Nonobjectivism) is part of the earth itself … In creating it we do not say something about something else, but rather we produce a rhythm which is part of nature’s rhythm and just as deep and fundamental as a heartbeat, a thunderstorm, the sequence of day and night or the growth of a girl into womanhood … Nature is not something to be commented on, it is something to be.”

Even Color Sequence is not a proper flicker film, some parts of it consist of really quick changes, and it is significantly earlier than Arnulf Rainer (1960), the first flicker film, so it shocked me.

Color Sequence is quite unknown and I love it, so I decided to create a kind of digital relecture of it. In order to do that, I saved all the frames from the original video file that I found on the Internet as JPG, and then I intercalated and disintercalated them, what generates this digital aesthetic.

Nonobjective Cinema

The soundtrack is composed of exactly the same files—I saved the original JPG frames as RAW and then as AIFF—so what you see is what you hear. The final result is this.

The quality of Vimeo compression is really awful for this kind of digital textures, so to watch it properly I recommend you to download the original video file (1018MB, right-click, Save link as).

@ Szczecin European Film Festival

Szczecin European Film Festival (29.09 – 06.10.2014, Szczecin , Poland) will screen my works Hinterland (Materialist Film #001) and Solvitur ambulando in the section Boundaries of Cinema: videoART – EXSPERIMENT.

IV Encuentro sobre Redes Sociales en museos, centros de arte y producción: Intermedia_Redes_Ecosistemas

El viernes me voy con .mediateletipos))) (o al menos con una pequeña parte) al MUSAC al IV Encuentro sobre Redes Sociales en museos, centros de arte y producción: Intermedia_Redes_Ecosistemas. Estaremos el sábado a las 13:00, Kamen Nedev y yo, hablando sobre .mediateletipos))),, redes aurales y otras cosillas…

«En 2014 se cumplen 10 años de la aparición de la llamada Web 2.0., una lógica evolución de las páginas .com que revolucionó Internet. Es entonces cuando la Red se convierte en un espacio de comunicación, intercambio e interacción, donde el usuario puede gestionar contenidos, establecer relaciones y crear comunidades gracias a las redes sociales y a las accesibles aplicaciones en línea. El usuario, antes mero espectador, se convierte en editor, en conservador y en gestor de sus vídeos y de sus fotografías, en escritor de sus propios posts, etc».

Más información

The actions necessitated for us by circumstance

“The Stoic philosopher Epicurus maintained that free will was only an illusory sense we experience when the actions necessitated for us by circumstance fortuitously coincide with what we happen to want.”

Will Self: Walking is political.

Could someone else do it in my place?

“Thoreau wrote in a letter that when considering a course of action, one should ask: ‘Could someone else do it in my place?’ If the answer is yes, abandon the idea, unless it is absolutely essential. But it is still not bound up in the inevitable part of life. Living, in the deepest sense, is something no one else can do for us. You can be replaced at work, but not for walking. That’s the great difference.”

A Philosophy of Walking, Frederic Gros.

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