The last of the four Sverm videos by Lavasir Nordrum hast just been posted on Vimeo. The first short movie was titled Micromovements, then followed Microsounds and Excitation, and the last one is called Resonance. It has been exciting to work with the video medium in addition to the performances, and it has given a very different perspective on the project.
Video artist Lavasir Nordrum hast just posted the third of four short movies created together with the Sverm group. The first short movie was titled Micromovements, and the second was titled Microsounds. This month’s short movie is called Excitation, and is focused on the first half of an even or action. This will be followed by a short movie called Resonance to be released on 1 January.
As I wrote about last month, the Sverm group has teamed up with video artist Lavasir Nordrum. The plan is that he will create four short and poetic videos documenting four of the main topics we have been working on in the Sverm project. The production plan for the videos is quite tight: we shoot content for the videos during a few hours in the middle of each month, and then Lavasir publishes the final video two weeks later. Last month he made the piece Micromovements. This month’s work is entitled Microsounds.
For the last couple of years I have been involved in an artistic research project called Sverm, in which we investigate the artistic potential of bodily micromovements and microsound. We are currently working towards a series of intimate lab performances in the end of November.
As a side-project to the performances, we are also working with video artist Lavasir Nordrum, on the making of four short videos documenting the four main parts of the project: micromovement, microsound, excitation, resonance.
The first of the videos are now ready, focusing on the topic of micromovement, and featuring Kari Anne Vadstensvik Bjerkestrand, Victoria Johnson and myself.
I am currently working on some extensions to my motiongram-sonifyer, and came across this beautiful little film by Norman McLaren from 1940:
The sounds heard in the film are entirely synthetic, created by drawing in the sound-track part of the film. McLaren explained this a 1951 BBC interview:
I draw a lot of little lines on the sound-track area of the 35-mm. film. Maybe 50 or 60 lines for every musical note. The number of strokesto the inch controls the pitch of the note: the more, the higher the pitch; the fewer, the lower is the pitch. The size of the stroke con- trols the loudness: a big stroke will go “boom,” a smaller stroke will give a quieter sound, and the faintest stroke will be just a little “m-m-m.” A black ink is another way of making a loud sound, a mid-gray ink will make a medium sound, and a very pale ink will make a very quiet sound. The tone quality, which is the most difficult ele- ment to control, is made by the shape of the strokes. Well-rounded forms give smooth sounds; sharper or angular forms give harder, harsher sounds. Sometimes I use a brush instead of a pen to get very soft sounds. By drawing or exposing two or more patterns on the same bit of film I can create harmony and textural effects. (From Jordan, W. E. (1953). Norman McLaren: His career and techniques. The Quarterly of Film Radio and Television, 8(1):pp. 1–14).