1.
What We Are Destined To, 2008
Egadz | directed and edited by Patrick Guera
video
This video is absolutely live, there are no loops or background tracks. All sounds are programed onto the buttons and played in real time. Filmed with a direct in to the camera, no cut aways. This is Egadz’s reinterpretation of What We Are Destined To Do.
2.
Tonka Truck, 2009
Edison | directed by Mike Landry | edited by Adam Patch
video
This video features Edison playing his song Tonka Truck from his new LP All the Information at Hand, live on Monome.
All one shot sounds. No loops running. 64 buttons. 64 noises. Shot on 2 HD cameras, 720p, 1 live take. With audio captured right to camera.
California, USA
3.
Bonanza, 2009
DJ Amazing Clay | directed by DJ Amazing Clay and WillianDjMix | Edited by WillianDjMix
video
A Funk Carioca classic from 1995, played on a MPC, a gadget commonly used on live performances of this kind.
Rio de Janeiro, Brazil
4.
Candy, 2009
elle p. & iftah | directed by elle p. & iftah | Edited by iftah
video
The song and video Candy by lp&i, planned as a trilogy, is a live improvisation where iftah plays the monome – a beautifully constructed open source grid controller. In Candy the monome is configured to chop loops in an mlr style (for more info about the monome and mlr visit www.monome.org) and to trigger drum samples in a good old mpc fashion.
Elle performs on the pixiphone – an old siemens operator converted to a gnd controller via arduino, built and designed by the duo themselves. Furthermore. in this song the pixiphone works like a scaled keyboard.
Elle toca no pixiphone, um antigo operador Siemens convertido em um painel de controle com interface arduíno, construído e desenhado pela própria dupla. Nesta música o pixiphone funciona como um teclado.
While making use of minimal controllers and open source technology the duo attaches importance to staying musical and to cherry-pick those machines instead of diving into technical experiments.
Berlin, Germany
5.
Fool, 2008
Pam Chung | directed and edited by Pam Chung
video
This song was composed by herself few year ago. it is kind of typical “canto pop” song. Her feeling to use Ternori-On to the performance in “Cantonese” is quite strange because “Cantonese“ is not a kind of language has good tone such as English and Japanese. Nevertheless, as she says: “this is the reason I’m doing what I’m doing now”.
Hong Kong, China
6.
Oh Baby, 2010
Pam Chung | directed and edited by Pam Chung
video
A mandarin song that is totally created with Stylophone Beatbox. Using harpsichord with Stylophone firstly for the video on YouTube. Unfortunately, the beatbox has been damaged during the recording process. She thinks it is a very good hints for her to change another gadget to instead of the harpsichord sound. Finally, another stylophone friend of her can help to change the sound much brighter and more electrical.
Hong Kong, China
7.
Panetone Projects, 2008
Panetone | directed and edited by Cristiano Rosa
vídeo
Panetone is a solo experimental project of audio and video by Cristiano Rosa. The registry gathers images of the workshops, performances and instruments built by the artist.
Rio Grande do Sul, Brazil
8.
Mohammed Gameover, 2008
Igor Amín | directed and edited by Igor Amín
video
An astonishing recording made with a mobile phone camera during the war in Iraq is manipulated by Igor Amin for the project Nem Só o que Anda é Móvel, that works like 3 experimental collective dedicated to the research of new ways of thinking eventual audiovisual language transformations through the use of amateur recordings, terrorist videos and many other forms of expression connected to the present relationship between individuals and their quotidian.
Minas Gerais, Brazil
9.
Jorge’s, 2008
Igor Amín | directed and edited by Igor Amín
video
With a video captured with a digital camera, Igor creates graphic interferences to explicit what he thinks were the personal interests of the president of the United States when the 9/11 terrorist attack occurred.
By simulating the game Space Invaders. the piece alludes to the “catastrophic cinema”, a moment in the film history, particularly evident during the turn of the millennium, when foreign forces – extraterrestrials, monsters, natural disasters and terrorists – put national security in risk.
Minas Gerais, Brazil
