Avanto 2004 festival of images and sounds radical.


The combination of image and sound, and their duality, complementary and parallel at the same time, implies by 2001 many of the curatorial dell'Avanto Helsinki Media Art Festival. But the most outstanding features of the selected material is that it goes through a radical experiment in explicit concepts and solutions well beyond the conventional production, defying common sense and comfortable clichés. L ' 2004 edition confirms this position, including work and live undoubtedly serve as a valuable input for analyzing digital techniques in a manner out of any vacant exaltation or fetish. From the screening of 'Weekend' film without images of 1930 Walther Ruttmann, installation 'Eye / Machine III' Harun Farocki, yet another piece of his research in the image overlay control with other points of view, which interprets' action of the cruise missiles, simulated in computer graphics, with subsequent cultural consequence. The technology also irrepressibly from the reworking of precious material in video family 'Fokus' Sami van Ingen, deconstructing and magnifying macroscopically significant details in a continuous reading of important magnified minutiae. Also in the music industry have been privileged to live concerts controversial groups. The project COH , Ivan Pavlov, for example, that manages to mold through the PC sound card as if it were orchestrating angularity and streams. As well Goodiepal with his philological research of the local roots music, married to a rare sensitivity to the musical mechanisms and their abstraction in digital, and the troubled path of Alec Empire , and his Digital Hardcore, Berlin label that represented the ' credible only manifestation of contemporary digital punk in the nineties, with a margin and a political fantasy that not been present for years. The Japanese Astro Twins and their interpretation of the phenomenon Onkyo, which is the practice of listening to and amplify sounds barely audible in a mixture of natural inextricable that appears artificial and vice versa. And in the words of a filmmaker without compromise, the Viennese Ernst Schmidt star of seminal works and experiments at the turn of the sixties and seventies projected in this edition, is mentioned a vision of 1968 is now widely realized: "The work of independent filmmakers … will be projected in the dance halls and on the walls of palaces common … "