Install Theme



This episode of the documentary Jap_ON depicts the work of Ryota Kuwakubo’s installation The Tenth Sentiment.


Sand being placed onto a plate that’s vibrating at 345hz, 1033hz, and 1820hz.

As the plate vibrates at these certain frequency’s, areas of no vibration are created. The sand falls into those areas and creates these amazing geometric patterns. 

[Click for more interesting science facts and gifs]

(Source: xyprogramming, via rhamphotheca)

cut and paste animation from the master of collage. The real poisoner of 16mm.: STAN VANDERBEEK


From 1964 through around 1969, artist Stan VanDerBeek worked with computer scientist Ken Knowlton on a series of films:

PoemField No. 1 (1965)
PoemField No. 2 (1966) (this one, with a free jazz soundtrack by Paul Motian)
PoemField No. 3 (1967)
PoemField No. 4 (no date)
PoemField No. 5 (1967)
PoemField No. 6 (no date)
PoemField No. 7 (1971)
PoemField No. 8 (no date)
Collido-Oscope (1966) (VanDerBeek, Knowlton and Bosche)
Man and His World, 1967 (shown at Expo ‘67)

Each film was constructed using Knowlton’s BEFLIX computer language, which was based on FORTRAN. The films were programmed on a IBM 7094 computer. The films were created in black and white, with color added later by Brown and Olvey. This particular version is taken from a film with some color decay.

VanDerBeek passed away in 1984. He is also part of the film Incredible Machine, made in 1968. VanDerBeek was part of a unique program at Bell Labs that allowed artists to work with computer scientists in order to explore and advance the technology in the fields of computer graphics and music. The program was given tacit approval by department head John Robinson Pierce, yet was not a formal arrangement within the Labs.

Footage Courtesy of AT&T Archives and History Center, Warren, NJ


Demonstration of the third version of Rhythmicom built by Leon Theremin at Moscow State Conservatory in early 1960-s. The first Rhythmicon was developed by Leon Theremin for Henry Cowell in 1932. It was the first rhythm machine ever built.


Performed by Clara Rockmore (1911-1998), the first performer to bring complete musical artistry to the theremin.



Léon Theremin demonstrates the Thereminvox (1954)


To mark the 50th anniversary in 2008 of the creation of the BBC Radiophonic Workshop, the programme examines the life and legacy of one of the great pioneers of British electronic music - the Workshop’s co-founder Daphne Oram.

As a child in the 1930s, Oram dreamed of a way to turn drawn shapes into sound, and she dedicated her life to realising that goal. Her Oramics machine anticipated the synthesiser by more than a decade, and with it she produced a number of internationally-performed works for the cinema, concert hall and theatre.

Daphne Oram was among the very first composers of electronic music in Britain and her legacy is the dominance of that soundworld in our culture today.

Introduced by Robert Moreby
Produced by Ian Chambers
TX BBC Radio 3, Sun 3 Aug 2008 21:45


Nikolai Voinov (1900-1958) demonstrates the techniques of Paper Sound and the creation of music for animation.
The demonstration includes two short animations:
“Rachmaninov Prelude”, 1932 (1:07)
“The Dance of the Crow”, 1933 (2:11)


LichtRouten 2013 - 05 - EIN LICHTSPIEL SCHWARZ WEIß GRAU - László Moholy Nagy .

LichtRouten-Project: A Lightplay Black White Grey

The film “A play of light black white grey” from 1930 is a documentary about the light-space-modulator by László Moholy-Nagy. Since 1922 he and the engineer Stefan Sebök had been working on a “light requisite for an electric stage” on behalf of AEG before it was publicly presented for the first time inParisin 1930. It is an apparatus which stages the visual interplay of sculpture, light, space and motion. In the polished metal surfaces and objects, whose shades are moving interlinked like in a machine, the idea to investigate aesthetic implications in mechanical principles is mirrored. In the film a lot of details, discs, grids, objects and other appearances of light are shown and at the same moment grant an insight in the ingenious system of mechanic motion, processes of projection and perspectives of observation.

LichtRouten-Site: Shopping-Center Forum

The Forum was opened as a modern shopping-center in 1978. Until 2006 The “Wellenbad”, a swimming pool with artificial waves, was its main attraction. Although it is very central, the Forum suffers from a lot of vacancies.

László Moholy-Nagy

Painting, sculpting, photography and film, graphic art and typography, design of products, exhibitions and stages are part of László Moholy-Nagy’s interdisciplinary portfolio. He shaped the philosophy and the artistic-creative praxis of the “Bauhaus” and the “New Bauhaus”. It had one central idea, to pave the way “From pigment to light”. InWeimarandDessauhe experimented with industrial made bulbs and developed mechanic equipment which was able to performatively implement the visual interplay of light, colour and space as it is visible in constructivist painting. “Lichtspiele” — photographs and films, kinetic objects, spatially based installations and stage design — emerged which turned electric light into sculptural artistic material. He also was one of the masterminds who imagined frescos of light, poly-cinemas and cloud projections as future part of cityscapes.

In 1916 the American Avant-Garde composer Henry Cowell was working with ideas of controlling cross rhythms and tonal sequences with a keyboard, he wrote several quartet type pieces that used combinations of rhythms and overtones that were not possible to play apart from using some kind of mechanical control- “un-performable by any known human agency and I thought of them as purely fanciful”.(Henry Cowell) In 1930 Cowell introduced his idea to Leon Termen, the inventor of the Theremin, and commissioned him to build him a machine capable of transforming harmonic data into rhythmic data and vice versa.

“My part in its invention was to invent the idea that such a rhythmic instrument was a necessity to further rhythmic development, which has reached a limit more or less, in performance by hand, an needed the application of mechanical aid. The which the instrument was to accomplish and what rhythms it should do and the pitch it should have and the relation between the pitch and rhythms are my ideas. I also conceived that the principle of broken up light playing on a photo-electric cell would be the best means of making it practical. With this idea I went to Theremin who did the rest – he invented the method by which the light would be cut, did the electrical calculations and built the instrument.”

Henry Cowell

“The rhythmic control possible in playing and imparting exactitudes in cross rhythms are bewildering to contemplate and the potentialities of the instrument should be multifarious… Mr. Cowell used his rythmicon to accompany a set of violin movements which he had written for the occasion…. The accompaniment was a strange complexity of rhythmical interweavings and cross currents of a cunning and precision as never before fell on the ears of man and the sound pattern was as uncanny as the motion… The write believes that the pure genius of Henry Cowell has put forward a principle which will strongly influence the face of all future music.”
Homer Henly, May 20, 1932

The eventual machine was christened the “Rythmicon” or “Polyrhythmophone” and was the first electronic rhythm machine. The Rhythmicon was a keyboard instrument based on the Theremin, using the same type of sound generation – hetrodyning vacuum tube oscillators. The 17 key polyphonic keyboard produced a single note repeated in periodic rhythm for as long as it was held down, the rhythmic content being generated from rotating disks interrupting light beams that triggered photo-electric cells. The 17th key of the keyboard added an extra beat in the middle of each bar. The transposable keyboard was tuned to an unusual pitch based on the rhythmic speed of the sequences and the basic pitch and tempo could be adjusted by means of levers.Cowell wrote two works for the Rythmicon “Rythmicana” and “Music for Violin and Rythmicon” (a computer simulation of this work was reproduced in 1972). Cowell lost interest in the machine, transferring his interest to ethnic music and the machine was mothballed.

Rhythmicon Discs

Rhythmicon Discs

After Cowell, the machines were used for psychological research and one example (non working) of the machine survives at the Smithsonian Institute.The Rhythmicon was re-discoverd twenty-five years after its creation by the producer Joe Meek (creator of the innovative hit single ‘Telstar’, 1961) apparently discovered abandoned in a New York pawnbrokers. Meek brought it back to his home studio in London where it was used on several recordings. This Rhythmicon was used to provide music and sound effects for various movies in the Fifties and Sixties, including: ‘The Rains of Ranchipur’; ‘Battle Beneath the Earth’; Powell and Pressburgers’ ‘They’re a Weird Mob’; ‘Dr Strangelove’, and the sixties animated TV series ‘Torchy, The Battery Boy’.The Rhythmicon was also rumoured to have been used on several sixties and seventies records, including: ‘Atom Heart Mother’ by Pink Floyd; ‘The Crazy World of Arthur Brown’ by Arthur Brown, and ‘Robot’ by the Tornadoes. Tangerine Dream also used some sequences from the Rhythmicon on their album ‘Rubicon’.
“Henry Cowell: A record of his activities” Compiled June 1934 by Olive Thompson Cowell.

(Source: invertedt)


La Roche Terrible (anaglyph) by ookami_dou

Tissue stereoview of the opera “La Biche Au Bois” (The Doe in the Forest). This was probably published by B.K. of Paris, the publishers of the famous diableries.
France, after 1865.
There is a little signature “HA” on the rock at the lower left corner which indicates that the scene was made by Louis Alfred Habert (1824 - 1893)
[converted to anaglyph]

Geistererscheinungen, Hirngespinste und Augengespenster.

Medien des Gespenstischen im späten 18. Jahrhundert

Maya Deren - Meshes of the Afternoon (1943) 

Meshes of the Afternoon (1943) is a short experimental film directed by wife and husband team, Maya Deren and Alexander Hammid. The film’s narrative is circular, and repeats a number of psychologically symbolic images, including a flower on a long driveway, a key falling, a door unlocked, a knife in a loaf of bread, a mysterious Grim Reaper—like cloaked figure with a mirror for a face, a phone off the hook and an ocean. Through creative editing, distinct camera angles, and slow motion, the surrealist film depicts a world in which it is more and more difficult to catch reality.