MUSIC FROM BRAKHAGE
SYNESTHETIC WORK made by video and music. The short films are made by the USA film maker STAN BRAKHAGE,
MY MUSIC comments and amplifies their visual message.
NIGHT MUSICIn the first piece, Night Music, I wanted to catch the only emotion that colours were arousing, without the least intention to create connections between the music and the film structure. The music cams after the film creating a sort of sound commentary on what has just been seen.
STELLARThe music related with this piece was inspired by the first coloured spots that appear and disappear creating pulsations of light inside the universe. In this part there are more relationship between music and video, because they have the same length and the same thematic origin.
GLAZE OF CATEXISMusic and video are biunivocally correlated both from the thematic and structural point of view. Music amplifies the visual sensations and emphasizes the details. What was without sound now is explicitly explicit.
TIMEWALL 17 - in memory of Syrian children
CG animation by Marzio De Biasi
Music composed and performed by Marco De Biasi
I know that artists haven't got any political power but their main goal is to UPSET THE CONSCIENCE! The world premiere of this piece was in Mexico the August 29th in 2013. Some days before, the August 21st, a lot of Syrian children died because of the use of chemical weapons. So I decided to dedicate this piece to this children hopeing that a new sun could rise to light up their hopes. But after five years nothing has changed. Today this music find her finaly destination trough this synestetic art-work, IN MEMORY OF SYRIAN CHILDREN.
This video was made possible trough the help of the porgrammer and artist Marzio De Biasi, who halp me to develop and realize the visual concept. The Timewall is constructed in such a way that none of the 31941 "imaginary" rectangles contained in the 27x14 wall have the 4 vertices of the same color. The cubes disappear randomly. Every cube corresponds to a note and every note to a child. The relationship between colors and notes is given by a selection of possibilities based on my color-sound theory respecting the rules of imaginary rectangles. This continuous and inexorable "remove" generates a feeling of powerlessness: we already know how it will end, but we are not be able to do anything.