audiovisual workflow
composers studio
Computers with VJ and music software were linked to each other, aiming to create ‘self-generating sequences’. Attuning to each other and the process of being able to experiment freely with all the material. New opportunities kept appearing during this process, that cannot possibly be ignored. always initiating a new process.
’One panel has a plexiglass plate with a porthole-like talking hole
that muffles the sound of her voice. The moment she leans forward, the sound swells‘.
Not every figure is portrayed with spoken text. This gave more freedom in the sound world. In terms of sound, there have been a number of experiments. Rhythms were created through sigh, voice etc. and were additionally processed in the editing of the images and things became interchangeable. With this way of working everyone added something to a figure. From a certain rhythm, you can also make music, afterwards, or go against it. In Catalog I during the joint choir, voices came together randomly. That also adds something, but that's something you can't control.
’The first demo’s for the themes were quite dramatic/vintage cinematic in atmosphere.
The new tracks, their direction, dissonance and sadness have a reference to the seventies,
also satirical. Metallic too, as if the voices were reconstructed from decades ago’.
‘The strings are dark in atmosphere. A modulation on the original theme but with a darker feel, perhaps useful at times as if something is smoldering beneath the surface. Beats work with moving images (especially the 70's slow motion and scrub dj test), sounds including a waltz, lots of ambient sounds. There‘s also this rusty sounding voice. We experimented extensively in post-production with creating tension, how to fill in the spoken parts in terms of sound’.