Sonic Slippage project of re-making videos and adding new musical and spatial dimensions introduces new trends and perspectives in perception of image and sound. The main idea of reinvented experimental videos is to rely on unconventional combinations of sound, image, colors, and silence.
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Various synergies of the enumerated components create distorted perceptions and sights of new media demonstration. Thus, the films under analysis reproduce new aesthetic dimensions and forms to engage into a new understanding of the purpose of filming.
The short movie called Lossless #2 by Baron and Goodwin reproduces an interesting mixture of compressed digital image of another movie called Meshes of the Afternoon. While looking at the video, attention should be given to the way the distorted objects are accompanied by unusual sounds, which could not even called music.
Indeed, the synergy of sounds and digital information provoke unusual and abrupt emotions, which differ from those when you watch a traditional video. New media characteristics of the movie provide a new materialistic dimension by means of digital disruption and removal of certain scenes. Though the plot of the movie is not understandable, it still attracts attention and makes the audience concentrate on making sense of the watched.
Distortion of images and unusual submerge of two visual dimensions is represented in the video called Lilith. The film illustrates a complex unity of voice, mobile objects and silence. Special effects are also introduced to endow the picture with a new meaning. In particular, the author depicts a close confrontation between nature and technology, as well as what could happen if both collide.
Apart from topic considerations, Lilith also demonstrates new approaches to depicting objects whose flexible nature influences the perception of spatial dimension. Once again, the unusual application of media devices creates a new pattern of transformation experienced through synchronic distortion of video and audio channels.
Both – Film #3: Interwoven and Looking for Mushrooms – experiment on combinations between colors, image, and sounds. In particular, Interwoven reproduces simplistic duet of music and colorful figure movements. The emerging figures move to the music and vice versa and, therefore, it is often hard which media device dominates in the movie.
In contrast, Looking for Mushrooms prioritizes the importance of music patterns and their influence on visual patterns. The point is that video images are almost identical, but they might acquire different meaning while being accompanied by various sounds. At the end of the movie, five musical frames are combined to create a continuous projection of both sound and images.
While watching the movie Looking for Mushrooms, the sound patterns were especially intense in the middle of the plot. The sound of music pattern enhanced the depressed atmosphere of the images that quickly replace on another. In addition, Looking for Mushroom also rely on the play of colors in combination with music, which also creates a psychedelic atmosphere while watching.
In conclusion, the experimental films under consideration do not adhere to traditional presentation of ideas, meanings, and fact. Their primary function is to emphasize how the connection of sound, silence, and distorted image creates a new perceptual dimension. Assemblage of music patterns engaged into speechless objects, as well as distorted images, contributes to creating new aesthetical meaning of media development. The emerged dissonance calls for the rejection of consistency and conventionalism of image and voice.