#Raster noton tv

But Nicolai's work is a closer cousin of Nam June Paik, who began working with live video and TV sets at the beginning of the 1960s. Oskar Fischinger's animated accompaniments to classical music (famously showcased in Walt Disney's Fantasia) were picked up by later avant garde film makers such as Norman McLaren, John & James Whitney, and Harry Smith - all dedicating painstaking hours creating abstract forms that precisely mimicked the ebb and swell of recorded music. Since Vassily Kandinsky's famous theories concerning the emotional dimension of colour, projects to equate visual form with sound and total sensory experience moved from static colour experiments into time based artforms. It connects with a long but poorly chronicled chain of synaesthetic research that has continued in parallel to radical developments in 20th century art and music. In Nicolai's work neither music nor visual art are by-products of one another - the one calls the other into being. Nicolai, born in 1965, has been using a powerful alchemy of electricity and sonics in his wide ranging practice, which straddles the separate worlds of visual art and music. The noise on the CD 'composes' the movements and patterns of lines of interference appearing on the screen, and the TV is diverted from its intended role - dispensing a preset schedule of programmes and entertainment - into an artistic canvas.

He has even created a CD, Telefunken, specifically designed to be played in a CD player hooked up to the video inputs of a television set. His sound installations such as Atem and Milch have created incredibly finely-tuned geometric waves and disturbance patterns in liquids, controlled via pieces of abstract music involving ultra-low frequencies played back through speakers. Berlin based artist and Raster-Noton label co-founder Carsten Nicolai performs similar experiments with sonic imaging, only in place of the salt and guitar he uses speakers to play back ultra-high or low frequency compositions, and laboratory equipment such as oscilloscopes, wave tanks, chemical flasks, particle cloud chambers and electron diffraction tubes. Mathematicians, acoustic scientists and philosophers since the ancient days of Pythagoras have been fascinated with desmonstrating the invisible number-magic of sound. The salt crystals snap into sharp geometries: snowflakes, perfect circles, striated waveforms, registering the frequency of the note. Place an acoustic guitar flat on its back. There is a simple method for observing the mathematical underpinnings of music. as the label is looking into new directions, kangding rays' debut makes its mark as an interesting attempt to find a balance between the flow of melodies and the ever changing structure of rhythm. »stabil« is a reflection of letellier's background as it integrates guitar loops, bass lines, residual noise, acoustic instruments and digital anomalies to create a textured soundscape. born in france and based in berlin, letellier evolved as a guitarist and drummer in various bands whose influences ranged from rock and pop to jazz before moving into electronic music.

Kangding ray aka david letellier arrives at raster-noton artist collective with his first album »stabil«. in this tradition the new release is no exception. Raster-noton has established a core group of artists, many of which were undiscovered talents.

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