Glasgow's own Konx-om-Pax aka Tom Scholefield. ~New album on Planet Mu out now!

Curated by Konx om Pax

Total Runtime: 1:01:03

Merzbow live in Kung-Tu, Korea and Kobe '91
I just think this is a fairly odd thing to watch… quite surreal

Russell Haswell @ Snap
Russell testing out his new modular synth down in suffolk… I've done a residency in the same building a few years back

Autechre - Live @ the Glasgow Arts School
I promoted this show a few years ago, this track is one of my favourite autechre tracks

Incapacitants - Live In Tajima, Fukushima, 25. AUG, 1991
Recorded along with merzbow… proper power electronics

Russolo Ensemble, Intonarumori/Noise makers (Reconstruction)
Russolo… kinda invented noise I suppose...

Jim O'Rourke & Carlos Giffoni @ SuperDeluxe
My friend carlos having a synth jam

Mogwai - Summer (Live France 1998)
Its funny seeing the guys from so long ago… stuart's a bit chubby haha.

OZZY OSBOURNE Testing His ARP 2600 Synthesizer
this is just really funny, great synth

Dbx - electric shock
from the new detroit dance show i think, one of my fav techno records.

snd live at Algorithm Lovebytes 2008
full on sonic assault, minimal and functional

Horacio Vaggione ASH (1990)

Konx-om-Pax aka Tom Scholefield has become one of the leading animators, directors and illustrators operating in Glasgow today. From running Techno and Acid nights at the legendary Club 69 in Paisley he moved to Glasgow for artschool. In that time Tom would ignore briefs and competitions to make music promos for Jamie Liddell, or he would be recording classical music to cd-rs and then drawing on the bottom of them and recording how it made them skip.

In the past few years, Tom has not stopped, establishing his own studio and label for experimental noise records ‘Display Copy’ alongside his made numerous music promo videos, sleeves and visuals for Warp, Mogwai, Underground Resistance, OneohtrixPointNever, Hyperdub, Advanced Beauty and LuckyMe.

Collection- The Visual Music Films of John & James Whitney (1957-1975)

Experimental visual music films by John & James Whitney

Curated by Harris Smith

Total Runtime: 0:43:25

John Whitney, Sr. (April 8, 1917 – September 22, 1995) was an American animator, composer and inventor, widely considered to be one of the fathers of computer animation.

James Whitney (December 27, 1921 – April 8, 1982), younger brother of John, was a filmmaker regarded as one of the great masters of abstract cinema. Several of his films are classics in the genre of visual music.

John's first works in film were 8 mm movies of a lunar eclipse which he made using a home-made telescope. In 1937-38 he spent a year in Paris, studying twelve-tone composition under Rene Leibowitz. In 1939 he returned to America and began to collaborate with his brother James on a series of abstract films. Their work, Five Film Exercises (1940-45) was awarded a prize for sound at the First International Experimental Film Competition in Belgium in 1949. In 1948 he was awarded a Guggenheim Fellowship.

During the 1950s Whitney used his mechanical animation techniques to create sequences for television programs and commercials. In 1952 he directed engineering films on guided missile projects. One of his most famous works from this period was the animated title sequence from Alfred Hitchcock's 1958 film Vertigo, which he collaborated on with the graphic designer Saul Bass.

In 1960, John founded Motion Graphics Incorporated, which used a mechanical analogue computer of his own invention to create motion picture and television title sequences and commercials. The following year, he assembled a record of the visual effects he had perfected using his device, titled simply Catalog. In 1966, IBM awarded John Whitney, Sr. its first artist-in-residence position.

By the 1970s, John Whitney had abandoned his analogue computer in favour of faster, digital processes. The pinnacle of his digital films is his 1975 work Arabesque, characterized by psychedelic, blooming colour-forms. His work during the 1980s and 1990s, benefited from faster computers and his invention of an audio-visual composition program called the Whitney-Reed RDTD (Radius-Differential Theta Differential). Works from this period such as Moondrum (1989–1995) used self-composed music and often explored mystical or Native-American themes.

James completed a number of short films over four decades, two of which required at least five years of work. James collaborated with his brother John for some of his early film work.

Between 1950 and 1955, James laboured to construct a truly astounding masterpiece, Yantra. The film was produced entirely by hand. By punching grid patterns in 5" by 7" cards with a pin, James was able to paint through these pinholes onto other 5" x 7" cards, to create images of rich complexity and give the finished work a very dynamic and flowing motion, but the film was not completed yet. It was first released as a silent film.

A very short, manipulated fragment from an early version of Yantra was shown at one of the historic Vortex Concerts in San Francisco's Morrison planetarium in early 1959. Soon after Vortex, the film acquired its soundtrack, when Jordan Belson synchronized it to an excerpt from Henk Badings’ "Cain and Abel". This did not occur at the Morrison Planetarium Vortex Concerts, contrary to popular belief (Keefer, 2008).

Analogue computer equipment developed by brother John, allowed James to complete Lapis (1966) in two years, when it might have taken seven years otherwise. James drew dot patterns again for this film, but the camera was positioned using computer control, allowing each image to be overlaid from multiple angles. In this piece, smaller circles oscillate in and out in an array of colors resembling a kaleidoscope while being accompanied by Indian sitar music. The patterns become hypnotic and trance inducing.

Art - Paul Granjon

The short films, songs, and machines of artist Paul Granjon.

Curated by Casey Raymond

Total Runtime: 0:34:34

Paul Granjon is an electronic artist who makes short films, songs and machines for experimentation and entertainment. Over 20 years of activity he has invented a wide range of not very useful contraptions which he presents in videos, performances or installations worldwide.

This is a selection of videos from his archive, including Furman the kicking robot, Mofo the disco humanoid, a live song with Robotic ears and tail, Robotic paintball gun, a Fluffy tamagotchi, Fire without matches, the sexually active Sexed robots and a few other home-made machines.

Some of the older footage was made for television, with low-tech semi-fictional inventions. The video props machines gradually made way for fully functional devices that are demonstrated in performances or installed in art galleries. In all cases, Paul Granjon's take on technological art uncommonly features a healthy dose of humour, albeit of the dark kind sometimes. Once the spectator is laughing, the artist slips in some underlying questions on our relation to technology, and the importance of not being a passive user.

Paul Granjon's website: www.zprod.org

Two interviews with the artist on we-make-money-not-art

2006: http://www.we-make-money-not-art.com/archives/2006/04/interview-of-pa.php

2011: http://www.we-make-money-not-art.com/archives/2011/10/paul-granjon-at-the-oriel-factory.php

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Live Music Show - Konx om Pax

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Live Music Show - Konx om Pax