3TONcinema/ cR1TTER & Laskfar Vortok

3TONcinema is an itinerant microcinema and 16mm film “orphanage” founded in 2009. With their collection of roughly 1,000 ephemeral titles from the twentieth century, 3TON seekS to bring small-gauge (analog) cinema into the future in unexpected ways. They’ve exhibited in a variety of venues in twelve different states, including Mack Sennett Studios, Ochoco National Forest, and the Knockdown Center. Co-founder cRITTER (fka Montgomery Cantsin) is a multimedia collagist from Illinois. Co-founder Laskfar Vortok is a video artist and composer from Mérida, Mexico.

Artist Location: Long Beach, CA and North Hollywood, CA

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PARTICIPATION

nomad III soundprints

Installation by cR1TTER & Laskfar Vortok:
Magellanic Sibilance” is a study of Daffy Duck’s lateral lisp. The piece consists of 2 separate looping compositions, to be played simultaneously on 2 battery-powered speakers. The first is a supercut of many instances of Daffy (from 1938 to 2011, voiced by Mel Blanc and Jeff Bergman) making the “S” sound. The second uses the same “S” clips but derives sound from the cropped visual image of Daffy’s beak (using a technique of data sonification to transform the image data into sonic objects). The sonification is achieved through a combination of Python scripting and Max-4-Live modules, which allow for the translation of pixel data (represented as integer byte strings) into MIDI note streams. Image data is converted into numerical sequences, and using Manifest Audio’s Sonification M4L devices we can generate novel sequences based on that numerical data. The piece can play for any length of time at any volume. The speakers can migrate around the room separately or in tandem.

On-site event June 1st

Performance:
cELESTIAL sOLAR sONIFICATION is a dynamic installation wherein a series of visual symbols is sonified by way of a performative 16mm film projection. An exaggeratedly long film loop containing Letraset artifacts is run through a projector, generating a unique sequence of sounds — further processed in real time. The typographical and geometrical characters dry-transfered onto the soundtrack area of blank “leader” film create erratic, undifferentiated noises. The soundtrack is chance-operational, as the manual (visual) process of creating the film is disconnected from the resulting sonics. The soundtrack, subject to change with each revolution of the loop (as the characters potentially degrade or rub off), is further treated during the performance with software and amplified to create an unpredictable sonic experience around the sculptural object of the film projector (with its humorously large loop, wrangled by the projectionist and/or slung over trees or other site-specific fixtures).

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