ZSOLNAY LIGHT ART MAPPING COMPETITION 2021
The finalists of the Zsolnay Light Art 2021 videomapping competition:
2DKREW: Firka (Hungary)
The visual concept is based on analogue artworks made by a classroom of children’s. The improvisational jazz music of the band called Gentry Sultan shaped the visuals to a slower, psycheledic and experimental focus, with an approach to dada and avantgarde aesthetics. The result is a high detailed, dreamy and unique sequence spiced up with humour.
made by: David Mikulan, David Gutema
Alex Bianciardi: Light and shadows (Italia)
"Matter and spirit, empty and full, light and dark alternate themself until they dance together. The music, also created by me, emphasizes the duality of each element. The imposing architecture and solid stone rise upwards during a path that symbolizes the human journey towards spirituality." (Alex Bianciardi)
Eri Harigai: Kaleidoscope (JAP)
"Kaleidoscope is a dreamy abstract story on the rebuilding of Pecs Cathedral and focuses on the symbolism of colors and the representation of ’Light’. Transcendence, eternity and spirituality are also themes in my piece." (Eri Harigai)
Felix Frank: Luminescent (Ecuador)
Luminescent is a conscious expanding light art piece that brings light into shadows, evokes healing and inner peace through observation of the visuals and the underlying Schuman frequency of 7,83Hz. The perception of matter is transformed by light bending reality into new shapes and forms of existence. Opening the spectator's eyes to these subtle changes in reality, create limitless possibilities to reinvent oneself and aspire for a brighter future.
Filip Roca: Sunce (Spain)
Sunce is a generative audio-visual piece that revolves around the life cycle of a star. The journey follows all of the stages of stellar evolution, from the creation, birth, main sequence, and eventually to its end-death.
FLUID: Source (Hungary)
"Beneath you – the ground,
above you – the sky,
within you – the ladder."
Jérémy Oury & Ludovic Finck: Phosphène (France)
PHOSPHENE is a hypnotic and mesmerized experience of seeing form and illusions of destructurations where the movement and the energy of light reveals the architecture of the cathedral.
Radu Ignat: Light Symphony (Romania)
"I myself belive that sound is identical in its nature with light. Sound is light, perceived under another form; each acts through vibrations to which man is sensitive and which he transforms, in the nervous centres, into ideas. "
(Honoré de Balzac)
If the sound could be seen as light or light heard as sound ?
If the vibrations in the sounds of an orchestra could stimulate the retina and become light and the vibrations of light would become so strong as to transform matter, how would it look?
KATI KATONA: MORPHOGENESIS (Hungary)
"Morphogenesis" takes us through a story of continuous change and progress. The biomorph structures bring the cathedral alive which eventually becomes one with this breathing, forever developing, all-woven
ruestungsschmie.de: COLORS OF NOISE³ (Germany)
Red noise refers to any system where power density decreases with increasing frequency over a finite frequency range. Low frequencies are accordingly the most dominant.
Green noise is defined as the mid-frequency component of white noise. It lays between the main frequency spectrum of red and blue noise.
Blue noise, which is sometimes considered high-frequency white noise, is similarly like an inverted version of red noise. Its power density increases with increasing frequency over a finite frequency range. In other words: its spectral density is proportional to its frequency.
Crossfade from silence into evolving noisescapes, in connection with clean and powerful sound design. Harmonic chords and catchy rhythmic structures are getting more and more present over the time.
The sound spectrum of green noise is often described as the ‚basic sound of nature’ or‚ the secret background noise of the world’. It is close to the spectra of natural environments, untouched by man-made sounds.
Restless, high-frequency digital soundscapes, frequently interrupted by rapid rhythmic changes, are dominating this scene. The sound design is very far away from organic sounds and seems rather digital and edgy.
Exterior elements and interior spatial experiences are morphing into each other. Interior and exterior spaces are combined into a multiperspective perception of the buildings architectural design fundamentals.
Uniform movements of morphing organic shapes define the scene. Soft transitions leadthrough monumental shapes, huge surfaces and large multidimensional geometrical patterns. This is contrasted by the emphasis of mutually supportive interactions of the present architectural elements.
Detail elements of the architecture are emphasized. The building is broken down into small, singular entities in several steps. Angular, restless forms and fast motion sequences determine the image sequences.