art
Sine Wave A 440 Hz Concert Pitch for Ten Hours
Stop your brain from overthinking. You don't need an app. Ten hour Sine wave with no overtones which is called pure as it is only the fundamental frequency.
Stop your brain from overthinking. You don't need an app. Ten hour Sine wave with no overtones which is called pure as it is only the fundamental frequency.
starring biel garcía director / vincent boehringer executive producer / jacob burckhardt dop / carlos feher set design/ cathrin sonntag styling / natalia wierzbicka gaffer / anian krone 1st ac / mauricio waldo 2nd ac / b-cam / jona riese pa / florencia altamirano drone / the drone studio service productio / camino service producer / céline imbert casting director / matt o'malley editor / sounddesign / nik kohler post house / cabin edit edit assistants / craig griffiths, chris day post producer / caylee banz executive producers cabin / ruth minkley, kayt hall music / anenon additional sounddesign / mix / berg & dahl audioulien Alary colorist / julien alary liquid art / chris park vfx producer / julian sünram vfx artist / max habel production company / upperfast, filmakademie baden-wuerttemberg co-production: markenfilm berlin & hamburg, eddy paris, farbfilm studio zurich Special thanks: tmls, lane Casting, sight management, cosmic, napalm rentals
Missing: You so much a letter to all the dreamers Creative director/producer: Your friend, daao Director/DOP/edit: Naran Evdeev 1AC: Edward Kurginyan Music/sound design: Shhau & Your friend, daao Color: Tigran Aghajanyan
If you want to know whats going on: https://t.me/s/kapcommunity
This is what happens when the Cinebox 250D, a Nikon f4, and photographer, Victor Zatikyan come together
At Cairo's Makan Cultural Centre, the Mazaher ensemble performs a lighter version of "zar", an music and dance ritual with centuries-old roots, that aims to ward off or exorcise jinn, or evil spirits.
Cinematographer based in Cairo, Egypt Mohamed El-Masry films Hurghada.
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The artist’s sound and video installations reinterpret a play by his father, Saata Patrachi Kahani (Postcard), written in Marathi in 1982 for a working-class audience. The play shows an exchange between a migrant mill worker in Mumbai and his wife living in a village in Maharashtra. Written at a time of widespread strikes to protest poor wages and labour conditions in the textile industry, the play captures the aspirations and grievances of an individual working within an environment where the sound of machines assaults the body only to become a part of its function through habituation. Patil presents stills and excerpts from the original play, and a video that creates a gestural lexicon of sounds and actions that suggest life in the mill and its cramped quarters. A four-channel sound installation, with material from tape recordings made by Patil’s father during rehearsals or for soundscapes for the theatrical performances, provides a counterpoint to the silent visuals.