This commissioned video for the Norient Film Festival portrays the Iranian sorna player Ebrahim Salmanpor Qashqai. He looks back on his life, his performances at Qashqai weddings, and the challenges the pandemic has brought.
This commissioned video for the Norient Film Festival is a collaboration between filmmaker Adythia Utama and musician Riar Rizaldi. They put a perspective on how freely we receive any kind of information through the screens of our gadgets during the pandemic.
During my fieldwork on the history of Chicano rap in L.A., many interlocutors voiced the opinion that the Chicano community never received due credit for their contribution to gangster rap culture. This is exemplified in the controversial music video «Go Loko» by YG.
This commissioned video for the Norient Film Festival is an introspective account of non-binary artist Janice Iche’s state of mind as they reflect on how the journey through 2020 was and their dreams of what 2021 holds for life.
In most films, the English countryside is hailed as an idyllic place. Yet its colonial history is often overlooked. In her essay inspired by the film «A Protest, A Celebration, A Mixed Message», Chandra Frank reflects on West Indian carnival in Leeds.
Even prior to the current retreat into the home office, life with screens has flattened one’s experience of time and space – but also of work and leisure. In the fourth episode of the «Sonic Vignettes» series, Malte Pelleter investigates Lofi Beat streams.
This commissioned video for the Norient Film Festival by visual artist Jusomor and sound artist Lechuga Zafiro is deeply inspired by the re-encounter with our elders during the current times of uncertainty and confusion.
In this commissioned video for the Norient Film Festival, Taiwanese multimedia artist Monofee uses the medium of silent cinema to present a narrative of hope, conflict, and uncertainty over the turn of the new year.
In this commissioned video for the Norient Film Festival, poet, writer, and designer Poetra Asantewa ponders over the future of the city of Accra, what it ought to look like, where it ought to be, and who it should aim to be.
AI music often sounds very familiar, because it is limited to its creators’ musical horizon. In the third essay of our «Sonic Vignettes» special, Rolf Großmann asks what happens if one liberated AI «ears» from the constraints of human sensations?
