Karl Hyde, Founder and Contributor to the Electronic Music Group Underworld and the Design Collective Tomato, Was Asked by Josia

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Karl Hyde, Founder and Contributor to the Electronic Music Group Underworld and the Design Collective Tomato, Was Asked by Josia

A History of Abstraction in Film Films Dylan Kendle, Jason Kedgeley Karl Hyde, founder and contributor to the electronic music group Underworld and the design Between Stars, 2010 Music: Underworld collective Tomato, was asked by Josiah McElheny to select abstract films to be projected for Film: Tomato the current Bloomberg Commission: 6 minutes Dylan Kendle Hamburg Hotel, 2012 Music: Underworld ‘In 1990, I was fortunate to be one of the hours in commercial West End facilities For the reconfigured projections of Josiah Film: Tomato founder members of Tomato – a group houses.) Before Underworld went McElheny’s Bloomberg Commission, I’ve 5 minutes of artists & musicians from very disparate ‘overground’, these films were the closest selected some of our films along with the Graham Wood Ring Road, 2008 backgrounds, who came together with thing we had to ‘pop videos’ – unsuitable work of some of the pioneers of abstract Music: Underworld the simple concept of inspiring one for primetime viewing but screened in the film who inspired us and who laid the Film: Tomato another and crossing borders between early hours where they connected with the foundations for a common language 4 minutes our disciplines. Our films always began Rave Kids who were still wide-awake. between us in all our collaborations. Graham Wood Rez, 1995 as personal projects, driven by the desire The work of masters such as George Music: Underworld Film: Tomato to experiment and explore. Through their The success of Bornslippy and its Maciunas and Len Lye are timeless 10 minutes vision and the techniques employed, we connection with the film Trainspotting we and slip seamlessly into the film work. George Maciunas were able to create beautiful films, which effectively ended a period of experimental Norman Mclaren takes me back to my first Artype, 1966 became the source material for all the TV collaboration, as our videos were required encountering his work as a 16 year old art 3 minutes ad campaigns they were commissioned to be ‘suitable’ for primetime scheduling. student and how, to this day, I recognise Norman McLaren Around this time, Underworld incorporated that sound-to-image language he evolved Dots, 1940 to make. 2 minutes Tomato’s films in the live show, projecting as being the closest thing I’ve found Mary Ellen Bute, Theodore Nemeth My Tomato associates would ask them onto huge elaborate screen which articulates how I see and hear the Synchromy No.2, 1936 Underworld for new music to which configurations, transforming our world every day.’ Music: Evening Star from Tannhäuser by Richard Wagner they could cut their experimental films, concerts into exhibitions that toured 5 minutes whenever they found themselves in an edit the world. Karl Hyde, 2012 Hans Richter suite with free ‘down time’. (Experimental Rhythmus 23, 1923–24 abstract films were being made after 4 minutes .

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