On March 15, 2015, the Washington Post published a typically buzzworthy article titled, "Is the Internet Giving Us All ADHD?". The article begins with the usual litany of start-of-days, most likely familiar to anyone who works at a desk or a computer, or spends a large amount of time e-mailing,...

Another year has come and gone for the Seattle International Film Festival, and this year, our top selections include a lot of black comedies and films that capture the power of human emotion, in all of its positive and negative facets. Here are some favorites from 2016.   BURN BURN BURN (United...

In reviews for Kikagaku Moyo's House in the Tall Grass, some have implied that the Japanese psych folk up-and-comers are simply rehashing old ground. Consider a sentence from Danny Riley of The Quietus, who writes, "The problem comes when artists fail to recognize the elements of their chosen influence that have...

As per usual, we here at REDEFINE have done the hard work of going through SIFF 2016 (Seattle International Film Festival)'s extensive three weeks of programming to bring you a carefully curated short-list of films you should actually go out and see. Additionally, this year's SIFF boasts some new and exciting...

SIFF 2015 (Seattle International Film Festival) really shows off its vitality as the longest film festival in North America this year. Operating a host of its own theatres this year, from the SIFF Cinema Uptown and SIFF Cinema to the newly acquired SIFF Egyptian, SIFF is going strong, and this...

SVN SNS RCRDS stands for Seven Sons Records; we're a small independent music label from Paris, France, founded in 2010 by David Gamelin and myself, Alex Poveda. A couple years ago, Thibault Signourel, Editor for the French webzine Hartzine, joined us in the adventure. Originally the label was just supposed...

New York City-based video artist Yoshihide Sodeoka is known for his disquieting psychedelic videos, which are characterized by saturated colors, mythological references and a tense expression of time. Working often on an intuitive level, Sodeoka often allows his audio-visual creations to assume their shapes through a combination of spontaneous assemblage and aesthetic choreography. His video art is unique for its translation of noise music into a visual language, and for the close relationship of his moving imagery to principles of stillness. Polarizing aesthetics and themes in particular lend a spiritual tendency to the artist's work -- though not overtly, and perhaps not even consciously -- yet the fine line between good and evil is channeled into intense representations of such duality through the artist's imagery. This symbolically rich language is revealed through Sodeoka's manipulation of the characteristics of distortion and his play with fragmented forms; a fantastical exploration of imperfection in his imagery works in contrast to the sterility of technology.
the13th-yoshi-sodeoka
Influenced by glitch, though not fixated on allowing the process to define his aesthetic, Sodeoka primarily uses the more ambient elements of computer-generated imagery. These aspects are most often expressed as spatial perspective, orientation, duration, and color. By combining glitch with the intentionality of his mythological composition, Sodeoka amplifies the ambiance, presence of error, and minimal gesturing which challenge linear narrative structures.