Music:

Member Since: 12/4/2007
Band Website: http://www.teslaproductions.com
Band Members: VJ TUNA

Old and bearded seafish. Makes visuals since 2002. Live Performer (only pre-cut not-mounted material). Professional Photographer and Video Producer.

Likes: Cinema, Girls with STRONG personality, Tits (and other feminine accessories), Pozzi, Tunas.

Dislikes: Posers, Girls with WEAK personality, Femminists.

VJ-Tuna's Setup:
M-Audio Midi Keyboards
Behringer Controllers
Roland USB Controller MDP-1
Apple's MacBookPro
Numark's TT-USB Turntable

Mr. MOLA-MOLA

Young and unexperienced seafish. He is still learning how to swim. Tuna's adept and promising Performer. HC and generally Hard-Stuff oriented. Also called "Il Pesce Boccalone"...

Likes: Cinema, Pozzi, Tunas.

Dislikes: Other MOLA-MOLAs.

Mr. MOLA-MOLA Setup:
Mostly inherited from Tuna's setup
Apple's MacBook
Hercules MKII USB Consolle

Influences: VJ-Tuna:
King Crimson
David Bowie
Premiata Forneria Marconi
Brian Eno
Peter Gabriel
Blondie
Iggy Pop
Daft Punk
Gorillaz
... and many more ...

Mr. Mola-Mola
At the drive in
Refused
Maximum the hormone
Tool
Underoath
Converge
Pig Destroyer

DJ CatMastaFish
...

Mr. Eel
Daft Punk
Jamiroquai
King Crimson
Depeche Mode
Elio e le storie tese
Mozart
Beethoven
Fabrizio de André
Premiata Forneria Marconi
Maximum The Hormone

VJ-Tuna:
Sergei Mikhailovich Eisenstein (director)
Carl Theodor Dreyer (director)
Walerian Borowczyk (director)
Francoise Truffaut (director)
Pier Paolo Pasolini (director)
Fritz Lang (director)
Robert Wiene (director)
Dziga Vertov (director)
Andrei Tarkovsky (director)
Alexandr Sokurov (director)
Andrei Konchalovsky (director)
Lars Von Trier (director)
Wilhelm Murnau (director)
... and many more ...

Mr. Mola-Mola
Quentin Tarantino (director)
Trainspotting
300
Kiashan
A Clockwork Orange
Full Metal Jacket

DJ CatMastaFish
...

Mr. Eel
Stanley Kubrick (director)
Treasure Planet
Eccezzziunale... veramente
Lars Von Trier (director)
Tim Burton (director)
Lupin III: Cagliostro No Shiro

VJ-Tuna:
Justine (De Sade)
Carmilla (Sheridan Le Fanu)
Hamlet, Titus (William Shakespeare)
Do androids dream of electric sheeps?, A scanner darkly, Novels, The man in the high Castle (Philip K. Dick)
Invincible (Stanislav Lem)
Opus Pistorum (Henry Miller)
... and many more ...

Mr. Mola-Mola
Novels (Edgar Allan Poe)
Acid House, Trainspotting (Irwin Welsh)
Le fleur du mal (Baudelaire)
Requiem for a dream (Uberth Selby Jr.)
Wir kinder vom bhanhof zoo (Christian F.)
The Metamorphosys (Franz Kafka)

DJ CatMastaFish
...

Mr. Eel
Il Commissario Montalbano (Andrea Camilleri)
Farheneith 451 (Ray Bradbury)
I, Robot (Isaac Asimov)
Mondo come volontà e rappresentazione (Arthur Schopenauer)
Perchè la guerra (Sigmund Freud e Albert Einstein)

VJ-Tuna:
Photography: Koudelka, Araki, Capa, Helmut Newton, Leni Riefenstahl, McCullogh...
Painting (?): Basquiat, Fontana, Burri, Schiele, Arnaldo Pomodoro, Schifano, Rotchko, Christo, Pollock...

Mr. Mola-Mola
Comics: Blame, Berserk, Priest, Abara, Death Note, Hellsing, Bleach.
Heroes: VJ-Tuna, Pozzi, L'Uomo Focaccina
Various: Alchool

DJ CatMastaFish
...

Mr. Eel
Comics: GTO, Nana, Marvel Universe
TV Series: The Simpsons, Futurama, The Family Guy, South Park, A-Team, Supercar, McGuyver, WALKER TEXAS RANGER (you know... i don't want Chuck Norris came to beat me hard... so including him is safer for my health...)
Places: Pino's Home, Moe's Tavern, My House (you know a kind of pool where eels swims happy...)

Sounds Like:

Few words about our work

We are not like anything or anyone. If you wanna se our work, than ask us to. We made visuals with an attitude and technique of our own. We absolutey rejects pre-mounted footages and pre-structured installations. Everything has to be made keeping in mind THREE elements:

1) Every performance has it's own soul, and it leads to a vibrant chaos of images that we weave with our hands in something ordered and logical.
2) Every performance is singular, and it leads to an "here and now" performance that cannot be reproduced.
3) Every performance shapes itself acordingly to the context in which it exists, this means that every element present can weave a bit of the installation (phisical place, audience, performers, music, music performers, and so on...).

We take great care in pre-selection of the footage and we generaly use movie-based clips that keep a deep and clear significant we can integrate in our installation. This is the only step we choose something. The rest of the performance is based on pure improvisation: dynamic and contenutistic. Live feeds are taken strictly live and, when we use that technique, footage is always subject to incidents and hazards. We usually don't record anything. That leads to very poor archives of past works. we recently inverted this tendence, since a lot of requests has been made to see our past works it is possible that we'll record part of a performance for our archives, always keeping in mind that we'll never re-use pre-recorded material for future performances.

Due parole sul nostro lavoro

Non siamo simili a niente e a nesuno. Se volete vedere o valutare il nostro lavoro, semplicemente chiedete. I nostri Visual sono realizati con metodologie e tecniche che appartengono a noi soltanto. Ad sempio noi riiutiamo l'utilizzo di materiale pre-montato o di installazioni pre-strutturate. Ogni cosa che faciamo viene realizzata tenendo preente TRE assunti fondamentali:

1) Ogni performance vive di vita propria e ha un'anima di per sè, questo porta ad un vibrante caos di immagini che noi tessiamo in qualcosa di logico ed ordinato.
2) Ogni performance è unica e singolare, questo porta a performance che possono esistere solamente "qui ed ora" e che non possono essere riprodotte.
3) Ogni performance si plasma in concomitanza con il contesto in cui essa esiste, ciò significa che ogni elemento presente può tessere parte dela videoinstallzione stessa (spazio fisico, spettatori, noi stessi, musica, dj o gruppo musicale, e via dicendo...).

Abbiamo grande cura nel selezionare il materiale e generalmente utilizziamo spezzoni di film che mantengano un significante chiaro e profondo atto ad essere integrato nelle nostre installzioni. Questo è l'unico momento in cui pre-selezioniamo qualcosa. Il resto della performance si basa sulla pura improvvisazione: dinamica e contenutistica. Il materiale live viene preso rigorosamente dal vivo e sul momento e, quando utilizziamo questa tecnica, ciò che viene dalla videocamera è sempre soggetto a possibili incidenti e situazioni inaspettate. Solitamente non registriamo mai nulla. Purtroppo per noi questo porta ad un labile archivio di lavori pregresi. Recentemente abbiamo invertito questa tendenza a non registrare. Dal momeno che ci sono state fatte molte richieste di vedere spezzoni di lavori pregressi, è possibile che in futuro registreremo parte di alcune performance per i nostri archivi, tenendo sempre ben chiaro che non riutilizzeremo mai parti di performance pregresse come elementi di nuove.

Record Label: Tesla Productions
Type of Label: Major