DJ Shadow – Shadowsphere Tour
Thursday, September 29th, 2011
Archive for the ‘VJ & visual music’ Category
Oslo Lux 2011 – Oslo School of Architecture and Design 21 January 2011
Sunday, January 23rd, 2011
Ståle Stenslie started the day with an overview of ideas around making the invisible visible. This involved tracing the history of light painting with it’s early roots in the work of Man Ray signing his name using a light stick and followed through to more industrial documentary photographic processes.
The baton was picked up by Timo Arnall (http://www.elasticspace.com/) who described projects that made use of tablet typography in public spaces. Further research projects involved visual mapping of RFID and wifi networks and overlaying this data with the overall aim of informing design processes.
Stig Skjelvik’s Dobpler which is on permanent exhibition at the school has developed into a range of incarnations internationally (http://nullohm.com/). The core of this responsive system is a simple circuit comprised of a light sensor and LED which, when constructed into mirroring grids, have been used to illuminate public spaces to create work that is driven by human presence.
Anthony Rowe and Chris Bennewith of Squid Soup (http://squidsoup.org/) took the audience on a retrospective journey of their trans-national working processes. From the Glowing Pathfinder Bugs project that started as a sandpit project with virtual bugs integrating of virtual and physical spaces, we were introduced to the Ocean of Light reactive audio-visual sculpture with it’s 3500 pairs of sound and motion sensitive circuits.
The Senseable City Lab at MIT was represented by Adam Pruden (http://senseable.mit.edu/) who introduced the concept of “detached” messages, defined as a message that is floating in the air and removed from a substrate such as smoke signals, fireworks, aerial advertisements and 3D cinema This was by way of introducing his current project that utilizes bespoke firefly micro helicopters fitted with an led in ping pong sized capsule in order to create swarms of remotely controlled flying pixels
United Visual Artists (www.uva.co.uk) provided the first keynote address courtesy of Ben Kreukniet who took the audience on a tour of projects that used light to communicate – from their partnership with Massive Attack which used projected concert projections to draw the audience in to fashion shows that used light to create a wall between the catwalk and the audience. The presentation also touched on the d3 software used – written in house to control lighting design and commercially available for bands to create their own concert lighting.
H C Gilje (http://www.bek.no/~hc/switchboard.html) presented documentation of his theatre and installation work which makes use of sequenced single light sources to create the illusion of movement along with synchronized sound in order to enhance sense of solidity to light. An interesting by-product of his creative work is the dynamic projection shareware software VPT for theatre and installation created in MaxMsp/Jjitter (Downloadable here http://hcgilje.wordpress.com/VPT/ )
Birger Sevaldson (http://www.birger-sevaldson.no/) and Natasha Barrett (http://www.natashabarrett.org/), curator and freelance musician, explored the development of their low budget, low tech immersive sound and light installation Barely. The piece explored the split between high frequent and low frequency and different refractive properties to mimic the effect of light moving through space and made effective use of black paint and UV paint on polycarbonate sheeting to create an impressive looking piece.
Marius Watz (http://www.generatorx.no/) for his presentation “some quick thoughts on images light and pixels” traced the history of multimedia from its roots in painting and sculpture through to the dynamic screens of Times Square (more pixels at bottom than at top using perceptual difference and budget – similar to trompe l’oeil of frescoed chapel ceilings).
For the second and final keynote address Antivj (http://www.antivj.com/), Joshua Lemercier and Simon Geifus described the development of audio-visual work created under their label from early experiments projecting onto mosquito netting to their more recent work that incorporates state of the art projection mapping.
Images from accompanying exhibition:
Dobpler – Stig Skjelvik
- Marius Watz
- AntiVJ
- HC Gilje
Grand Lantern Finale!
AV Clash
Thursday, November 25th, 2010
Launch project here:
Videojack website:
http://www.videojackstudios.com/
“
AV Clash is a Web-based project by Video Jack (André Carrilho and Nuno Correia, with Gokce Taskan), which allows for the creation of audiovisual compositions, consisting of combinations of sound and audio-reactive animation loops.
AV (AudioVisual) Clash is composed of 4 audiovisual “objects”, which enable playback and manipulation of four different loops of sound and audio-reactive visuals. Objects can be dragged and thrown, creating interactions (clashes) between them.
The sounds in AV Clash are retrieved from Freesound.org, an online sound database. Users can change which 4 sound and animation loops are contained in each of the objects, from a large variety of options.
On an initial level, AV Clash facilitates playfulness, discovery and randomness. But it also offers the possibility of going deeper into each object, customizing its sounds and animations.
“
Glitch Software
Friday, October 8th, 2010
FILE 09 – Digital Art Symposium
Monday, September 14th, 200928th to 31st August 2009
The 10th Anniversary Edition of FILE
Marcel.l Antnez Roca
Protomembrana
Perhaps the most intriging aspects of Roca’s performance in the Hypersonica strand and related installation is the way in which his aesthetic vision transcends the formal aspects of interactive production – we are invited into a world with such developed vision that the audience is taken beyond solely fetishing technological processes common to much of digital art. The performative piece (prefaced with a 12 certificate) works with polymorphously perverse imagery that is reminiscent of 20th century painters Dali and Picasso in terms of iconography while developing hand drawn psychedelia in the style of Barcelona graffitti. The level of performance and technical rendition is a seamless one man show – involving/humiliating members of the audience as we are taken on a journey through the processes of digital art creation.
Alexandra Dementieva
Drama House
Linking a series of bells with the view across the windows of two floors of apartments the user is able to “call up” the occupants, who will then recite their performance – the exact configuration being driven by the combination of buttons chosen on the black box.
To quote from the supporting material “Like in Alfred Hitchcock’s classic Rear Window, the bright windows of the DH are both confined and multileveled: its stories and visual perspective are dictated by the interaction of the protagonist’s confinement in his/her apartment and the participant choice and position from which both he and the audience glimpse on the lives of the various tenants. Cheerful voyeurism affords a droll comic atmosphere that suddenly darkens when one sees clues to what may become violence.
The spectators involvement in the residents drama/comedy visible from his position is a by-product of both boredom and natural human curiosity. Video-artist is, in fact, a voyeur by trade: the stories are a mere pretext for the artist who is more interested in the implications of viewers perspective. The audience actually learns more about the lives of the residents watching them undetected: phenomenon that provides the other vital thread to the script. While the artist offering herself as a visual storyteller, she makes audience accomplices to spying. At deeper levels, Drama House examines issues of moral responsibility and emotional honesty in regards to strangers.”
It was as a user, difficult to discern any complexity in the relationship between the interactive design and the content of the projections beyond the ability to call up a particular scene – the work as a whole very reminiscent of the HBO Voyeur project which seemed to have been developed concurrently.
Christa Erickson
Climate Shifts
Sculptural metaphor ranging from the distinctly alogue which was described during her presentation
Audio
Andreas Muxel and Martin Hesselmeier
Capacitive Body
Nina Waisman
Between Bodies
Eunjoo Shin
Vocal Trio