A Protocol for Audiovisual Cutting
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THE AUDIOVISUAL BREAKTHROUGH Ana Carvalho
THE AUDIOVISUAL BREAKTHROUGH Ana Carvalho and Cornelia Lund (eds.) 21 41 83 109 129 THE AUDIOVISUAL BREAKTHROUGH 7 PRACTICE AND DISCOURSE. AN INTRODUCTION AS MANUAL Ana Carvalho and Cornelia Lund The Audiovisual Breakthrough guides us across the landscape of artistic live practi- ces that present sound and image through technological means. This landscape has been radically reshaped during the last 20 years due to technological developments causing what we might call an “audiovisual breakthrough,” which means that audio- visual artistic production has gained a certain visibility and a certain, even institutionalized, standing. The main objective of this book, however, is not to portray this landscape with its main players and their activities, but to find out more about the underlying concepts that help us explain these activities. � Whoever has been trying to write an academic or curatorial text on this area has probably felt trapped in a confusing web of unclear, or even inconsistent, definitions. Visual music, expanded cinema, VJing, live cinema, and live audiovisual performance are the most widely used concepts here, each of these terms addressing a different angle of contemporary audiovisual pro- duction contextualized within specific fea- tures and a related history. Holding this in mind, The Audiovisual Breakthrough aims at developing useful definitions for both the theoretical debate and the performance obvious that clarifications were needed for context. � � � We might of course say— meaningful communication about and with- especially as performers—that we “really 9 in the field of artistic AV production to be don’t care” and that we are “more interested possible in the future. -
As Raízes Do Vjing: Uma Visão Histórica
as raízes do VJing: uma visão histórica bram crevits RESUMO curador O artigo retoma as origens das apresentações de vídeo ao vivo, em seu percurso que vai dos clubes aos palcos e galerias. PALAVRAS-CHAVE VJing, história, crítica Horror Film, de Michel Le Grice O termo VJ foi utilizado pela primeira vez no final dos anos 70 no clube nova-iorquino Peppermint Lounge, portanto estamos olhando para uma pequena história que abrange cerca de 20 anos. No entanto, se você olhar para além deste curto período de existência, torna-se claro que o VJing desempenha um papel estranhamente vital na cultura contemporânea. Parece ser a amálgama de um número de importantes evoluções nos planos social, artístico, cultural e tecnológico. É portanto gratificante olhar para esta rica, porém complexa história dos seus antecessores, do que apenas para a curta história do VJing como se fosse um capítulo fechado. Não seria desinteressante olhar apenas para a história recente do VJing, mas seria quase que impossível abordar esta história com toda sua diversidade. Discussões em inúmeros sites e encontros durante os eventos de VJ, que não param de crescer, demonstram um claro interesse no VJing. O mais importante é que esses elementos estimulem a conscientização entre os VJs em relação ao seu meio. Essa conscientização é importante e tem sido um elemento essencial nas artes desde o surgimento da modernidade. O VJing tem se desenvolvido em direção às artes visuais e performáticas, através das performances audiovisuais ao vivo, instalações audiovisuais interativas e assim por diante. Entretanto, isso não 43 pode ofuscar a história como um todo. -
Real-Time Audiovisuals
REAL-TIME AUDIOVISUALS DMA Summer Institute 2011 June 20 to 24 June 27 to July 1 instructor: Mattia Casalegno TA: email: [email protected] COURSE DESCRIPTION In this course students will engage with a set of software and hardware tools and techniques to produce and combine audiovisual content in real-time, creating works of live cinema, live media, and vjing. The emphasis will be on the use of real-time technologies instead of conventional linear editing tools. These technologies are more and more deployed in the art and entertainment indutries and in concerts, live shows, theatre productions, media art festivals and urban art events. Students will learn to shoot and produce original content, mix and edit in real time, and design generative applications reacting to sound and various control interfaces. Professional multi-platform software such as Resolume Avenue, Module8 and Cycling74 Max/Msp/Jitter will be introduced, with the context of some of the most influential artists working across the disciplines of live media performance. For this course, emphasis will be given to the relationship of real-time audiovisuals to architecture. The course will culminate with a collaborative project where a portion of the Broad Art Center building facade is entrusted to each student, with the prompt to use video-mapping techniques to engage the existent architecture with personal au- diovisual designs. The students will use the building’s architecture as a blank canvas for their unique live-media cre- ations. 1 WEEK SCHEDULE Day 1 - course presentation - introduction: peculiarities of real-time and linear editing: loop, cut, sampling and looping: add, mix and mash-up. -
Live Media / Vjing Survey
Live media / VJing Survey 1. What is your gender? Response Response Percent Count Male 79.5% 58 Female 17.8% 13 prefer not to say 2.7% 2 answered question 73 skipped question 0 2. What is your age? Response Response Percent Count 15 - 24 9.6% 7 25 - 34 43.8% 32 35 - 44 38.4% 28 45 - 54 5.5% 4 55+ 0.0% 0 prefer not to say 2.7% 2 answered question 73 skipped question 0 1 of 46 3. Have you performed or used live media (eg VJing and performance based audiovisual artforms) as a process in the last five years? Response Response Percent Count yes I have 89.0% 65 yes but I have stopped 6.8% 5 no - I am thinking about it and 4.1% 3 probably will very soon no - I never have and don't intend 0.0% 0 to answered question 73 skipped question 0 2 of 46 4. Where (primarily) have you been doing live media / VJing in the last five years: Response Response Percent Count Adelaide 8.7% 6 Brisbane 13.0% 9 Melbourne 18.8% 13 Perth 5.8% 4 Sydney 23.2% 16 Other capital city 13.0% 9 a regional city or place more than 14.5% 10 150kms from a capital city I travel between different city / state locations more than 50% of 10.1% 7 the time I’m Australian but living/working 4.3% 3 overseas I’m not Australian and I am 23.2% 16 based elsewhere Other (please specify) 18 answered question 69 skipped question 4 5. -
Bibliographie Der Filmmusik: Ergänzungen II (2014–2020)
Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Bibliographie der Filmmusik: Ergänzungen II (2014– 2020) 2020 https://doi.org/10.25969/mediarep/14981 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Bibliographie der Filmmusik: Ergänzungen II (2014–2020). Westerkappeln: DerWulff.de 2020 (Medienwissenschaft: Berichte und Papiere 197). DOI: https://doi.org/10.25969/mediarep/14981. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0197_20.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 197, 2020: Filmmusik: Ergänzungen II (2014–2020). Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0197_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 19.10.2020. Bibliographie der Filmmusik: Ergänzungen II (2014–2020) Zusammengestell !on "ans #$ %ul& und 'udger (aczmarek Mit der folgenden Bibliographie stellen wir unseren Leser_innen die zweite Fortschrei- bung der „Bibliographie der Filmmusik“ vor die wir !""# in Medienwissenschaft: Berichte und Papiere $#% !""#& 'rgänzung )* +,% !"+-. begr/ndet haben. 1owohl dieser s2noptische 3berblick wie auch diverse Bibliographien und Filmographien zu 1pezialproblemen der Filmmusikforschung zeigen, wie zentral das Feld inzwischen als 4eildisziplin der Musik- wissenscha5 am 6ande der Medienwissenschaft mit 3bergängen in ein eigenes Feld der Sound Studies geworden ist. -
Lives Video Editor
GABRIEL FINCH LiVES: LiVES is a Video Editing System RECIFE-PE – JULHO/2013. UNIVERSIDADE FEDERAL RURAL DE PERNAMBUCO PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM INFORMÁTICA APLICADA LiVES: LiVES is a Video Editing System Dissertação apresentada ao Programa de Pós-Graduação em Informática Aplicada como exigência parcial à obtenção do título de Mestre. Área de Concentração: Engenharia de Software Orientador: Prof. Dr. Giordano Ribeiro Eulalio Cabral RECIFE-PE – JULHO/2013. Ficha Catalográfica F492L Finch, Gabriel LiVES: LiVES is a video editing system / Gabriel Finch. -- Recife, 2013. 132 f. Orientador (a): Giordano Cabral. Dissertação (Mestrado em Informática Aplicada) – Universidade Federal Rural de Pernambuco, Departamento de Estatísticas e Informática, Recife, 2013. Inclui referências e apêndice. 1. Software - Desenvolvimento 2. Prototipagem 3. Multimídia 4. Usuários de computador 5. Vídeo digital I. Cabral, Giordano, orientador II. Título CDD 005.1 ACKNOWLEDGEMENTS The author would like to thank: The staff and students at UFRPE. All the LiVES users and contributors. My family. and the following, who have helped along the way: Niels Elburg, Denis "Jaromil" Rojo, Tom Schouten, Andraz Tori, Silvano "Kysucix" Galliani, Kentaro Fukuchi, Dr. Jun Iio, Oyvind Kolas, Carlo Prelz, Yves Degoyon, Lady Xname, timesup.org, LinuxFund, VJ Pixel, estudiolivre, mediasana, Felipe Machado, elphel.com. RESUMO Relativamente pouca pesquisa científica tem sido executado até à data atinente aos requisitos dos usuários de aplicativos de processamento de vídeo. Nesta dissertação, apresentamos um novo termo "Experimental VJ", e examinamos os requisitos de software para essa classe de usuário, derivados de uma variedade de fontes. Por meios desses requisitos, definimos os atributos que seria necessário um programa criado para satisfazer essas demandas possuir. -
Visualize It!« Visual Music in Der Erlebnisgesellschaft
Originalveröffentlichung in: Walther, Silke (Hrsg.): Carte Blanche : mediale Formate in der Kunst der Moderne, Berlin 2007, S. 169-185 (Kaleidogramme ; 17) »Visualize It!« Visual Music in der Erlebnisgesellschaft Hans Dieter Huber Vorbemerkung Die systemische Bildwissenschaft geht von drei Polen aus, die aufeinander bezogen und nicht aufeinander reduzierbar sind: dem Bild, dem Beobachter und dem Milieu. Das Entscheidende an dieser Trilogie sind drei Dinge: Erstens werden Bilder, Beob achter und Umgebungen als dy UiU« namische Systeme aufgefaßt. Zweitens bilden die Beobach tung und Beschreibung der Inter aktionen innerhalb und zwischen diesen Systemen die entscheidende Aufgabe. Damit ist systemische Bildwissenschaft eine funktionale ßeabc.iLI j Wissenschaft. Ihr geht es nicht um ein irgendwie geartetes Wesen von Bildern, sondern darum, wie Bil Abb. 1: Hans Dieter Huber, Die Kugeloberflä der, Beobachter und Milieus funk che einer trilogischen Bildwissenschaft, 2003. tionieren, indem sie miteinander interagieren. Die Begegnung zwischen Bild und Beobachtern geschieht drittens in einer Umgebung oder Situation, die immer auch ein soziales Milieu ist. Das Milieu hat eine kalibrierende oder voreinstellende Funktion im Hinblick auf Beobachter. Schon bevor dieser sich an einen bestimmten Ort oder in ein bestimmtes soziales Milieu begibt, wissen Beobachter meist ziemlich genau, welche Art von Bildern dort zu erwarten sind und welche Art von Bildern auf gar keinen Fall an jenem Ort zu finden sein werden. Beobachter können daher ferner auch schon vorher wissen, was als ein angemessenes Verhalten oder eine angemessene Reaktion auf diese Bilder gilt und was als HANS DIETER HUBER unangemessenes Verhalten oder als eine anfängertypische bzw. laienhafte Antwort gilt. 1 1. Bild und Sound als Synthese Seit etwa Mitte der neunziger Jahre haben sich innerhalb der Club-Kultur parallel zum Discjockey (DJ) der Videojockey (VJ) und seine weibliche Variante, die VJane, entwickelt. -
Valérie Laure BENABOU Rapp. De La Mission Fabrice LANGROGNET
RAPPORT DE LA MISSION DU CSPLA SUR LES « ŒUVRES TRANSFORMATIVES » Valérie Laure BENABOU Rapp. de la mission Fabrice LANGROGNET Contexte. Le présent rapport a été commandé par la ministre de la culture au Conseil Supérieur de la propriété littéraire artistique notamment pour prolonger la réflexion initiée sur les « œuvres transformatives » dans le rapport Lescure et examiner, en particulier, l’opportunité de suivre les pistes d’intervention qui y figuraient. Par ailleurs, la Commission européenne s’est saisie du dossier et a accéléré son agenda, comme en attestent à la fois l’étude commandée par ses services au cabinet De Wolf1, rendue publique en décembre 2013, qui couvre notamment la question des « User Generated Contents » et le questionnaire adressé aux parties intéressées en 2014 en vue de la rédaction d’un Livre blanc. La question est donc devenue d’une brûlante actualité communautaire, même si les orientations politiques semblent encore floues2. Les rédacteurs de ce rapport ne peuvent cependant pas ignorer le phénomène et inscrivent leur réflexion dans ce contexte3. Par ailleurs, les acteurs privés se sont partiellement organisés à travers des accords conclus entre les plateformes de diffusion telles que Youtube et les ayants droit. Bien que le contenu de ces accords demeure confidentiel et que les modalités de mise en œuvre échappent à la connaissance des rédacteurs, il convient, là encore, de prendre acte de ces évolutions dans les développements qui suivent. Enfin, parce que le phénomène de la création transformative est protéiforme, il est apparu nécessaire de ne pas réduire le champ de l’étude à une interrogation manichéenne sur l’opportunité de consacrer ou non une exception pour les contenus amateurs mais d’élargir la perspective à une réflexion d’ensemble sur le sort des œuvres ou réalisations empruntant des éléments d’œuvres antérieures, tout particulièrement dans l’environnement numérique. -
Visualjockey International Publication About Vjing Timon Christen
VisualJockey International Publication about VJing Timon Christen VJs im Rampenlicht (JeSs und Erwan Ragueenes, Frankreich) Inhaltsverzeichnis 1. Grundlage 1.1 Fragestellung 1.2 Abstract 1.3 Projekttitel 2 Prozessverlauf 3 Thematik 3.1 VJing 3.2 Visuelle Musik 3.3 Status Quo 3.3.1 Arbeitsgebiet 3.3.2 Technologie 3.3.3 Strömungen 3.4 Zukünftige Einsatzgebiete 3.4.1 Professionalisierung im Club-Kontext 3.4.2 Verstärkte Bindung zwischen Video und Audio 3.4.3 Dienstleistungssektor 3.4.4 Öffentlicher Raum 3.4.5 Theater 3.4.6 Kunst 3.4.7 Unterhaltung 4 Exponat 5 Resultat, Reflexion und weitere Vorgehensweise 5.1.1 Projekt 5.1.2 Zeitplanung 5.1.3 Feedback 5.2 Thematik 5.3 Bezug zum Hyperwerk und der Jahresthematik 1. Grundlage 1.1 Fragestellung Welche innovativen beziehungsweise alternativen Einsatzformen des VJing gibt es; wie lassen sie sich nutzen? 1.2 Abstract Das noch sehr junge Themen- und Arbeitsgebiet des VJ1 (VJ, analog zu DJ, ist die Kurzform für Visual Jockey) stellt ein äusserst interessantes Forschungsfeld dar, das ich mit einer Buchpublikation unter dem Titel «VisualJockey» erschliessen möchte. Eine solche Dokumentation der bisherigen Entwicklung des VJing mit seinen nationa- len und internationalen Tendenzen bildet eine Verständnisgrundlage für die daraus abgeleiteten neuartigen Konzepte und Zukunftsszenarien. Anhand von Projekten und Beiträgen aus aller Welt wird ein breites Spektrum des VJing aufgezeigt, so dass die zukünftige Erweiterung und Professionalisierung dieses Arbeitsfeldes ein sensibi- Publikation mit DVD lisiertes Publikum finden kann. Ziel dieses Buches ist es, unterschiedliche Strömungen zu identifizieren, somit den State of the Art darzustellen und die Weiterentwicklung des Genres zu unterstützen. -
LIVE CINEMA: Language and Elements by Mia Makela
LIVE CINEMA: Language and Elements by Mia Makela MA in New Media Submitted to the New Media program, Media Lab, Helsinki University of Art and Design April 2006 This thesis is protected by CREATIVE COMMONS licence. www.creativecommons.org Abstract This thesis reviews and explores the influences, characteristics and elements of live cinema, a recently coined term for realtime audiovisual performances. The thesis discusses the possible language of live cinema, and proposes “vocabulary and grammar” for this contemporary field. Keywords live, live cinema, realtime, visuals, performance, participation, projection, VJ, cinema, language, digital, space, time, loop, laptop, software, montage, composition, effect, synthesiser, software, magic lantern, shadow theatre, synaesthetics, color music, visual music, lumia, expanded cinema, Gesamtkunstwerk 2 Contents Title Abstract Table of contents 1. INTRODUCTION 4 1.1. Motivation 1.2. Introduction 1.3. Contributions 2. BACKGROUND 9 2.1. Shadow theatre 2.2. Magic Lanterns / Cinematography 2.3. Colour Music / Lumia 2.4. Video Art / Extended Cinema 2.5. Non-narrative cinema 3. ELEMENTS OF LIVE CINEMA 22 3.1. Space 3.1.1. Digital space 3.1.2. Desktop space 3.1.3. Performance space 3.1.4. Projection space 3.1.5. Physical space 3.2. Time 3.2.1. live versus real time 3.2.2. Loop 3.3. Projection 3.3.1. Spatial projections 3.3.2. Media facades 3.4. Performance 3.4.1. The role of laptop performer 3.4.2. “Liveness” 3.4.3. Gestural interfaces 3.5. Participation 4. LANGUAGE OF LIVE CINEMA 52 4.1. Cinema language versus live cinema language 4.2. -
Mapping Vjing Festival 26-28.01.06
MAPPING VJING FESTIVAL 26-28.01.06. GENEVA. SWITZERLAND. WWW.MAPPINGFESTIVAL.COM MAPPING VJING FESTIVAL 26-28 JANUARY 2006 Img_01 C-TRL [USA] Img_02 Komabox [France] The Mapping Festival features different VJ's* from Japan, the US, Mexico, Europe and especially from Geneva. Coming from various backgrounds the artists present their work as installations or live audio-visual performances. The festival is taking place on the 26 to the 28 of January 2006, in the two concert halls of the Usine club, the Kab and the Zoo as well as the Spoutnik Cinema in Geneva. The opening night on Thursday will exhibit two audio-visual installations in the Zoo. During the following days you can discover the work of many VJs and DJs in a livelier environment. The festival integrates an education platform with presentations and live performances in the Spoutnik Cinema. Mapping seeks to encourage the creative exchange between the artists performing and the audience through workshops, panel discussions, and presentations. The festival is organised by the label GarageCUBE* in collaboration with LeZoo*. The GarageCUBE label also releases a real-time mixing and compositing software called Modul8. Mapping aims to provide the opportunity for International and local VJs to engage with their peers, participate collaboratively and promote themselves at an international level. Mapping offers an exhibition platform for this new area, which is not so well know yet and features artists who have never performed in Switzerland before, as the programme of the festival is based on an international competition. The first edition of the Mapping festival in April 2005 has received very positive feedback from the public as well as the press. -
Underground Club Spaces and Interactive Performance
Underground Club Spaces and Interactive Performance: How might underground club spaces be read and developed as new environments for democratic/participatory/interactive performance and how are these performative spaces of play created, navigated and utilised by those who inhabit them? Kathleen Alice O‟Grady Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Performance and Cultural Industries December 2009 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. Acknowledgements This thesis is dedicated to my parents who have always believed in me and to my daughter, Maisie, who is my source of inspiration and joy. Gratitude goes to my PhD supervisors Professor Mick Wallis and Dr Martin Crick, both of whom have given me continued support and guidance throughout this research. Thanks also to my colleagues and my students at the School of Performance and Cultural Industries who have encouraged me and kept me going with their sense of humour, wise words and loyalty. Thank you to all the club and festival organizers that have allowed me access to their events, particularly those involved with Planet Angel, Synergy, Duckie, Riff Raff, Planet Zogg, Speedqueen, Manumission, Shamania, Beatherder, Nozstock and Solfest. Special gratitude to Fatmoon Psychedelic Playgrounds for allowing me the room to move creatively and to develop this practice in a supportive environment.