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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. -
“Laboratório” De T V Digital Usando Softw Are Open Source
“Laboratório” de TV digital usando software open source Objectivos Realizar uma pesquisa de software Open Source, nomeadamente o que está disponível em Sourceforge.net relacionado com a implementação de operações de processamento de sinais audiovisuais que tipicamente existem em sistemas de produção de TV digital. Devem ser identificadas aplicações para: • aquisição de vídeo, som e imagem • codificação com diferentes formatos (MPEG-2, MPEG-4, JPEG, etc.) • conversão entre formatos • pré e pós processamento (tal como filtragens) • edição • anotação Instalação dos programas e teste das suas funcionalidades. Linux Aquisição Filtros Codificação :: VLC :: Xine :: Ffmpeg :: Kino (DV) :: VLC :: Transcode :: Tvtime Television Viewer (TV) :: Video4Linux Grab Edição :: Mpeg4IP :: Kino (DV) Conversão :: Jashaka :: Kino :: Cinelerra :: VLC Playback :: Freej :: VLC :: FFMpeg :: Effectv :: MJPEG Tools :: PlayerYUV :: Lives :: Videometer :: MPlayer Anotação :: Xmovie :: Agtoolkit :: Video Squirrel VLC (VideoLan Client) VLC - the cross-platform media player and streaming server. VLC media player is a highly portable multimedia player for various audio and video formats (MPEG-1, MPEG-2, MPEG-4, DivX, mp3, ogg, ...) as well as DVDs, VCDs, and various streaming protocols. It can also be used as a server to stream in unicast or multicast in IPv4 or IPv6 on a high-bandwidth network. http://www.videolan.org/ Kino (DV) Kino is a non-linear DV editor for GNU/Linux. It features excellent integration with IEEE-1394 for capture, VTR control, and recording back to the camera. It captures video to disk in Raw DV and AVI format, in both type-1 DV and type-2 DV (separate audio stream) encodings. http://www.kinodv.org/ Tvtime Television Viewer (TV) Tvtime is a high quality television application for use with video capture cards on Linux systems. -
Cthulhu Lives!: a Descriptive Study of the H.P. Lovecraft Historical Society
CTHULHU LIVES!: A DESCRIPTIVE STUDY OF THE H.P. LOVECRAFT HISTORICAL SOCIETY J. Michael Bestul A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Dr. Jane Barnette, Advisor Prof. Bradford Clark Dr. Marilyn Motz ii ABSTRACT Dr. Jane Barnette, Advisor Outside of the boom in video game studies, the realm of gaming has barely been scratched by academics and rarely been explored in a scholarly fashion. Despite the rich vein of possibilities for study that tabletop and live-action role-playing games present, few scholars have dug deeply. The goal of this study is to start digging. Operating at the crossroads of art and entertainment, theatre and gaming, work and play, it seeks to add the live-action role-playing game, CTHULHU LIVES, to the discussion of performance studies. As an introduction, this study seeks to describe exactly what CTHULHU LIVES was and has become, and how its existence brought about the H.P. Lovecraft Historical Society. Simply as a gaming group which grew into a creative organization that produces artifacts in multiple mediums, the Society is worthy of scholarship. Add its humble beginnings, casual style and non-corporate affiliation, and its recent turn to self- sustainability, and the Society becomes even more interesting. In interviews with the artists behind CTHULHU LIVES, and poring through the archives of their gaming experiences, the picture develops of the journey from a small group of friends to an organization with influences and products on an international scale. -
2.5 the Ubuntu Operating System 7
By Courtney Loo http://courtneyloo.wordpress.com Edited by Justin Pot This manual is the intellectual property of MakeUseOf. It must only be published in its original form. Using parts or republishing altered parts of this guide is prohibited without permission from MakeUseOf.com Think you’ve got what it takes to write a manual for MakeUseOf.com? We’re always willing to hear a pitch! Send your ideas to [email protected]; you might earn up to $400. UBUNTU: AN ABSOLUTE BEGINNER’S GUIDE Table Of Contents 1. Introduction 5 2. Ubuntu 101 6 2.1 What Is Ubuntu? 6 2.2 The Ubuntu Philosophy 6 2.3 Proprietary Software vs Free/Libre Open-Source Software 6 2.4 How Can Ubuntu Be Free? 7 1. It’s Maintained By The FLOSS Community. 7 2. It’s Managed & Funded By Canonical 7 2.5 The Ubuntu Operating System 7 Linux: The Dreaded ‘L’ Word 7 What Is The Linux Kernel? 7 How Then Are Ubuntu & Linux Related? 8 2.6 Why Use Ubuntu? 8 3. Ubuntu Releases 9 3.1 Ubuntu Version Numbers 9 3.2 Ubuntu Code Names 9 3.3 Normal Releases vs. Long Term Support (LTS) Releases 9 4. Installing Ubuntu 10 4.1 Different Ways To Install Ubuntu 10 4.2 Installing Ubuntu Alongside Windows 7 With Wubi 10 What Is Wubi? 10 What Does Wubi Do? 10 5. Support & Community 14 5.1 Ubuntu Local Communities 14 Get Involved! 14 5.2 Free Documentation 14 Official Documentation 14 Community Documentation 15 5.3 Launchpad Answers 15 What Is Launchpad ? 15 HTTP://MAKEUSEOF.COM HTTP://COURTNEYLOO.WORDPRESS.COM, COURTNEY LOO 3 UBUNTU: AN ABSOLUTE BEGINNER’S GUIDE Why Should You Use Launchpad Answers? 15 6. -
A Protocol for Audiovisual Cutting
A Protocol for Audiovisual Cutting Nick Collins, Fredrik Olofsson sicklincoln.org, fredrikolofsson.com e-mail: [email protected], [email protected] Abstract are forming as audiovisual collectives from the outset. Naturally, one of the prime media for We explore the extension of an algorithmic audiovisual experimentation and interaction is composition system for live audio cutting to the realm computer games. The first author recently witnessed a of video, through a protocol for message passing wonderful presentation by Frankie the Robot DJ between separate audio and video applications. The (frankietherobot.com), an animated DJ character built protocol enables fruitful musician to video artist using a 3D games engine. The team behind Frankie is collaboration with multiple new applications in live committed to accessible work for a club audience, performance: The crowd at a gig can be cutup as dancing with PlayStation controllers in hand rather video in synchrony with audio cutting, a musician can than bending over laptop screens. be filmed live and both the footage and output audio Film music is the dominant critical language, but an stream segmented locked together. More abstract interesting alternative is given by Nicholas Cook’s mappings are perfectly possible, but we emphasise model of multimedia (Cook 1998). Indeed, for VJing the ability to reveal the nature of underlying audio we might consider Cook’s music film rather than film cutting algorithms that would otherwise remain music as an appropriate model. Snider notes ‘the concealed from an audience. music always takes the lead in the relationship There are parallel MIDI and OSC realtime between visuals and music at a show’. -
The Power of Digital Storytelling to Support Teaching and Learning
The Power of Digital Storytelling to Support Teaching and Learning Bernard R. Robin [email protected] University of Houston, USA Abstract Although the term “digital storytelling” may not be familiar to all readers, over the last twenty years, an increasing number of educators, students and others around the world have created short movies by combining computer-based images, text, recorded audio narration, video clips and music in order to present information on various topics. For more than twelve years, faculty members and graduate students in the Learning, Design and Technology Program at the University of Houston College of Education have been exploring the use of digital storytelling to support both teaching and learning. In 2004, the author established the Educational Uses of Digital Storytelling website (http://digitalstorytelling.coe.uh.edu) to serve as a helpful resource for those interested in learning how digital storytelling could be integrated into a variety of educational activities. This paper presents an overview of how digital storytelling has and continues to be used to support teaching and learning activities. In addition, recommendations and guidelines are presented for educators who would like to teach students to use digital storytelling as an educational endeavor. Keywords Digital Storytelling, Educational Technology, Teaching, Learning, Multimedia B.R. Robin 17 Digital Education Review - Number 30, December 2016- http://greav.ub.edu/der/ The Power of Digital Storytelling to Support Teaching and Learning I. Introduction This paper deals with the educational uses of digital storytelling and presents an overview of how digital storytelling has and continues to be used to support teaching and learning. -
Intro to Video Production Meaning Is More Than Dialogue in Videos
Intro to Video Production Meaning is more than dialogue in videos 2 Meaning is conveyed in videos through Visual metaphor Audio Editing 3 1 Visual Metaphor 4 Star Wars, 1977, Directed by George Lucas 5 Tools for Visual Metaphor Examples include ◦ Size ◦ Composition ◦ Movement (camera and subjects) ◦ Camera angles ◦ Color ◦ Lighting ◦ Scenery And many more 6 Color The Lord of the Rings: The Fellowship of the Ring, 2001, Directed by Peter Jackson 7 Color The Lord of the Rings: The Return of the King, 2003, Directed by Peter Jackson 8 Lighting Up, 2008, Directed by Pete Docter 9 Lighting Up, 2008, Directed by Pete Docter 10 Scenery Rocky, 1976, Directed by John G. Avildsen 11 Scenery Rocky, 1976, Directed by John G. Avildsen 12 2 Audio 13 The importance of music 14 The importance of music 15 Music can change a scene 16 Sound Effects Make a Difference as Well 17 Sound Effects Make a Difference as Well 18 Creative Commons Resources 19 Creative Commons (creativecommons.org) Attribution Share Alike Must attribute the Derivatives must use author/creator same or compatible license Noncommercial No derivative works Cannot be used for Can only be shared commercial purposes unaltered 20 Music and Sound Effects ◦ Free Music Archive (freemusicarchive.org) ◦ Jamendo (jamendo.com/start) ◦ IMSLP/Petrucci Music Library (imslp.org/wiki/Main_Page) ▫ Example ◦ Freesound (freesound.org) - includes sound effects ◦ Musopen (musopen.org) ◦ ccMixter (ccmixter.org) ◦ Internet Archive (archive.org/details/netlabels) 21 Videos ◦ YouTube search ◦ Archive.org (archive.org/details/stock_footage) ◦ NASA (nasa.gov/multimedia/videogallery/index.html) ◦ Hubble Space telescope (spacetelescope.org/videos/) ◦ Coverr (coverr.co) ◦ Public Domain Movies (publicdomainflix.com) 22 3 Editing 23 Transitioning Scenes with Editing Star Wars, 1977, Directed by George Lucas 24 Editing can change the emotion of a scene 25 Reaction Shot Mrs. -
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. -
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.