We all feel it – the COVID-19 burnout is real. Many of us are itching to get outside, to play clubs again, to be back on a dancefloor, and to play on a big soundsystem again. Yep, we miss it too. But we’re not quite there yet – particularly in the United States. That’s why so […]
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Audio agency celebrates 40 years with the launch of new website and “ELIAS Indie,” a new platform for connecting emerging artists with brands SANTA MONICA – Renowned music and audio agency Elias Arts is rebranding as ELIAS Music. Celebrating 40 years as a leader and innovator in music and sound for brands, the company is ...
When Timur Civan was called upon to shoot a music video for the title track of “Lush Life” by New York City-based band, “Orion”, he took his cue from the pop rock tune and decided to have fun with it. Dubbed “bouncy music for bouncy people,” its reggae vibe brings to mind lilting palm trees, ...
The film industry is on hold, but in the music industry, the show must go on. Here are some exceptional examples of music videos produced in quarantine.
Check out PremiumBeat's new collection of ambisonic, binaural, and ASMR music tracks for use in VR/360 video projects and beyond.
The residency supports artists exploring new lines of inquiry intersecting technology & society. The aim of this program is to facilitate dialog, partnership, and collaboration at the intersection of technology and exploratory arts. By focusing on this synthesis, the program empowers artists to create work which inspires shifts in perspective and cross-collaboration.
These are the categories covered by the open call:
COMPUTATIONAL CREATIVITY & HUMAN-MACHINE COLLABORATION
EXPLORING NEW FORMATS & APPLICATIONS FOR FORWARD-THINKING MUSIC
BUILDING CREATIVE BUSINESSES
CREATING EXPERIENTIAL CONTENT
Nashville-based Howling Music produces “running cadence” soundtrack for ADDY award-winning campaign celebrating the Marines’ 244th anniversary. NASHVILLE— The Marine Corps marked its 244th anniversary in celebratory manner with the release of an ad campaign featuring its first-ever “birthday” running cadence. Conceived by Atlanta agency Wunderman Thompson and featuring a soundtrack composed and recorded by Howling Music, Nashville. ...
ONLINE, 23 – 24 May 2020
A digital gathering organized by Mutek San Francisco with NEXUS Experience.
The audiovisual event celebrates world-famous digital culture, experimental electronic music and films. It debuts online this year to respond to the current restriction on public events
MUTEK SF – NEXUS Experience is free to join. Donations are welcome as all proceedings will go directly to the artists.
The online festival has worldwide support from the international MUTEK network.
EXO/ENDO from six years ago. Still one of our favorite projects ever and some of the best music we’ve been able to work with from the amazing @andrelizyoung. Haunting, dark, and brooding just like we like it. We got to encase the entire ensemble in pods of scrim and projection while we went down a tunnel, through the trees, into the fire, and through the ash fall. Exothermic and endothermic reactions of sound and light. #productiondesign #projectiondesign #projection #videodesign #destruction #layers #noise #experimental #doom #metal #music #live #liveperformance #calarts #openframeworks #millumin
Hi guys! Thank you for your questions and your interest in my work. Let’s get started! Here my main influences:
In the 80s: whilst growing up in France, I was very inspired by the vast amount of Japanese anime on TV, especially the Cobra series (funny that it was just on kids TV back then in France, where it would be rated 12 or 15 here in UK now) and films like Videodrome, Nightmare on Elm Street, Evil Dead 2, 2001, The Thing, Altered States, Blazing Saddles, Monty Python films and such like.
I was massively into MTV’s Aeon Flux series and non verbal films like Baraka, Koyananskatsti, Atlantis and such like. The Day Today / Brass eye have been quite important as well in terms of absurdity and “OTT-ness”, especially the Brass eye Infographics. Then in late 90’s & early 00s once I moved to London I was massively into Ryoji Ikeda / Dumb Type / Semi-conductor Films / Ukawa.
In terms of key experiences, I’d say it was seeing Daft Punk live multiple times in the mid 90’s & their Audiovisual show in the 1997 tour. That was definitely the main experiences that pushed me to do what I do in the audiovisual world.
It was like a “smack in the face”. So bold, minimal and sync-ed to the music, it totally blew me away. I remember thinking back then, I wanted to blow people away in the same way someday.
Good question, that I’m not sure how to answer as I don’t really think about it in that way. I’d say I very much differentiate my live & studio work. To me, my live visuals are technically made in similar ways to how my friends make music.
I position myself in the same category as lighting/laser designers, in a sense that I’m there merely complementing/enhancing the audio experience. As in my studio work I very much try to recreate the kinda vibe of an anime intro or 80s music video, which in my opinion were far more entertaining. For me, it’s all about visual impact and entertaining the audience.
This is a tricky question for me, as I find it hard to categorize anything I see on my computer screen or at a party as art. For me it’s more like graphics or entertainment. Call me old fashioned but for it to be Art is has to be in an art context (whatever that is), and as my work isn’t in galleries or such like (yet) i don’t really consider myself as an artist.
Actually I find the words art/artists are used way too sparingly in this day and age, so I’m not really sure as to where I fit in all this. I’d rather not think about it and just carry on doing my thing & let other people define me as they see fit…
I’m very much into specific/custom made/location-based designs. My ideas tend to be finding a way to best fit the “where” and “what”. My concepts are very driven by discussions (or lack of) with the artist/clients, which is why my work tends to vary in style (or quality, if the client/artist has too little input or dictates too much)
Firstly I figure the possibilities and limitations and work within those boundaries, then I discuss with artist/client to figure a rough direction to aim for, it then it generally snowballs from there.
I generally try to deliver what the artist/client & target audience wants, but not necessarily what they expect, so I tend to avoid the obvious options.
I don’t think I approach a project that differently depending on what genre of music it is. I just try and do whatever feels right for that category of music, BUT the workflow is vastly different depending of the type of artists they are.
Some artist are way more approachable than others regardless their music genres and when I can bounce ideas back and forth with them that is when I can go deep into what they truly want and get the best results. I can’t say the same when there’s a sea of management/label/producers between me and the artist.
It’s fair to the results are far more fruitful when I work with artists who don’t take themselves too seriously as I’m not a yes-man nor my specialty is making people like prim & proper.
Krakow, 4 – 11 October 2020
Unsound focuses on a broad swath of contemporary music — emerging, experimental, and left-field — whose sweep doesn’t follow typical genre constraints. Influential around the world, it has developed a reputation for identifying innovative scenes and radical sounds.
It’s a platform for an exchange of artistic ideas for musicians, visual artists, curators, journalists, record label owners and booking agents from every continent.
The theme for Unsound 2020 is Intermission. Meaning a break in a performance or production, here it also refers to the rupture caused by COVID-19, a period starkly separating before from after. The word therefore embodies multiple, and somehow contradictory, forces.
The audiovisual event takes place every year at a number of venues across Kraków, regular events also take place in New York, Adelaide, Toronto, and London. Between 2016 and 2018, Unsound also produced eleven festivals in Eastern Europe, Central Asia and the Caucasus, part of a long history of working with curators and artists in the post-Soviet region.
As well as spotlighting emerging artists, Unsound also commissions new shows and encourages trans-border collaborations, adapts and re-imagines abandoned spaces for concerts and club nights, manages cutting-edge artists, and is known for its sound-inspired Ephemera perfume project.
Gijon, September 10 – 13 2020
L.E.V. (Laboratorio de Electrónica Visual) is a platform specialized in the production and promotion of electronic sound creations, and its relationship with visual arts. It was a European pioneer in this field, and since more than 13 years ago, it tries to converge the natural synergy between image and sound, and the new artistic trends, making special emphasis on live actions.
LEV develops the L.E.V. Festival (in Gijón) and specific, de-localized shows called LEVents. Through both proceedings, the platform reaches its goal: to provide an eclectic, panoramic vision of the current state of creation and all its connections, in an ever-evolving environment.
That is why LEV focuses its work both on international artists that are leaders in audiovisual creativity and local artists, both pioneers and new talents.
L.E.V. is a co-production between the Principado de Asturias Government, the Gijón City Council and LABoral Art and Industrial Creation Centre and it was designed and conceived by the Asturian collective Datatrón. The festival honors by its acronym to Lev Thermen (Russian scientist father of the present-day synthesizers).
Laboral, Camino de los Prados 121,
London based WEIRDCORE is half English, half French and results in a director and collaborator who is one hundred percent out there.
Weirdcore’s work is the result of years of experimental design and animation work that pushes the boundaries of consciousness and visual interpretation.
Adopting a method used more often by artists and music producers rather than by visual directors, Weirdcore helps both advise and visualise others initial ideas, facilitating their progress through until the finished form, whilst also creating his own stunning individual projects.
With a unique blend of formats, colors, designs and mediums, the audiovisual artist has collaborated with some of the most exciting modern artists and directors such as Aphex Twin, M.I.A, Tame Impala, Radiohead, Nabil, Hype Williams, Charlie XCX, Smerz, Onetrix Point Never, Sophie Muller, Diane Martel and Miley Cyrus.
Weirdcore performed live in the most important festivals worldwide such as Glastonbury, Sonar, Fuji Rock, Coachella, Club2Club, Future Music, Field Day, Mira, Unsound, Melt, Lowland, Dour and more.
Weirdcore has also lent his emotive expertise to larger collectives, organisations and labels such as Warp, XL, Sony, Ninja Tunes and Domino, whilst keeping a dynamic and fluid focus across a range of other diverse industry’s such as Fashion, Theatre and Opera.
Amsterdam, 24 – 27 September 2020
FIBER Festival is an Amsterdam based festival for audio-visual art, digital culture and electronic music.
With the program – which consists of multi-sensory art, performances and in-depth lectures – FIBER presents emerging art practices that offer alternative perspectives on our 21st century society.
With the festival theme of Instability the festival explores new ways of adapting to an age of planetary and societal changes. What opportunities are open to artistic making and thinking to contribute to this transformation?
Our living environment is often presented to us as stable and unquestionable. Landscapes, borders and technological infrastructures are considered static entities. Yet current crises now force us to transform the way we relate to our ecological surroundings. Extreme weather, droughts, wildfires and viruses are forces of nature that tear apart our modern way of living with far-reaching consequences.
The festival aims to seek artistic narratives, skills and sensibilities to prepare us for an alternative life in a period of uncertainty and radical instability.
Scenography made for @beyond_nights with @julesbouit & @kw.an.za at @transbolyon
BEYOND [Dissidence] - 13/12/19
@morpheusproduction X @thatmeltedguy_
#scenography #scenographie #event #design #stagedesign #party #music #techno #technomusic #deep #mapping #light #lightray #structure #evenementiel #concert #dance #istigkeit #terencefixmer #angelkarel #lyon #clubtransbo #wood #woodstructure #led #millumin #neonlights
“I haven’t changed the way I produce a broadcast because of the internet. The quality of what I stream at home is as good, if not better, than what the local stations are transmitting. I make sure the mix sounds good at low volume and in stereo or mono, which is an old music mix ...
Deadline: 3 May 2020
Residence: July – August 2020
The artist residence offered by Eufònic and Lo Pati Art Centre will take place at Delta de l’Ebre between July and August.
The call aims at experimental music and video, visual and sound arts projects related to the landscapes and soundscape of the natural area of Ebre river Delta, fostering dialogue and interaction between natural space and creativity.
This year the open call has a special focus in fragility: after the storm Gloria devastated much of the Iberian peninsula last January, the Ebre river Delta was one of the most affected areas. Highlighting the fragility of this natural area and the need for urgent actions.
This 2020 edition wants to emphasize these parameters from a creative point of view: a fragile system, constantly subjected to changes, erosion and subsidence, added to an irreversible phenomenon such as the sea level rise.
Montreal, Fall 2020
The Elektra international digital art festival showcases audiovisual, immersive, participatory and/or robotic artistic performances since 1999.
The 21st ELEKTRA International Digital Art Festival will take place in Fall 2020 in Montreal. Programming coming soon.
This edition, along with the 5th International Digital Art Biennial, will open a new cycle, focused on the exploration of new territories.
The International Digital Art Biennial (BIAN) takes place every two years. This major exhibition on issues combining visual arts and digital mobilizes, in a joint action, actors in the field of arts and new technologies.
Deadline: 1st June 2020
Since it first opened in 2019, the ELEKTRA Gallery regularly hosts exhibitions. Located in the heart of the Mile-End, this new venue supports the artistic community, focusing on originality and embracing contemporary aesthetics in research and experimentation.
This is a call for projects for digital contemporary artists who wish to exhibit works between September 2020 and June 2021. The selected projects will be part of the gallery’s official program.
To submit an exhibition proposal, please send the following elements to email@example.com:
The gallery offers professional technical assistance to set-up and has limited but high-quality equipment. Works with audio content can only be presented with headphones.
ELEKTRA pays artist fees for each selected exhibit.
The ELEKTRA Gallery is located at the Pôle de Gaspé at 5445 avenue de Gaspé #104, Montréal, QC, H2T 3B2.
Tim Exile, longtime producer, performer, synth designer, and all-around musical aficionado, has finally released his much-awaited Endlesss app. And honestly, he couldn’t have timed it any better (though we’re sure he’s probably thinking the same thing). Endlesss is a new program that allows you to make music in real time with friends around the globe, […]
The post Meet Endlesss, the iOS app for collaborative music making appeared first on DJ TechTools.
I have been exceptionally lucky to be able to pick Overlap’s Michael Denton’s brains with all of those nitty gritty questions about their career that every visual artist wonders about. How did they get to be where they are? What was the VJ scene like in the nineties? How is their relationship with technology and whose work inspires them?
Overlap are true veterans and represent original artists on the audiovisual live performance scene, not only have they experienced more changes in performance technology than I’ve had hot dinners, they’ve been up there with some of the most popular artists of our time, performing with the likes of Chemical Brothers and have animated artwork by Damien Hirst.
You have presented your work in some of the most prestigious international galleries around the world, including the Pompidou in Paris, Tate Modern, and the Victoria and Albert Museum as well as done a VJ set with the Chemical Brothers. What is the project that you are most proud of?
Remixing and VJing The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art was a highlight.
We’re pleased with the editions on SeditionArt. They incorporate a lot of ideas from the past and are also feeding into some future shows. Musically, Greylight Green is something that works when you’re in the right mood. As these recent editions highlight, we’ve always been at the more arty end of the Vjing/music industry, and the more musical end of the art world. The music industry and the fine art worlds attribute value in such different ways. But twenty years ago, we were lucky to stumble into a certain era of EDM culture, it was like the early days of flying’s uncharted freedoms. In Turnmills nightclub in Holborn, I remember one of the guys from Reality Check, (the house VJ and AV team, for nights, including The Gallery and Trade etc), saying they showed art to thousands of clubbers every week – and they did. Hopefully for an audience the circling and repeating imagery of VJ-ing done well can create a kind of memory image burn effect – they go home with a ‘memory painting’
Fine art galleries and big projects have not necessarily been the most rewarding – the really interesting moment for us was being at clubs and festivals with a large amount of freedom, developing a style of imagery and delivery without record companies and DJ Managers controlling what we did. It was genuinely creative and new, yet fulfilling a need. This for any artist is a luxury.
Early on we’d be flown out to Creamfields in Andalucia with Microchunk, or wherever, and literally be immediately on stage with a 50k audience and the DJ, no pre planning or rehearsing, ” 5 mins guys”, maybe an artist logo at the beginning, then mix.
As Overlap you have experimented with the majority of the audiovisual art formats. Is there one in particular that you enjoy?
Long VJ sets are a nice journey, in medium sized venues with a few different feeds going into multiple screens and low lighting. AV sets are always a bit more stressy – as doing the visual/music/sound for maybe 40 mins, feels more contrived/pre planned and edgy. Multi screens can make things a lot more architectural/sculptural, with 3d projections on objects etc, and simpler more graphic imagery. So a mixture of graphic and more pictorial screens is a nice balance. Again we tend towards a more art bias, whereas a lot of club imagery is a fairly bombastic extension of the lighting show – think rising chevrons. Equally a very simple installation/projection on a gallery wall can be really satisfying. For AV sets, good acoustics and smaller venues suit the minimal music we make.
I’m sure you have collaborated and met with many of the world’s most famous audiovisual and new media artists on the scene. Who particularly inspires you?
Loads of things inspire me, from motorcycling to design and architecture. More recently though works/gigs by Ryoichi Kurokawa, Fuse, some of the things AntiVJ have done, Davide Quayola. Nils Frahm, Biosphere, through to more obscure music form France Jobin to gallery based artist like Mat Collishaw. But also painters like Nigel Cooke, with his circuitous multi picture planes that create a pictorial balance that your eye follows round and around – comparable to good VJ mixing. We were lucky to be part of a talented group of VJs represented by Microchunk in our VJing hey day – unique underground artists. I think we all inspired and motivated each other to push further artistically. Lady Pat and Grand Dame are two of Anna’s favourite, similarly self taught, audiovisual artists.
The art of VJing is a relatively new term for the art of live video mixing. When did you first become aware of the term and how has it changed for you over the years?
Firstly it was the definitive move away from the pop video, which had been: point camera at people singing the song, illustrate/narrative/advertise – ie. TV. So the culture of EDM remixing, had the authority to legitimize its visual equivalent and create the context for VJing. It’s a term I’m not overly fond of, but it does put you on the stage side of technician, ie you make and shape content – not to demean the amazing art, that is light mixing, house sound, etc. VJ content is a form of visual serialism, like music about patterns, removing the asymmetry of drama, its infinitely more complex in its potential multi layer/screen applications than linear media, maybe more so than music.
When I was at Chelsea art school, there was Glitch (first time around, VHS crash editing, late 80’s), video artist lecturers talked derogatorily of ‘club wallpaper’,meaning all things shallow. But I was interested in this form, that had a use and the public liked – unlike so much video art of the era.
The first time I got paid to show images in a bar – also in Holborn, was in 1985. The fee, one bottle of wine.
The first time I thought about something like VJing was as a very young kid, around the time the Beatles released The White album, in the back of my dad’s car one evening, driving along country roads in Dorset and thinking about ‘films’ that would be like the trees sliding past the windows. Non narrative loop structures – I certainly didn’t know what narrative meant at the time, but I did have this strange certainty of there being a future for this sensory/sensual idea. The first time I got paid to show images in a bar – also in Holborn, was in 1985. The fee, one bottle of wine. Then I showed an AV Album work called Open at Megatripolis, Heaven, Charing Cross around 1994. I met Anna in the late nineties we got invited to do stuff at the ICA and bars in Shoreditch etc. We formed Overlap and she learned a lot of the Adobe programmes very fast and we started to get paid to VJ, both loving the visual depth, luminosity and surprises that multilayering and keying threw up.
How would you define the difference between an AV set and a VJ set? Could you describe one of your set ups to us?
People I know who travel the world for major DJ acts are operating in a different world from small AV acts. There’s’ a big difference between doing multi screen VJing, with pre programmed triggered clips via midi, osc etc and mixing live on the fly, by feel. Ben Francis who does visuals for Calvin Harris, for example is taking code with BPM info etc, from the CDJ’s, but is also live mixing. Keeping the audio and imagery separate still seems to be an industry standard. The music driving the imagery, which makes sense in some ways, but is also strangely anachronistic. When we do an AV set we have married imagery to 8 bar loops, some elements are locked with time code if we’re using a separate music source, CDJ’s etc and some not, to make it more organic. Most AV performers drive Resolume with Ableton or code, or at least lock them. Unusually, we use Resolume a lot for sound.
AV shows can be done in so many ways. In the end it seems the content and the feel of what you’re doing is probably more important than how you’re doing it. How much do you want to do live – how much does the audience care how dexterous you are? DJ’s spend a lot of time dramatically illustrating that they’re turning a mixer knob, that appears to have the equivalent friction of pulling a ship back up a launching ramp, they haven’t got anything else visually to do. Where as, if you’re doing a multi 4 Bar loop AV set, five layers deep and you’re triggering them live, you’re busy with no time for the high friction mixer antics.
Recently we’ve been using performance tools like Resolume to create on as well as a performance tool. I tend to pick it up like a guitar and mess around, sometimes its a really useful ‘writing’ instrument too.
As a Barcelona resident, I can’t help but notice that you once had regular visual slots at Razzmatazz. Tell me more about that! How was the VJ scene in Barcelona back then? How is the scene in the UK these days?
This was VJ-ing with visual specialists/agency Microchunk , who were represented by William Morris, which meant we were well looked after. There was a core group of artists including Lady Pat, Mischa Ying, Ben Francis, Muthabored, Todd Graft and ourselves and we were lucky to perform and make installations everywhere from Norway’sHove festival, to Glastonbury. In Barcelona, we’d perform two nights, mainly at The Loft, Friday and Saturday from around 11pm till 6.30 in the morning, sometimes just Anna and I, but often other VJ’s. The local VJs were very gracious about us filling their slots. It was always full on at Razzmatazz, a really intense atmosphere. The club was always packed.We’re not really involved with the UK club scene at the moment, but friends who work for major acts seem to be far more controlled by a corporate plan.
You have both lived through a plethora of technological developments throughout your careers, starting with the use of VHS in your installations. What is your relationship with technology? Is it one of love and hate or it is a match made in heaven?
Anna and I are different generations – before I met Anna, I spent a lot of time blagging my way into analogue beta edit suites in Soho to make material – it was tricky, but looking back people were incredibly kind and helped me realise effecting footage shot on motorcycle trips with a clockwork Bolex. Anna and I started at the point of very low resolution VJ software – so we used hybrid mixtures of micro chapter DVD loops and Flash loops mixed with V4’s. I like the things that technology makes possible, but get frustrated with the art world tendency to think if you ‘paint ‘ with technology, that you should necessarily be using the very latest tech and trend. I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary. Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.
I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary. Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.
I notice that landscapes have been a recurring theme in your work, right up to your most recent project of Transitional Landscapes. What is it about landscapes as a subject that inspires you?
We all project memories and feelings onto our immediate surroundings. Landscape is a good genre to play with the relationship between still and moving imagery, the romantic v the analytical, the unveiling of narrative contrasted by the implicit ambiguities of painting (movies v fine art).
Mixing trees from around the world is strangely satisfying, they’re overlaying branches having a legitimacy. English copses with New World deserts keyed through wallpaper and fabric’s repeated motifs reference Richard Dadd’s The Fairy Feller’s Master-Stroke’s, heightened stillness, petrified trees and flattened nature, more tapestry than living environment. Then we can add other man made impositions, ghosts of utilities, power lines, imagined data paths, architectural plans, wiring diagrams and intimate blinking status LEDs. It seems to suite a first person view, apart from narrative.
What would be your advice be to young audiovisual enthusiasts who are keen to develop their careers in the industry?
Like the fine art world there are so many different strands of audiovisual arts. It will keep changing, entertainment will morph. How and what ‘artists’ do v creatives and ‘technicians’ etc is complicated. The EDM model was that music was the most important element – but now with performance more of an earner than record sales – maybe the creatives/technicians/, (not the artists) are the main act. To further confuse it all, AV is crossing over with fine art and stage design etc. So maybe listen to everyone and ignore them all.
Find out more about Overlap on their artist page
Born in the heart of the VJ boom in the 90s, after their own artistic experimentation, and Michael’s first ever (what we would call now) VJ gig in 1985, Michael Denton and Anna McCrickard formed Overlap in 1998. They are based in Hastings in the UK. Unlike some VJs, who purely focus on the visual side of the art form, Overlap are a an AV collaborative duo in the purest sense of the concept, who also produce minimalist music in parallel with their exploration of both moving and still image. They’ve also performed at many a festival, forming part of a collective of VJs represented by Microchunk.
Their work takes the form of live audiovisual performances, exhibitions, transitional paintings, installations, VJ sets and even prints, and takes on audiovisual culture from a fine art perspective, which makes their work both fascinating and unique in a wide variety of different contexts.
Overlap started VJ-ing and performing AV sets as regular guests of resident VJs Reality Check at Turnmill’s club (The Gallery, London Calling) in 1998, guesting with Reality Check at The Chemical Brothers’ headline set at Turnmill’s Millenium gig in London’s Docklands. The next decade saw Overlap’s visuals splashed across screens at major international festivals including Creamfields, Andalucia, Electric Picnic Ireland, Glastonbury’s Glade stage, Pete Tong’s Wonderland in Ibiza and Glastonbury’s Glade, as part of the Microchunk visuals boutique. They created visuals for for the Industrial Resolution installation at the first Manchester International Festival: performed live on the largest indoor screen in Europe, accompanying the world’s leading DJs including Carl Cox, Fatboy Slim, Laurent Garnier, Layo, Pete Tong and Sasha. Overlap also played regular VJ slots at Razzmatazz (Loft), Barcelona and Pete Tong’s Wonderland, Eden, Ibiza (Deadmau5, Groove Armada). Overlap were commissioned by Microchunk to animate Damien Hirst artwork for Pete Tong’s Ushuaia at Le Grand Bazaar, Ibiza in 2013.
Overlap also work with the Noise of Art collective as resident VJ-s and moving image artists. Their fine art single screen video works have been screened at the ICA, BFI and Tate Modern. Recent projects include:- a celebration of 100 Years of Electronic Music at the National Portrait Gallery London; Forest Tree limited edition for Sedition Art; audiovisual “painting” installations for the National Trust’s Fenton House and Calke Abbey; opening the Arquiteturas Film Festival in Lisbon with their Places that Dance AV set; short films “Returning” and “Switch” awarded special mentions at the Avanca and EMAF film festivals; an audiovisual performance in the British Ambassador’s Residence in Beijing. Recent art screenings/performances of their works have included Aquatint at Riders on the Mall/ROM, MUSZI, Budapest and Digital Graffiti, Florida, Forest Tree at STRP Biennale at Strijp S in Eindhoven and Cloud Edged at Light Fantastic, House of Nobleman, Frieze.
Perhaps one of the most poignant aspects of their audiovisual artwork is its accessibility and ability to be embraced and engaging in such an extensive mixture of spaces, including performances and installations everywhere from music festivals (Creamfields, Splice festival, Madatac, Fiber, Generate, Big Chill, STRP Biennale); and night clubs (Razzamatazz, Barcelona, Wonderland – Eden, Ibiza), to prestigious galleries (Tate Modern, Pompidou, National Portrait Gallery, the Victoria and Albert Museum), as well as being featured in some important publications on VJ culture, such as Audio – Visual Art and VJ Culture (2006) They even remixed and VJed The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art at London’s BFI.
Their working process involves adding and removing layers, degrees of opportunism and systematised chance, creating generative combinations ranging from slow transitional paintings, to fast flowing AV performances.
Their most recent work includes Transitional Landscape, designed for exhibition and art installation, ‘Rooms’, which explores the relationship between indoors and outdoors, combining and fusing luscious wallpaper motifs with beautiful organic landscape scenes. It juxtaposes man-made life with that of the wonders of the natural world.
Find out more about their work here:
What is your background and how did you get into broadcast sound? I have been in live broadcast television since I was 17 and just about to graduate high school. I knew I wanted to be involved in audio, and at first I wanted to be in music. I wanted to tour with a band ...
#mapping3D #videomapping by #RAIO #2016 #evolution #spheria #audiovisuales #multimedia #foley #moog #ableton #millumin #Estrenolapso #comingsoon #finalista #2018 #raiovisual #raiomusic more info : www.raiovisual.com
Years ago, getting a musical project meant assembling friends at a certain time and place (generally a garage or basement) to play some tunes. At least until the neighbors started complaining about the noise. This has changed greatly in the age of the internet, with numerous online avenues allowing for collaboration no matter where ...
Il y a longtemps, j’avais parlé d’un jeu ZX81 sur vinyle. Et cette fois, je suis tombé sur un programme Atari (8 bits) sur vinyle… mais aussi sur iTunes.
Le programme se trouve sur le vinyle Över Tid Och Rum de Adolphson-Falk. J’ai trouvé ma copie sur Discogs, directement depuis la Suède (pays d’origine du groupe). Je n’ai pas découvert ça seul : je me suis basé sur le travail d’un suédois (Andreas Nilsson), qui a publié les informations et mis en ligne la « ROM ». Vous trouverez ses explications en suédois ou en anglais.- (dans Projects).
Je trouve tout de même intéressant de vous expliquer comment j’ai fait. Premièrement, j’ai utilisé une platine vinyle avec une sortie USB (une Sony PS-LX300, un modèle d’entrée de gamme). Je vous passe les nombreux essais, pour aller à l’essentiel : la partie USB ne permet pas de régler l’amplification, et le son est trop faible pour décoder directement l’ensemble.
Au départ, j’ai essayé de passer par une entrée micro, mais ce n’est pas la solution la meilleure et j’ai eu plus d’erreurs. Après pas mal d’essais, je suis passé par Audacity, et quelques filtres. Une fois les données enregistrées, il faut filtrer les données sous ~3900 Hz et celles au-dessus de ~5350 Hz (filtres passe-haut et passe-bas). La raison ? L’enregistrement des données s’effectue avec un 1 à 5 327 Hz et un 0 à 3 995 Hz. Ensuite, j’ai amplifié et testé. Dans mon cas, j’ai du amplifier à 30 dB pour un résultat valable. Une fois que c’est fait, il faut enregistrer en mono et en WAV.
L’étape suivante, c’est la conversion en
.cas, le format accepté par les émulateurs Atari. J’ai d’abord testé A8CAS, qui a l’avantage de fonctionner sous macOS. Enfin, il faut tout de même compiler les bibliothèques nécessaires, mais ça marche. Mais avec mon enregistrement, il ne décode pas correctement. J’ai donc tenté WAV2CAS. Ce n’est pas très pratique, parce qu’il ne fonctionne pas avec un Windows 64 bits (il doit utiliser des composants 16 bits) mais bien avec un Windows 32 bits. Après un passage dans une machine virtuelle, j’ai donc obtenu mon fichier
.cas. Le programme donne des erreurs, mais ça se lance quand même, donc je suppose qu’il doit essayer de traiter des données qui se trouve à la fin de mon enregistrement.
La, c’est plus compliqué. Je n’ai pas d’Atari 8 bits et je ne connais pas bien la machine. J’ai d’abord essayé sous macOS avec Atari800MacX. Attention, il faut les ROMs. Le problème, c’est que même en émulant un Atari 600XL… ça ne passe pas. La commande
CLOAD ne charge pas correctement. J’ai essayé Rainbow avec le même souci sous macOS, avant de passer à Altirra sous Windows. Avec ce dernier, ça fonctionne. Je peux charger la ROM (commande
CLOAD) puis lancer le programme (
RUN). Il y a des artefacts visuels mais un
Warm Reset corrige le tout.
Donc ça marche, que ce soit avec la version fournie par Andreas Nilsson ou avec la mienne, chargée du vinyle. Cette vidéo montre d’ailleurs que ça doit passer avec un vrai Atari (enfin, je crois, c’est assez flou pour être une copie directe). Assez bizarrement, je n’ai pas les mêmes effets, donc c’est possible que l’émulateur ne fonctionne pas correctement avec ce fichier. En tout cas, j’obtiens ça dans mon émulateur.
La partie amusante, c’est que les données sont disponibles sur iTunes. Vous pouvez aller sur cette page et l’album est disponible sur Apple Music. Ca ne fonctionne qu’en Suède (enfin, en tout cas pas en France) mais ce n’est pas un problème, pour une raison simple. La piste de données dure moins de 30 secondes et donc elle est disponible entièrement en extrait sur le site d’Apple. Il suffit donc d’enregistrer le flux avec Audio Hijack pour obtenir une copie propre. En effectuant juste les mêmes filtres passe-haut et passe-bas, j’ai obtenu un
.wav utilisable avec A8CAS. Le résultat est le même avec les émulateurs, par contre : ça passe avec Altirra, pas avec les autres.
Pour ceux que ça intéresse, l’encodage Atari date de la fin des années 70 et donc ce n’est pas très efficace : on a environ 30 secondes de signal à 600 bauds (600 bits par seconde), donc en gros 1 ko de donnée (en format « CD », mes fichiers font ~3 Mo). On a connu plus efficace, évidemment. Il s’agit juste ici d’une démo et pas d’un jeux, mais ça reste une anecdote intéressante.
Barcelona, March 4-7 2020
MUTEK Barcelona marks 11 clicks around the sun on March 4-7, 2020, with 4 days and nights of live electronic music, audiovisual performances, professional activities and more.
After a decade of explorations and discoveries, the festival is preparing for a new era as a platform for dissemination and innovation in digital creativity with activities that will be developed throughout the year.
Maintaining the global commitment of the MUTEK international network to promote and create synergies with projects focused on diversity, gender equality and empowerment in the creative industry, in 2020, MUTEK.ES puts special emphasis on fostering spaces for artistic and professional formation, through different seminars and artistic residencies that will have their point of exhibition within the frame of the festival in March.
Characterized by its exceptional presentation standards and a curatorial approach that draws equally from international and national talent, always aiming to deliver revelation and discovery to our audiences, MUTEK Barcelona continues to operate in a human-scale, community-minded context.
Explore five methods for filming innovative and creative music videos with real-life examples from hits across genres and decades.
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