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À partir d’avant-hierVideoMapping VJing

Interview to Paco Gramaje

This is our interview to Paco Gramaje, art director of the Paco Gramaje Studio in Barcelona.

The studio creates immersive multidisciplinary AV shows, especially focusing on the fusion between projection mapping and dance performance.

We asked Paco a few questions about his background and creative career and also about the new projects he has been cooking up during the quarantine period.

1. When did you start working on the interaction between audiovisual and dance performance, and how did you get involved? What are the aspects that are more appealing to you about working in this interdisciplinary field?

It all begun in 2009. After quitting my job as an engineer I moved to Madrid to study a Master in Motion Graphics while making my first experiences in the world of video art. 

In 2010 I started up several collaborations with art organizations in Madrid and they proposed to me to shoot a dance performance by the choreographer Iratche Ansa.

The performance was going to be held at the Matadero in Madrid. From that recording I put together my first video dance “Comunicación Interpretación Automática” which had a very good reception.

I had discovered the potential of dance from an audiovisual perspective and the inner revelation of what I wanted to do in the next few years.

A few months later I made my first dance pieces with live visuals with choreographer Barbara Fritsche.

Thanks to those projects I was able to work on the musical “Hoy No Me Puedo Levantar” in 2013. In 2014 I directed my first proper theatre show: “Girasomnis”.

Interview to Paco Gramaje
2. You are the creator of “Girasomnis”, an itinerant project that has been traveling around the world. Can you tell us about the creative process behind the inception of this innovative project?

I try to “connect” the visuals with the dancers. Sometimes I encourage the dancers to “connect” or follow my visuals.

In this project I also composed the music. This is very useful as I have better control of the creative process. With this project I tried to evoke feelings in the audience without words: just images, dance and instrumental music.

Paco Gramaje - Audiovisual artist
3. Paco Gramaje Studio recently launched the “Dance Mapping Virtual Tour 2020” which it’s fundraising on Gumroad. This is in preparation for a new cutting-edge AV dance project in 2021 involving a 360 immersive environment . Can you give us some insights about the whole project?

This quarantine caused an abrupt stop in my job, but also gave me time to start imagining something new.

The idea was born during the first week of confinement. At the start, It was simple: I just wanted to publish some of our best projects and make them public. But I also felt a need for a change.

The last 3 years I was quite disconnected from my artistic side due to working mostly on commercial projects. 

I was just focusing on making money to pay my bills and trying to have a stable team for audiovisual production. The outbreak of the Covid-19  has been an absolute shift in our work. We started questioning the possibility of doing our shows as we did before.

Therefore I needed to devise another type of format for the new normal awaiting us: a fully immersive virtual Dance Mapping Show.

As my previous theatre production, without the pressure of a client and using the Girasomnis music.

So, in April I started to visualize and write a synopsis of this new project. I then decided to publish “Dance Mapping Virtual Tour 2020” as a memorandum of all these years of physical shows. 

Now it’s time to go further. I want to gather all the knowledge I gained during the last 10 years and apply it to a virtual reality show, where I can break the limits and make an immersive 360º visual performance with dancers.

This new production is planned to be released in VR and physical 360 projection format in late 2021.

4. When working on a project how do you pick your collaborators? What are the main roles you look for in your team? 

When I have the budget I can work with some powerful audiovisual freelancers from my network of collaborators. Failing that I work alone.

I also work with very talented dancers/choreographers from Barcelona. During the years they started to understand my ideas and transform them in beautiful choreographies. 

5. Can you describe your general creative approach when starting on a new project?

I have mostly 2 ways of work. I compose a music draft and then I work on the visuals and choreography or vice versa: I make a draft of visual content with a draft choreography and I try to match the sounds and music.

Sometimes I give leeway to the dancer, so they can create their own choreography and then I create the visual content following their movements.

In the last few years I also worked with some talented musicians for a faster audiovisual production.

6. In 2015, Paco Gramaje Studio won an award at the International Mapping Festival in Girona for the Micro-mapping category. Could you share with us your thoughts about the concept of “Micro-mapping”? 

This was a concept from Roman Torre. In 2015 I shared a space with him and we collaborated together on a video mapping of a rotating stone. It was a nice project called Liquid Series.

In the video mapping area I also tried to develop innovative concepts, differing from the typical big projection on a building facade. 2 Years ago I started to develop the concept of “Holomapping”. I am planning to finish it next year as well.

7. We are aware you regularly teach courses and masterclasses of video mapping applied to performing arts, in Spain and Latin America.


What specific training would you recommend for digital artists who have just started their career and why? Which are the countries with more opportunities for audiovisual arts, in your opinion?

Nowadays, it is possible to learn a lot following digital online courses, but it is always better if somebody guides you. As with everything in life the best way to learn is practice, making mistakes and improving. 

Spain is not the best country for arts, I would say. As far as I know French artists or from other European countries have more grants and support from their governments, but everything is possible if you are passionate about your work.

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The post Interview to Paco Gramaje appeared first on Audiovisualcity.

Cosmic Lab

Par : Marco Savo

Cosmic Lab is a multimedia studio formed by audiovisual artists and creators based in Osaka, Japan.

They combine art and technology to develop powerfully immersive audiovisual experiences.

We discovered this amazing collective thanks to ADAF 2020 and we fell in love straight away.

Cosmic Lab possibly represent the archetype of the audiovisual artist, rooted in the art world and the underground clubbing scene.

As many Japanese new media artists they are not afraid of experimenting and mixing up techniques and styles. As far is it’s punchy, alluring and visually stunning they will use it in their performances.

From immersive VJ sets to operatic projection mapping, from AV live graffiti to cutting-edge interactive installations. Cosmic Lab always achieves to captivate the audience and mind-blow even the more AV experts.

Here our top picks from their impressive portfolio of audiovisual projects:

Live Paint Showcase: “Magnetic”

Cosmic Lab - Audiovisual artists

As we said: no fear of experimenting. Here we see a very interesting fusion between hip hop and audiovisual culture.

At the opening event of MAGNET by SHIBUYA 109 “ShibuGekiSai”, Cosmic Lab and Doppel collaborated on a performance combining live painting and video projection.

The 3D video cubes are animated in motion graphics by the audiovisual artists guiding the graffiti artists on the patterns they will fill with their spray cans.

The DJ spins tunes throughout the performance linking graffiti and projection through the overall hip hop groove.

Buddhist Chant and Light Performance

An audiovisual feast and a once-in-a-lifetime experience to celebrate the Koyasan’s 1200th anniversary (The center of Shingon Buddhism).

We see something truly remarkable and unique: a fusion among the vibrating tones of the Buddhist chant, Japanese drums and an elaborate projection mapping.

Under the musical inputs and the AV latest technologies the great Pagoda comes alive. The result is spectacular, mesmerizing and sumptuous to honor the ancient tradition of Japanese Buddhism.

QUASAR

Here Cosmic Lab went a few steps ahead by reinventing the way of making AV live performances through a new tool called QUASAR.

It loosely reminded us of the Reactable Machine, developed in Barcelona in 2003 to make music through physical interaction.

In this next-generation AV instrument, each musical measure is not interpreted in a linear fashion, but as an endless loop.

Also the tangible interface gives a physical structure to the AV content making possible to build rhythm and layers in all new intuitive physical way. Impressive!

Cosmic Lab - Audiovisual artists

Contact

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The post Cosmic Lab appeared first on Audiovisualcity.

⁣ ⁣⁣ ⁣#repost @nvs_av⁣ ⁣__________________⁣ ⁣⁣ ⁣Amazing...




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⁣Amazing Experience at @fotonicafestival ⁣
⁣Thanks to all⚡️⁣
⁣@videosolid @nick_n__ck @fotonicafestival .⁣
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⁣#techno #experimentalmusic #experimental #video #visualart #visual #vj #liveset #eurorack #conceptstore #concept #videooftheday #postoftheday #fotonica #festival #cinema #audio #electronicmusic #electronic #modularsynth #drum #nvs #performance #performanceart #color #cinema #vdmx #millumin #
https://www.instagram.com/p/CDDwBuYpIdz/?igshid=gynsqrprm01f

⁣ ⁣⁣ ⁣#repost @u.machine⁣ ⁣__________________⁣ ⁣⁣ ⁣Deformation...




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⁣Deformation #Umachine #digitalart #dance #mapping #videoprojection #art #picoftheday #instadance #audiovisual #installation #umachine #artist #audiovisualperformance #show #interactiveart #generativeart #madewithsmode #millumin #realtimevideo
https://www.instagram.com/p/CDDvggnpXjn/?igshid=1wveao9nd64qb

Japan Media Arts Contest 2020

Par : Marco Savo

DEADLINE: 04 September 2020 18:00 (Japan standard time)

We are constantly scanning our map for new opportunities for audiovisual artists, especially outside the European network.

It is quite hard to map out the Asian audiovisual scene, mostly due to language barriers and different social media landscape.

Therefore we are very pleased to present you with this art contest for the Tokyo based media arts festival.

The Japan Media Arts Contest is a long-lasting institution reaching its 24th edition this year. The call is open to all audiovisual artists worldwide and encompasses the following categories:

Art Division | Entertainment Division | Animation Division | Manga Division
Open call for audiovisual artists
For each division the elected jury will award the following prizes, based on the artistic value and creativity of the artwork:

Grand Prize (1.000.000 JPY), Excellence Awards (500.000 JPY), Social Impact Award (500.000 JPY), New Face Awards (300.000 JPY), U-18 Award (certificate, trophy), Special Achievement Award (certificate).

It is interesting to notice the wide range of categories not necessarily related to the new media arts world. The inclusion of animation and manga highlights their wide recognition in the Japanese scene as special forms of art.

The Japan Media Arts Contest offers opportunities for young and emerging artists as well as recognized professionals making the audiovisual event a turning point every year for artistic innovation and excellency.

Japanese Media Arts Contest 2020

The Japan Media Arts Festival has been awarding prizes to outstanding artistic works since its establishment in 1997.

It is supported by The Agency of Cultural Affairs, Government of Japan to develop and promote the creation of Japanese and international media arts.

Through the annual Exhibition of Award-winning Works, the festival has offered the opportunity to the audience of directly appreciating these celebrated works.

The attendants are also invited to participate to the side events such as symposia, screenings and artists’ showcases.

WEBSITE

APPLY TO THE OPEN CALL

The post Japan Media Arts Contest 2020 appeared first on Audiovisualcity.

Tatsuru Arai

Par : Marco Savo

The spectrum of audiovisual artists is as broad as the tools and different languages available.

Each artist explores a particular area of the audiovisual. The sum of all their artwork is what defines audiovisual culture.

Of course the definition is fluid and ever-changing due to the technological evolution and the constant offspring of new artistic languages.

Tatsuru Arai investigation embraces one of the most important aspect of the audiovisual culture: the synesthesia, the condition under which two or more senses are perceived simultaneously. In his specific case by visualizing the geometric structure that rigs the musical composition.

Tatsuru Arai - Audiovisual artist

One of the first artists to investigate the relations between music and imagery was Kandinski. He explored how different shapes and colours relate to each other by communicating different movements to the viewer. Same as different notes, rhythm and music patterns relate to our inner soul, triggering different emotional movements.

The Japanese artist (currently living in Berlin) features an interesting background of music composition, computer programming and multimedia art. Arai’s generative art is highly complex and goes beyond the audiovisual genre. It takes on a profound reflection around the universe and its structure based on vibrations, as advocated by the theoretical framework of the string theory.

His series “Principle of Hyper Serial Music” starts a direct dialogue with the Serialism movement developed by René Leibowitz and Pierre Boulez. The series adds “innovation” to the three main points of the serial music: “structural”, “complex” and “noisy”. Arai achieves this by incorporating AI within the musical composition and the visualization of its structure.

The result is an audiovisual duet between human and machine with the two elements constantly learning from each other in his ever-evolving investigation. Ultimately, Tatsuru uses the sound and its visualization as a key to make experience of the nature of the universe, even if just a small part of it.

Contact

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The post Tatsuru Arai appeared first on Audiovisualcity.

PATCHLAB FESTIVAL: Krakow, 23-25 October 2020

Par : Marco Savo



Patchlab Digital Art Festival is an annual audiovisual event showcasing digital art created with the latest technologies and new media.

The theme of the 2020 edition is CONNECTED. It explores the implications of the digital revolution we are undergoing in our lives due to the pandemic. The head-spinning rise of the internet based communication during the last months is still quite hard to grasp.

The internet was created originally as an effective and immediate form of communication. With the evolution of social media platforms, the world wide web is now a primary channel to express our emotions.

Audiovisual artists can help us understand the fast-changing environment we live in by visualizing the Nietzsche’s unsaid. Anything that is too complex for a total comprehension can be grasped by living the artistic experience.

Immersive installations, interactive artwork and live performance communicate complex statements through sensorial experience, giving us the chance to digest information slowly, at our own pace. Generative art as an antidote to the overwhelming data dump we experience everyday.

Patchlab festival - Audiovisual event
Matteo Zamagni, Nature Abstraction


Due to the uncertainty of in-person attendance, the organizers are planning the audiovisual event through virtual platforms. It will be therefore accessible to a wider audience through the experimental use of new technologies.

Patchlab will present art projects online and via AR (augmented reality). There will be experimental computer animations presented in the virtual cinema, remotely accessible workshops and also a dystopian multi-person computer game allowing the exploration of a post-apocalyptic New York. There will also be AV NIGHT, during which we will see unique audiovisual projects in 360° format.

OPEN CALL – DEADLINE: 30th of July 2020

All audiovisual artists are invited to submit their project proposals for this year’s program to be implemented online in an unexpected way.

Proposals can only be submitted via the online form.

Contact

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The post PATCHLAB FESTIVAL: Krakow, 23-25 October 2020 appeared first on Audiovisualcity.

ARS ELECTRONICA: 9 -13 September 2020, Linz

Par : Marco Savo



Ars Electronica is THE new media arts festival: a core reference for audiovisual events and artists worldwide.

The festival and its audiovisual artists embrace new technology as a tool for artistic expression rather than the main factor of spectacularization.

This critical approach unlock the infinite creative possibilities within new technologies rather than fetishize them, as we have seen happening a lot with projection mapping and more recently with virtual reality.

ars electronica -audiovisual event

The festival was founded in 1979 by cyberneticist/physicist Herbert W. Franke, electronic musician Hubert Bognermayr, music producer Ulli A. Rützel and Hannes Leopoldseder. It has come a very long way since then but it has always kept its main focus on the intersection of art, technology and society.

One of the most appealing elements of the festival is The Prix Ars Electronica: the most prestigious prize in new media arts, with hefty prizes up to 10.000€. Every year the Golden Nica is awarded to the ground-breaking fruits of artistic experimentation from audiovisual artists worldwide.

Prix Ars Electronica - Audiovisual event - open call

Ars Electronica features a wide variety of activities every year: Symposia, exhibitions, performances, concerts and interventions spanning a broad arc from speculative futuristic scenarios to analytical considerations, from provocative actionism to philosophical debate.

Combining amazing artworks with fruitful conversations is the perfect recipe to create a meaningful experience that constantly scans the new media landscape to find the most inspiring projects. The projects are not simply chosen based on their technical realization but most importantly because the social and artistic innovation they incorporate.

The result of this consistent endeavour is the creation of a loyal community of audiovisual artists, researchers and visitors from all over the world that every year reunites in Linz to inspire and get inspired.

 deep space live - fata morgana - audiovisual artists
Deep Space LIVE – Fata Morgana

Since its inception, the festival has been dedicated to develop new themes for each edition and the organizers are also constantly on the lookout for interesting new venues.

Indeed, the ongoing effort to break out of the narrow confines of conventional conference rooms and artistic spaces, and to stage cultural and scientific encounters in the public sphere has become something of an Ars Electronica trademark.

Stay tuned: Ars Electronica 2020 theme will be released soon!

Contact

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The post ARS ELECTRONICA: 9 -13 September 2020, Linz appeared first on Audiovisualcity.

ATHENS DIGITAL ARTS FESTIVAL: 10 July – 10 September 2020 ONLINE

Par : Marco Savo



ADAF is an audiovisual event constantly evolving along with the new creative trends and breakthroughs within the digital arts, without loosing the core vision of its foundation days.

Every year the organisers finetune their artistic program through their open call for audiovisual artists, to keep themselves up to date with the ever-evolving new media art landscape.

From the initial focus on video art, installations and live performances they have been widening their program up to include Virtual Reality experiences (VR), Web Art, Video Games and more.

adaf 2020 - audiovisual event

The Athens Digital Arts Festival has been founded in 2005 and it is the pioneer longest living institution in Greece dedicated to audiovisual culture and digital arts. This year, as other audiovisual events, ADAF is responding to the Covid19 crisis with resilience and creativity.

Their 16th edition ADAF ONLINE| TECHNOTRIBALISM will be accessible to everyone through the internet. More than 5,500 audiovisual art proposals from 100 countries around the world are the source for the ADAF 2020 program selection.

adaf 2020 - open call for audiovisual artists

The 2020 year theme reflects upon our primitive status in the foundations of the new hyper-informational world, where the data-flux is absorbing the entire existence reaching the status of God.

Is technology serving us or we are serving the data-totem by providing our more sensible information, giving up our privacy for a greater good?

Algorithms, already present everywhere in the digital realm, are reading us better than ourselves, better than our friends and siblings and in the name of  optimization of our virtual experience, we are gradually letting them make decisions for us, filter our perceptions predict our behavior, our bio metrics, our emotions.

adaf 2020 - audiovisual event

All manifestations of culture can now be experienced on a digitized basis, translated to a language (code, DNA) and stored for everyone who possess it to experience regardless the circumstances. Markets and Money are transfiguring into intangible algorithmic byproducts. Everything to serve the information flow.

Close your eyes and connect to your data-doppelganger your mirrored algorithmic self to your digital footprint. You are part of techno-tribalism, you are part of ADAF 2020.

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The post ATHENS DIGITAL ARTS FESTIVAL: 10 July – 10 September 2020 ONLINE appeared first on Audiovisualcity.

Rafael

Par : Marco Savo

One of the main aspects we love about audiovisual culture is its diversity of concepts and aesthetics, spread across a variety tools and techniques.

What struck us immediately about the audiovisual artist Rafael are his powerful messages conveyed through conceptually dense live cinema performances.

Rafael manages to deliver delicately intense artworks where the audiovisual narrative and a strong political message are constantly shaped and kept in balance throughout the performance.

Rafael - Audiovisual Artist

Rafael has been living in Asia for 10 years where he merged his own European artistic and sociocultural background with the Asian aesthetics and political issues, especially within South Korea.

His phography academic background heightened his sensibility towards the image, with special reference to the body within the space.

Suggesting the movements and space exploration within his photos pushed him to experiment with videos and eventually with VJing tools such as Resolume, in order to enhance the interaction with his artworks. Transforming the still images into audio and video performance.

This is an extract of a live performance named “BOM” which is part of an ongoing day-by-day project made in Korea: KYOULBOMYOELEUMGAEUL.

The performance took place at the SEMA: Seoul Museum of Art. KYOUL means Winter in Korean, BOM is Spring, YOELEUM is Summer and GAEUL is Autumn.

The four season piece is a video reportage of Rafael experience in South Korea, presented in chronological order throughout different audiovisual mediums such as Live Cinema performance, Installation and screening.

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The post Rafael appeared first on Audiovisualcity.

Lisa Park

Lisa Park is a multidisciplinary artist based in New York and South Korea.

She is best known for her works with biofeedback devices, such as heart rate and brainwave sensors to express invisible biological signals and emotions as auditory and visual representations.

In creating art installations and performances using sensor technology, she strives to explore the importance of human relationships and connections.

Park is a recipient of the New York Foundation for the Arts Fellowship. Her works have been featured by Art21, Artnet, The Creators Project, New York Times magazine, Wired, PBS, Time Out NY, the New York Post, and through many other media outlets.

She received BFA in Fine Arts at Art Center College of Design and her Masters from the Interactive Telecommunications Program at New York University’s Tisch School of the Arts.

One of her interactive audiovisual installations left us particularly fascinated: “Blooming”.

It highlights the importance of human presence and physical connection in our lives. It cannot be bloomed alone and is only bloomed by the relationship between people. As a response to participants’ skin- to – skin contacts, heart rate, and gestures, “Blooming” blossoms according to their intimacy. As audience members hold hands or embrace , the digital Cherry tree flowers bloom and scatter.

Contact

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BUY US A COFFEE?BUY US A COFFEE?

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BODY (UN)MUTE: 28–29 May 2020 ONLINE


ONLINE, 28 – 29 May 2020

BODY (UN)MUTE: A two-day online festival that looks into the rituals of dancing and masking in times of social distancing.


As we slide into the new normal or la nueva normalidad it is inevitable that the AV world will experience a considerable amount of visibility during the pandemic as technology plays an important part in everything that we do. A surge of online events, meetings and live streams now fill up our diaries like they are going out of fashion and meeting up with your mates down the pub for a pint after work is so 2019.

Enter the evolution of user generated entertainment platforms like Twitch, which now boasts 17.5 million average daily visitors. Resident Advisor has invented its own virtual island Streamland where all virtual events that have been successfully submitted to RA exist. And MelodyVR brings the artist even closer to the fan through some very high spec virtual reality streaming experiences. Did somebody say Zoom quiz? 

The drive for innovation and exploration in the world of audiovisual art and culture is again on the rise, opening up in new forms. Which leads me onto the question about interdisciplinary artists and institutions who challenge the status quo and dare to oppose the mainstream. Where are they and what is their artistic response to the pandemic? 

I give you BODY (UN)MUTE. A two-day online festival curated by Bogomir Doringer hosted by ICK Dans Amsterdam that looks into the rituals of dancing and masking in times of social distancing. The audiovisual event will deliver a programme of workshops, talks and performances from all corners of new media, dance and conceptual art. But how can these rituals take place in an online space?

Photo courtesy of BODY (UN)MUTE: Ania Nowak_performance: To the Aching Parts!

“Technology has been around forever, but most people are not familiar with the basics of streaming. Porn channels and video gaming platforms are way ahead of time and up until now artists haven’t really engaged with it, which makes it harder to get a certain quality that produces something more than just a Zoom call. I have been following the ritual of masking since 9/11 with my project Faceless – Re-inventing Privacy Through Subversive Media Strategies. What is the role of this in contemporary times? BODY (UN)MUTE is a physical representation of Faceless and my art exhibition Dance Of Urgency, which explores how dance and ritual rise in times of personal and collective crises, and how it can empower individuals and groups. In amongst a global pandemic both these ideas live together and that is why I want to explore this space with new media artists”

– Bogomir Doringer

Jeremy Bailey

Some highlights come in the form of Famous New Media Artist Jeremy Bailey who wants you to join his Augmented Reality Makeover Party where step-by-step you can learn how to perfect your own Augmented Reality (AR) digital mask and alter ego. Transgress and queer-up your identity, become a drag unicorn or whatever else you can imagine! 

BODY (UN)MUTE
Jeremy Bailey: Augmented Reality Makeover Party

Rosa Menkman

Rosa Menkman, an art theorist and visual artist specialising in glitch art and resolution theory, will screen her work Pique Nique pour les Inconnues :: The CHORUS VERSION (2019-2020). The video looks at various unknown women whose images are linked to the history of image processing. While these women seem to be able to prolong their existence for as long as the (digital) realms will copy and reuse them, most of them have lost their name and identity.

Photo courtesy of BODY (UN)MUTE: Rosa Menkman performing Pique Nique pour les Inconnues The CHORUS VERSION

Keren Rosenberg

Live performance comes in the form of Keren Rosenberg and Nicola Cavalazzi, who will present an audiovisual art installation which explores our social obsession in self-exposure through the use of modern technology. Together they will question what it means to perform in front of a camera – where does the body finish and the screen start? 

Photo courtesty of BODY (UN)MUTE: Keren Rosenberg performing Emotional Porn – Exhibition of the Self

Dr. Kelina Gotman

Dr. Kelina Gotman talks about how Choreomania, the manic crave for dance, is not just a bi-product of lockdown. Choreographer Emio Greco will elaborate on the Pizzica, a dance from his native ground in Puglia that was danced to heal yourself from the bite of a poisonous spider. And Shanghai Radio will close the two day event giving us an insight into how creativity, music and online streaming kept the Chinese creative community connected during the lockdown. 

In a reaction to the pandemic tickets for the event are based on the principles of donation, which provides the public freedom to support the hard work and dedication from all the artists involved.

Let the body unmute. 

BODY (UN)MUTE in collaboration with ICK Dans Amsterdam
Online Tickets available through the event website.

Website

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MEDUSA LAB

Par : Marco Savo

MEDUSA LAB is a company specialized in the development of creative concepts applied to arts, entertainment and communication to create unique experiences through technological innovation.

The Mexican company is formed by audiovisual artists developing sensorial experiences through interactive and immersive installations, videomapping, Virtual Reality, Augmented Reality and 360 Video.

They combine digital media with other artistic disciplines such as music, dance, theatre and performance.

Medusa Lab took part of many national and international event such as Venice Biennale of Architecture 2014, Mediaxion, Live Performers Meeting and Circuito Electrovisiones.

Contact

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BUY US A COFFEE?BUY US A COFFEE?

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MUTEK SF: NEXUS Experience

Par : Marco Savo

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.

Contact

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⁣ ⁣⁣ ⁣#repost @ecmstagram⁣ ⁣__________________⁣ ⁣⁣ ⁣EXO/ENDO...




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⁣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
https://www.instagram.com/p/CAa-T6SpcQn/?igshid=y3iuy18wa1e4

ADAF 2020 – Call for Entries

Par : Marco Savo

DEADLINE: 1 June 2020

The 16th international festival for digital arts of Greece, Athens Digital Arts Festival (ADAF) is evolving and launching an ONLINE version.

Since the new era is here the international festival for digital arts in Greece, Athens Digital Arts Festival has decided that its 16th edition titled Technotribalism, will also be presented online.

ADAF ONLINE | Technotribalism will take place from the beginning of July till September and will be accessible to everyone through the internet.

Under this framework all audiovisual artists will be able to submit applications till the 1st of June, developing the Technotribalism idea to an online version.

The audiovisual event will host artworks from Video Art, Animation, VR (360 video), Performances, Web Art, Games, Digital Image, talks, workshops, ADAF Kids for Children & their Parents and Festivals of the world that are eligible to be presented digitally.

READ MORE AND APPLY

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⁣ ⁣⁣ ⁣#repost @mrlupin⁣ ⁣__________________⁣ ⁣⁣ ⁣Great time...




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⁣#repost @mrlupin⁣
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⁣Great time collaborating with Darren at 101 residency Repost @d_johns_⁣
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⁣Recent experiments for solo work #lockdown #visualart #installationart #solodance #performance #monochromatic #scifiart #darrenjohnston #arrayuk. •⁣
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⁣Tech : reseaches using #millumin
https://www.instagram.com/p/CANXVEnJNEp/?igshid=1qx28ezd8a53p

Unsound: 4 – 11 October 2020 KRAKOW

Par : Marco Savo

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.

Krakow, Poland

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L.E.V. Festival

Par : Marco Savo
LEV-festival-Audiovisual-Events

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,

Gijon, Spain

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404.Zero

404-zero-duo-Audiovisual-Artists

This ambitious duo of A/V architects and toolmakers cook up mind-altering experiences in generative art that require expertise in math, coding and the science of sound.

By creating mesmerizing digital matter of frighteningly porous frontiers exclusively through TouchDesigner and modular gear, they push back the limits of footage and sample-free language that is opulent and breathtakingly singular.

Taking as starting points their most irrepressible fascinations with death, the unknown and the cosmos, they craft thrilling, precise, painterly code-art that broaches big philosophical questions and provides mesmerizing though highly speculative answers. Kristina and Aleksandr create modern generative art and innovative tools that raise the bar on the synergistic possibilities of visuals and sound.

They participated in many international festivals and exhibitions in Russia, Germany, Indonesia, USA, Peru. Including MUTEK festival, GAMMA festival, Electric Castle festival, LACMA, Moscow Planetarium, Orpheum Theatre LA e.t.c. 404’s works were selected by Japan Media Arts Festival and awarded by Genius Loci Weimar Festival, IMAP festival.

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Weirdcore

Par : Marco Savo

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.

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Gridspace

GRIDSPACE is a multimedia entertainment studio specializing in the conception and production of creative environments.

From state-of-the-art temporary installations to permanent locations, physical and digital worlds collide through our signature scenography, motion graphics, set design, and technological innovation.

One of their main projects is Wavv – mood modulator:

Wavv is an integrated multimedia proprietary eco-system that uses light, video and sounds, that transforms space perception and enhances emotions. It can be integrated into various contexts and settings, from gym and yoga classes to public transit areas and corporations.

Their various backgrounds mean they’re not only experienced but inspired to explore original ways of implementing storytelling with technology to bring locations to life.

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DubLab

Par : Marco Savo

DubLab is the new label of Dub Video Connection, mix-media studio based in Lisbon since 1997. DubLab used to be the name of the Arts & Experimentation department, but now it became that department.  New name, new life.

Stage & Visuals design for music labels and artists. DubLab creates concepts, visual contents and technical engineering projects for live performances. On top of that, they offer a long time experience with branded content and institutional video mappings on corporate events.

DubLab mission is to combine audiovisual technology with creativity, to achieve new sensorial light and video communication with the public. All this skills together, create excellence on project managing for show tours, DJ artworks and event design.

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⁣ ⁣⁣ ⁣#repost @cyril_meroni⁣ ⁣__________________⁣ ⁣⁣ ⁣Advienne ....




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⁣#repost @cyril_meroni⁣
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⁣Advienne . ⁣
⁣Work in progress #audiovisual #performance ⁣
⁣@andrasnagy.xyz @yannchamp #notch #touchdesigner #millumin #laser #beyond #millumin #secondenature #drums #drumshow crédit photo: naïri
https://www.instagram.com/p/B9nCmzbJO6_/?igshid=1ns8wm8q67m6o

⁣ ⁣⁣ ⁣#repost @modulight_⁣ ⁣__________________⁣ ⁣⁣ ⁣Immersive...




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⁣#repost @modulight_⁣
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⁣Immersive installation for Maze of Decision.⁣
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⁣The maze designed to give an experience of making decision in the maze of life. Each room has a situation and each door has different option to find the way out.⁣
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⁣Because every decision will bring a new story. ⁣
⁣#amazeofdecision #youDecide #modulight #artwork #artinspiration #visualart #millumin #lightinstallation #humanexperience #artinstallation
https://www.instagram.com/p/B7bb2SyJfdr/?igshid=1p0dl3hl50ism

LEV Matadero Madrid del 17 al 20 de octubre 2019

Par : volatil

LE.V. Festival llega a su 13ª edición en Gijón del 2 y el 5 de mayo y, como novedad, estrena su programación en el centro madrileño de creación contemporánea, Matadero,  del 17 al 20 de octubre. L.E.V o el Laboratorio de Electrónica Visual tendrá lugar en ambas ciudades. Además, el line up del festival, se potenciará con propuestas concretas deslocalizadas denominados LEVents.

Os dejamos con el resumen visual de la edición anterior en Gijón.

Como viene siendo habitual, nos ofrecen shows audiovisuales singulares, directos, conciertos, instalaciones, workshops y residencias artísticas. En Matadero Madrid, el festival se centra en experiencias inmersivas, directamente relacionadas con la realidad virtual, instalaciones de sonido envolvente, en definitiva, las nuevas narrativas nacidas de la mezcla de todos estos lenguajes actuales.

L.E.V. Festival desarrollará su propio laboratorio de experimentación, innovación y descubrimiento en Matadero Madrid durante cuatro días. El público podrá acceder a un circuito de experiencias únicas, y acercarse así a la creación audiovisual más experimental.

Propuestas que no queremos perdernos en LEV Matadero 2019.

«EXALAND» es una performance audiovisual que utiliza los “controladores portátiles” de Remidi para interactuar con sonidos e imágenes a través de una proyección en vídeo audiorreactiva y un vídeo audiorreactivo de realidad virtual 360° en los dispositivos móviles del público

Spime.im es un colectivo artístico que emplea proyectos transmedia para investigar las estéticas y los idiomas derivados de la afirmación de la realidad digital.internacional.

El músico, productor y artista contemporáneo estadounidense James Ferraro estrenará en L.E.V. Matadero una composición de música generativa inspirada en Requiem for Recycled Earth, la primera parte de su gran obra épica Four Pieces of Mirai. Ferraro construye una alegoría filosófica sobre el declive de la civilización y muestra un presente distópico bajo el manto de una partitura poética y contemplativa.

Un sistema de música generativa interpretada en directo con acompañamiento de flauta y oboe y en formato audiovisual producto de la colaboración de Ferraro con el artista digital Maotik, que ha sido compuesta específicamente para ser sentida y escuchada por el sistema de sonido Soundscape que se instalará en la Nave 16.

Pedagogy es el nuevo proyecto de Nate Boyce y Eli Keszler. Nate Boyce es un músico y artista visual que lleva más de una década exponiendo sus vídeos, esculturas y performances por todo el mundo. Eli Keszler es un artista, compositor y percusionista de Nueva York. Su música, sus instalaciones y sus obras visuales se han expuesto en numerosos museos a nivel internacional. El dúo trabaja en las fronteras de la hard fusion, el metal, la electrónica y las percusiones industriales.

Nkisi es el seudónimo de Melika Ngombe Kolongo, que utiliza su actividad como productora, músico, DJ y comisaria para canalizar sus constantes investigaciones en el campo del sonido como herramienta de comunicación más allá de lo puramente lingüístico. Actualmente trabaja en Initiation, un proyecto que cuestiona de forma radical y visceral el formato de concierto audiovisual, en colaboración con el artista visual Charlie Hope.

Marta Verde es artista visual y programadora creativa. Su trabajo se construye a través del uso de software y/o hardware personalizado y específico para cada conjunto visual, lo que le permite manipular todo el contenido en tiempo real y explorar los límites del ruido visual, la repetición y el vínculo entre lo orgánico y lo electrónico. También le hará las visuales a Héctor Sandoval (50% de Exium), que tras veinte años y más de cien trabajos publicados a lo largo de su carrera, crea un nuevo proyecto llamado Tensal.

La nueva sección Vortex de L.E.V. Matadero está centrada en proyectos nacidos en la intersección entre cine, arte y tecnología, el videojuego y la creación electrónica.

Vortex prestará especial atención a propuestas de creadores canadienses a través de un Focus Quebec que integrará propuestas como Eternity Be Kind, una experiencia colectiva de la artista Myriam Bleau y el avatar digital LaTurbo Avedon que propone un futuro distinto de representación en lo musical y en lo personal navegando entre el hyperpop, el simbolismo mítico y los toques barrocos; Membrane, de Push 1 stop & Wiklow, una obra de creación generativa, a medio camino entre la performance y la instalación audiovisual, que, a modo de trampantojo, redefine la percepción del espacio y la luz; y la performance retrofuturista Imaginary Optics I & II de Maxim Corbeil-Perron que, a través anaglifos estereoscópicos (las gafas 3D de toda la vida), creará una poderosa experiencia envolvente.

LaTurbo Avedon es un avatar y una artista creada en el espacio virtual. Su trabajo gira en torno a la autoría y la identidad no físicas. Myriam Bleau es una compositora, artista digital e intérprete radicada en Montreal que crea sistemas audiovisuales que van más allá de la pantalla, como instalaciones sonoras e interfaces musicales para performances. LaTurbo Avedon interpreta la música de Myriam Bleau en una performance audiovisual multiplataforma.

No queremos perdernos ni un solo directo de los que ofrece VORTEX. Aquí algunos vídeos para que se os pongan los dientes largos. En otro artículo profundizaremos un poquito más sobre todos los directos de esta sección.

El acceso al subconsciente a través de los sentidos será el germen de Infiltrate Live av, el nuevo proyecto audiovisual de Shoeg.

 

 

La entrada LEV Matadero Madrid del 17 al 20 de octubre 2019 aparece primero en Vjspain Comunidad Audiovisual, Mapping, Vj, Diseño Interactivo.

Otu & Volàtil en Sónar Festival 2019 · Nuestro TOP 10 de la 26ª edición

Par : volatil

Ya han pasado casi dos semanas desde nuestra aventura en la 26ª edición de Sónar Festival. Nos ha dado tiempo de leer crónicas, artículos de opinión y resultados generales. 20.000 asistentes menos que en la edición anterior. Tal como aclamaba la última nota de prensa que recibimos “Un Sónar global, intercultural, femenino, queer y radical. 105.000 asistentes procedentes de más de 120 países».

Aquí va nuestra crónica de la parte más visual de la edición 2019. Fácil, sencilla, directa y sin rodeos, ¿vale? Hemos decidido compartir nuestro TOP 10. QUEREMOS DEJAR MUY CLARO QUE EL ORDEN NO ES IMPORTANTE,  todos serían el TOP1, se trata de seguir apoyando la escena visual, ese es nuestro objetivo. 

Pero antes queremos hacer una pequeña reflexión. Esta edición ha sido especial por muchas razones. Y aunque se presentaron muchos baches, la organización supo mantener la cabeza bien alta y demostrar su alto grado de profesionalidad como en todas sus ediciones anteriores.

1 – El cambio de fecha. Después de un cuarto de siglo teniendo lugar el tercer finde de junio, este año, como sabéis, se realizó un mes más tarde por intereses comerciales y económicos de Fira Barcelona.

2 – La huelga de «riggers» y el poco apoyo que ha recibido el festival por parte de l’Ajuntament o de la propia Fira dejó mucho que desear.

3 – La asistencia del fundador y creador de esta plataforma online, que empezó como un foro para Vj’s de habla hispana y se ha convertido en un amplificador de proyectos audiovisuales. Sí, Óscar Testón vino a Barcelona y vivimos esta experiencia juntos. Óscar tiene una mirada muy cultivada sobre el mundo de las visuales y las conversaciones después de cada show han sido súper enriquecedoras.

Y ya sin más preámbulos, nuestro TOP 10. ¡Allá vamos!

Top 1 – Empezamos por Desilence, dúo de Barcelona formado por Tatiana Halbach y Soren Christensen y que desde 2005 han ido llegando cada vez más y más lejos con todos sus proyectos. Sus visuales para Desert son belleza y magnífico tratamiento del color. Formas no figurativas sincronizadas con la música a la perfección.

Top 2 – Seguimos con Ouchhh talento directo a los sentidos desde Istanbul. El escenario del auditorio del sónar (Sónar Complex) vibró con la fuerza del dúo de psych-afro-tech-avant-rock español Za! La parte visual mantuvo la tensión logrando una experiencia multidisciplinar que conectó ciencia, arte y tecnología. Ouchhh es un estudio new media formado por varios creativos de diferentes disciplinas que trabaja en los campos de la inteligencia artificial y el arte a partir de datos. Te hablamos de ellos la crónica del Mira 2017.

Top 3 – No podíamos faltar al show de Los Voluble porque iríamos a todos los bolos que hacen. Porque son auténticos, puros y directos. Es que ya solo con el título “Flamenco is not a crime”, te despiertan la curiosidad y las ganas de ir a verles. Como viene siendo habitual: vanguardia, política y flamenco con mucho ritmo, clase y talento. Han creado su propio lenguaje audiovisual para denunciar o hacernos pensar sobre temas como la religión, la política y la actualidad.

Top 4 – Uno de los directos que más ilusión nos hacía de esta edición de Sónar Festival era el de Hamill Industries.  El sábado a las 14h en el auditorio y contra-programados por lo que viene siendo “la siesta”, nos ofrecieron una fiesta en toda regla. Sincronía de luces, imágenes y láser acompañada por unas buenas atmósferas. Una pena ese día la potencia de sonido en el auditorio que desmereció el show.

Top 5 –  De nuestro formato preferido, la Dome, en el espacio Sónar360 byMediapro, y dentro de la programación del Sónar+D, elegimos el show de Alba G. Corral junto al músico Alex Augier, el único espectáculo en directo en este espacio. Quizá por la magia del directo o por sus palabras antes de empezar la proyección, logramos meternos hasta el fondo dentro de ese mundo de escenarios generativos.

Top 6 – Lo de Daito Manabe es otra historia. Si ibas a ver el show sin saber nada del proceso creativo, la sensación era de decepción. Pero si te explican que “dissonant imaginary” es el nuevo proyecto en forma de show tecnológico y sonoro creado junto al doctor Yukiyasu Kamitani. Y si además, descubres que el procedimiento de toma de señales del cerebro (a partir de un scanner y un proceso de resonancia magnética) y posterior análisis y decodificación del Dr. Kamitani son utilizados por Manabe para crear un espectáculo visual y sonoro que puede marcar un antes y un después en la relación que se establece entre música y cerebro, la cosa cambia.

Top 7 – Max Cooper. Con su potencia y contundencia en directo. Como única apreciación se echaba de menos la figura de un vj en escena, ya que la propuesta visual que le acompaña es muy potente y eso hace pensar que parte de su show visual está enlatado… (upsss!!).

Top 8 – Joanie Lemercier nos mostraba su nueva obra «Nebulae» en la Dome con la música de Joshua Sabin (Subtext label). Un ejercicio de formas geométricas a su más puro estilo que sacaban partido al formato Dome, haciendo flotar de una escena a otra. Gran sorpresa nos llevamos al inicio de su set ya que empezó con imagen figurativa. Algo que en Lemercier nos sorprende.

Top – 9 – Mención especial a los directos de Nicola Cruz y SEBASTIAN. Del primero hemos descubierto que las visuales fueron obra de Fidel Eljuri, un artista visual de Quito al que le hicimos una entrevista súper interesante en 2016.

Top – 10 – Lo de SEBASTIAN fue muy grande. Su música, una mezcla de Justice y 2ManyDjs provoca en el público eso que pocos consiguen, que todos salten sin parar. Las visuales, muy simples, letras y colores. Me costó encontrar al autor pero lo logré, tras investigar un poco el Instagram del artista, que es ni más ni menos del director de cine Gaspar Noe. ¿Qué no te lo crees? Pues mira. No estaba proyectando ahí en directo pero le ha hecho parte del contenido para su show seguro.

No queremos terminar el artículo sin mencionar la instalación de Onionlab, un espacio interactivo e inmersivo de luz e imagen controlada por los movimientos de los visitantes. La experiencia de Onionlab para Desigual invita a encontrarse con el artista interior. Nos perdimos la combinación de proyección, lasers, cámaras, reconocimiento del movimiento, gráficos en tiempo real, sensores biométricos, proyección envelope y luces LED. Y es que entre una cosa y otra al final, no pudimos verla. Ojalá se repita pronto y ahí estaremos.

Cerramos la crónica con esta declaración de Otu (Oscar Testón). 

«Ha sido un placer vivir la experiencia del Sónar, no sólo por la cantidad de oferta cultural que te ofrece el festival, sino por la calidad de la gente que te encuentras. Viejos compañeros que ves tras años y te emocionas al volver a compartir unas horas o días y sobre a mis cercanos que me aguantaron carros y carretas. El año que viene prometo ir al Sónar noche».

La entrada Otu & Volàtil en Sónar Festival 2019 · Nuestro TOP 10 de la 26ª edición aparece primero en Vjspain Comunidad Audiovisual, Mapping, Vj, Diseño Interactivo.

Sensorium Festival del 7 al 9 junio en Bratislava

Par : volatil

Marta Verde nos regala esta crónica de Sensorium Festival 2019. Toda tuya si sigues leyendo.

Sensorium es festival de tamaño pequeño-mediano, muy completo (workshops, panels, charlas, performances…) en una ciudad europea seguro desconocida para muchos; que nos recuerda a los inicios del antiguo Resonate; tanto por el contenido como por el tipo de venues elegidos para las diferentes actividades. Totalmente recomendable. Se agradecen iniciativas como esta, hechas por un equipo humano con ganas de hacer las cosas bien.

Se usó la temática “La mente aumentada” como una lente para poder explorar el modo en la que los artistas, diseñadores y tecnólogos trabajan con el concepto de “aumento” como principio creativo.

Las actividades fueron muchas, pero estos son mis highlights:

Instalaciones

Había dos tipologías de instalaciones, las reunidas en el venue principal, el Pistori Palace (donde también se daban las charlas, networking y otras actividades), e instalaciones en otros lugares de la ciudad; outdoors y galerías de arte (para los cuales no hacía falta entrada, eran abiertas al público)

Un bonito detalle la botella de agua de cristal con la programación del festival que entregaban con la pulsera. Con el calor que hizo en esas fechas se agradecía.

Otro detalle muy interesante, es que se hizo un tour gratuito previa inscripción el último día del festival, con visitas guiadas a las instalaciones, con explicaciones de los artistas/comisarios. Un gran modo de hacer más comunidad y también para el propio público tener una visión más completa de las piezas. También se hizo un “urban sound walk” promocionado por un artista sonoro, en el que los asistentes experimentaban diferentes sensaciones y un punto de “vista” diferente de la ciudad, mediante el recorrido de ésta con un dispositivo especial creado por el artista.

Pistori Palace: Sorprendente la mezcla de diferentes tipos de proyectos (bastante VR pero también proyectos que interseccionaban diferentes disciplinas, con una gran importancia por resaltar la parte física: la fabricación digital estaba muy presente), además de la presencia de algunas piezas de estudiantes de ECAL; con un nivel muy alto.

Dyne Modular System
Luca Kasper

El acabado de este kit de sintetizadores modulares con interfaces táctiles desarrollado por este estudiantede Écal era muy interesante; además del uso de superficies táctiles o gestos en vez de potenciómetros y sliders.

ORB /play
Roman Mackovič

Esta instalación estaba situada antes de la zona de las charlas. Se trataba de un objeto interactivo esférico colocado encima de una estructura con rodamientos que permitía que rotase libremente sobre la base. Los gráficos se comportaban como un puzzle con físicas que se readaptaba a la posición de la esfera; generando sonido también a través de la colisión de estas piezas. Muy interesante.

Light Them All
Corentin Vignet

Otro proyecto interactivo jugable (el objetivo era encender las lámparas utilizando el teléfono móvil como controlador, pudiéndose jugar en grupo) muy bien ejecutado, proveniente de la escuela Écal

πTon
Cod.Act

Impresionante. Se trataba de una instalación performática, por lo que no estaba permanentemente en funcionamiento; sino que los pases se repetían a lo largo del día.

Se trataba de un extraño cuerpo elástico compuesto por módulos similares a llantas, que reaccionaban al sonido resultando una mezcla entre las distorsiones de una estructura elástica y síntesis en tiempo real de la voz humana.

The Inflovable Machine

Monica Rikić

Se trata de un instrumento musical colaborativo creado a partir de unos grandes inflables con forma tubular que se hinchan y deshinchan mediante la interacción del público y van generando de esta forma diferentes sonidos, como si de un órgano de aire se tratara. El público interactúa con la pieza mediante unos tubos dispuestos en una caja de control, por los que puede soplar, activando unos ventiladores que van hinchando y deshinchando los globos, creando distintos sonidos y composiciones musicales colectivas.

Conceptualmente, y en la línea temática de la ‘mente aumentada’ de Sensorium y ‘La ciencia del amor’ de Silbersalz, la pieza dispone de 3 botones en la parte frontal que modifican el tipo de output del instrumento. Cada uno de ellos se vincula a uno de los tres estados del amor, basado en la investigación de Helen Fisher (speaker invitada al festival Alemán): impulso sexual, amor romántico y apego.

Satelit gallery

Matthew Plummer Fernandez – Augmented Authorship

La obra de Fernández reflexiona sobre los conceptos de autoría y los procesos automatizados. Sus últimas piezas hablan sobre el concepto de aumentado como principio del diseño, y explora cómo los procesos computacionales facilitan nuevas formas de autoría y de creación.
Ejemplos: una escultura que fusiona todos los modelos 3d disponibles online de Mickey Mouse en una.
O un bot que rastrea uno de los repositorios más importantes de impresión 3d ; se descarga modelos random de diferentes usuarios, generando nuevos modelos a partir de ellos; incluso utilizando los títulos originales para generar los nuevos.

Performances
A4, KARPATSKÁ 2, BRATISLAVA

Jonathan Reus – iMac Music

Puro glitch.
El instrumento base de la performance, tanto para generar audio como para vídeo, era un Imac G3 circuitbendeado. Los propios sonidos del sistema modulados y los gráficos eran la base de la performance, dirigida en 3 actos. Cada acto realmente terminaba cuando el ordenador no aguantaba más y se reiniciaba de modo forzado.

Charlas, panels & industry

El nivel de las charlas (parte que considero muy importante en un festival de estas características) era muy alto, incluyendo tanto artistas consagrados (Elliot Woods de Kimchi & Chips, Claire Tymon de FutureEveryhing… ) como nuevos talentos o perfiles no tan conocidos a nivel internacional.
El acogedor tamaño del festival hacía muy accesible la posibilidad de hacer preguntas, o incluso de en momentos de networking o impass, poder charlar tranquilamente con los artistas.
Se trataron temáticas como el futuro del VR en las artes, como la tecnología “aumenta” la creatividad, la arquitectura digital en la educación….
Además, se hicieron otro tipo de “panels” abiertos al público en la ciudad, para los cuales no hacía falta entrada (un buen ejercicio para acercar el festival a la ciudad

Otro punto interesante del festival fue que se llevó a cabo un “industry meetup”, donde personas provenientes de la industria y otros festivales europeos relacionados con los medios digitales, compartieron ideas y experiencias para mejorar la interrelación y favorecer el intercambio entre ellos.

Cris Valenzuela impartió un workshop iniciático de un día completo enfocado en el uso de Runway, herramienta de Machine Learning para aplicaciones creativas. No pudimos asistir, pero la gente que salía del taller, tenía cara de haber recibido mucha información en poco tiempo, lo que es bueno 🙂
También había hueco para los más pequeños, con un taller dirigido a ellos.

Autora del artículo: Marta Verde

La entrada Sensorium Festival del 7 al 9 junio en Bratislava aparece primero en Vjspain Comunidad Audiovisual, Mapping, Vj, Diseño Interactivo.

Balenciaga – SS19 Paris Fashion Show



Balenciaga – SS19 Fashion Show

September 2018, Cité Du Cinema – Saint-Denis, France


Credit

  • Set design & production : La Mode en Images
  • Director : Jon Rafman
  • Integration and rendering : Spectre Lab

GMUNK Presents the First Drone Screen Performance

Par : lumenadmin

LUCID from GMUNK on Vimeo. London tech startup Flying Screens lets director/innovator GMUNK loose with their new drone screens to produce this piece of performance art called “Lucid” featuring UK dancer ZAKIYA. From GMUNK: “‘Lucid’ is at the forefront of a new medium in digital performance art, utilizing emerging unmanned aerial vehicle technology to create […]

The post GMUNK Presents the First Drone Screen Performance appeared first on LUMEN.

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