Earlier this month, we met with Marta Verde to find out about her performance with Tensal at LEV Matadero, and to pick her brains about all those niggling little questions we had after following her career for the last few years.
Who are the artists that you are most looking forward to seeing at LEV Matadero?
Myriam Bleau and Ryoichi Kurokawa.
How were you contacted about the project at LEV Festival?
They called me and proposed that I collaborate with Tensal for their edition at Matadero in Madrid. I had never worked with him before.
Do you ever find that some genres of music just don’t inspire your work?
Absolutely. In general I don’t work on the clubbing, or nightlife scene, so related styles of music wouldn’t be my first choice of project. I actually started doing visuals with traditional Galician music.
Do friends often come to see your performances?
Yes, it depends on the performance. These days they tend to film me in vertical, so I rarely have content that I can use other than for Instagram [she laughs]
How do you feel about being on stage as a visual artist?
I don’t really like that part at all, but of course it’s part of the job. I’m quit shy, really. My show at LEV Matadero is quite different from what I usually do – in terms of music genre, as well as the time of the performance – pretty late, since I’m on at 1am.
What is the most unusual project are you’ve worked on in your career so far?
A few years ago I worked on a project with a musician called Julián Elvira who built a flute that played different frequencies (I had no idea that this wasn’t already the case with flutes!) It was really interesting, because I learnt a lot about music and we were able to work very closely together for the collaboration. We premiered the show in Martin E. Segal Theatre, New York.
What are you working on at the moment?
Right now, I’m working on a live performance with Madrid-based composer, José Venditti. He plays saxophone, and works on deconstructing sound through classical patterns.
What set-up will you be using for your performance tonight?
A couple of months ago I bought an analogue video synthesizer from LZX Industries. It’s really fun. There’s no preview, so anything can happen, and I also can’t save any presets. I also won’t be using any code for this show, which is very unusual for me. I’ve always been fascinated with the idea of analogue video techniques, and don’t really understand why people go to great lengths to copy the aesthetic digitally, when they could just try to get a real one.
Do you use social media a lot to promote your work?
You can follow me if you like, my instagram account is mainly dominated by photos of my cat and screenshots of my work. I don’t really get work through social media channels, people tend to contact me directly. The work is really interesting and every project is completely different. Usually I’m presented with some kind of problem and I find ways to solve it.
Apart from doing visual performances, you are currently working at a Fab Lab, right?
It’s very common for freelancers to supplement their work through teaching, which I love. I find it really motivational and inspiring to work with young people and their ideas. I used to work as a coordinator in a Fab Lab, and I still give classes on programming and digital manufacturing there, but not on a regular basis anymore. I tend to work in different locations and on a more ad-hoc basis, that way I can combine teaching with my own projects.
If you want to read more about Marta’s work, you can check her artist profile page here.
The post Marta Verde on her live A/V show with Tensal, at LEV Matadero appeared first on Audiovisualcity.
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Le clavier n’a rien de spécial visuellement, mais un sticker et une inscription indiquent qu’il s’agit d’un prototype. Le vendeur ajoute que le clavier se nomme lui-même « Clares Keyboard ». C’est la version d’origine, qui demande trois piles AA pour fonctionner.
DJV, solution de reviewing/playback destinée au secteur professionnel, va bientôt passer en version 2 : une beta est déjà disponible.
L’outil permet donc de lire des médias, naviguer frame par frame, annoter, zoomer…
La version 2 apporte une interface revue et épurée, le support de l’audio pour les films, des performances améliorées et la gestion des espaces colorimétriques.
DJV est compatible Linux, OS X, Windows. Le produit est gratuit, mais il est possible de faire un don au créateur.
(remarque : le site officiel de DJV ne supportant pas le https, il se peut que vous ayez un message d’erreur en cliquant sur les liens ci-dessus ; si tel est le cas, rendez-vous directement sur djv.sourceforge.net )
L’article Bientôt une V2 pour DJV, solution de reviewing gratuite est apparu en premier sur 3DVF.
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This week, we caught up with Huma about his most recent project ‘Eva,’ to find out a little more about how his musical project developed into a live AV show. Huma is Andrés Satué’s personal project, an evolution from his early musical days in a rock band to his more recent progression into the world of electronic music. He’ll be performing ‘Eva’ at Mira Festival, Fabra i Coats, Barcelona, Thursday 7th November
Tell us a bit about the visual side of your show. What can the audience expect in terms of live A/V performance?
The idea is to treat light from a 3D environment by making the light beams coincide, forming geometric figures in motion in the air.
Have your created the visual part of the show yourself or collaborated with a visual artist? (If so, who and why?) If not, tell us about how you developed the project and any challenges you faced in dealing with both elements of the performance.
I’m working with Jose Vaaliña from Eyesberg studio. It was a very natural collaboration, we met after finishing two gigs I did in Barcelona and we talked about the possibility of working together as we have very similar ideas about the relation between music and visuals, now it’s happening and I can say we are both really happy with the results.
What tools and set up are you using for the show?
We are using 5 powerful projectors, various smoke machines (fog and hazer) and also some visuals. The beams of light will react to sound to create a symbiosis between both. Also we will use some lights and strobes for punctual moments.
How do you feel about the importance of the visual experience in your projects past and present?
It is something I have always thought about as a very important element. Even when I played in rock bands lots of years ago we always carried a few lights to add impact to the final part of the show.
Since I’m working as Huma, I collaborated with Drömnu using visuals at the very beginning, then moved to colorful L.E.D.s, smoke and strobes working with Juan Pablo Larrazabal and now I wanted to try new things and Jose appeared. I like the idea of doing something immersive, not something that you have to look at the detail or that can distract the public but something that will enhance the music.
You’ve been making music for more than 10 years now. What is the project that you are most proud of, or have the most attachment to so far?
Well, I’m always more attached to the last thing I’ve ever done. Even though I really think that ‘Eva’ and this show is the project in which I have worked the most on and the project I’m the proudest of to date.
Got any questions for Andrés, Eyesberg, or just want to share anything with us? Jot down your thoughts below
The post 3D light and audiovisual show by Huma and Eyesberg appeared first on Audiovisualcity.
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