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
Next live stream on Tuesday.
We will demo some effects shipped with Millumin, but also show how to add new ones, and even create your own.
Of course, we will chat and answer your questions.
Be sure to subscribe on Youtube : http://millum.in/youtube
Of course, we will chat and answer your questions.
📅 Facebook event : https://www.facebook.com/events/2313559842282343/
🇬🇧 In English with a beautiful French accent
📘 Previous streams on http://millum.in/live
#millumin #live #training #streaming #tracking #effect #shader #isf #custom #youtube
After his first stage of the artist residence, the pandemic outbreak forced the audiovisual artist to delay his return to Iran and continue to develop research and projects in Barcelona.
The talk revolves around the concepts of reflections and mirrors in the Iranian literature, and how the RTT (render to texture) technique in 3D game engines could translate these concepts in experiences.
The post Output:TargetDisplay: Display01: 29 May 2020 ONLINE appeared first on Audiovisualcity.
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.
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.BUY US A COFFEE?
TELENOIKA - ER...VA - KELOKO 2020
Live coding / Algorave / Live / Impro / Jam session / Whatever…
International open meeting / Virtual event / Doesn’t matter latency / Ubiquitous participation
15H DF (MEX) / 22H BCN / 05H +1D Tokyo / 00H +trip MARS
Streaming LIVE :
Axxel (México DF)
Omar (L'Hospitalet -BCN)
Edx (Cellera de Ter-Girona)
Daax (La Porta-BCN)
Data del taller: 15/06/2020 - 16:00 to 17/06/2020 - 20:00
Preu: 50 €
Dates del taller: de 15 a 17 de juny 2020
Horari: de 16 a 20 hrs
Lloc: Seu de Telenoika a La Contra, Carrer Puríssima concepció, 9 baixos o online
En aquest taller farem un repàs de les tècniques emprades dins el món de l'escena per a displays audiovisuals. Veure'm des de projectors o òptiques fins a servidors AV, passant per algunes aplicacions de software que ens permetran controlar els nostres displays de manera remota.
El taller està dirigit a totes aquelles persones interessades en ampliar coneixements d'audiovisuals i posar-los en pràctica al món de les arts escèniques. Estudiants de comunicació audiovisual, publicitat, editors de video, cinema documental, artistes visuals i professionals del sector audiovisual o del sector de les arts escèniques
# Taller Tècnica de Video
· Projectors _ Tecnologies LCD vs DLP vs Laser
Analitzarem les diferents tecnologies de projecció
· Connectivitats ( Inputs_Outputs _ Control remot )
Entrarem a mirar en detall les entrades i sortides dels projectors, des de la gamma domèstica als HDSDI dels projectors de més alta gamma
· També veure´m sistemes de control per xarxa
· Els menús de control :
Dins cada projector se ´ns obren un munt de possibilitats de control en els seus menús digitals, els estudiarem en detall.
Analisi de la lluminositat, des dels conceptes més teòrics als més pràctics
· Òptiques_On i Off Axis
Estudi dels diferents rangs òptics
· Senyals de video
Mirarem quina és la manera més convenient de transportar la nostra senyal de video, els metres i les ressolucions
· Connexionats i instal.lacions
· Pantalles i Materials :
El material on projectarem és fonamental per a l´èxit de la nostra instal.lació, veure'm aquí un gamma de materials i experiments.
· Configuracions bàsiques amb QLab i Resolume.
· Configuració de servers i esclaus audiovisuals
xarxes MIDI OSC
Enrutament i patches
· La manipulació Real_Time de la imatge ( mix, wipe i processos )
Conceptes de luminància i crominàcia ( incrustacions )
· Captura de senyal
Treballa com a freelance per a diferents projectes artístics i espectacles, i és membre de Telenoika des de l'any 2000. Director tècnic del LOOP Screen Festival i el Festival Internacional de Mapping de Girona, assessor tècnic de BAF General de Catalunya.
Actualment és docent a l´escola de tècnics de Girona ETECAM. Expert en dissenys d'enginyeria per a control de video en tempsreal aplicat als escenaris i operador de sistemas audiovisuals complexes. Ha treballat en teatres com el Teatre Nacional de Catalunya, el Gran Teatre del Liceu, el Teatre Real de Madrid o el Grand Théâtre de Genève, i al costat de companyies de teatre com La Fura dels Baus, Dagoll Dagom, Teatro de la Abadia o Compañía de teatro Animalario , músics com Albert Pla, Fermín Muguruza, Refree, Antonio Orozco o Manu Chao, entre molts, així com en festivals Sonar, Grec , Primavera Soound, Cruïlla així com en Festivals internacionals com La Biennal d´Art de Venècia.
ONLINE, 28 – 29 May 2020
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?
“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
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!
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.
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?
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.
BODY (UN)MUTE in collaboration with ICK Dans Amsterdam
Online Tickets available through the event website.
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.BUY US A COFFEE?
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.
Delight Lab is an audiovisual design and experimentation studio pivoting around the concepts of video, light and space.
Established in 2009, covering a variety of projects such as large-scale videomapping projections on architecture, museology audiovisual installations, audiovisual stage design for performing arts, audiovisual content for commercial events, and audio-reactive visuals for live shows among other things.
The origin of Delight Lab goes back when two brothers decided to make projects together at the university: Germán (Design) and Andrea (Art and Aesthetics).
Both audiovisual artists had developed investigations and experimentation with light, the phantasmagoria, the video-projection and the intervention of spaces. All different experiments culminated in a projection mapping on the facade of The Contemporary Art museum of Santiago.
This projection realized in January, 2009 was one of the first mapping projections in Chile. This milestone opened the way to further investigation, artistic and technological experimentation, interdisciplinary exchange and cultural management. These values are still present in every project carried out by the duo.
default 16:18:36.023089 -0700 Photo Booth Error loading /Library/CoreMediaIO/Plug-Ins/DAL/NDIVirtualCamera.plugin/Contents/MacOS/NDIVirtualCamera: dlopen(/Library/CoreMediaIO/Plug-Ins/DAL/NDIVirtualCamera.plugin/Contents/MacOS/NDIVirtualCamera, 0x0106): code signature in (/Library/CoreMediaIO/Plug-Ins/DAL/NDIVirtualCamera.plugin/Contents/MacOS/NDIVirtualCamera) not valid for use in process: mapping process is a platform binary, but mapped file is not
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error 16:18:36.023021 -0700 kernel Library Validation failed: Rejecting '/Library/CoreMediaIO/Plug-Ins/DAL/NDIVirtualCamera.plugin/Contents/MacOS/NDIVirtualCamera' (Team ID: W8U66ET244, platform: no) for process 'Photo Booth(40707)' (Team ID: none, platform: yes), reason: mapping process is a platform binary, but mapped file is not
error 16:21:33.055572 -0700 kernel Library Validation failed: Rejecting '/Library/CoreMediaIO/Plug-Ins/DAL/NDIVirtualCamera.plugin/Contents/MacOS/NDIVirtualCamera' (Team ID: W8U66ET244, platform: no) for process 'zoom.us(41050)' (Team ID: BJ4HAAB9B3, platform: no), reason: mapping process and mapped file (non-platform) have different Team IDs
default 16:21:33.055685 -0700 zoom.us Error loading /Library/CoreMediaIO/Plug-Ins/DAL/NDIVirtualCamera.plugin/Contents/MacOS/NDIVirtualCamera: dlopen(/Library/CoreMediaIO/Plug-Ins/DAL/NDIVirtualCamera.plugin/Contents/MacOS/NDIVirtualCamera, 262): no suitable image found. Did find:
/Library/CoreMediaIO/Plug-Ins/DAL/NDIVirtualCamera.plugin/Contents/MacOS/NDIVirtualCamera: code signature in (/Library/CoreMediaIO/Plug-Ins/DAL/NDIVirtualCamera.plugin/Contents/MacOS/NDIVirtualCamera) not valid for use in process using Library Validation: mapping process and mapped file (non-platform) have different Team IDs
default 16:21:33.055741 -0700 zoom.us Cannot find function pointer cmioNDIPluginMain for factory <CFUUID 0x6000008cce40> BB86C477-373F-49D9-AA4B-CE86A0E883F1 in CFBundle/CFPlugIn 0x7fa03c842600 </Library/CoreMediaIO/Plug-Ins/DAL/NDIVirtualCamera.plugin> (bundle, not loaded)
Enluminures Célestes (Celestials Illuminations) - Bright Brussels 2019 . Mapping sur l'église du Béguinage. #Brussels #mapping #adlibcreations #brightbrussels #christie #millumin #christiangimat (at Bruxelles, Belgium)
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.
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.
Port Esportiu Marina d’Eivissa / Puerto de Ibiza. Islas Baleares. España
Ibiza Light Festival, 13 y 14 de Octubre de 2017.
GraffMapping Team / Richard Santana + Fluff Designer + Aday Rodríguez + Felipe García.
Fluge Audiovisuales Ibiza – Improbable Films – 3dlight – Pope Maroto – Micro Slider y muchos más.