De nombreux groupes industriels ont misé sur la fabrication additive pour gagner en agilité, proposer des produits plus innovants ou alléger des processus de production parfois trop lourds. Pour les biens de consommation, elle apporte surtout une plus grande personnalisation, […]
RADIAN est une marque de bijoux allemande qui s’est rapidement tournée vers la fabrication additive pour concevoir des bagues, bracelets et colliers originaux et personnalisés. La technologie lui offre davantage de flexibilité dans ses processus de création, de prototypage et […]
La conception est extrêmement importante pour tout processus de fabrication. Si vous voulez obtenir les performances et les réductions de délais offertes par les technologies de fabrication additive, vous devez commencer par choisir la bonne méthode de conception. MSC Software, […]
Basée au Canada, la startup 3DQue Systems a développé un système qui offre une production 24 heures sur 24, 7 jours sur 7. Après avoir identifié le besoin croissant d’automatisation sur le marché de la fabrication additive, elle a développé […]
Ganit Goldstein est designer et travaille sur de nouvelles façon de fusionner fabrication additive et mode pour apporter de nouvelles possibilités à l’industrie. Son objectif est d’utiliser les technologies 3D pour concevoir des vêtements et accessoires sur-mesure qui s’adaptent parfaitement […]
Basée à Boston, l’entreprise CELLINK a fait couler beaucoup d’encre sur le marché de la bio-impression notamment grâce à une large gamme de bio-imprimantes 3D. La dernière en tête, la BIO X6, permet par exemple aux utilisateurs de combiner plus […]
Alors que la fabrication additive métal gagne en maturité au fil des années, avec une croissance plus importante en comparaison aux procédés d’impression plastique, une question semble persister sur le marché : comment intégrer avec succès la fabrication additive métal […]
En octobre dernier, Marie Langer a été nommée PDG du groupe EOS GmbH, succédant ainsi à son père, le Dr Hans Langer qui a fondé l’entreprise allemande en 1989. Très vite, le fabricant de solutions de fabrication additive industrielles s’est […]
L’industrie aérospatiale a été l’un des premiers secteurs à adopter les technologies de fabrication additive. Elles sont même devenues un incontournable dans les usines de production tant c’est une solution viable pour produire des prototypes rapides, de l’outillage mais aussi […]
Fondé en 2014, VELO3D s’est donné pour objectif d’offrir un nouveau niveau de liberté de conception dans la fabrication additive métal. Au fil des ans, la société a permis aux ingénieurs de produire des pièces qui étaient auparavant considérées comme […]
Pour bien commencer l’année, on vous emmène en Belgique pour rencontrer AdditiveLab, notre première startup 3D de l’année 2020. Gagnante du Start-Up Challenge 2019 organisé par Formnext, elle a développé des solutions logicielles pour simuler l’ensemble du processus de fabrication […]
HEXA Surfboard est une jeune pousse française qui a misé sur l’impression 3D pour concevoir des planches de surf plus respectueuses de l’environnement, personnalisables et au design transparent. Consciente des problèmes écologiques actuels, la marque repense totalement la façon de […]
Basé en Floride, 3D Potter est un fabricant d’imprimantes 3D céramique qui peuvent utiliser de l’argile. Ses imprimantes 3D utilisent un système d’axe cardinal, plutôt qu’une configuration de type Delta, ce qui permet un contrôle précis avec un minimum d’effort. […]
Aleph Farms est une startup israélienne qui a développé une méthode pour produire des steaks de boeuf cultivés. Cette méthode imite le processus naturel de régénération musculaire qui se produit à l’intérieur du corps de la vache, mais dans des […]
La fabrication additive métal a pris ces dernières années une place importante sur le marché global des technologies 3D : on observe une croissance du nombre de fabricants de machines, des alliages et matériaux plus résistants, des logiciels qui viennent optimiser […]
TRIDITIVE est une startup créée à Oviedo, en Espagne, en 2013. À ses débuts, elle était principalement spécialisée dans la formation en technologies FFF et au développement d’imprimantes 3D en kit. C’est à partir de cette première approche de la […]
L’entreprise française Atome3D est l’un des principaux acteurs de la fabrication additive en France : elle distribue aujourd’hui une large gamme de solutions d’impression 3D de bureau, de l’imprimante au matériau en passant par le scanner 3D, et accompagne les […]
After seeing Shoeg’s project Infiltrate at LEV Matadero, we decided to catch up with him in Barcelona to find out more about his work, and to try and decipher the fascinating performance we saw that intrigued us to discover what technologies he uses to create his live AV shows.
Primarily I understand, you would consider yourself to be a musician, am I right? Or how would you label yourself? When did you decide to experiment with the A/V side of your show?
In the last years I’ve changed that way of seeing myself, so I would say I’m an artist. It’s not only sound anymore, I feel really that I am trying to express myself also through my code, my visual stuff, even my movements. I’m also collaborating with dance companies, where it is quite important to know how you move on stage, and this made me aware of that. So, for example I try to play without the table and computer blocking the visual line to the audience. I have also changed my relationship with sound, focusing more on textured layers instead of pitch.
I started as a “musician”, but my visual side has been always there. I’ve been working for 15 years as a video editor, and I always had this fascination about image and sound synchronicity and feedback.
Have you 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 almost always create my own stuff. I’m not closed to collaborating with other people, but I tried to involve other artists in the past and for a reason it almost never happened, except for when I worked at the very beginning on the project with Ana Drucker, but after that I spent 2-3 years without a visual show, and I was really missing it. At some point, I wanted it back and I decided I had to refresh my coding knowledge to achieve what I wanted. I studied Computer Science for a couple of years, so at least I had a starting point – more or less.
I wanted to build a real time reactive visual system, that could be completely autonomous in a live set. The idea was to set up a bunch of rules, and do something sound reactive that could last 45 minutes in a live set without getting boring. So first challenge in this process was choosing which tools suited my needs the better. I tried, for example, Open Frameworks, which was a bit too complicated for my coding skills. Later, I knew about game engines like Unreal or Unity, which are free and you can do a lot of things scripting, easier to code. It’s also great to have this good amount of documentation and works done by other people online. I’m curious now about what Touch Designer can do, but for the moment Unity allows me to have a precise control of what I need.
On the other hand, I wanted to work with objects from the real world in 3D aesthetics. I could model them with Blender, but I have no idea. So I learned some 3D techniques, like photogrammetry or 3D scanning. I remember wanting something more “perfect”, but discovered almost by accident the beautiful imperfections this techniques introduce in the models.
We recently saw your performance of your latest project ‘Infiltrate’ at LEV Matadero. What tools and set up are you using for the show?
All the sound was generated using a couple of Etee sensors that the guys at Tangi0 lent me for a couple of months. These devices capture my hand and finger motion, as well as pressure data, and that is converted into MIDI signal through a Max MSP patch. Finally, MIDI is sent to the Virus and Digitakt. I had to bring hardware synths to the live sets, because I need a lot of polyphony to build these big layers of sound, and I couldn’t achieve it in virtual synths. Then, the visual stuff is a Unity app reacts to the sound mix.
How does the use of this technology improve, or add to the quality and experience of your show for you, as an artist?
It allows to express myself in ways I could’ve never imagined. I’ve never performed as comfortable and with wide palette of possibilities with an instrument until I discovered motion sensors combined with the computer. The ability to map any behaviour to any response allows you to optimize your abilities in order to get what you want. This can’t ever happen with “traditional” instruments, you have to adapt to the instrument rigidness and background. I also see the coding process as a prosthesis, an extension able to repeat mechanical operations while you pierce through them.
What does the future hold for Shoeg in the world of live performance?
In the near future, I have to improve a lot of things: I want to make my hands more prominent on stage and be less computer dependent. People keep asking what is happening with the sensors, and I want to make it a bit more understandable. I also have this long list of ideas to code which don’t have time to make, and I would also like to collaborate with other people. But before that, I want to record a new album. I hope I’ll be able to work on it in the next months.
You can find out more about Shoeg’s work through his artist page.
The post Blurring the boundaries between technology and the individual – Exclusive interview with Shoeg. appeared first on Audiovisualcity.
Notre série « Les visages de la fabrication additive » revient sur les pionniers qui ont façonné le secteur actuel de l’impression 3D. Suite à notre dernier portrait de Terry Wohlers, célèbre pour ses rapports annuels du secteur, on s’intéresse aujourd’hui à […]
We sat down with art director Adam Rowe to discuss his vision of success in the industry — inspiration, process, and hard work.
Dassault Systèmes, leader des logiciels de conception 3D, des solutions de maquette numérique et de gestion du cycle de vie du produit (PLM), a récemment lancé son service de fabrication à la demande baptisé 3DEXPERIENCE Make. Ce service, qui fait […]
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.
La technologie d’impression 3D par extrusion de filaments, aussi appelée FFF/FDM, a été ces dernières années une méthode plébiscitée par la communauté des makers au détriment des utilisateurs industriels. Cette technologie concurrence toutefois d’autres procédés de fabrication additive désormais comme […]
Les orthèses sont des dispositifs médicaux conçus pour stabiliser, soulager, immobiliser, guider ou corriger une partie du corps. Chaque patient étant différent, une orthèse efficace doit être parfaitement adaptée au corps et aux besoins de l’utilisateur, ce qui est rarement […]
PremiumBeat examines the important role clothes play in film and television in this conversation with fashion designer-turned-costume maven Ginger Martini.
The "Ad Astra" film editing team sat down with PremiumBeat to describe their process and what it's like working with director James Gray.
Incus est une startup basée à Vienne, issue de la collaboration entre plusieurs ingénieurs de chez Lithoz, un expert en fabrication additive céramique. Cette jeune pousse a développé un procédé d’impression 3D métal à partir d’une technique de photopolymérisation. Cela […]
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.
Premium Beat spoke with Artificial creator, Bernie Su, who was game to answer some questions about this innovative, interactive experience.