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About Kusmos Live by Kuflex Lab

Par : Marco Savo

During these tough and uncertain times it has been inspiring to see so many audiovisual artists and events coming up with tools and formats to overcome the quarantine restrictions and social distancing.

A few weeks back the guys from Kuflex Lab reached out to showcase their latest tool that stands out among all the virtual/hybrid solutions we have seen so far. Kusmos Live allows to turn online concerts into interactive digital shows. Pretty neat uh?

Kusmos - Kuflex Lab - Audiovisual Interactive Tool

Let’s dive in and explore how it works. Down to the nitty-nerdy-gritty Kusmos is a custom VJ software written on openFrameworks + VDMX5 + Syphon.

In spring 2020 Kuflex studio began an experimental project Kusmos Live. The purpose of the experiment was to upgrade the Kusmos system in order to create a interactive online home shows.

In 2018-2019 the Russian audiovisual studio experimented with the innovative tool together with SILA SVETA studio on the Therr Maitz concert, Caprices Festival 2018, Nina Kraviz experimental performance at Coachella 2019.

OK, really cool but how exactly does interactivity work? We gave some feedback to Kuflex lab with a few tricky questions to better understand the whole potential of this new audiovisual tool.

KUFLEX: The Tracker program receives depth-sensor data, calibrates a point cloud as we need it (we can rotate the cloud, cut off everything you don’t need keeping only the data of the artist oneself and merge point clouds from two sensors) and sends it to the renderer (UE4 scene).

Scene functions build a 3D model using the data provided by the Tracker and then we can layer all kinds of features with effects on the model and also transform and distort it according to the artistic concept. We also captured video from the laptop’s webcam and sometimes showed its picture. 3D scene acting as the artist surrounding, a set of virtual cameras for capturing from different viewpoints and visual effects were set up in advance in the Unreal Engine. Then the OBS program captures the video of the launched scene and sends it to the video streaming server.

Kusmos Live - audiovisual tool

During our second live experiment we tested some new features for the viewers interactive communication with the stream. While Leksha (Smolensk, Russia) was playing his ambient-set, a VJ (Moscow, Russia) was controlling visual effects with the use of commands via YouTube chat in real-time mode. Our team has implemented this function between the concerts and decided not to tell the viewers about it.

During the stream, noticing weird messages in the chat, some of the viewers started to realize that they could not only send a message to the chat but to even affect visualization. In the end the concert has turned into a digital quest. Some viewers picked up effect control by sending particular commands to the chat. We have yet to comprehend how to develop this function in the future.

 AVC: We think it’s a really interesting and innovative project responding to the challenges of the pandemic. In terms of appeal for VJs there is the risk of potentially being extremely limited for the audiovisual artists creativity, and the aesthetic I guess would always be the same.

It would be key for the tool to have a wider range of possibilities of customization for the artists otherwise they might get tired soon. I guess they all want to leave their unique mark in the scene.

KUFLEX: Kusmos is a universal software tool, with the possibility of variability of visual and interactive solutions. As a rule, our team creates a virtual stage specifically for the performance of the musician. Of course, we want to upgrade the program creating a database with different scenes, effects. In this case, the user will be able to construct the scene himself and combine the effects for his live/stream. 

AVC: It’s a bit unusual to keep promoting the idea of “God is DJ”. Is the DJ persona so relevant the viewer wants to watch during the entire show in a virtual environment?

KUFLEX: Regarding Kusmos Live project, the Kuflex team is collaborating with various musicians. We wanted to support the performers. So this approach determined the emphasis on the figure of the musician on the virtual stage, under whose musical personality, sound we come up with a visual solution. We do not just shoot a video with a musician, as is often done in broadcasts, but create a digital avatar that changes depending on the script, music and VJ control.

At the same time, Kusmos Live is primarily a show, a kind of mix of live performance, a computer game and fantastic movie. The virtual camera can fly through digital space, we can switch to different visual elements of the scene and include additional visual effects to the music.

Kusmos Live - Audiovisual Tool

We try to achieve the effect of real interaction with the viewer as well. Our team is developing a function of interaction through chat – viewers’ comments fall into the scene, they can affect the content through certain chat commands. But Kusmos can be used by artists of other genres. In the near future we want to try to create a dance performance. Now we are discussing this idea with one Russian choreographer.

We will explore the topic of distances – where physical space ends, digital begins, the relationship of body and sound. Both dance and music will take place in live format.

Technically, the performer will find himself in different areas of camera scanning, on the screen we will observe how his digital avatar changes. Again, it will all be like shooting a movie in one shot and in real time!

360 Visual Festival - audiovisual event
AVC: We truly appreciate the viewers becoming active, participating and communicating with the stream. That creates a collective experience. Could people really tell if this was a live performance or not? It feels like the interaction should be more meaningful somehow, with a bigger impact to the overall audiovisual artwork.

KUFLEX: Our team worked on a concert from different cities. We thought about how best to organise remote control of virtual cameras and effects. And suddenly our creative director had an idea to manage content through Youtube chat. During the broadcast, he wrote commands like cam1 (switching camera 1), stars ( the star effect was launched).

We intentionally did not talk about this function in advance to get the quest. As a result, some viewers guessed and began to help in managing the scene. We explore different possibilities about other ways of interaction.

In the future we want to create a client application for connecting to the broadcast via a mobile phone, desktop PC screen or VR. We intend to develop Kusmos as an art tool. Our team believes in a power of collective interaction. We want to give a palette of visual solutions, effects. Let’s all together create beauty here and now! This idea is a sincere inspiration for us. 

AVC:  We would like to know more about how the collaboration you have done with Leksha where the viewers were controlling visual effects with the use of commands via YouTube chat in real-time mode.” How does the input of data modify the visuals? is it like a live coding or common human language and how it is related to the VR software?

kusmos live - kuflex and leksha - audiovisual artists

KUFLEX: Usually in an offline format, we work like this: musicians play music, and VJ manages visual content live using MIDI controllers. Some effects are linked to the amplitude of the sound. But in a situation where we did not have the opportunity to be onsite will all team, we decided to make control through chat commands.

We wrote a special function for our software that receives data from chat on YouTube using the Google API. We came up with several commands, for example: cam1, cam2, skin1, skin2, electric noise, lasers and the like. And when someone in the chat wrote one of these words, then a certain visual effect or a corresponding camera was included in our program.

In general, we have an idea to expand the number of commands and their appearance, so that it looks more like live coding. For example, add numerical arguments to the commands, which will additionally specify the parameters of a particular visual effect.

As for virtual reality, we have plans to create our own application for viewers who can watch live broadcasts using VR devices, thus more deeply immersing themselves in the atmosphere of the digital scene and additionally receive personal effects. 

Kusmos Live - audiovisual tool
 AVC: Fascinating this idea of “universal tool” for content in real time and interactive show. We think it’s important now to dig more into the idea of how it can involve more people in the creative process. It opens new ways of investigation on how to make every audiovisual experience unique, not only in terms of the aesthetics of the piece but also regarding the narrative.

KUFLEX: Yes, this is the main object of research for us. Usually, a limited number of people can come to the offline exhibition. So we want to overcome any space frames. With Kusmos we don’t have any restrictions online! We can find ourselves in amazing digital worlds that are impossible in the physical world.

Now that Kuflex Lab and its creation Kusmos entered our radar we will most definitely keep following their progression, as always supporting innovation and creativity in the audiovisual art world.

The post About Kusmos Live by Kuflex Lab 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.

Contact

Website

Facebook | Instagram | Vimeo

The post Rafael appeared first on Audiovisualcity.

SHARJAH LIGHT FESTIVAL: 05 -15 February 2020



Sharjah Light Festival illuminates the Emirate once a year showcasing local talent and internationally renowned audiovisual artists.

The audiovisual event features eye-opening displays of colors, images and lights inspired by a variety of subjects such as beauty, science, creativity and knowledge. 

The yearly festival attracts hundreds of thousands of visitors and takes them on a tour of cultural heights, music, artistic ingenuity and technical skills. Projection mapping artworks and lighting installations illuminate the beautiful architecture of Sharjah.

The festival fuses all the components of beauty, art, culture, education, innovation and higher thinking into one glorious event. 

It includes rich programmes, grouped into clusters based on up to 20 locations with new highlights every year showcase the architectural splendour of Sharjah and the beauty of its buildings.

Utilising creative and innovative light technology and specifically curated music, the architectural landmarks of the emirate, such as Al Noor mosque, Al Hisn Fort, Sharjah University City Campus as well as others can literally be seen in a new light.

Many of the designs are poetic and inspired by local culture, stories and traditions or incorporate nature and space, some are based on more modern art and design, all are beautiful and thought provoking.

The Sharjah Light Festival extends to the east coast towns of Dibba, Khorfakkan and Kalba. The 2019 edition featured well known artists and curators such as Larent Langlois, Cindy Lo, Studio Halpeji and Group F

Website

Facebook | Youtube | Instagram

The post SHARJAH LIGHT FESTIVAL: 05 -15 February 2020 appeared first on Audiovisualcity.

Interview to Genius Loci Weimar

Par : Marco Savo

We have supported Genius Loci Weimar and promoted their open call for audiovisual artists since their early start.

We felt now was the perfect time to interview the organizers of the projection mapping festival. One of the fastest growing audiovisual events in Europe. (German version below)

1. Can you tell us about the history, concept ans goals of Genius Loci Weimar?

The history of Genius Loci Weimar began 8 years ago, in 2012, when, as part of various regional development initiatives, we were looking for a concept that could combine modern media and historical heritage.

This is how the Genius Loci Weimar Festival came into being, initially on a smaller scale, which has since developed into an event with up to 50,000 visitors annually. The concept has always been to deal with the “spirit of the place” and its individual history, the “Genius Loci”.

We want to achieve several things with GLW: Always present is the goal of presenting aesthetically pleasing and high-quality artworks in Weimar. In addition, we also want to create a positive public and to address audiences of all ages and backgrounds throughout the festival.

As already mentioned, the “Genius Loci” is the focus of our artistic works. It is therefore also the goal to discuss history and to stimulate historical-cultural reflection, which certainly also has political and social aspects.
Another goal is to create and develop our own format, a brand that can provide a framework for the production of artistic works in this field.

The projection mapping scene is still quite young. Visibility, communication and networking are therefore also important concerns of our festival. Especially through the programme formats TALK, CLUB and LAB. There, in the LAB, the support and encouragement of young talents is increasingly taking place.

The AV media are to be further established as an art form and artistic format and to move away from the “avant-garde” or even “nerd corner”, in which they are still often located. To emphasize their potential as an aesthetic direction with different artistic styles and tastes is the goal of Genius Loci Weimar.



2. The festival advocates the importance of video mapping as an audiovisual tool to deliver relevant contents, rather than mere entertainment gimmick. How do you think GLW have been impacting the relationship between the community and the architectonic heritage of the city?



Thanks to the festival, a considerable exchange takes place every year on several levels within the city. The citizens of Weimar have become real “fans” of the festival and its formats and are curiously looking forward to seeing which new locations will be played at each year and can be experienced in new ways.

Thus, in addition to very prominent buildings such as the National Theatre or the Herderkirche in the city centre, the Ilmpark and a squatted house in Gerberstraße have already been in the spotlight.

Especially at controverse locations, such as Gerberstraße 3, exciting exchanges can arise: There, the “bourgeoisie” became observer of the usually sceptically eyed façade of the squatted house, the inhabitants of the house project became hosts at the same time – also for the otherwise avoided “establishment”. An exciting situation for everyone, which can only arise during a live event and on-site.

Genius Loci Weimar 2015 Winner - Audiovisual Event

However, in any case, reflection is always encouraged: exchange and examination of past times and other lifestyles. The buildings also appear in new contexts, the library was once filled with fictitious visions or the theatre was shown as an important place of democracy. The selection and the type of performance should always have a very specific effect.

The fact that the concept is sustainable can be seen from the fact that other projection festivals are following up, launching similar strategies or even asking for a transferable concept.

In the end, the awareness for places and cities is always sensitized by the unique, site-specific spectacles.



3. GLW Open Call is the core of the festival. Can you explain the complex decision process you undertake every year to award the three prizes? Are there any project that have been particularly relevant for you in the past editions?


The audiovisual event starts already in spring with the publication of our Open Call and the announcement of the three competition buildings. A prize money of 15.000 Euro per building is awarded and we receive applications with artistic projects from all over the world during the competition period.

At the end of the competition, the applications will be judged by a jury of experts, while the public will also be able to vote at this early stage to decide who will perform their work in late summer.

During the past eight festival editions, a wide range of artistic styles were chosen as competition winners. Exciting, for example, was last year’s masterfully implemented, seemingly interactive audiovisual performance by Jonas Denzel on the façade of the newly opened Bauhaus Museum in Weimar.



Of 2016, the combination of live performance and video projection on a surface of water from Dieselqueen is also remembered.



Or the already mentioned mapping with the title “Grain Metal Punk” by VJZARIA on the façade of the squatted house in Gerberstraße.



4. During these uncertain times many audiovisual events decided to implement hybrid or online formats. Can you tell us about GLW position in the current scenario?


Genius Loci Weimar continues to believe in the presence and magic of live events. We continue to believe in video mapping as a unique, ephemeral and sensual event, accompanied by overwhelming sound and an immense size that can be experienced collectively in public space. This is why we continue to focus on the live event on-site.


5. How do you see Genius Loci Weimar in the next 10 years?


Genius Loci Weimar aims to further extend its constant growth path of recent years. As a festival and brand, GLW will continue to grow in breadth, but also in depth.

The reflective formats such as the relatively new TALK will continue to be expanded and refined. AV hybrids as a stage format, as has been the case with AV cinema in recent years, are also to be further developed and refined.

In the middle and long term, closer cooperation with universities is also conceivable, for example in the form of the creation of a new institute or similar. However, the core will always be the video and its connection to the historical heritage of the city!


Discover more about the audiovisual event




GERMAN VERSION

Können Sie uns etwas über die Geschichte, das Konzept und die Ziele von Genius Loci Weimar erzählen?

Angefangen hat die Geschichte von Genius Loci Weimar bereits vor 8 Jahren, im Jahr 2012. Im Rahmen verschiedener Initiativen zur Regionalentwicklung suchten wir nach einem Konzept, das es schafft, moderne Medien und historisches Erbe miteinander zu verbinden. Dabei entstand das Genius Loci Weimar Festival, zunächst in kleinerem Umfang, das sich inzwischen zu einer Veranstaltung mit bis zu 50.000 Besucher*innen jährlich entwickelt hat. Das Konzept war dabei schon immer die Auseinandersetzung mit dem „Geist des Ortes“ und seiner individuellen Geschichte, dem „Genius Loci“ eben.

Wir möchten mit GLW mehre Dinge erreichen: Immer präsent ist natürlich das Ziel, ästhetisch ansprechende und hochwertige Kunstwerke in Weimar zur Aufführung zu bringen. Dazu kommt aber auch der Anspruch, eine positive Öffentlichkeit zu schaffen und mit dem Festival milieu- und altersübergreifend Zuschauer*innen anzusprechen.

Wie schon eben gesagt steht der „Genius Loci“ im Mittelpunkt unserer künstlerischen Arbeiten. Es ist also auch Ziel, Geschichte zu thematisieren und zu einer historisch-kulturellen Reflexion anzuregen, die durchaus auch politische und gesellschaftliche Facetten in sich trägt.

Ein weiteres Ziel ist das Erschaffen und Weiterentwickeln eines eigenen Formats, einer Marke, die der Produktion von künstlerischen Arbeiten in diesem Bereich einen Rahmen geben kann.

Die Videomapping-Szene ist noch recht jung. Sichtbarkeit, Kommunikation und Vernetzung sind also auch wichtige Anliegen unseres Festivals, insbesondere durch die Veranstaltungsteile TALK, CLUB und LAB. Dort, im LAB, findet auch verstärkt die Nachwuchsförderung statt. Die AV-Medien sollen als Kunstform und als künstlerisches Format noch weiter etabliert werden und heraus aus der „Avantgarde-“ oder sogar „Nerd-Ecke“, in der sie noch teilweise verortet werden. Ihr Potenzial als eine ästhetische Richtung mit unterschiedlichen künstlerischen Stilen und Geschmacksrichtungen herauszustellen, ist Ziel von Genius Loci Weima

Das Festival befürwortet die Bedeutung von Video-Mapping als audiovisuelles Instrument zur Vermittlung relevanter Inhalte und nicht als bloßen Unterhaltungsgag. Wie hat GLW Ihrer Meinung nach die Beziehung zwischen der Gemeinschaft und dem architektonischen Erbe der Stadt beeinflusst?

Innerhalb der Stadt findet dank des Festivals jedes Jahr aufs Neue ein erheblicher Austausch auf mehreren Ebenen statt. Die Weimarer*innen sind inzwischen zu richtigen „Fans“ des Festivals und seiner Formate geworden und erwarten gespannt, welche neuen Orte jedes Jahr bespielt und auf neue Weise erfahren werden können.

So war neben sehr prominenten Gebäuden wie dem Nationaltheater oder der Herderkirche in der Innenstadt auch schon der Ilmpark und ein besetztes Haus in der Gerberstraße im Rampenlicht.

Gerade an kontroversen Orten, wie beispielsweise der Gerberstraße 3, können spannende Begegnungen entstehen: Das „Bürgertum“ wurde dort zum Betrachter der sonst so skeptisch beäugten Fassade des besetzten Hauses, die Bewohnerinnen des Hausprojekts wurden gleichzeitig zu Gastgeberinnen – auch für das sonst gemiedene „Establishment“. Eine spannende Situation für alle, die so nur im Moment eines Live-Events vor Ort entstehen kann.

Auf jeden Fall wird aber immer zur Reflexion angeregt: Austausch und Auseinandersetzung mit vergangenen Zeiten und anderen Lebenswelten. Auch die Gebäude treten in neuen Kontexten auf, die Bibliothek wurde einmal mit fiktiven Gebäudevisionen bespielt oder das Theater als Ort der Demokratie thematisiert. Die Auswahl und die Art der Bespielung sollen dabei immer eine ganz bestimmte Wirkung erzielen.

Dass das Konzept trägt, sieht man auch daran, dass andere Projektionsfestivals nachlegen und ähnliche Konzepte an den Start bringen oder sogar nach einem übertragbaren Konzept anfragen.

Letztlich wird immer das Bewusstsein für Orte und Städte durch die einmaligen, ortsgebundenen Spektakel sensibilisiert.

Der GLW Open Call ist das Herzstück des Festivals. Können Sie den komplexen Entscheidungsprozess erklären, den Sie jedes Jahr für die Vergabe der drei Preise durchführen? Gibt es Projekte, die für Sie in den vergangenen Ausgaben besonders relevant waren?

Das Festival beginnt bereits im Frühjahr mit der Veröffentlichung unseres Open Calls und der Bekanntgabe der drei Wettbewerbsgebäude. Pro Gebäude ist ein Preisgeld von 15.000 Euro ausgelobt und uns erreichen im Wettbewerbszeitraum Bewerbungen mit künstlerischen Projekten aus der ganzen Welt ein.

Nach Ende werden die Bewerbungen zum einen von einer Expert*innenjury beurteilt, und zum anderen kann auch das Publikum bereits an dieser frühen Stelle mit Hilfe des Public Votes mitbestimmen, wer im Spätsommer seinen Wettbewerbsbeitrag zur Aufführung bringen wird.

Während der vergangenen acht Festivaleditionen konnte eine große Bandbreite an künstlerischen Stilen als Wettbewerbssieger*innen gekürt werden. Spannend war zum Beispiel im letzten Jahr die gekonnt umgesetzte, scheinbar interaktive, audiovisuelle Performance von Jonas Denzel auf der Fassade des neu eröffneten Bauhaus-Museums in Weimar.

Aus 2016 ist aber auch die Kombination aus Live-Performance und Video-Projektion auf eine Wasserfläche von Dieselqueen in Erinnerung geblieben.

Oder das schon angesprochene Mapping mit dem Titel „Grain Metal Punk“ von VJZARIA an der Fassade des besetzten Hauses in der Gerberstraße.

In diesen unsicheren Zeiten haben sich viele audiovisuelle Veranstaltungen entschieden, hybride oder Online-Formate einzusetzen. Können Sie uns über die Position des GLW im aktuellen Szenario berichten?

Genius Loci Weimar glaubt auch weiterhin an die Präsenz und die Magie des Live-Events. An das Videomapping als einmaliges, vergängliches und sinnliches Ereignis, begleitet von überwältigendem Sound und einer immensen Größe, das kollektiv im Stadtraum erfahren werden kann. Deshalb fokussieren wir uns auch weiterhin auf die Live-Veranstaltung vor Ort.

Wie sehen Sie Genius Loci Weimar in den nächsten 10 Jahren?

Genius Loci Weimar will seinen konstanten Wachstumspfad der letzten Jahre weiter ausbauen. Als Festival und Marke soll weiter in die Breite, aber auch in die Tiefe gewachsen werden. Die reflektiven Formate wie etwa der noch recht neue TALK sollen auch weiterhin ausgebaut und verfeinert werden. Auch die AV-Hybride als Bühnenformat, wie beim AV-KINO in den letzten Jahren schon geschehen, soll noch weiter verfeinert werden.
Mittel- und Langfristig ist aber auch eine engere Kooperation mit Hochschulen, etwa in Form der Schaffung eines eigenen Instituts oder ähnliches denkbar

Kern wird aber immer das Video und seine Verknüpfung mit dem historischen Erbe der Stadt bleiben!

The post Interview to Genius Loci Weimar appeared first on Audiovisualcity.

Natalia Stuyk

Natalia Stuyk is a self taught video artist, famous for her colourful surrealist landscapes and vivid digital fantasy worlds.

Think how things would look if you dreamed in digital formats. Her creative work as audiovisual artist is generally split between personal projects, which later feed her portfolio to get commissioned projects, generally in the world of fashion.

She has performed live VJ sets, for example at Mira Festival, and has also been known to dabble in sound for her digital art pieces (see the ‘Visitor’ project below).

In her more recent work, she took her fantasy world to a physical space in the form of an installation at Galeria Melissa in New York City for her project ‘Paradise’. You can hear her talk about the whole project here.

Her latest project can be found on Vimeo (below).

Website

Instagram | Vimeo

BUY US A COFFEE?BUY US A COFFEE?

The post Natalia Stuyk appeared first on Audiovisualcity.

Emerging Digital Artists Award

Par : Marco Savo

DEADLINE: 15 JUNE 2020

The open call is addressed to audiovisual artists resident in Canada within 5 years of their artistic career.

This is a great chance for emerging digital artists to showcase their artworks, expand their networking and further their experimentation within the digital arts.

The Emerging Digital Artists Award (EDAA) is Canada’s award for critical experimentation in digital media. The award consists of $5,000 for the winner, and $1,000 for four finalists, as well as a group exhibition.

Since 2015, the EDAA has been promoting artists working within virtual space, by seeking submissions that push us in new directions, and challenge us to see the world through a different screen.

READ MORE AND APPLY

BUY US A COFFEE?BUY US A COFFEE?

The post Emerging Digital Artists Award appeared first on Audiovisualcity.

What digital did next: Digital Arts and Social Distancing

Par : Marco Savo



How digital arts can unlock value and opportunity in a socially distanced cultural sector?

Marco Savo from Audiovisual City and Kate Rolfe from The Revels Office have never met in person. Theirs is a true digital relationship born of the pandemic.

Cultural consultants who met over Zoom to explore where their world’s crossed-over, and how their mix of experience could help artists, freelancers, and the arts sector as a whole to combat this unsettling time.

Audiovisual City is a digital magazine that promotes and supports audiovisual artists and events worldwide. Connecting hundreds of digital artists from across the world, it is the go-to place for inspiration and information when it comes to the application of digital technologies in artistic expression.

The Revels Office is a cultural consultancy who specialises in finding new revenue for the arts, advising organisations on commercial opportunities and uniting them with funding partners who value the unique, high quality content that only the cultural sector can produce. Together with a network of consultants -The Catalyst Network – the team at The Revels Office manage a range of projects at the intersection between arts and commerce.

Together with a multi-disciplinary group of experts who all have touch-points with digital arts experiences, Audiovisual City and The Revels Office ran a workshop to explore what role digital arts projects could play in the future of arts organisations.

At a time when the sector is anxiously remodelling their core operations to survive months of low visitor numbers, reduced income through established business lines, and a new, uneasy socially distanced experience, we wanted to investigate what untapped value digital arts might offer.

We share with you here a summary of our findings, designed to inspire you at a critical time, to offer valuable ideas to consider in your re-modelling plans, and to decipher the role that digital can play in a sector based almost entirely on live and tangible experiences…


Case Study: Enjambre Cellular

Developed by Mónica Rikić, Enjambre Celular is a project created and designed specifically for the Medialab-Prado interactive façade.

It is a collective strategy game in which different levels and challenges must be overcome, based on the idea of a labyrinth. Controlled externally by passers-by, Enjambre Celular offers an example of a pandemic-proof artistic installation.


Case Study: Distances

Developed by Scenocosme, In this installation, two people in two separate physical spaces are filmed in real time by two devices.

They are invited to have contact virtually within the same image, bringing them together face to face. The head-to-head image created by the software is trying to constantly reduce the proxemic distance between the two people, creating unique and ephemeral meetings with the other and making a connection even when physically apart.

  • Distances Scenocosme Audiovisual Artists
  • Distances Audiovisual Artwork


Digital art vs digital design.

To make informed choices about the use of digital, it is important to understand the distinction of digital art as an artform in its own right, and digital design as a tool for engagement.

Put simply – do you need to move your live content online for commercial, audience or safety reasons, or do you want to create a new interpretation of your content that will explore your stories in an entirely new way? Neither choice is right or wrong, but it will impact the outcomes you achieve, as well as the process you go through.

“The importance of concept is key; you must start with your concept and then chose the technology to match”

Hayley Cantor

What digital art and digital design have in common is their ability to bridge between traditional cultural content and modern, digitally aware audiences, and allow people to fully interact with the arts.

No solution is quicker for overcoming an image of being elitist, static or uninteresting than a digital initiative, so long as it is done well, has a clear purpose and audience, and so long as it incorporates some kind of live and/or unique element that ensures the digital is not simply a mimic of the live experience.

While digital design is fantastic for bringing to life educational and historic content, and is arguably simpler for translating to an online platform, where digital arts stands out is in the sensorial, emotive experience that they can create, lasting longer in people’s memories and creating a sense of community and harmony even if you encounter the art alone.

Digital arts is the perfect solution for a hybrid cultural offering, connecting those experiencing it online and those there in person, allowing for smaller, safer groups to pass through it without losing the commercial, social and artistic benefits of scale.

Case Study: Virtual Archive.

Virtual Archive is a 3D, computer-generated environment open to interactive exploration by single users.

Via a VR headset, the user flies through a 3D data-point cloud formed, visualizing more than 1,700,000 documents present in SALT Research archive collections. Refik Anadol’s installation was displayed as an extension to the artist’s Archive Dreaming project.

  • Digital Archive - Audiovisual Artist
  • Digital Archive - Audiovisual Artwork


Case Study: Natural History Museum of Valparaisa.

In the Introductory Room at Natural History Museum of Valparaíso, Chile, visitors meet an installation of naturalistic illustrations of flora and fauna of the region, highlighting the work of Claudio Gay among others.

Developed by Delight Lab, this project was realised in partnership with the SUMO design and museum office for DIBAM.

  • Delight Lab - Museum Valparaiso - Audiovisual Artwork
  • Delight Lab - Museum Valparaiso - Audiovisual Artists


It’s time to set the price.

The price we have paid for the vast amounts of thrilling, comforting and informative digital content that has been dispersed throughout the global lock-down, is the expectation that digital means free.

Digital comes with development costs, artist costs and new software and/or infrastructure requirements, among other operational demands. Digital content is by no means free to create, and so why is it presented as free to consume? There are two ways of looking at this dilemma.

• Option 1 is to embrace the non-financial value that going digital presents: reaching new and much larger audiences, collecting insightful data, offering educational and social benefits, and adopting new methods in storytelling and human connection.

In this way there is still value, there are no barriers to audiences engaging with you, and you can use data and reach to collaborate with new funding partners, upsell products and services, and request donations wherever possible.

In this way we have seen a really positive response during the pandemic, with culture-lovers willingly paying for online experiences, seeing this as a charitable donation to save something they love rather than a charge for valuable entertainment. However this has not yet translated into a consistent approach that audiences and funders recognise, or indeed made up the huge gap in revenue that arts organisations face.

• Option 2 is to revaluate and recommunicate the value of the digital experience, and set up platforms that give organisations the option to charge.

Given the high value outlined by option 1, it seems reasonable that – just like the expectation to pay for the cinema or a gig – you will have to pay to participate in digital cultural experiences. This transactional view may not sit well alongside arts experiences that are traditionally free, such as museum-entry, but this demonstrates the opportunity presented by digital arts as opposed to digital design; by creating a new experience on a new platform, arts organisations can create something of value to their audiences (and new ones), one which better warrants a participation charge.

Ultimately this is an argument of supply and demand, but what we endorse is a collective reassessment of how and when to charge for digital experiences, thereby protecting arts organisations and artists from giving away valuable content for free, especially when for a time this might be one of their only viable sources of revenue.


Case Study: Fulldome Festival

The oldest full dome projection festival has been held virtually for the first time this year due to the pandemic, charging a ticket price for the online experience. A courageous decision from the organisers who decided to go full steam ahead, offering a 360 view of the festival using VR headsets.

Case Study: Mutek San Francisco, Nexus Experience

Mutek is one of the top audiovisual events worldwide, born in Montreal and then expanded through an international network. The San Francisco edition has been online this year with their ‘Nexus Experience’, hosting live AV performers on two stages, offering digital galleries, online workshops, and ‘viewing party’ film screenings. The event was free and open to donations, with 100% of the festival proceeds going directly to the artists.

  • MutekSF_Audiovisual_Event
  • Fulldome_Festival_Logo_Audiovisual_Event


Demystifying the digital process (and budget).

Digital arts experiences are impactful and memorable no matter what their size, from single exhibition displays through to city-wide festivals. While they can be huge and expensive, often a digital intervention is as cost-effective as a live experience due to the flexibility of the format, recouping investment costs over a far longer lifespan.

For those who want to consider digital as part of their future plans, digital arts producer Steph Clarke shares some considerations:

• Once a digital installation, artwork or exhibition is installed, it can often run 24/7 with minimal staffing and low running costs. Not only can this make valuable budget savings, it also accommodates far higher audience numbers over time, and can easily be adapted to allow for social distancing measures.

• Digital works can easily have their content re-purposed to suit different objectives. Content can be refreshed regularly to suit seasonality, adapted for VIP or stakeholder events, and used for advertising purposes if required.

• It is relatively easy to scale digital work depending upon size of venue or audience size, meaning this approach can be considered for a variety of projects, places and budgets.

• Digital can be used to extend and enhance audience engagement before and after the event/exhibition itself, through engagement online and via apps, creating more touchpoints with your intended audience and opportunities to capture insights and data.

• By digitalising the content for a digital installation, you are simultaneously archiving it too, preserving it for future generations and achieving important cost-savings.

• Given the huge range of digital formats available – apps, projection, light shows, VR, AR – there will always be a format suitable for your budget, timescale and objectives.


Case Study: 400 Conejos.

As part of the Bahidora 2018 festival, Medusa Lab created a unique experience for Ache Producciones and its client: Mezcal 400 conejos.

Attendees received a complimentary drink of mezcal prior entering the dome, and once inside they discovered the mezcal making process through an immersive, colour-filled experience using animations and 360 video.

  • Medusa Lab - 400 Conejos - Audiovisual Artwork
  • Medusa Lab - 400 Conejos - Audiovisual Artist


Case Study: Pinata Tweet.

Piñata was a project made by MID for +Castro agency and the SAKE production company. The piñatas were installed as part of a collaboration with Trident Senses at Benicàssim International Festival.

The interactive piñatas are controlled via Twitter messages sent by the audience. Every tweet contained #TridentSensesPinata, which activated a device that inflated the piñata. As messages accumulated, eventually the piñata exploded over the audience!

  • MID - Pinata Tweets - Audiovisual Artists
  • MID - Pinata Tweets - Audiovisual Artwork



Audiovisual City and The Revels Office plan to now work together.

We aim to connect arts organisations with digital artists and commercial partners, creating inspirational and viable projects in a time of pandemic.

Together we will champion the skills, value and authenticity that digital art and digital tools can bring those looking to find new audiences and new revenue. Get in touch to discuss how these ideas could be applied to your own organisation – hello@therevelsoffice.co.uk

This article was written by Kate Rolfe from The Revels Office and Marco Savo from Audiovisual City with contributions from Hayley Cantor (Audiovisual City Creative Director, Multidisciplinary Graphic Designer and VJ), Sean Carroll (Business Improvement Project Manager), Nicola Casperson (Brand Marketing, Events and Place-Making Consultant), Steph Clarke (Digital Arts Producer), Marta Minguell Colomé (New Media Artist, VJ and Photographer), Amy O’Brien (Events Producer), and Mónica Rikic (New Media Artist). Collectively our experience includes roles at the National Gallery, Natural History Museum, Secret Cinema, Battersea Power Station, Westfields, and London’s Philharmonia Orchestra.

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KUFLEX

Par : Marco Savo

A Russian studio of interactive audiovisual art.

Kuflex Lab is formed by audiovisual artists exploring the newest ways of using video, sound and light, tracking technology and generative graphics to allow viewers to dive into that digital space and feel it to the fullest.

Kuflex large-scale interactive installations dismantle stereotypes of sensory perception. Immersive effect switches off rational evaluative perception and provokes spontaneous emotions of inner child.

A small team creates magic installations and art projects, exploring mechanisms of interaction and inter-influence of inter-subjective reality and its digital projection.

Interacting with constantly changing projection, the viewer enters meditative state, turns from a passive observer into a co-creator. Thus, in “Symbiosis” installation the viewer literally merges with the alien creature, becoming a digital avatar that can be controlled by him or her. 

Installations by Kuflex have been featured in many Russian and foreign exhibitions, festivals, museums, science and education centers in Moscow, Saint-Petersburg, Yekaterinburg, Krasnoyarsk, Tyumen, Abrau-Dyurso, Netanya (Israel), Antalya (Turkey), Athens (Greece, ADAF), Las-Vegas (USA, CES), Beijing (China,China Science and Technology Museum), Manila (Philippines) and others.

Since 2018 the studio has been working on Kusmos software system for interactive visual content of online home concerts. In April 2020 it started  developing Kusmos live version thus turning any stream from home into a fantastic 3D show.

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FACTORY BERLIN: Artist Residency

Par : Marco Savo

DEADLINE: 17 June 2020 1 July 2020

PROGRAM: 27 July – 30 November 2020

Factory Berlin, Sónar+D, and Beats by Dr. Dre launch an open call for audiovisual artists who would like to participate to the 2nd edition of Artist in Residence program in the Creators Lab at Factory Gorlitzer Park.

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

READ MORE AND APPLY

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Output:TargetDisplay: Display01: 29 May 2020 ONLINE

Par : Marco Savo


Espronceda Institute of Art and Culture presents this virtual reality exhibition broadcast live on Espronceda social networks.

 

In the exhibition the Iranian artist Mohsen Hazrati will describe his experience in the Immense VR / AR Residence 2020 at Espronceda.

 

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.

During the audiovisual event the artist will describe his virtual talk in the RTTT project of the IAM weekend 2020.

 

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.

In addition Hazrati explore the speech based art game projects: SOKHON. In these game art experiences the player’s voice can alter the game process.

 

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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.

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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.

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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.

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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.

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Delight Lab

Par : Marco Savo

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.

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AVCity interviews Weirdcore

Par : Marco Savo

1.YOU HAVE A VERY VARIED, YET DISTINCTIVE AESTHETIC THAT CAN BE EASILY RECOGNIZED, BUT AT THE SAME TIME, A LITTLE DIFFICULT TO CLASSIFY! WHAT WERE YOUR EARLY GRAPHIC INFLUENCES/INSPIRATIONS AND WHAT ELEMENTS OR EXPERIENCES HAVE BEEN KEY TO THE DEVELOPMENT OF YOUR STYLE?

 

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.

Weirdcore_Audiovisual_Artist_Interview1

In the later 80’s & 90’s whilst living in different parts of the UK during my student years, I was really into rave graphics and visuals like
Stakker Humanoid and FSOL.

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.

  • Weirdcore_Audiovisual_Artist_Interview9

2. IN YOUR WORK WE CAN SEE A BIG VARIETY OF IMAGE PROCESSING RESULTS, DOES THIS EXPERIMENTATION GO HAND IN HAND WITH AN EXPERIMENTATION OF THE TOOLS YOU USE TO CREATE THE VISUALS AS WELL?

 

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.

  • Weirdcore_Audiovisual_Artist_Interview2

3. HOW WOULD YOU DEFINE “AUDIOVISUAL ART” AND HOW DO YOU POSITION YOURSELF IN THIS SPECIFIC CULTURE?

 

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…

  • Weirdcore_Audiovisual_Artist_Interview5
  • Weirdcore_Audiovisual_Artist_Interview6

4. YOUR CAREER DEVELOPED ACROSS DIFFERENT FIELDS AND MEDIA SUCH AS ADVERTISING, FASHION, ELECTRONIC MUSIC, VIDEO CLIPS, AND SO ON. CAN YOU TELL US ABOUT THE CONCEPTUAL AND AESTHETIC LINKS CONNECTING ALL YOUR VERY DIVERSE PROJECTS??

 

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)

5. YOU HAVE WORKED WITH MANY DIFFERENT MUSICIANS AND SINGERS THROUGHOUT THE YEARS. COULD YOU DESCRIBE YOUR CREATIVE PROCESS OF VISUALIZING A SOUNDSCAPE AND THE DIFFERENCE BETWEEN WORKING WITH ABSTRACT CONTENTS LIKE ELECTRONIC MUSIC AND THE MORE EXPLICIT NARRATIVE OF POP AND HIP HOP CULTURE?

 

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.

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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.

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Illuart Festival – Call for Entries

Par : Marco Savo

DEADLINE: June 30 2020

EVENT: 13 November – 8 December 2020

The ILLUART FESTIVAL is looking for video artists!

The audiovisual artists are given the opportunity to participate in one of the largest light shows in Switzerland and to present their works to thousands of visitors at one of the most traditional and important locations in Zürich.

Four different video artists will be selected from all applicants in this audiovisual call. The four winners will be commissioned to create a 5-minute audiovisual production and will receive a budget of CHF 10’000.

The creations will be shown during the festival from 13 November 2020 to 31 December 2020 daily from 8 p.m.

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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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FullDome Festival

Par : Marco Savo
Fulldome_Festival_Logo_Audiovisual_Event

Jena, May 13 – 16 2020 – EDITION IN STREAMING

The FullDome Festival is the oldest and only fulldome festival with an unbroken continuity. With about 800 contributions from 30 nations and more than 500 visitors per year, the audiovisual event is most probably the biggest international festival of its kind.

Visitors do not only see and evaluate a great variety of international fulldome films, they meet professional, student and independent producers and take part in paper sessions, workshops, diverse presentations and expert talks. Festival curators, an international jury and the festival directors evaluate the submitted works and select the most interesting and innovative productions for the festival from these submissions and determine the works for one of the festival’s awards.

A core mission of the FullDome Festival has always been to encourage students to stretch the envelope of what’s possible in the dome. It is amazing to see completely new approaches to the medium at each festival. Many are really creative, some even can compete with professional works. For most students, the FullDome Festival not only offers an introduction to the medium, it is often the only way to present, and is one of the few public venues.

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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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Genius Loci Weimar

Par : Marco Savo

04 – 06 September 2020, Weimar

MAKE WALLS TALK!

The international GENIUS LOCI WEIMAR Festival for audiovisual projections was launched in 2012 as part of the ‘Weimar Summer’ initiative.

Optimally located in this city of poets, musicians and thinkers, as well as the birthplace of the Bauhaus movement, the festival has become an important cultural event for Thuringia, and is now in its ninth edition.

Through the technique of videomapping, Genius Loci Weimar redefines historical buildings and renders history and architecture as tangible for visitors. Every year, three new buildings and structures in and around the city of Weimar are chosen to become a part of the competition and festival.

The winning concept submissions, which must be in a medial narrative form, expressed at the highest technical level through the art of projection mapping, are developed and produced for one of the selected competition facades. Alongside the classic projections, an additional facade represents an interface with the media architecture in the form of a permanent installation. 

2020 is set to be a significant year for Germany, with jubilees and anniversaries that could hardly be more contrasting. The “Year of Music 2020” is celebrating Ludwig van Beethoven, Franz Liszt and numerous other composers whose great works could not have been created without the acclaim and support that they enjoyed in Germany.

For this year’s edition of the festival, GLW is expressly encouraging makers of short films, motion graphic artists and video and film artists of all backgrounds and genres to apply for the selected locations through the medium of their disparate visual aesthetics, animation techniques and narrative concepts.

MXPerience gUG / Goetheplatz 9b / D-99423 Weimar

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FIBER Festival

Par : Marco Savo

Amsterdam, 24 – 27 September 2020

FIBER Festival is an Amsterdam based festival for audio-visual art, digital culture and electronic music.

With the program – which consists of multi-sensory art, performances and in-depth lectures – FIBER presents emerging art practices that offer alternative perspectives on our 21st century society.

With the festival theme of Instability the festival explores new ways of adapting to an age of planetary and societal changes. What opportunities are open to artistic making and thinking to contribute to this transformation?

Our living environment is often presented to us as stable and unquestionable. Landscapes, borders and technological infrastructures are considered static entities. Yet current crises now force us to transform the way we relate to our ecological surroundings. Extreme weather, droughts, wildfires and viruses are forces of nature that tear apart our modern way of living with far-reaching consequences.

The festival aims to seek artistic narratives, skills and sensibilities to prepare us for an alternative life in a period of uncertainty and radical instability.

FIBER Festival

Amsterdam, Netherlands

info@fiberfestival.nl

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teamLab

Par : Marco Savo

teamLab (f. 2001) is an international art collective, an interdisciplinary group of various specialists such as artists, programmers, engineers, CG animators, mathematicians and architects whose collaborative practice seeks to navigate the confluence of art, science, technology, and the natural world.

teamLab aims to explore the relationship between the self and the world and new perceptions through art. In order to understand the world around them, people separate it into independent entities with perceived boundaries between them.

teamLab seeks to transcend these boundaries in our perception of the world, of the relationship between the self and the world, and of the continuity of time. Everything exists in a long, fragile yet miraculous, borderless continuity of life.

teamLab’s works are in the permanent collection of the Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Asian Art Museum, San Francisco; Asia Society Museum, New York; Borusan Contemporary Art Collection, Istanbul; National Gallery of Victoria, Melbourne; and Amos Rex, Helsinki.

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Intro’s Online Exhibition Open Call 2020

DEADLINE: 24 APRIL 2020

EVENT: 01 – 03 MAY 2020

INTRO is an online event. During three days, we will get to know projects that have been developed in response to the situation that is currently ongoing. Three days of talks, concerts and an online exhibition to enjoy in a relaxed mood. The event is organized by Booleans and Matics.

The event is looking for artists, creators, and programmers who are developing creative proposals during the COVID-19 lock-down and who would like to share during INTRO’s Online Exhibition. The participation is free. Projects will be shared via link.

The deadline to submit your proposals is April 24 at 24h CEST to info@escape.cat with the following info: Full name, Bio, Summary of the project and link of the project.

Conscious of the cultural economic situation, they will use the PayPal platform so the assistants will be able to make donations online and it will be distributed among the artists and speakers of the event.

It is interesting to see different projects that will come out of the current quarantine situation. At audiovisualcity we are looking forward to see more events of this kind!

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Yannick Jacquet

Par : Marco Savo

Yannick Jacquet has spent ten years developing an visual arts project exploring how to reverse the deterioration inherent in our exchanges with the world.

His process of visual creation draws on structural elements as disparate as the architecture of the Centre Pompidou-Metz and a Ravel string quartet. While the precise stratagem may vary, from the spectacular to the intimate, each undertaking is always rooted in the concept of resilience.

This is art haunted by a discourse on the end of time. Jacquet makes no mystery of it. He invokes parallels with the Belgian artist Berlinde de Bruyckere’s work on mutations in living matter, the Japanese Ryoichi Kurokawa‘s stellar visions, and his fellow Swiss artist Jean Tinguely’s sardonic laugh and his 1960s machines designed to self-destruct.

Born in Geneva in 1980, Yannick Jacquet lives and works in Brussels. His work was presented at Contemporary art events, museums & galleries, in Paris, Moscow, Tokyo, Brussels, Montreal and Taiwan. He has received awards at the Milan Design Week and the collector’s prize at Brussels Slick Art Fair.

His regular collaborations with different artists lead him to the Mécaniques Discursives work-in-progress, developed with the printmaker Fred Penelle, a project that is frequently exhibited in Europe and Asia. He is one of the founders of the Antivj visual label.

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