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We pick the brains of Cinema.AV on his beautiful video synth work

Par Hayley Cantor

These days AV artists are hiding out all over the place, this time curiosity didn’t kill the cat, as I stumbled upon the work of Cinema.AV on Instagram. it’s amazing where a hashtag can take you… #videosynth. I was keen to find out how someone so visually analog ends up that way, and how they manage in an ever expanding digital world (at the time of writing more so than ever).

1.Tell us about your first ever live gig? When was it and how did it go?

For years, I used to play a kind of ambient, soundscape style of music, and for live performance, I would put whatever found vhs tape behind me for visuals. Often without a screen. It often just turned into lighting for my performance, instead of clearcut visuals. 

Fast-forward to a couple years later, in summer 2015, where I started buying jvc video mixers, archer and vidicraft boxes. It was here where I took it upon myself to do visuals for a show I had booked. Sadly, I didn’t realize, the projector couldn’t handle the distorted signals I was throwing at it. Luckily though, someone at the last moment, let me borrow theirs. It was total godsend. The result was this hyper-distorted cross between national geographic videotapes. It worked for the more abstract, psychedelia I had booked for the evening,

Later down the line, I found the need for time base correctors in live performance, and mixers equipped with such. To evenly blend, rather an abruptly with one of those RCA Y splitter cables turned on end. Which is actually the same as the classic Klomp dirty mixer. It was all stuff I got for free, or nearly no money. Never top of the line. Always the most difficult, least practical solutions. But the result was always unique to the moment, to the performance; endlessly fleeting. 

2.We discovered your work on Instagram. How do you usually connect with the AV community online? Does social media play a big role for you?

Strangely, yeah. I hardly ever go out locally, unless of course I’m playing a show. So beyond that setting, you’ll never find me in the wild. Even before this quarantine action, I was a total homebody. Staying in whenever possible to work on art and infinitely explore the machines. So having access to social media platforms is actually key to the whole system. I can actively gauge what pieces people actually like, what ideas stick and in turn, get shared with a larger audience. 

Its those posts that snowball into bigger and better gigs. As the recognition on a global scale is significantly more gratifying than just the local efforts I receive so often. In fact, for the better part of 2019, I was very busy with live video work. Having nearly no time off, I accepted this as a lifestyle, rather than just hobby. And in the social media zone, I’ve been able to publicly beta-test things like the Erogenous Tones Structure module, Phil Baljeu’s custom vector graphics system and as of late Andrei Jay’s latest raspberry pi video synth and feedback algorithms as hardware devices. The curiosity the results generated have in turn, sold modules and made the manufactures money to sustain their efforts.   

…having access to social media platforms is actually key to the whole system. I can actively gauge what pieces people actually like, what ideas stick and in turn, get shared with a larger audience. 

To be fair though, I’m not sure how much of this actually real. If it’s all made up, or the reactions are fabricated. It’s a fine silver-lining we’re all walking along. One day, a post could generate hundreds of interactions, while the next day, nothing. I think alot of that could actually be the option for folks to drift between realities, between the physical and the cyberspace. It’s in this cyberspace, that I do often connect with other artists, say for example my bud Konopka and has online video painting series. To watch him create something entirely from scratch, in real time, thousands of miles away is a true head-spin if you think about it. But not even 5 years ago would have been possible. 

All photos courtesy of Evan Henry.

3. It’s fascinating to how analog and digital worlds inspire AV artists. What’s your take on the two and how do you find working with analog systems for live visuals?

Truly. When I first got started, it was all analog, all found devices. Though in time, I’ve found the whole LZX modular zone, which started analog and now has drifted into this wild digital hardware dimension that has opened up all kinds doors. The obvious attraction to the large analog modular is the physicality and pure intuitive nature of the whole thing. As in a live setting, there is nothing more fun and unpredictable than a hand-wired mess of cables and devices to create this ever-fleeting dialogue, never again to be replicated. For ambient, for house, for techno and literally everything in between, there’s this infinite body that just works, and often never crashes or fails. 

If anything, it’s always the digital component that freezes or fails first. I’ve done shows with computer artists that for some reason or another, who just can’t make it work that particular night.

If anything, it’s always the digital component that freezes or fails first. I’ve done shows with computer artists that for some reason or another, who just can’t make it work that particular night. So just step in and end up taking over the evening with my system. However, I’ve had my fair share of venues tell me their systems are HDMI only. So learned to convert the analog composite outputs of the modular to the HDMI with aid of things like Ambery converters and scalers, Extron scalers, and even the silly Blackmagic shuttle, that has it’s own share of issues. It wasn’t until last summer that I realized the Roland V4-EX had a very effective means of conversion and scaling to HDMI, VGA, and back down again. The result was a total game-changer. So I sold my other mixers, and devices to scale up to HDMI and hadn’t looked back. This meant I could seamlessly work with digital projection systems and streaming processes. And from the get-go, it’s been used in every performance effort since. It’s even let me collaborate with both digital and analog artists alike. To fade and key between all manner of artists and ideas. 

So little things like that make the whole system go, which leads me into the question…

4.What’s your basic setup when do performance live AV shows? (If you have one)

I am constantly pushing myself as an artist. So every year or so, I’ll experience this major creative shift around winter time, when my job at the photo lab temporarily shutters for winter break on campus. It is is then where I have about a month to chill and regroup my mind. This generally means some new gear enters the studio, and in turn the dirty warehouses they get thrown into for live work. 

All photos courtesy of Evan Henry.

In 2019, I saw my modular system grow from a single 6U, two row case that could fly on any airline, to a larger 12U, four row system, that for the majority, made it’s way into every gig. In tandem with the V4-EX, the two were all I needed to do 8-10 hours of a rave whatever else I was getting booked for. However, the few time I flew out for one-offs, I brought it back down to 6U. Which was a lot of fun and lent itself to collaboration with other artists. It was in this time though, away from gigs and rather chill moments at the lab, where I began to experiment with the virtual dimension of VSynth, the Max/Msp visual extension. The result was very reminiscent of my larger modular system. Though at the time, my computer could only handle small patches. Anything big would see my computer begin to overheat and grind to a halt. 

This got me looking at computers, seriously.  As a video generation and manipulation tool, much in the same way the dedicated hardware was, but a larger, more sophisticated, and recallable level. It was months of research and a very generous donation within the family that lead me onto a gaming-oriented laptop, complete with a dedicated graphics card, that in it’s day was considered high-spec, and miles beyond my aging macbook. From the moment I lifted open the box and got it booted, I went straight into complex Max patches and dense 3D structures with the aid of Resolume Arena. When I realized I could save, and recall every motion, I started plotting how to gig with it. To layer to pieces together and to treat Resolume as a video sampler of my analog devices. What began to happen was a meshing of dimensions. No longer was one any better than the other. They were one of the same. It was with this entry that live performance physically became less stressful and far more manageable. No longer did have to carry this unwieldy modular system on a train or a bus. I could now discreetly carry the common laptop computer, just as everyone else. 

All photos courtesy of Evan Henry

Setting up and breaking down, with the projector, is a two cable, two power supply motion. So quick and so light. With the aid of a midi controller, all the tactility remains, and nothing changes. The digital results do look incredible though. I cannot deny that. No matter what I have though, I make the best of all of it. For touring, in 2020, my setup is just that. I did some dates with Steve Hauschildt and Telefon Tel Aviv across Texas and the process was so smooth. Same for the brief efforts with LLORA and BATHHOUSE, just weeks ago. So much less to think about, all with the same manipulations and motions.  

5. What would be your dream AV gig?

Currently speaking, the dream is still to tour, to travel and do large scale art installations with my video work. I had things lined up, but those have all fallen in favor of the current pandemic. But that’s honestly not going to hold anyone for long. These things will all still happen, just not soon as I had anticipated. I was truthfully hoping to break into the festival dimension; Mutek, Movement, Sonar, Aurora, as from a live scale, that feels like the next big move, amidst touring through the theaters and dedicated art spaces. I’ve had tastes of all those, but like anyone serious about their craft, I want to further and really make a name for myself, as truly, I don’t know what else to do. 

Find out more about Cinema.AV on his artist page

The post We pick the brains of Cinema.AV on his beautiful video synth work appeared first on Audiovisualcity.

Rencontre avec COBOD : vers l’automatisation de l’impression 3D dans la construction

Par Mélanie R.

Le secteur de la construction a connu une véritable révolution suite à l’émergence d’imprimantes 3D robotisées, capables de concevoir des bâtiments en béton en quelques heures. Beaucoup pensent que les imprimantes 3D béton peuvent créer un bâtiment entier, mais elles […]

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Rencontre avec Gaëlle Seguillon, concept artist de Jurassic World à Aladdin

Par Shadows

Nous avions déjà eu l’occasion de vous présenter les travaux de Gaëlle Seguillon, concept artist qui a eu l’occasion de travailler sur plusieurs grosses productions ces dernières années (Ready Player One, Jurassic World, Aladdin…). Elle vient d’être interviewée par DigitalPainting.School en vidéo :

L’occasion de vous inviter à (re)découvrir ses travaux :

L’article Rencontre avec Gaëlle Seguillon, concept artist de Jurassic World à Aladdin est apparu en premier sur 3DVF.

Selon Gabe Newell, The Matrix n’est pas un rêve si éloigné que cela

Par Gwendal P
itw gabe newell

Dans un entretien avec un journaliste du site américain IGN, Gabe Newell a affirmé que notre réalité pourrait bientôt rejoindre celle du film The Matrix. La réalité virtuelle ne serait qu’à quelques pas d’une telle prouesse.

Nos confrères du site américain IGN ont eu la chance de pouvoir interviewer Gabe Newell, le cofondateur de Valve. Il est ainsi revenu, pendant environ une demi-heure, sur la situation actuelle de son entreprise. Le sujet Half-Life : Alyx a bien entendu été abordé. L’occasion pour ce vétéran de l’industrie du jeu vidéo de donner son avis sur la réalité virtuelle. Il a notamment révélé que d’après lui, la VR pourrait atteindre une forme beaucoup plus avancée dans très peu de temps. « Nous sommes bien plus proches de The Matrix que ce que les gens imaginent », a-t-il déclaré.

Gabe Newell a continué en précisant que cette évolution de la réalité virtuelle ne serait pas exactement comme dans The Matrix. En effet, le film passe complètement à côté des subtilités techniques intéressantes. Il ne parvient pas non plus à bien représenter ce que deviendra notre monde quand l’interface entre cerveaux et ordinateurs se sera démocratisée. Pourtant, cela devrait permettre de créer de nouvelles expériences incroyables pour tous.

Une connexion avec le cortex moteur simple

Le papa de Gordon Freeman est alors entré plus en détail dans les spécificités du cerveau. Il affirme que connecter une interface aux cortex moteur et visuel d’une personne est une manipulation plus facile qu’il n’y paraît. Si pour le moment la technologie n’est pas encore tout à fait au point, Gabe Newell est persuadé que cela sera une immense source d’enseignements. Au fur et à mesure des différentes tentatives, l’on apprendra ce qui fonctionne et ce qui ne fonctionne pas. Cela permettra également d’écarter tout ce qui n’est pas essentiel sur le long terme.

À la question de savoir si ce concept pourrait avoir une interaction avec les jeux vidéo, le patron de Valve a répondu par l’affirmative. Il a même été plus loin en prédisant que les acteurs de l’univers du divertissement sous toutes ses formes qui ne prévoient pas d’utiliser cette technologie peuvent presque déjà mettre les clés sous la porte. S’ils n’y réfléchissent pas maintenant, il est certain que cela fera néanmoins partie de leurs plans dans un futur plus ou moins proche.

Si Gabe Newell n’a fait aucune mention d’un nouvel appareil de réalité virtuelle en préparation chez Valve, ses propos ne laissent cependant guère de place au doute. Quant à savoir quelle forme il adoptera, seul le futur nous le dira.

Cet article Selon Gabe Newell, The Matrix n’est pas un rêve si éloigné que cela a été publié sur Réalité

AM Network, le réseau de fabrication additive développé par Siemens

Par Mélanie R.

L’intégration des technologies d’impression 3D dans la fabrication industrielle s’est considérablement accrue ces dernières années. Malgré cela, de nombreuses entreprises hésitent encore sur le mode de production le plus avantageux et, surtout, sur les mesures à prendre pour adopter ces […]

Appel à témoins : partagez votre expérience avec nos lecteurs

Par Gwendal P
appel à témoins vr

Le Coronavirus s’est abattu sur le monde tel un véritable fléau, obligeant désormais des millions de personnes à rester cloîtrées chez elles. La réalité virtuelle est une des rares applications qui peut profiter de ce confinement. En effet, elle offre des visites de musées, des vidéos à 360° de tous les coins du globe. En revanche, les salles de VR souffrent énormément à cause de ces mesures drastiques. Alors qu’elles étaient en train de fleurir un peu partout, ce bel élan est aussitôt coupé et certaines pourraient ne pas s’en remettre.

C’est pourquoi le site lance aujourd’hui un appel à témoin à tous ceux qui souhaitent s’exprimer et faire part de leur situation. Partagez votre expérience et vos astuces pour ne pas se laisser abattre quand rien ne va plus. 

Si vous souhaitez intervenir, veuillez remplir le formulaire suivant, nous vous répondrons dans les plus courts délais. 

C’est en faisant front ensemble que l’on surmonte les plus grandes crises.

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Cet article Appel à témoins : partagez votre expérience avec nos lecteurs a été publié sur Réalité

Overlap Interview

Par Hayley Cantor

I have been exceptionally lucky to be able to pick Overlap’s Michael Denton’s brains with all of those nitty gritty questions about their career that every visual artist wonders about. How did they get to be where they are? What was the VJ scene like in the nineties? How is their relationship with technology and whose work inspires them? 

Overlap are true veterans and represent original artists on the audiovisual live performance scene, not only have they experienced more changes in performance technology than I’ve had hot dinners, they’ve been up there with some of the most popular artists of our time, performing with the likes of Chemical Brothers and have animated artwork by Damien Hirst.

You have presented your work in some of the most prestigious international galleries around the world, including the Pompidou in Paris, Tate Modern, and the Victoria and Albert Museum as well as done a VJ set with the Chemical Brothers. What is the project that you are most proud of? 

Remixing and VJing The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art was a highlight.

We’re pleased with the editions on SeditionArt. They incorporate a lot of ideas from the past and are also feeding into some future shows.  Musically, Greylight Green  is something that works when you’re in the right mood. As these recent editions highlight, we’ve always been at the more arty end of the Vjing/music industry, and the more musical end of the art world.  The music industry and the fine art worlds attribute value in such different ways. But twenty years ago, we were lucky to stumble into a certain era of EDM culture, it was like the early days of flying’s uncharted freedoms. In Turnmills nightclub in Holborn, I remember one of the guys from Reality Check, (the house VJ and AV  team, for nights, including The Gallery and Trade etc), saying they showed art to thousands of clubbers every week – and they did.  Hopefully for an audience the circling and repeating imagery of VJ-ing done well can create a kind of memory image burn effect – they go home with a ‘memory painting’

Fine art galleries and big projects have not necessarily been the most rewarding – the really interesting moment for us was being at clubs and festivals with a large amount of freedom, developing a  style of imagery and delivery without record companies and DJ Managers controlling what we did. It was genuinely creative and new, yet fulfilling a need. This for any artist is a luxury.

Early on we’d be flown out to Creamfields in Andalucia with Microchunk, or wherever, and literally be immediately on stage with a 50k audience and the DJ, no pre planning or rehearsing, ” 5 mins guys”, maybe an artist logo at the beginning, then mix. 

As Overlap you have experimented with the majority of the audiovisual art formats. Is there one in particular that you enjoy?  

Long VJ sets are a nice journey, in medium sized venues with a few different feeds going into multiple screens and low lighting.  AV sets are always a bit more stressy – as doing the visual/music/sound for maybe 40 mins, feels more contrived/pre planned and edgy.  Multi screens can make things a lot more architectural/sculptural, with 3d projections on objects etc, and simpler more graphic imagery. So a mixture of graphic and more pictorial screens is a nice balance. Again we tend towards a more art bias, whereas a lot of club imagery is a fairly bombastic extension of the lighting show – think rising chevrons.  Equally a very simple installation/projection on a gallery wall can be really satisfying.  For AV sets, good acoustics and smaller venues suit the minimal music we make.

I’m sure you have collaborated and met with many of the world’s most famous audiovisual and new media artists on the scene. Who particularly inspires you?

Loads of things inspire me, from motorcycling to design and architecture. More recently though works/gigs by Ryoichi Kurokawa, Fuse, some of the things AntiVJ have done, Davide Quayola. Nils Frahm, Biosphere, through to more obscure music form France Jobin to gallery based artist like Mat Collishaw. But also painters like Nigel Cooke, with his circuitous multi picture planes that create a pictorial balance that your eye follows round and around – comparable to good VJ mixing.  We were lucky to be part of a talented group of VJs represented by Microchunk in our VJing hey day – unique underground artists. I think we all inspired and motivated each other to push further artistically. Lady Pat and Grand Dame are two of Anna’s favourite, similarly self taught, audiovisual artists.

The art of VJing is a relatively new term for the art of live video mixing. When did you first become aware of the term and how has it changed for you over the years? 

Firstly it was the definitive move away from the pop video, which had been: point camera at people singing the song, illustrate/narrative/advertise – ie. TV.  So the culture of EDM remixing, had the authority to legitimize its visual equivalent and create the context for VJing. It’s a term I’m not overly fond of, but it does put you on the stage side of technician, ie you make and shape content – not to demean the amazing art, that is light mixing, house sound, etc. VJ content is a form of visual serialism, like music about patterns, removing the asymmetry of drama, its infinitely more complex in its potential multi layer/screen applications than linear media, maybe more so than music.

When I was at Chelsea art school, there was Glitch (first time around, VHS crash editing, late 80’s),  video artist lecturers talked derogatorily of ‘club wallpaper’,meaning all things shallow. But I was interested in this form, that had a use and the public liked – unlike so much video art of the era.

The first time I got paid to show images in a bar – also in Holborn, was in 1985.  The fee, one bottle of wine.

The first time I thought about something like VJing was as a very young kid, around the time the Beatles released The White album, in the back of my dad’s car one evening, driving along country roads in Dorset and thinking about ‘films’ that would be like the trees sliding past the windows. Non narrative loop structures – I certainly didn’t know what narrative meant at the time, but I did have this strange certainty of there being a future for this sensory/sensual idea.  The first time I got paid to show images in a bar – also in Holborn, was in 1985.  The fee, one bottle of wine.  Then I showed an AV Album work called  Open at  Megatripolis, Heaven, Charing Cross around 1994.   I met Anna in the late nineties we got invited to do stuff at the ICA and bars in Shoreditch etc.  We formed Overlap and she learned a lot of the Adobe programmes very fast and we started to get paid to VJ, both loving the visual depth, luminosity and surprises that multilayering and keying threw up.

Photo still from Overlap’s project, Lipstick Earth

How would you define the difference between an AV set and a VJ set? Could you describe one of your set ups to us?

People I know who travel the world for major DJ acts are operating in a different world from small AV acts. There’s’ a big difference between doing multi screen VJing, with pre programmed triggered clips via midi, osc etc  and mixing live on the fly, by feel.  Ben Francis who does visuals for Calvin Harris, for example is taking code with BPM info etc, from the CDJ’s, but is also live mixing.  Keeping the audio and imagery separate still seems to be an industry standard. The music driving the imagery, which makes sense in some ways, but is also strangely anachronistic. When we do an AV set we have married imagery to 8 bar loops, some elements are locked with time code if we’re using a separate music source, CDJ’s etc and some not, to make it more organic.  Most AV performers drive Resolume with Ableton or code, or at least lock them. Unusually, we use Resolume a lot for sound. 

Photo courtesy of

AV shows can be done in so many ways. In the end it seems the content and the feel of what you’re doing is probably more important than how you’re doing it.  How much do you want to do live – how much does the audience care how dexterous you are?   DJ’s spend a lot of time dramatically illustrating that they’re turning a mixer knob,  that appears to have the equivalent friction of pulling a ship back up a launching ramp, they haven’t got anything else visually to do. Where as, if you’re doing a multi 4 Bar loop AV set, five layers deep and you’re triggering them live, you’re busy with no time for the high friction mixer antics. 

Recently we’ve been using performance tools like Resolume to create on as well as a performance tool. I tend to pick it up like a guitar and mess around, sometimes its a really useful ‘writing’ instrument too. 

As a Barcelona resident, I can’t help but notice that you once had regular visual slots at Razzmatazz. Tell me more about that! How was the VJ scene in Barcelona back then? How is the scene in the UK these days?

This was VJ-ing with visual specialists/agency Microchunk , who were represented by William Morris, which meant we were well looked after.  There was a core group of artists including Lady Pat, Mischa Ying, Ben Francis, Muthabored, Todd Graft and ourselves and we were lucky to perform and make installations everywhere from Norway’sHove festival, to Glastonbury. In Barcelona, we’d perform two nights, mainly at The Loft, Friday and Saturday from around 11pm till 6.30 in the morning, sometimes just Anna and I, but often other VJ’s. The local VJs were very gracious about us filling their slots.  It was always full on at Razzmatazz, a really intense atmosphere. The club was always packed.We’re not really involved with the UK club scene  at the moment, but friends who work for major acts seem to be far more controlled by a corporate plan.  

You have both lived through a plethora of technological developments throughout your careers, starting with the use of VHS in your installations. What is your relationship with technology? Is it one of love and hate or it is a match made in heaven?

Anna and I are different generations –  before I met Anna, I spent a lot of time blagging my way into analogue beta edit suites in Soho to make material – it was tricky, but looking back people were incredibly kind and helped me realise effecting footage shot on motorcycle trips with a clockwork Bolex.   Anna and I started at the point of very low resolution VJ software – so we used hybrid mixtures of micro chapter DVD loops and Flash loops mixed with V4’s. I like the things that technology makes possible, but get frustrated with the art world tendency to think if you ‘paint ‘ with technology, that you should necessarily be using the very latest tech and trend.  I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary.  Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.

I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary. Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.

I notice that landscapes have been a recurring theme in your work, right up to your most recent project of Transitional Landscapes. What is it about landscapes as a subject that inspires you?

We all project memories and feelings onto our immediate surroundings. Landscape is a good genre to play with the relationship between still and moving imagery, the romantic v the analytical, the unveiling of narrative contrasted by the implicit ambiguities of painting (movies v fine art). 

Mixing trees from around the world is strangely satisfying, they’re overlaying branches having a legitimacy. English copses with New World deserts keyed through wallpaper and fabric’s repeated motifs reference Richard Dadd’s The Fairy Feller’s Master-Stroke’s, heightened stillness, petrified trees and flattened nature,  more tapestry than living environment.  Then we can add other man made impositions, ghosts of utilities, power lines, imagined data paths, architectural plans, wiring diagrams and intimate blinking status LEDs. It seems to suite a  first person view, apart from narrative. 

What would be your advice be to young audiovisual enthusiasts who are keen to develop their careers in the industry?

Like the fine art world there are so many different strands of audiovisual arts. It will keep changing, entertainment will morph.  How and what ‘artists’ do v creatives and ‘technicians’ etc is complicated.  The EDM model was that music was the most important element – but now with performance more of an earner than record sales – maybe the creatives/technicians/, (not the artists)  are the main act.  To further confuse it all,  AV is crossing over with fine art and stage design etc.  So maybe listen to everyone and ignore them all.

Find out more about Overlap on their artist page

The post Overlap Interview appeared first on Audiovisualcity.

#Startup3D : 6K conçoit des poudres dérivées de sources durables pour l’impression 3D

Par Mélanie R.

6K est une jeune entreprise américaine qui s’est spécialisée dans la production de matériaux sous formes de poudres, que ce soit pour la fabrication additive ou pour d’autres procédés de production. Elle a développé un système de plasma à micro-ondes […]

KRAKEN, une machine de fabrication tout-en-un pour accélérer la production

Par Mélanie R.

Il y a quelques mois, nous vous avons présenté les principales caractéristiques du projet Kraken, un système qui combine fabrication soustractive et fabrication additive. La capacité du bras robotique à imprimer des surfaces de 20 mètres carrés et la variété […]

The High-Octane Production of “Guns Akimbo” on a Limited Budget

Par Paula Goldberg

Cinematographer Stefan Ciupek gave us the lowdown on the visual language, lenses, and filming locations behind Guns Akimbo.

3Desserts Graphiques imprime du chocolat sous toutes ses formes

Par Mélanie R.

Alors que les Pays-Bas ouvraient la semaine dernière un premier studio d’impression 3D de chocolat dédié à la production en série, nous avons rencontré cette semaine une jeune pousse française, 3Desserts Graphiques qui a développé une imprimante 3D alimentaire pour […]

How I Play: Satori

Par Ean Golden

When a producer makes the move from DJ to live performer, interesting things happen. In today’s new How I Play video, we’re sharing a behind-the-booth, onstage interview with Satori. In the video, Satori shares a ton of insight into how he’s able to manipulate his performance in real time, reacting to the crowd and the […]

The post How I Play: Satori appeared first on DJ TechTools.

Odisei Music et son saxophone imprimé en 3D

Par Mélanie R.

La fabrication additive touche vraiment tous les secteurs d’activité, la musique compris – la liste des instruments imprimés en 3D commence à être longue, sans compter les applications qui combinent musique et impression 3D. La jeune startup Odisei Music vient […]

Pourquoi L’Oréal a-t-il investi dans la fabrication additive ?

Par Mélanie R.

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 mise sur l’impression 3D pour créer des bijoux personnalisés

Par Mélanie R.

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 […]

MSC Software et l’importance des logiciels de simulation en fabrication additive

Par Mélanie R.

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, […]

#Startup3D : 3DQue Systems et son système d’impression 3D continue

Par Mélanie R.

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, la styliste de l’impression 3D

Par Mélanie R.

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 […]

CELLINK offre aux chercheurs une technologie de bio-impression abordable

Par Mélanie R.

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 […]

Conseils d’experts : comment intégrer la fabrication additive métal dans votre entreprise ?

Par Mélanie R.

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 […]

Quelles sont les ambitions de Marie Langer, nouvelle PDG d’EOS GmbH ?

Par Mélanie R.

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 […]

Comment Lufthansa tire-t-il parti de la fabrication additive pour ses avions ?

Par Mélanie R.

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 […]

#TALK3D : Rencontre avec Benny Buller, CEO de VELO3D

Par Mélanie R.

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 […]

#Startup3D : AdditiveLab et son logiciel de simulation pour la fabrication additive métal

Par Mélanie R.

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 et ses planches de surf éco-responsables imprimées en 3D

Par Mélanie R.

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 […]

La technologie de 3D Potter facilite l’impression 3D d’argile

Par Mélanie R.

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 et 3D Bioprinting Solutions, vers l’impression 3D d’une viande sans abattage

Par Mélanie R.

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 […]

Shooting Video Interviews with Two People at Once

Par Jourdan Aldredge

Plan accordingly, know the usual problems, and be ready to adjust on the fly: A guide to handling two people at once for sit-down video interviews.

Pourquoi GF Machining Solutions a-t-il misé sur la fabrication additive métal ?

Par Mélanie R.

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 […]

Blurring the boundaries between technology and the individual – Exclusive interview with Shoeg.

Par Hayley Cantor

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. 

Shoeg - Oudeis
Image from Shoeg’s project – Oudeis

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. 

Shoeg - skin
Image from Shoeg’s project – Container

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. 

Infiltrate - LEV Matadero
Infiltrate at LEV Matadero, photo by Hayley Cantor

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.

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