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.
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.
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
Born in the heart of the VJ boom in the 90s, after their own artistic experimentation, and Michael’s first ever (what we would call now) VJ gig in 1985, Michael Denton and Anna McCrickard formed Overlap in 1998. They are based in Hastings in the UK. Unlike some VJs, who purely focus on the visual side of the art form, Overlap are a an AV collaborative duo in the purest sense of the concept, who also produce minimalist music in parallel with their exploration of both moving and still image. They’ve also performed at many a festival, forming part of a collective of VJs represented by Microchunk.
Their work takes the form of live audiovisual performances, exhibitions, transitional paintings, installations, VJ sets and even prints, and takes on audiovisual culture from a fine art perspective, which makes their work both fascinating and unique in a wide variety of different contexts.
Overlap started VJ-ing and performing AV sets as regular guests of resident VJs Reality Check at Turnmill’s club (The Gallery, London Calling) in 1998, guesting with Reality Check at The Chemical Brothers’ headline set at Turnmill’s Millenium gig in London’s Docklands. The next decade saw Overlap’s visuals splashed across screens at major international festivals including Creamfields, Andalucia, Electric Picnic Ireland, Glastonbury’s Glade stage, Pete Tong’s Wonderland in Ibiza and Glastonbury’s Glade, as part of the Microchunk visuals boutique. They created visuals for for the Industrial Resolution installation at the first Manchester International Festival: performed live on the largest indoor screen in Europe, accompanying the world’s leading DJs including Carl Cox, Fatboy Slim, Laurent Garnier, Layo, Pete Tong and Sasha. Overlap also played regular VJ slots at Razzmatazz (Loft), Barcelona and Pete Tong’s Wonderland, Eden, Ibiza (Deadmau5, Groove Armada). Overlap were commissioned by Microchunk to animate Damien Hirst artwork for Pete Tong’s Ushuaia at Le Grand Bazaar, Ibiza in 2013.
Overlap also work with the Noise of Art collective as resident VJ-s and moving image artists. Their fine art single screen video works have been screened at the ICA, BFI and Tate Modern. Recent projects include:- a celebration of 100 Years of Electronic Music at the National Portrait Gallery London; Forest Tree limited edition for Sedition Art; audiovisual “painting” installations for the National Trust’s Fenton House and Calke Abbey; opening the Arquiteturas Film Festival in Lisbon with their Places that Dance AV set; short films “Returning” and “Switch” awarded special mentions at the Avanca and EMAF film festivals; an audiovisual performance in the British Ambassador’s Residence in Beijing. Recent art screenings/performances of their works have included Aquatint at Riders on the Mall/ROM, MUSZI, Budapest and Digital Graffiti, Florida, Forest Tree at STRP Biennale at Strijp S in Eindhoven and Cloud Edged at Light Fantastic, House of Nobleman, Frieze.
Perhaps one of the most poignant aspects of their audiovisual artwork is its accessibility and ability to be embraced and engaging in such an extensive mixture of spaces, including performances and installations everywhere from music festivals (Creamfields, Splice festival, Madatac, Fiber, Generate, Big Chill, STRP Biennale); and night clubs (Razzamatazz, Barcelona, Wonderland – Eden, Ibiza), to prestigious galleries (Tate Modern, Pompidou, National Portrait Gallery, the Victoria and Albert Museum), as well as being featured in some important publications on VJ culture, such as Audio – Visual Art and VJ Culture (2006) They even remixed and VJed The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art at London’s BFI.
Their working process involves adding and removing layers, degrees of opportunism and systematised chance, creating generative combinations ranging from slow transitional paintings, to fast flowing AV performances.
Their most recent work includes Transitional Landscape, designed for exhibition and art installation, ‘Rooms’, which explores the relationship between indoors and outdoors, combining and fusing luscious wallpaper motifs with beautiful organic landscape scenes. It juxtaposes man-made life with that of the wonders of the natural world.
Find out more about their work here:
What is your background and how did you get into broadcast sound? I have been in live broadcast television since I was 17 and just about to graduate high school. I knew I wanted to be involved in audio, and at first I wanted to be in music. I wanted to tour with a band ...
#mapping3D #videomapping by #RAIO #2016 #evolution #spheria #audiovisuales #multimedia #foley #moog #ableton #millumin #Estrenolapso #comingsoon #finalista #2018 #raiovisual #raiomusic more info : www.raiovisual.com
Years ago, getting a musical project meant assembling friends at a certain time and place (generally a garage or basement) to play some tunes. At least until the neighbors started complaining about the noise. This has changed greatly in the age of the internet, with numerous online avenues allowing for collaboration no matter where ...
Il y a longtemps, j’avais parlé d’un jeu ZX81 sur vinyle. Et cette fois, je suis tombé sur un programme Atari (8 bits) sur vinyle… mais aussi sur iTunes.
Le programme se trouve sur le vinyle Över Tid Och Rum de Adolphson-Falk. J’ai trouvé ma copie sur Discogs, directement depuis la Suède (pays d’origine du groupe). Je n’ai pas découvert ça seul : je me suis basé sur le travail d’un suédois (Andreas Nilsson), qui a publié les informations et mis en ligne la « ROM ». Vous trouverez ses explications en suédois ou en anglais.- (dans Projects).
Je trouve tout de même intéressant de vous expliquer comment j’ai fait. Premièrement, j’ai utilisé une platine vinyle avec une sortie USB (une Sony PS-LX300, un modèle d’entrée de gamme). Je vous passe les nombreux essais, pour aller à l’essentiel : la partie USB ne permet pas de régler l’amplification, et le son est trop faible pour décoder directement l’ensemble.
Au départ, j’ai essayé de passer par une entrée micro, mais ce n’est pas la solution la meilleure et j’ai eu plus d’erreurs. Après pas mal d’essais, je suis passé par Audacity, et quelques filtres. Une fois les données enregistrées, il faut filtrer les données sous ~3900 Hz et celles au-dessus de ~5350 Hz (filtres passe-haut et passe-bas). La raison ? L’enregistrement des données s’effectue avec un 1 à 5 327 Hz et un 0 à 3 995 Hz. Ensuite, j’ai amplifié et testé. Dans mon cas, j’ai du amplifier à 30 dB pour un résultat valable. Une fois que c’est fait, il faut enregistrer en mono et en WAV.
L’étape suivante, c’est la conversion en
.cas, le format accepté par les émulateurs Atari. J’ai d’abord testé A8CAS, qui a l’avantage de fonctionner sous macOS. Enfin, il faut tout de même compiler les bibliothèques nécessaires, mais ça marche. Mais avec mon enregistrement, il ne décode pas correctement. J’ai donc tenté WAV2CAS. Ce n’est pas très pratique, parce qu’il ne fonctionne pas avec un Windows 64 bits (il doit utiliser des composants 16 bits) mais bien avec un Windows 32 bits. Après un passage dans une machine virtuelle, j’ai donc obtenu mon fichier
.cas. Le programme donne des erreurs, mais ça se lance quand même, donc je suppose qu’il doit essayer de traiter des données qui se trouve à la fin de mon enregistrement.
La, c’est plus compliqué. Je n’ai pas d’Atari 8 bits et je ne connais pas bien la machine. J’ai d’abord essayé sous macOS avec Atari800MacX. Attention, il faut les ROMs. Le problème, c’est que même en émulant un Atari 600XL… ça ne passe pas. La commande
CLOAD ne charge pas correctement. J’ai essayé Rainbow avec le même souci sous macOS, avant de passer à Altirra sous Windows. Avec ce dernier, ça fonctionne. Je peux charger la ROM (commande
CLOAD) puis lancer le programme (
RUN). Il y a des artefacts visuels mais un
Warm Reset corrige le tout.
Donc ça marche, que ce soit avec la version fournie par Andreas Nilsson ou avec la mienne, chargée du vinyle. Cette vidéo montre d’ailleurs que ça doit passer avec un vrai Atari (enfin, je crois, c’est assez flou pour être une copie directe). Assez bizarrement, je n’ai pas les mêmes effets, donc c’est possible que l’émulateur ne fonctionne pas correctement avec ce fichier. En tout cas, j’obtiens ça dans mon émulateur.
La partie amusante, c’est que les données sont disponibles sur iTunes. Vous pouvez aller sur cette page et l’album est disponible sur Apple Music. Ca ne fonctionne qu’en Suède (enfin, en tout cas pas en France) mais ce n’est pas un problème, pour une raison simple. La piste de données dure moins de 30 secondes et donc elle est disponible entièrement en extrait sur le site d’Apple. Il suffit donc d’enregistrer le flux avec Audio Hijack pour obtenir une copie propre. En effectuant juste les mêmes filtres passe-haut et passe-bas, j’ai obtenu un
.wav utilisable avec A8CAS. Le résultat est le même avec les émulateurs, par contre : ça passe avec Altirra, pas avec les autres.
Pour ceux que ça intéresse, l’encodage Atari date de la fin des années 70 et donc ce n’est pas très efficace : on a environ 30 secondes de signal à 600 bauds (600 bits par seconde), donc en gros 1 ko de donnée (en format « CD », mes fichiers font ~3 Mo). On a connu plus efficace, évidemment. Il s’agit juste ici d’une démo et pas d’un jeux, mais ça reste une anecdote intéressante.
Barcelona, March 4-7 2020
MUTEK Barcelona marks 11 clicks around the sun on March 4-7, 2020, with 4 days and nights of live electronic music, audiovisual performances, professional activities and more.
After a decade of explorations and discoveries, the festival is preparing for a new era as a platform for dissemination and innovation in digital creativity with activities that will be developed throughout the year.
Maintaining the global commitment of the MUTEK international network to promote and create synergies with projects focused on diversity, gender equality and empowerment in the creative industry, in 2020, MUTEK.ES puts special emphasis on fostering spaces for artistic and professional formation, through different seminars and artistic residencies that will have their point of exhibition within the frame of the festival in March.
Characterized by its exceptional presentation standards and a curatorial approach that draws equally from international and national talent, always aiming to deliver revelation and discovery to our audiences, MUTEK Barcelona continues to operate in a human-scale, community-minded context.
Explore five methods for filming innovative and creative music videos with real-life examples from hits across genres and decades.
#videomapping #3dmapping #projectionmapping #electronicmusic #foley #millumin #ableton #raio #raiovisual #raiomusic #masquevideomapping +info www.raiovisual.com
Scenography made for @beyond_nights with @julesbouit & @kw.an.za at @transbolyon
BEYOND [Dissidence] - 13/12/19
@morpheusproduction X @thatmeltedguy_
#scenography #scenographie #event #design #stagedesign #party #music #techno #technomusic #deep #mapping #light #lightray #structure #evenementiel #concert #dance #istigkeit #terencefixmer #angelkarel #lyon #clubtransbo #wood #woodstructure #led #millumin #neonlights (at Club Transbo)
London, 2 – 4 April 2020
RE-TEXTURED is a multi-venue, multi-sensory festival for London and the UK.
The festival explores the relationship between experimental electronic music, modernist and industrial architecture and light and visual art, and is brought to you by the team behind Krankbrother.
Krankbrother Director Danny Clancy says: “RE-TEXTURED at Tobacco Dock is our most ambitious show to date. It’s one of the few buildings in London that allows us to fulfill our ambitions across light, sound and visual art, it’s unique structures, rooms and history have inspired us to push the edge a little more.”
RE – TEXTURED
London, Various locations
Bogotà, 13-23 February 2020
Bogotrax 2020 is a matrix. It is the multiple matrix of a mycelium. A constantly expanding network. Its flowers emerge whenever an encounter (between hyphae) happens.
That is the experiment: to interweave a network of partnerships where organizers and public, actors and spectators jointly participate in the production of social space.
Bogotrax Festival has been taking place in Bogotá, Colombia, for 10 years. From 2003 onward, during the month of February. Ten days of parties and workshops; talks, conferences, performances, activities in different locations, street parades, activities in different local prisons, exhibitions, graffiti, “raves”.
All this for free. Collectives and artists from different countries supported the festival with their participation.
The festival was never meant to promote brands nor it was funded by any institutions. The festival rebellious self-managing spirit led it to program the end of its first life cycle. Bogotrax restarted itself with a relevant topic: “Only in case of emergency.”
As Ruffsound, Marc Vincent is a force in Quebec hip hop and global pop. As Vincent Tone, he makes real music for real stories as a top ...
Murcia, May 28 – 30 2020
In recent years we are witnessing a true technological revolution with a global impact in all areas of society, from the various forms of entertainment to education. The technology, in constant change and transformation, marks a rapid pace that shapes our way of seeing the world, a profound reflection on new ways of apprehending reality becoming necessary.
It is undeniable: the music has a leading role in the AV world. This is not a mute revolution. This becomes obvious if we consider the importance of music on mobile devices and communication technologies.
Within this context and following the trail of success of the previous editions, Congreso Internacional Música y Cultura Audiovisual MUCA VII will be held on 21, 22 and 23 January 2020 at the University of Murcia. Same aim of the event ahead: to encourage the knowledge exchange and dissemination among sound and AV professionals and researchers. To be achieved through analysis, reflection and criticism in music and culture of recent decades.
Music and film / Music and television / Music and advertising / Music and video games / Music and Internet / Prosumers and market / Analysis of music in audiovisual culture / Music and technology / Digitalization, globalization and new ways of marketing / Teaching music in audiovisual culture.
Congreso de Musica y Cultura Audiovisual
University of Murcia, Spain
The post MUCA / Conference of Music and Audiovisual Culture appeared first on Audiovisualcity.
DALLAS—Kansas City television station WDAF FOX 4 took advantage of the hometown Chiefs’ presence in this year’s Super Bowl to roll out an inspirational promo celebrating the resilient spirit of its community. Driven by a rap-flavored anthem produced by Stephen Arnold Music, the spot broke during the local broadcast of the Big Game and features ...
The post Kansas City’s WDAF FOX 4 Debuts Image Spot During the Big Game with Custom Song from Stephen Arnold Music appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Ready for a new mapping light show with my new original music written for the Church in Lievin playing this night to Sunday night !!!
Visual Artists : Susie-lou CHETCUTI, Patrick GRANDI, Jules HUVIG @juleshuvig/, Lucille JEANNIN, Loan LE HOANG, Simon LEBON, Hamza MRABET, Aurélien WOJTKO @_aurelien.w/
Music & Sound Design : Geraldine Kwik
Technique & Lights : Aurélien WOJTKO
Place : Église Saint-Amé - LIEVIN - FRANCE .
#church #lightshow #lightart #light #lightinstallation #videomapping #loomprod #originalsountrack #musicforpaintings #mapping #composer #frenchcomposer #musicscore #ambient #composingmusic #sound #sounddesign #art #visual #millumin #madmapper #motiondesign #aftereffects #design #architecturalmapping #projectionmapping #movingimage #digitalartist #night
InMusic is on a roll with product releases this NAMM. Rane DJ is the next brand inside of the company to roll something out: the Rane Seventy mixer. Look, we know the spec sheet already leaked over the weekend and everyone knew this release was coming. What we didn’t know was that Rane teamed up […]
The post The Rane Seventy: a new battle mixer designed to directly compete with the DJM-S9 appeared first on DJ TechTools.
The third act of the triology of Lapsus Festival 2019 welcomed Cuzanne Ciani, a pioneer of sound design and electronic music, pianist and powerful creative mind who opened the way to many other female artists.
Lapsus is the sixth edition and is divided into three special events. After ACT 1 in which the sounds of the Eastern Europe were explored through the collaboration with Unsound Festival in Poland; ACT 2, with multidimensional sounds of Moritz Von Oswald and Pina; and ACT 3, by the title of A Sonic Womb, a journey through the powerful beginnings of female electronic music.
In ACT 3, A Sonic Womb took place in CCCB with the performances of Suzanne Ciani and Eva Geist. Also Philip Sherburne talked with Suzanne Ciani about her life experience in the field and there was a projection “Circle of Light” by Anthony Roland with the soundtrack of Delia Derbyshire and Elsa Stansfield. This edition explored the beginnings of women in electronic music thanks to the immersive sound environment designed by Intorno Labs. In the night, more artists performed at LAUT.
EVA GEIST (Live)
Geist is a Vocalist, Songwriter, Composer, Synthesist and Sound Designer. She invited us through a cinematographic musical journey with peculiar melodies, warm rhythms and atmospheres with space disco – since 2016, Andrea Noce has been buliding recognised and respected work in the electronic music scene, publishing her work on record labels such as Macadam Mambo, Hivern Discs and Elestial Sound.
SUZANNE CIANI (Live)
After 40 years of professional trajectory, she has been nominated five times in Grammy awards, and her work has been important to understand the beginnings of the synth music. In her show at Lapsus she brought an exclusive performance with the modular synthesizer Buchla 200e.
Circle of Light (Projection)
This project is a film in colour of 32 minutes directed by Anthony Roland and developed through the photographic material of Pamela Bone. The soundtrack was signed by Delia Derbyshire and Elsa Stansfield. The composers had ideas that were innovative in their times.
Infinite Waves (Conversation between Suzanne Ciani and Philip Sherburne)
The well-known Philip Sherburne (Pitchfork, The Guardian) interviewed the American producer Suzanne Ciani at CCCB. Both talked about the professional career of Ciani, and of the female on the electronic scene in the 70s until the present day.
After attending ACT 3 of Lapsus Festival, with Audiovisual City, we felt kind of inspired and proud of Suzzane Ciani, a strong and brave woman who fought to work for what she loves doing despite the cultural circumstances of the moment. We also felt proud of Eva Geist, who made us dance and enjoy her incredibly special rhythms. In general, the work of the artists in this edition was impressive.
⭐️ Para esta sexta temporada hemos actualizado muchos de los contenidos del @petitprincepbcn lo cual nos hace muy felices ya que en seis años a nivel tecnológico cambian muchas cosas.
En esta escena en particular (más de 8 minutos!) hemos utilizado el motor en tiempo real Unreal Engine para la animación.
Llevamos una año utilizando esta potente herramienta y aplicándola a los escenarios de diferentes formas con buenos resultados.
For this sixth season of ‘The Little Prince’ we have been updating a lot of the content and luckily in six years technology wise a lot of progress has happened too.
In this particular scene (8+ minutes!) the real time 3D engine @unrealengine has been used for the animation.
We have been using this powerful tool one year now applying it to shows on stage in different ways with great results.
#littleprince #visualscenography #visualist #petitprincep #millumin #unrealengine #unrealengine4 #theatre #musicaltheatre #millumin #millumin3 .
Una producción de @angelllacer_oficial @manuguix @cia_laperla29 (at BARTS)
Label reinvents the epic sound for production with the bold, new album. SANTA MONICA – Universal Production Music today announces the release of Evolution, a groundbreaking new album from epic music label ICON. Featuring original work from ICON co-founder Frederik Wiedmann and other top cinema, trailer and game composers, Evolution redefines the epic genre through ...
Ean is back with another episode of DJ Fundamentals – this time looking specifically at DJ music library organization. Tagging tracks is a great way to make finding great matches easy in the moment of a set. In this episode, Ean shares his tagging techniques. Instead of making hundreds of playlists for each mixing situation, […]
The post Tagging Tracks: Ean’s Organizational System For His DJ Library appeared first on DJ TechTools.
The past week, 5th – 9th November, MIRA FESTIVAL celebrated its 9th Edition and Audiovisual City were present to enjoy the program that featured audiovisual shows, 360-degree experiences in DOME format, installations, workshops and conferences.
This edition rethought the combination of art and technology as tools of protest, to turn thinking into action, and invited us to interfere in a personal transformation to trigger a change in the future. In addition to this ingenious theme, the festival opened a new stage at Fabra i Coats, dedicated to multidimensional sound: the 3D Sound Room by Estrella Galicia.
For the live AV shows, we want to highlight some well-known artists that MIRA festival brought this year. Thursday Sam Shepert (AKA Floating Points) played accompanied by the visuals of Hammill Industries. Friday’s Av highlight was CLARK feat. Evelyn Bencicova and her show of a wide gamma of textures along with his characteristic techno. Alessandro Cortini also produced some emotional content through electronic sounds, with his warm and human visuals. On Saturday Biosphere performed a series of recordings and improvisations captured outdoors on the island of Senja, and Vessel and Pedro Maia presented the dualities of the human condition. But these are just some of the many artists who participated in this edition.
Some of the artists that surprised us at Audiovisual City were, on Friday, the Nihiloxica band, with their intercultural experiment, fusing the indigenous Bugandina percussion with dark European club music. Also, on Saturday, the duet of 700 Bliss, with who you clearly see a relationship with the theme of the festival, sounds and words are embodied in suffering and social alignment in an unfair world. And finally, Curl, on Saturday, where we could see an unexpected turn in the style of the band, showing a previous experimental work. The originality and strength of these artists left us astonished.
We show you some of the magical moments that we captured at the festival.
Fascinated by music, video, photo, and film- I dive into everything regarding audiovisual that interests me or sparks my interest. Same thing.
Social media is amazing, it is a way to connect and speak to people all over the world. One image can go through so many countries. It’s fascinating!
Free music is now available at PremiumBeat. Download your perfect beats today to power up your creative projects. Take your videos further with these beats.
We have been creating visual scenography for theatre, musicals and dance performances with love and passion for the last 15 years -
In our latest showreel you can see excerpts from most recent shows. Give it a look.
🎶 @desertgrup .
#visualscenography #theatre #dance #musicaltheatre #visualarts #visualartists #scenography #millumin #unrealengine4 #stage #stagedesign #showreel2018
The key to a successful podcast is establishing a unique-but-consistent image and tone. Here's how royalty-free music tracks can help.
Berlin, January 24 – February 2 2020
CTM’s 21st edition launches with an announcement of new performances, special projects, and commissioned works.
Combining unique productions, concerts, and club nights with a dense daytime programme of talks, discussions, installations, and an exhibition, CTM 2020 proposes multiple entry points into thinking about this year’s Liminal theme.
Liminal phenomena and states are transitional phases in which a familiar order sees its values and symbols destabilised; norms are suspended or turned on their heads. We find ourselves in ambiguous spaces, somewhere between a past that is no longer valid and an ever-becoming future.
TM 2020 will again play out across some of Berlin’s most standout cultural and nightlife venues. For the first time, the festival hosts special projects at Radialsystem V and an immersive listening series at Silent Green’s Betonhalle, while continuing its close relationship with HAU Hebbel am Ufer, Berghain, Kunstquartier Bethanien, Festsaal Kreuzberg, and SchwuZ. A limited number of Early-bird Festival Passes are available now.
As always, CTM takes place parallel to and in collaboration with transmediale festival. The jointly organised Vorspiel 2020 Open Call is out now. Vorspiel will again bring together a wide range of Berlin-based artists, initiatives, and venues, hosting a city-wide programme of cultural events.
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Yes, here’s another article in the thread of many about the release of macOS Catalina. We decided instead of only revising the previous article, more people might see this manual fix for the loss-of-connection between DJ software and the iTunes replacement, Music. Avid DJ music library management expert MixMasterG (the guy behind the many of […]
The post Update To Catalina? Here’s How To Manually Export Your Music.app As XML appeared first on DJ TechTools.