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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! 

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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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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⁣ ⁣⁣ ⁣#repost @ecmstagram⁣ ⁣__________________⁣ ⁣⁣ ⁣EXO/ENDO...

⁣#repost @ecmstagram⁣
⁣EXO/ENDO from six years ago. Still one of our favorite projects ever and some of the best music we’ve been able to work with from the amazing @andrelizyoung. Haunting, dark, and brooding just like we like it. We got to encase the entire ensemble in pods of scrim and projection while we went down a tunnel, through the trees, into the fire, and through the ash fall. Exothermic and endothermic reactions of sound and light. #productiondesign #projectiondesign #projection #videodesign #destruction #layers #noise #experimental #doom #metal #music #live #liveperformance #calarts #openframeworks #millumin

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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⁣ ⁣⁣ ⁣#repost @mrlupin⁣ ⁣__________________⁣ ⁣⁣ ⁣Great time...

⁣#repost @mrlupin⁣
⁣Great time collaborating with Darren at 101 residency Repost @d_johns_⁣
⁣Recent experiments for solo work #lockdown #visualart #installationart #solodance #performance #monochromatic #scifiart #darrenjohnston #arrayuk. •⁣
⁣Tech : reseaches using #millumin

DPA Microphones’ MMA-A Digital Audio Interface Proves Essential to Work-From-Home Productions

ALLEROED, DENMARK, MAY 14, 2020 — Everything from broadcasts, webinars, classes and interviews to worship sermons, theatrical performances and musical concerts are now being streamed to (and from) living rooms. As a result, production organizers are quickly developing new ways to provide valuable replacements for everyday communication and entertainment. In light of these latest trends, ...

The post DPA Microphones’ MMA-A Digital Audio Interface Proves Essential to Work-From-Home Productions appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

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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L.E.V. Festival

Par : Marco Savo

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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Passer un Yamaha APD-1 du 110 V au 230 V : peut-être possible

Alors, attention : je n’ai pas testé cette astuce, pour une bonne raison : je n’ai qu’un démodulateur AC3-RF et je ne me sens pas de le démonter entièrement pour tester. Mais si vous êtes motivés, il est visiblement possible de forcer un modèle japonais (qui est 110 V / 50-60 Hz) en modèle européen (230 V / 50 Hz).

Le démodulateur AC3-RF le plus courant est l’APD-1 de chez Yamaha. Il existe en plusieurs versions, en fonction du pays : 110 V / 50-60 Hz pour le Japon (oui, le Japon utilise du 50 Hz et du 60 Hz, selon les régions), 110 V / 50 Hz pour les Etats-Unis, 230 V / 50 Hz pour l’Europe, etc. Mais de ce que j’ai compris, en interne ils sont identiques. Certains modèles ont un sélecteur pour choisir la tension – l’appareil ne détecte pas automatiquement comme les équipements modernes -, mais il est a priori possible de passer un. modèle japonais (comme le mien) en modèle européen.

Pas de sélecteur

De ce que je comprends du manuel, et c’est ce que le post explique, BR et BE sont reliés pour du 110 V, RE et BE pour du 230 V. Sur le mien, il y a bien un pont entre BR et BE, et donc il suffirait de le couper et de relier BE et RE pour passer en 230 V. Je ne l’ai pas fait parce que je n’ai que ce modèle là, et que je ne me sens pas de bidouiller. Plus le fait que l’appareil a de toute façon une prise japonaise, donc je devrais quand même passer par un adaptateur. Actuellement, j’ai juste un convertisseur de tension pour ce genre d’appareils, et le démodulateur consomme peu donc ce n’est pas un souci.

Le manuel (inversé)

La documentation du sélecteur

Mon décodeur du du haut

On voit bien le pont entre BE et BR

Si quelqu’un veut tenter, ça m’intéresse. Et si un de vous a un modèle européen, ça m’intéresse de voir comment est câblé le sélecteur. Attention, si vous cassez votre matériel, ce ne sera pas de ma faute. J’explique ce que le manuel semble indiquer, mais je ne suis pas certain à 100 %. Et si vous le faites et que ça fonctionne, ça m’intéresse.



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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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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Surface Book 3 : performances en hausse, design dans la continuité

Si c’est Asus qui a démarré l’aventure des ordinateurs 2-en-1 détachables, c’est bel et bien Microsoft qui en porte le flambeau désormais. Cette troisième version de son portable / tablette donne une bonne idée de ce que le marché est désormais capable de faire en la matière. Et c’est assez impressionnant.

Le Surface Book 3 ne dépaysera pas les acheteurs des précédents modèles, esthétiquement et ergonomiquement Microsoft avait déjà trouvé une formule difficile à parfaire. Le constructeur s’est donc surtout concentré sur les entrailles de l’engin avec une mise à jour majeure de ses composants.

Surface Book 3

On garde donc la fameuse charnière magnétique qui propose une vraie approche du 2-en-1. Le gros point fort du Surface Book 3 comme des modèles précédents, c’est que quand l’objet est assemblé en format portable, c’est un vrai portable. L’ensemble est résistant et se comporte exactement comme une solution classique. En mode tablette, on découvre un engin plus léger qui propose une belle diagonale et une excellente portabilité. Cette dualité assumée et revendiquée permet au produit d’être parfait dans les deux usages. Non pas d’un point de vue logiciel, Windows 10 reste Windows 10 sur une tablette, mais dans leur fonctionnement purement technique.

Surface Book 3

Il est important de comprendre le travail mené par Microsoft avec ce produit. Le Surface Book 3 est un vrai portable qui peut se transformer en tablette. Ce n’est pas une tablette sur laquelle on va rajouter un clavier pour plus de confort de frappe. Cela, c’est le rôle des autres appareils de la gamme comme la nouvelle Surface Go 2 par exemple.

Surface Book 2

Cette mise au point pour annoncer les  vrais changements effectués sur cette machine, à commencer par son autonomie qui devient vraiment spectaculaire. Microsoft annonce une autonomie qui peut désormais atteindre 17 heures 30 pour le 15″ et 15 heures 30 pour le 13.5″. C’est beaucoup et je suppose que cela passe par un protocole particulier n’exploitant évidemment pas à leur maximum les capacités des machines. Mais cela donne de bons espoirs pour un usage mixte de l’engin.

Cette évolution passe également par un énorme coup d’accélérateur sur les performances embarquées. Le Surface Book 3 est disponible en deux diagonales avec un modèle de 13.5″ et un autre en 15″. Les composants sont différents suivant les diagonales avec des processeurs Intel Ice Lake gravés en 10 nanomètres.
Le Surface Book 3 de 13.5″ sera disponible en versions Core i5-1035G7 ou Core i7-1065G7. Le modèle 15″ sera uniquement disponible en Core i7-1065G7. 

Surface Book 3

La partie mémoire et stockage est également différenciée, les 13.5″ seront disponible en 8, 16 et 32 Go de DDR4 à 3733 MHz. Leurs stockages seront uniquement constitués de SSD en 256, 512 ou 1 To. Le modèles 15″ seront disponibles en 16 et 32 Go toujours en DDR4 3733 MHz. Leurs SSD seront identiques même si les modèles US auront droit à des évolutions en 2 To.

L’affichage des 13.5″ reprendra la technologie PixelSense de la marque : on retrouvera donc une belle définition de 3000 x 2000 pixels pour conserver le format 3:2 cher à Microsoft. Cela donne une résolution de 267 points par pouce. L’écran est évidemment tactile avec 10 points de contact simultanés et propose une prise en charge du stylet Microsoft Surface. Le modèle 15″ affichera quand à lui en 3240 x 2160 pixels soit 260 ppp, toujours en 3:2 . L’idée est de disposer d’une véritable tablette de travail d’un côté et d’un portable capable de tout faire, de l’autre. 

Surface Book 3

On retrouvera une connectique classique avec deux ports USB 3.1 Gen2, un port USB 3.1 Gen2 Type-C qui servira d’alimentation et de transport de données. Une prise jack 3.5 mm pour un casque et deux ports Surface Connect magnétiques. Enfin, un lecteur de  cartes SDXC complétera l’équipement. On pourra donc recharger la machine directement avec un adaptateur Surface quelque soit la solution embarquée. Le reste de la machine comporte une webcam arrière de 8 mégapixels autofocus et deux webcams avant. La première en infrarouge pour de la reconnaissance faciale sous Windows Hello. La seconde en 5 mégapixels qui proposera une connexion de visioconférence en 1080P. Des micros longue portée sont également disponibles pour dialoguer ou pour piloter un éventuel assistant vocal. Enfin, un duo de haut parleurs est disponible pour un son intégré en Dolby Atmos.

Les Surface Book 3 seront toutes à la norme Wifi6 et disposeront d’un Bluetooth 5. Les version 15″ embarqueront en plus un module de connexion pour manettes XBox. Toutes proposeront un module TPM 2.0.

Surface Book 3

Microsoft a donc choisi d’installer des solutions signées par Nvidia pour les versions les plus évoluées. La version 13.5″ du Surface Book 3 démarrera avec le chipset Intel Iris Plus intégré à la puce Core i5. La version Core i7 aura droit à une solution GeForce GTX 1650 Max-Q. La version 15″ proposera des puces GeForce GTX 1660 TI Max-Q ou des solution professionnelles Nvidia Quadro RTX.

Surface Book 3

Cet ensemble est d’ailleurs impressionnant au regard des dimensions de l’engin. Le modèle 13.5 pouces mesure de 13 à 23 mm d’épaisseur en version Core i5. Le modèle Core i7 de 15 à 23 mm. La version 15″ fait la même épaisseur de 15-23 mm. Les modèles 13.5″ mesurent 31.2 cm de large pour 23.2 cm de profondeur. Le 15 passe à 34.3 cm sur 25.1 cm.

Avec ces composants mis bout à bout, les Surface Book 3 n’auront pas grand chose à craindre d’un point de vue calcul. Une solution Core i7 + Quadro avec 32 Go de ram et un SSD PCIe NVMe de 1 To est, à priori, à même de venir à bout de tout type de tâches. C’est un point clé de l’offre qui ne se comportera pas comme un sous portable affublé d’une fonction gadget. Microsoft a construit un portable solide tant en performances qu’en usage qui peut en plus se comporter en tablette. Et c’est très différent.

Surface Book 3

Evidemment, le revers de la médaille est un prix élevé. Les engins débuteront à 1799€ pour le modèle le moins cher en 13.5″.  Un prix élevé qui peut s’envoler à 3049€ pour le modèle le plus musclé.

Surface Book 3

Les versions 15 pouces grand public démarreront à 2599€ pour s’étaler jusqu’à 3349€. Ces tarifs ne concernent que les versions GeForce, les modèles Quadro à vocation pro sont disponibles pour quelques centaines d’euros de plus… Les modèles ne seront pas disponibles avant le mois de Juin, les précommandes seront récompensées par un stylet Surface inclus avec les machines. Le Microsoft Surface Dial découvert avec le Surface Studio sera également compatible avec le Surface Book 3.

Surface Book 3 : performances en hausse, design dans la continuité © 2020.

La Surface Go 2 passe à 10.5″ de diagonale et choisi le Core M3

Dans la famille Microsoft, la plus petite tablette était la Surface Go. Un engin de 10″ de diagonale équipée d’un processeur Intel Pentium. Ce coup d’essai de la marque vient d’être transformé avec un second modèle qui ajuste quelque peu les fondamentaux du précédent.

Surface Go 2

La diagonale de la Surface Go 2 évolue ainsi en passant à 10.5″ en réduisant largement les bordures de la tablette. Elle ne se retrouve pas au niveau de celles d’une Surface Pro X mais semblent un peu moins anachroniques sur le marché. Il faut dire qu’en deux ans, car cela fait deux ans que la première Go est sortie, de l’eauctet a coulé sous les ponts et que désormais la totalité du marché a choisi de proposer des bordures ultrafines.

Microsoft n’a cependant pas cédé à toutes les autres modes et conserve une de ses particularités d’affichage. L’écran 10.5″ garde le même ratio 3:2 que les autres solutions de la marque. Sans céder à la mode générale du 16:9. Si la définition est assez classique avec un 1920 x 1280 pixels, la diagonale s’oriente donc dans un usage de consultation plus orienté bureautique que multimédia. La résolution est très correcte pour un engin de ce type, l’écran affiche ainsi 220 points par pouce.

L’autre poste qui évolue grandement est celui du moteur embarqué. Le modèle de base de la Surface Go 2 est toujours un Pentium Gold qui passe au 4425Y. Une puce double coeur et quadruple threads tournant à 1.7 Ghz avec 2 Mo de mémoire cache sur un TDP de 6 watts. Cette puce propose un circuit Intel UHD 615 suffisant pour piloter ce type d’affichage confortablement. Il est accompagné de 4 Go de mémoire vive et 64 Go de stockage eMMC pour un prix de vente annoncé de 399$. Une seconde version en 8/128 Go SSD sera également disponible en version Pentium pour 549$.

Surface Go 2

Mais Microsoft a également choisi de proposer un processeur Intel1 de huitième génération avec un Core m3-8100Y. Une solution un peu plus musclée avec toujours 2 coeurs et 4 Threads mais sur des fréquences oscillant de 1.1 à 3.4 Ghz pour un TDP de 5 Watts. Ici le cache est doublé avec 4 Mo et le circuit graphique est le même. Ce second modèle proposera 8 Go de mémoire vive et 128 Go de stockage SSD pour un prix de 629$. Ces versions en Wifi6 et Bluetooth 5.0 seront accompagnées de modèles 4G équipés uniquement en Core M3. Comptez 729$ pour la version 8/128 Go SSD et 879$ pour un modèle 8/256 Go SSD. A noter que l’ensemble des Surface Go 2 disposent d’un lecteur de cartes MicroSDXC rapide pour étendre facilement le stockage interne qui sera, quant  à lui, impossible à modifier. 

Deux webcams classiques seront disponibles avec un modèle 5 MP en avant et un 8 MP en arrière. Un double microphone sera présent ainsi qu’une solution de haut parleurs stéréo Dolby Audio Premium. Les tablettes mesureront 24.5 cm de large pur 17.5 cm de haut et 8.3 mm d’épaisseur. Leur poids sera de 544 grammes pour la version Wifi et 553 grammes pour les modèles 4G.

Des tarifs qui ne prennent pas en compte les protections “Cover” dédiées qui seront vendues 99$. Les accessoires de Surface Go seront compatibles avec la Surface Go 2 qui reprend le même connecteur que la gamme précédente. Microsoft profitant de l’occasion présentée par cette période trouble pour proposer un nouvel accessoire à sa panoplie avec un petit micro à brancher sur le port USB Type-C de la tablette. Un ajout sympathique pour améliorer votre relation vidéo-projetée.

Dernière évolution notable, l’autonomie de l’engin qui passe désormais à 10 heures d’usage. Un batterie plus imposante et une baisse globale de la consommation de la machine permettant d’arriver à ce score.

La gamme de Surface Go 2 est attendue à partir du 12 Mai prochain en France et dans le reste de l’Europe. Une date de sortie qui semble suivre un planning établi de longue date, la situation actuelle n’étant globalement pas propice à la commercialisation de produits pensés avant tout pour la… mobilité.

La Surface Go 2 passe à 10.5″ de diagonale et choisi le Core M3 © 2020.


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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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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Densitron introduces new UReady Control Surfaces

Kent, UK, 22 April 2020 – Densitron, a creator of HMI technologies and a global leader in display, monitor, and embedded computing solutions today announced the addition of three new models to its acclaimed UReady 2RU Control Surface range. The UReady 2RU display range are large, high-resolution control surfaces that provide a comfortable, wide-angle viewing experience ...

The post Densitron introduces new UReady Control Surfaces appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News. – Network and invisible systems of control – Network and invisible systems of control
An exploratory project into networks' ability to guide movement through physical space - the name concatenates three popular digital services which perform acts of choreography on a mass scale.

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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KAZU “Come Behind Me, So Good!” – Music video by Daito Manabe + Kenichiro Shimizu

KAZU “Come Behind Me, So Good!” – Music video by Daito Manabe + Kenichiro Shimizu
A collaboration between Daito Manabe (Rhizomatiks) and Kenichiro Shimizu (PELE) for Kazu Makino, 'Come Behind Me, So Good!' music video combines photogrammetry and mixed reality to create a seamless dream-like landscape, invigorated by Elevenplay performance.

Creativity in Quarantine by Boris Chimp 504

Time in quarantine seems to have developed into a huge focus on creative minds, with more online festivals and artistic projects than you can shake a stick at. At Audiovisual City, we’ve been taking advantage of the time to network with artists and discover more projects than ever. We got in touch with Miguel and Rodrigo AKA Boris Chimp 504 through the audiovisual network #supportvisualists, and were particularly keen to learn more about their experiences, experimentations and creations during the quarantine so far…

1. You guys are based in Portugal. How is the situation there at the moment and how have you been affected professionally, as audiovisual artists?

We had some shows and projects cancelled or postponed, not only with Boris Chimp 504 as with other parallel projects. In the case of Boris Chimp 504 we started presenting a new AV Show – Vanishing Quasars – last September and had some nice shows in the end of 2019 Electro Alternative (Toulouse), Fotonica (Roma), Criatek (Aveiro), 948 Merkatua (Pamplona) and we were hoping to tour the show around in 2020. But now with these situation, everything is on standby, and we are unsure about when we’ll be able to get back on stage.
R: In my particular case I also teach at the university (and are running the classes on videoconference), so I am able to have a fixed income. But many Portuguese artists/technicians/AV/…. who work as freelancers or project based in the cultural, events, music and AV scene are struggling as everything has stopped right now, and many are left with zero income for an unpredictable amount of time.
M: Luckily I have some savings (ah ah) and the government gives some financial help to “independent workers” [autónomos in Spanish] but I’m still working (at a much lower rhythm) on projects that hopefully will happen when this situation ends.

2. As an audiovisual collective, you usually collaborate together in a physical space. How has your way of working changed in the current situation?

In our case, our way of working has not changed much, as we live in different cities (Porto, Faro). So working remotely is our normal way of working: making video calls, changing emails with ideas, sending audio/video files back and forth, etc… The project started when we were both living in Barcelona, and then we were working in the same physical space and developed some nice working and communication skills between us. When eventually we came back to our hometowns, we managed to change that on a virtual basis, although we frequently travel between Faro and Porto, and also so every time we have any kind of presentation we use that time fully for rehearsing, test stuff, etc… Right now it looks like we won’t be travelling soon, so this gives us more time to work on audiovisual content, than when we are touring.

“Boris has been travelling through deep space, crossing interstellar clouds of dust, star clusters and infinite planetary systems. It is not clear where he is now in the space-time continuum, his last transmission with Vladivostok Space Center was the following set of AV explorations from the deep space.” 

3. What things have you learned as a result of the quarantine and what would be your message to other AV artists around the world about how to manage the situation in order to prepare for the future?

R: In the beginning I thought that I would be super-productive during these days, and spend days coding and creating visuals, learning new stuff, but in fact it is super difficult to concentrate, as I am constantly checking the Covid19-news social media etc. So my artistic productivity is really low. Also I ended spending even more time in front of the computer, which is not good, as after some hours I start to get dizzy, tired and without patience to create anything. On the other hand I have been really enjoying cooking, speeding time in the kitchen and try new dishes (maybe because I am not looking at screens.). So my advices would be: low your productivity expectations, avoid check the news all the time (maybe only 1 time a day to keep track of the situation). And manage your screen time, avoid spend all day in front of the computer.

M: In my case I have a small toddler home to keep me busy, so soon I realised it would be much more difficult to work (at home) than before. After accepting the facts, I work with a different pace now, enjoy time with my family and try to watch the minimum news possible about Covid-19. I’m still aware and not disconnected of all around but I think it’s wise to try to keep a “safety distance” from getting overwhelmed. I would say that more than trying this moment to work more (and get stressed about it), maybe this is a time to slow down and accept it. Sooner or later we’ll all gonna go back to crazy schedules so we better enjoy while we can.

To find out more about Boris Chimp 504, see their artist page

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Light Move Festival Open Call 2020

Par : Marco Savo


The international Call for Concepts for the 10th edition of „Festival of Kinetic Art of Light” Light.Move.Festival. is still open for submission!

LMF is looking for the artistic works that will unconventionally change the existing space of the city. Large-format projections on facades of urban buildings, light installations or interdisciplinary projects.

Present your work in an open urban space to hundreds of thousands of visitors of the festival of lights in Łódź!

The theme of 10th Light.Move.Festival. is: FUTURE

The call is divided into three categories:

  1. Large-scale projections (2D/3D mapping, animation, light shows)
  2. Art in public spaces (light installations, interactive projects, performing arts)
  3. Debut/Experiment


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Par : Marco Savo

Pfadfinderei [fɑ:d’fɪndɜ:raɪ] is a Berlin-based design and motion graphics studio specializing in creative services for stage entertainment, large-format media installations, tradeshows and events. 

Going beyond screen work, they apply innovative ideas to fusing light, video and spatial design. Pfadfinderei also sport a hot roster of patented fonts and design publications.

Founded in 1998 in Berlin, Pfadfinderei started as a design studio focused on print, fonts and logos designs. The name translates as ‘pathfinders’ or ‘boy scouts’ in German and refers to the studio’s initial work with vector graphics. To this day, vectors and a reductionist approach to creativity are their hallmark and signature style. 

Pfadfinderei aim to produce timeless original design ideas and apply their creative hearts and minds to any and all of their work. Always.

In 2000 the studio added motion content and installations to its repertoire and soon found itself at the heart of the vibrant Berlin electronic music and nightlife scene. Through countless collaborations with leading Berlin clubs and talent, the Pfadfinderei crew became an integral part of the mix.

From sharing stages worldwide with the top tier of electronic musicians to crafting bespoke spatial concepts for an eclectic variety of clients, Pfadfinderei are innovators of interactive media scenography and a Berlin success story.



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Boris Chimp 504

Boris Chimp 504 – Miguel Neto (Sound) and Rodrigo Carvalho (Visuals & Interactive Systems) – tells the tale of Boris 504,  a chimpanzee sent to the moon by the soviets in 1969 getting stuck in space forever. Since then he has been exploring the space-time continuum, jumping between several dimensions of the universe. With this starting point, Miguel & Rodrigo have been exploring the relation between sound & image since 2010 mixing techno, psychedelia and noise, along with audio-reactive visuals generated in real time, creating an immersive voyage strongly influenced by science fiction, interspersing with the most current scientific discoveries and merging reality and fiction into a narrative of its own.

Boris Chimp 504 has presented both av performance & interactive installations on festivals such as Sonar (Barcelona), Mutek.Es (Barcelona), ADAF (Athens), BAM (Liège), ECHO (Dubai), Stereolux (Nantes),  Iminente (Lisbon) among many others.

Feature image and hero image photo credit: Ariel Martini, for Sònar 2017

Vanishing Quasars | AV Live (2019- …)

Multiverse | AV Live (2016 – 2018)

Future Sound of [ ] | AV Interactive Installation 

InterWorlds | AV Installation 



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