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Modulo Pi lance une plateforme eShop

Par : admin

Modulo Pi lance une boutique en ligne pour faciliter l’accès à sa technologie. Cette plateforme propose un dongle, des licences logiciel et d’autres outils pour faciliter la réalisation de projets. Lire la suite

L’article Modulo Pi lance une plateforme eShop est apparu en premier sur SoundLightUp..

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 audio visual 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 ICA Dans Amsterdam that looks into the rituals of dancing and masking in times of social distancing. The audiovisual event l 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 courtest 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. That’s why I want to explore this space with new media artists”

– Bogomir Doringer

Some highlights come in the form of Famous New Media Artist Jeremy Bailey who wants you to join his Augmented Reality Makeover Party where step-by-step you can learn how to perfect your own Augmented Reality (AR) digital mask and alter ego. Transgress and queer-up your identity, become a drag unicorn or whatever else you can imagine! 

BODY (UN)MUTE
Jeremy Bailey: Augmented Reality Makeover Party

Rosa Menkman, an art theorist and visual artist specialising in glitch art and resolution theory, delivers a talk followed by a screening of 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 courtest of BODY (UN)MUTE: Rosa Menkman performing Pique Nique pour les Inconnues The CHORUS VERSION

Live performance comes in the form of Keren Rosenberg and Nicola Cavalazzi acting out a dialogue between Amsterdam and London. 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 courtest of BODY (UN)MUTE: Keren Rosenberg performing Emotional Porn – Exhibition of the Self

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 ICA Dans Amsterdam
Online Tickets available through the event website.


Website

The post BODY (UN)MUTE: 28–29 May 2020 ONLINE appeared first on Audiovisualcity.

Cynergie Sonorisation Live confirme ses commandes Robe et d&b

Par : admin

En dépit des conséquences dramatiques du Covid-19 sur l’activité de prestation technique, Laurent Ghys, directeur technique de Cynergie Sonorisation Live a validé ses commandes. Lire la suite

L’article Cynergie Sonorisation Live confirme ses commandes Robe et d&b est apparu en premier sur SoundLightUp..

MEDUSA LAB

Par : Marco Savo

MEDUSA LAB is a company specialized in the development of creative concepts applied to arts, entertainment and communication to create unique experiences through technological innovation.

The Mexican company is formed by audiovisual artists developing sensorial experiences through interactive and immersive installations, videomapping, Virtual Reality, Augmented Reality and 360 Video. They combine digital media with other artistic disciplines such as music, dance, theatre and performance.

Medusa Lab took part of many national and international event such as Venice Biennale of Architecture 2014, Mediaxion, Live Performers Meeting and Circuito Electrovisiones.

Contact

Website

Facebook | Twitter | Instagram | Vimeo | Youtube

The post MEDUSA LAB appeared first on Audiovisualcity.

Philippe Sadoughi, directeur des ventes Schoeps en France

Par : admin

Philippe Sadoughi vient d’être nommé directeur des ventes pour la France de Schoeps GmbH. Il apporte à ce poste ses 38 années d'expérience de la distribution, du marketing et des ventes dans l'industrie audio professionnelle. Lire la suite

L’article Philippe Sadoughi, directeur des ventes Schoeps en France est apparu en premier sur SoundLightUp..

Le système JBL VTX-A8 en webinar avec Bellote le jeudi 4 Juin

Par : admin

Freevox vous invite à découvrir le système VTX-A8 de JBL depuis votre bureau en participant à un webinar entièrement dédié et qui sera animé par Bellote. Laurent Delenclos quoi. Tout sur l'acoustique, la mécanique, l'exploitation et le calage d'un très bon produit. Lire la suite

L’article Le système JBL VTX-A8 en webinar avec Bellote le jeudi 4 Juin est apparu en premier sur SoundLightUp..

Le Khamsin-S d’Ayrton, une révélation pour Mika

Par : admin

Pour la tournée de Mika, “My Name is Michael Holbrook”, interrompue en raison de la crise du Covid-19, Vince Foster a utilisé 121 Khamsin-S en éclairage principal et une trentaine de MagicBlade-FX Ayrton. Lire la suite

L’article Le Khamsin-S d’Ayrton, une révélation pour Mika est apparu en premier sur SoundLightUp..

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.

Contact

Website

Facebook | Twitter | Youtube | Instagram

The post MUTEK SF: NEXUS Experience appeared first on Audiovisualcity.

Robert Juliat Oz et Roxie2 dans les théâtres de Milwaukee

Par : admin

Studio Gear a fourni 4 poursuites de 300 W à leds Robert Juliat Roxie2 à la Shorewood High School et une poursuite de 600 W à leds Oz au Milwaukee Repertory Theatre. Lire la suite

L’article Robert Juliat Oz et Roxie2 dans les théâtres de Milwaukee est apparu en premier sur SoundLightUp..

Samsung confirme le Galaxy Book S sous Intel Lakefield

Ce Galaxy Book S Intel n’a pas de prix ni de date de sortie, il est apparu subitement sur le site canadien de Samsung. Ce n’est, à vrai dire, pas une surprise puisque Intel avait vendu la mèche lors de la présentation de ses solutions Lakefield. Mais cela ne fait que confirmer le faible appétit du marché pour les version ARM des solutions Windows.


Galaxy Book S
Le Galaxy Book S est sorti sous Snapdragon 8cx en début d’année après un petit retard à l’allumage puisqu’il était prévu pour Septembre. La machine n’a pas eu droit à une énorme distribution et n’a, par exemple, pas atteint la France. Lorsque cette nouvelle d’une commercialisation outre atlantique est arrivée jusqu’à mes oreilles, j’ai interrogé plusieurs contacts chez les revendeurs français comme dans la grande distribution. La réponse à ma question a alors été unanime. Que Samsung le propose ou non en France, de toutes façons, personne  ne voulait le stocker et le vendre.

Galaxy Book S

Le chat n’est plus seulement échaudé par les désastreuses aventures précédentes de Windows sous ARM, il souffre le martyr et panse encore des brûlures graves. Les revendeurs ne veulent plus entendre parler de ces solutions “avant tout décevantes” des constructeurs m’a dit un de ces acteurs. Le problème étant que dans la VPC, le taux de retour de ces machines est catastrophique. Tellement que cela en fait un une ligne de pertes dans le bilan des ventes au lieu d’être une ligne de bénéfices.

Bref, le Galaxy Book S Qualcomm est sorti en Amérique du Nord. Où il n’a pas connu grande gloire commerciale apparemment malgré des tests vantant ses deux principales qualités : Une autonomie de chameau et une connectivité 4G. 

Galaxy Book S

Et voilà donc que le Galaxy Book S Intel apparaît sur le site de Samsung. On le découvre équipé d’une puce Intel Lakefield Corei5-L16G7, une solution très particulière construite avec la technologie Foveros du fondeur. Cette solution associe quatre cœurs Intel Atom Tremont et un cinquième coeur Sunny Cove de même architecture que les Ice Lake de dixième génération.
Loin d’être bancale, cette idée de mixer les puces est en réalité très proche de ce que propose ARM avec ses solutions big.LITTLE. On utilise les “petits” coeurs peu gourmands pour les tâches légères, en solo ou en groupe et en variant fortement leurs fréquences. Le “gros” coeur n’est, quant à lui, activé que pour les tâches les plus lourdes pour éviter de plomber l’autonomie de l’engin. En cas de demande très forte, les cinq coeurs peuvent être mis à contribution en même temps. C’est donc une technologie intéressante pour un engin ultramobile comme ce Galaxy Book S. Il ne proposera peut être pas la même autonomie que son grand frère en Qualcomm mais pourra lancer tous les programmes Windows rapidement et sans émulation. Une différence notable qui rendra la machine beaucoup plus efficaces pour les programmes les plus complexes.

Samsung

Le jeu des pas beaucoup d’erreurs

Les éléments communs aux deux engins sont nombreux. On retrouve le même écran de 13.3″ en FullHD tactile avec une dalle IPS. 8 Go de mémoire vive DDR4 et 256 Go de stockage de type eUFS. Des composants équivalents à la machine sous Snapdragon. On retrouve un Wifi6 et du Bluetooth 5.0, le modèle ARM est en Wifi5 et Bluetooth 5.2 avec en prime, donc, un modem 4G LTE.

Galaxy Book SGalaxy Book S

Pour le reste, c’est équivalent, même connectique minimaliste avec 2 ports USB 3.1 Type-C, un lecteur de cartes MicroSDXC et  un jack audio 3.5 mm combo. La même batterie 42 Wh, la même webcam 1 mégapixel accompagnée d’un micro et de 4 hauts parleurs 1.21 Watts signés AKG compatibles Dolby Audio. Le clavier chiclet rétro éclairé est identique également. Les deux engins font la même taille avec 30.52 cm de large et 20.32 cm de profondeur pour 1.18 cm d’épaisseur. La version Intel est plus légère de 10 grammes à 0.95 Kg, probablement à cause de l’absence de solution 4G embarquée. On ne connait pas le prix ni l’autonomie du nouveau modèle, la version Snapdragon est, quant à elle, proposée à 1000$ aux US.

Source : NotebookCheck

Samsung confirme le Galaxy Book S sous Intel Lakefield © MiniMachines.net. 2020.

Delight Lab

Par : Marco Savo

Delight Lab is an audiovisual design and experimentation studio pivoting around the concepts of video, light and space.

Established in 2009, covering a variety of projects such as large-scale videomapping projections on architecture, museology audiovisual installations, audiovisual stage design for performing arts, audiovisual content for commercial events, and audio-reactive visuals for live shows among other things.

The origin of Delight Lab goes back when two brothers decided to make projects together at the university: Germán (Design) and Andrea (Art and Aesthetics).

Both audiovisual artists had developed investigations and experimentation with light, the phantasmagoria, the video-projection and the intervention of spaces. All different experiments culminated in a projection mapping on the facade of The Contemporary Art museum of Santiago.

This projection realized in January, 2009 was one of the first mapping projections in Chile. This milestone opened the way to further investigation, artistic and technological experimentation, interdisciplinary exchange and cultural management. These values are still present in every project carried out by the duo.

Contact

Website

Facebook | Twitter | Vimeo | Instagram

The post Delight Lab appeared first on Audiovisualcity.

L’écran LED des NME Awards dopé par Brompton Technology

Par : admin

Le plus grand écran leds à ce jour, installé à l’O2 Brixton Academy pour les NME Awards, réunissait 158 panneaux ROE pilotés par Brompton. Lire la suite

L’article L’écran LED des NME Awards dopé par Brompton Technology est apparu en premier sur SoundLightUp..

Yamaha dévoile RIVAGE PM5, PM3 et deux nouveaux moteurs

Par : admin

La surprise est de taille. Yamaha complète sa gamme de consoles RIVAGE PM en créant un véritable écosystème de mélange et de transport du signal avec deux nouvelles surfaces, PM5 et PM3, et deux nouveaux moteurs, le DSP-RX et le plus puissant DSP-RX-EX. Lire la suite

L’article Yamaha dévoile RIVAGE PM5, PM3 et deux nouveaux moteurs est apparu en premier sur SoundLightUp..

SubtitleNEXT chosen by University of Warsaw for live subtitling courses –

Par : RadianceC

Copyright University of Warsaw   20 May 2020, Warsaw, Poland  – IABM-member PBT EU is pleased to confirm that the Department of Interpreting Studies and Audio-visual Translation (ISAT), as part of the University of Warsaw’s Institute of Applied Linguistics – selected SubtitleNEXT for their subtitling courses. The Institute of Applied Linguists at the University of ...

The post SubtitleNEXT chosen by University of Warsaw for live subtitling courses – appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Calrec provides online demonstrations of Assist UI for virtual mixing

Par : Jump

Hebden Bridge, 20ththMay 2020— Expanding upon its online demonstration offers, Calrec is hosting virtual demonstrations of its Assist UI, a browser-based virtual console environment with multiple versions available for a variety of Calrec technologies. Calrec’s Assist Web UI provides users with a virtual desk, available on any device running Chrome as a browser, wherever in ...

The post Calrec provides online demonstrations of Assist UI for virtual mixing appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.

Les Robe Esprite éclairent une Famille en Or

Par : admin

Les premières éditions sud-africaines et ghanéennes de l’émission ultra-populaire “Une Famille en Or” marquent les débuts de l’Esprite Robe sur les plateaux de télévision africains.
Lire la suite

L’article Les Robe Esprite éclairent une Famille en Or est apparu en premier sur SoundLightUp..

Arthur s’empare du trône !

Par : admin

Robert Juliat dévoile Arthur, la nouvelle poursuite à LED longue portée, dont le moteur de 800 W est capable de 2000 lux d’éclairement à une distance de 40 m et 29 000 lm de flux. Lire la suite

L’article Arthur s’empare du trône ! est apparu en premier sur SoundLightUp..

AVCity interviews Weirdcore

Par : Marco Savo

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

Hi guys! Thank you for your questions and your interest in my work. Let’s get started! Here my main influences:

In the 80s: whilst growing up in France, I was very inspired by the vast amount of Japanese anime on TV, especially the Cobra series (funny that it was just on kids TV back then in France, where it would be rated 12 or 15 here in UK now) and films like Videodrome, Nightmare on Elm Street, Evil Dead 2, 2001, The Thing, Altered States, Blazing Saddles, Monty Python films and such like.

Weirdcore_Audiovisual_Artist_Interview1

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

I was massively into MTV’s Aeon Flux series and non verbal films like Baraka, Koyananskatsti, Atlantis and such like. The Day Today  / Brass eye have been quite important as well in terms of absurdity and “OTT-ness”, especially the Brass eye Infographics. Then in late 90’s & early 00s once I moved to London I was massively into Ryoji Ikeda / Dumb Type / Semi-conductor Films / Ukawa.

In terms of key experiences, I’d say it was seeing Daft Punk live multiple times in the mid 90’s & their Audiovisual show in the 1997 tour. That was definitely the main experiences that pushed me to do what I do in the audiovisual world.

It was like a “smack in the face”. So bold, minimal and sync-ed to the music, it totally blew me away. I remember thinking back then, I wanted to blow people away in the same way someday.

  • Weirdcore_Audiovisual_Artist_Interview9

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

Good question, that I’m not sure how to answer as I don’t really think about it in that way. I’d say I very much differentiate my live & studio work. To me, my live visuals are technically made in similar ways to how my friends make music.

I position myself in the same category as lighting/laser designers, in a sense that I’m there merely complementing/enhancing the audio experience. As in my studio work I very much try to recreate the kinda vibe of an anime intro or 80s music video, which in my opinion were far more entertaining. For me, it’s all about visual impact and entertaining the audience.

  • Weirdcore_Audiovisual_Artist_Interview2

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

This is a tricky question for me, as I find it hard to categorize anything I see on my computer screen or at a party as art. For me it’s more like graphics or entertainment. Call me old fashioned but for it to be Art is has to be in an art context (whatever that is), and as my work isn’t in galleries or such like (yet) i don’t really consider myself as an artist.

Actually I find the words art/artists are used way too sparingly in this day and age, so I’m not really sure as to where I fit in all this. I’d rather not think about it and just carry on doing my thing & let other people define me as they see fit…

  • Weirdcore_Audiovisual_Artist_Interview5
  • Weirdcore_Audiovisual_Artist_Interview6

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

I’m very much into specific/custom made/location-based designs. My ideas tend to be finding a way to best fit the “where” and “what”. My concepts are very driven by discussions (or lack of) with the artist/clients, which is why my work tends to vary in style (or quality, if the client/artist has too little input or dictates too much)

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

Firstly I figure the possibilities and limitations and work within those boundaries, then I discuss with artist/client to figure a rough direction to aim for, it then it generally snowballs from there.

I generally try to deliver what the artist/client & target audience wants, but not necessarily what they expect, so I tend to avoid the obvious options.

I don’t think I approach a project that differently depending on what genre of music it is. I just try and do whatever feels right for that category of music, BUT the workflow is vastly different depending of the type of artists they are.

Some artist are way more approachable than others regardless their music genres and when I can bounce ideas back and forth with them that is when I can go deep into what they truly want and get the best results. I can’t say the same when there’s a sea of management/label/producers between me and the artist.

It’s fair to the results are far more fruitful when I work with artists who don’t take themselves too seriously as I’m not a yes-man nor my specialty is making people like prim & proper.

READ MORE ABOUT THE AUDIOVISUAL ARTIST

The post AVCity interviews Weirdcore appeared first on Audiovisualcity.

Accès à la formation : mesures exceptionnelles pour les intermittents du spectacle

Par : admin

Dans la période exceptionnelle de crise sanitaire qui nous im-pacte, l’AFDAS met en place des mesures exceptionnelles pour soutenir et favo-riser l’accès à la formation des intermittents du spectacle. Lire la suite

L’article Accès à la formation : mesures exceptionnelles pour les intermittents du spectacle est apparu en premier sur SoundLightUp..

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.

READ MORE AND APPLY

The post ADAF 2020 – Call for Entries appeared first on Audiovisualcity.

Goosera, la formation réseau certifiante

Par : admin

La première, toute première session de formation réseau Goosera AVNT-1 a été un véritable succès. Les stagiaires ont pu accéder à de nouvelles connaissances et les valider par la pratique. Avec Fabrice Gosnet, ils ont acquis une méthodologie de travail. Lire la suite

L’article Goosera, la formation réseau certifiante est apparu en premier sur SoundLightUp..

Murphy utilise une ChamSys pour le “Covid-19 World Tour”

Par : admin

On dit que l’humour peut faire toute la différence et c’est ce qu’a fait Nicolas “Murph” Murphy avec son “Covid-19 World Tour”. Pour cela il a utilisé la console ChamSys MQ500 Stadium. Lire la suite

L’article Murphy utilise une ChamSys pour le “Covid-19 World Tour” est apparu en premier sur SoundLightUp..

Astera participe à l’approvisionnement de masques

Par : admin

Le fabricant d'éclairage LED Astera a organisé son usine de 10 000 mètres carrés à Shenzhen, en Chine, ainsi que son personnel pour fournir des équipements de protection individuelle (EPI) essentiels, y compris des masques. Lire la suite

L’article Astera participe à l’approvisionnement de masques est apparu en premier sur SoundLightUp..

Illuart Festival – Call for Entries

Par : Marco Savo

DEADLINE: June 30 2020

EVENT: 13 November – 8 December 2020

The ILLUART FESTIVAL is looking for video artists!

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

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

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

READ MORE AND APPLY

The post Illuart Festival – Call for Entries appeared first on Audiovisualcity.

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




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⁣#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. •⁣
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⁣Tech : reseaches using #millumin
https://www.instagram.com/p/CANXVEnJNEp/?igshid=1qx28ezd8a53p

d&b, Harman, Luminex, Peavey et Powersoft certifiés EN 54-16

Par : admin

Cinq fabricants audio professionnels de premier plan ont réalisé la toute première solution d'alarme vocale multifabricants entièrement conforme à la norme EN 54-16 sous l'égide de PAVA Facilities. Lire la suite

L’article d&b, Harman, Luminex, Peavey et Powersoft certifiés EN 54-16 est apparu en premier sur SoundLightUp..

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