A freelance audio engineer (A1) for Dome Productions in Canada, John Hunterfirst discovered his passion for audio with live music. Eventually, his path led him to sports and he (in normal times) mixes every Toronto Raptors home game on TSN and Sportsnet and has travelled with the production team to work every playoff game, including ...
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The 2020 year theme reflects upon our primitive status in the foundations of the new hyper-informational world, where the data-flux is absorbing the entire existence reaching the status of God.
Is technology serving us or we are serving the data-totem by providing our more sensible information, giving up our privacy for a greater good?
Algorithms, already present everywhere in the digital realm, are reading us better than ourselves, better than our friends and siblings and in the name of optimization of our virtual experience, we are gradually letting them make decisions for us, filter our perceptions predict our behavior, our bio metrics, our emotions.
All manifestations of culture can now be experienced on a digitized basis, translated to a language (code, DNA) and stored for everyone who possess it to experience regardless the circumstances. Markets and Money are transfiguring into intangible algorithmic byproducts. Everything to serve the information flow.
The post ATHENS DIGITAL ARTS FESTIVAL: 10 July – 10 September 2020 ONLINE appeared first on Audiovisualcity.
Valentin Ambrosini, Olivier Boudet, Baptiste Collay, Christine Cyr, Cyril Desoubrie et Augustin Pelisson dévoilent leur court de fin d’études à Isart Digital : The Light Bringer.
Après avoir été rejeté d’une taverne, un nain va s’enfoncer dans la forêt accompagné de sa lanterne qui faiblit…Qui faiblit jusqu’à s’éteindre et le laisser seul avec l’obscurité. Il fera alors une surprenante rencontre.
L’article The Light Bringer : rencontre mystérieuse au fond des bois est apparu en premier sur 3DVF.
Weta Digital annonce le lancement de Weta Animated, nouvelle unité centrée sur l’animation avec comme objectif la production de contenus pour le cinéma et le streaming.
Peter Jackson et Fran Walsh, qui possèdent la majorité des parts, entendent bien jouer un rôle important dans ce nouveau studio, y compris en ce qui concerne la réalisation, production, écriture de certains des projets à venir.
Weta en profite pour embaucher son premier CEO, Prem Akkaraju.
Côté technique, le studio d’animation devrait s’appuyer au moins dans un premier temps sur le pipeline VFX déjà en place ainsi que sur les artistes actuels, avant de croître en fonction des besoins.
Enfin, Weta rappelle avoir pris des mesures pour s’adapter à la pandémie de ces derniers mois et continuer son travail dans des conditions de sécurité optimales.
Refik Anadol immersive installations allow us to leap into an universe of data, featuring a matrix that swallows everything around until there is nothing left outside of it.
His overwhelming data sculptures foresee a post-digital architectural future in which there are no more non-digital realities. A world where man and machine are embedded within each other.
One of the greatest eighteenth-century English artists William Blake famously said, “if the doors of perception were cleansed, everything would appear to man as it is – infinite.” Infinite Space is a collection of works that revisits Blake’s statement and seeks to cleanse the doors of perception with the tools available to twenty-first-century artists.
The exhibition explores memories and dreams through the mind of a machine by using data sets ranging from human memories, photographs of Mars, cultural archives and sea surface activity as data sculptures and digital paintings.
The post INFINITE SPACE – Miami Artech House: 13 June – 6 September 2020 appeared first on Audiovisualcity.
Nous poursuivons la couverture de la nouvelle promotion Isart Digital avec SKZ, un projet qui s’inspire à la fois de Star Wars, King-Kong et World War Z. Une bonne occasion pour toute l’équipe de montrer ses talents avec des cas concrets :
Dans un futur proche, un homme se prépare pour une course acharnée. De portails en portails, d’univers en univers, il va traverser de nombreuses épreuves impitoyables. D’un conflit spatial à un Paris infecté de zombies en passant par une jungle hostile, il va tout faire pour survivre.
Réalisation : Léa ROGET, Marie-Solène MATHIEU, Angela MIKRUT, Andrea OLOVCIC, Liliane CHU & Eloi VIDAL-FOULON
Equipe Support : Xianhui WANG
Music & Sound Design : Xianhui WANG, Thomas LANZA, Louis DEJEAN & Alexandre TOURNEUR
L’article SKZ : de Star Wars aux zombies, une course contre la montre sans merci est apparu en premier sur 3DVF.
Antoine Catillon, Emma Champion, Aurélie Gondouin, Maxime Guillaumin, Samantha Martin & Florian Roger (avec le soutien de « l’équipe support » composée de Christel Javellot, Xianhui Wang & Whitney Atanley) dévoilent leur film de fin d’études à Isart Digital.
Un projet qui ne se contente pas d’utiliser les effets visuels, mais joue avec leur usage :
Jack est le personnage principal d’un film d’aventure. Nous suivons ses péripéties pendant que Michelle, la réalisatrice et Jean, son producteur, se disputent à propos du scénario, créant ainsi le chaos dans la vie de Jack.
En proposant un film qui s’appuie sur les négociations entre la vision d’une réalisatrice et les contraintes imposées par le producteur, l’équipe nous propose finalement une réflexion humoristique sur leur futur métier (voire même sur la création d’un court étudiant, si l’on remplace les finances par le temps avant la fin de l’année). Une idée plutôt intelligente que nous vous invitons à découvrir en application :
L’article Jack and the cursed crystal : un court-métrage Isart Digital très meta est apparu en premier sur 3DVF.
The history of Genius Loci Weimar began 8 years ago, in 2012, when, as part of various regional development initiatives, we were looking for a concept that could combine modern media and historical heritage.
This is how the Genius Loci Weimar Festival came into being, initially on a smaller scale, which has since developed into an event with up to 50,000 visitors annually. The concept has always been to deal with the “spirit of the place” and its individual history, the “Genius Loci”.
As already mentioned, the “Genius Loci” is the focus of our artistic works. It is therefore also the goal to discuss history and to stimulate historical-cultural reflection, which certainly also has political and social aspects.
Another goal is to create and develop our own format, a brand that can provide a framework for the production of artistic works in this field.
The AV media are to be further established as an art form and artistic format and to move away from the “avant-garde” or even “nerd corner”, in which they are still often located. To emphasize their potential as an aesthetic direction with different artistic styles and tastes is the goal of Genius Loci Weimar.
Thus, in addition to very prominent buildings such as the National Theatre or the Herderkirche in the city centre, the Ilmpark and a squatted house in Gerberstraße have already been in the spotlight.
Especially at controverse locations, such as Gerberstraße 3, exciting exchanges can arise: There, the “bourgeoisie” became observer of the usually sceptically eyed façade of the squatted house, the inhabitants of the house project became hosts at the same time – also for the otherwise avoided “establishment”. An exciting situation for everyone, which can only arise during a live event and on-site.
However, in any case, reflection is always encouraged: exchange and examination of past times and other lifestyles. The buildings also appear in new contexts, the library was once filled with fictitious visions or the theatre was shown as an important place of democracy. The selection and the type of performance should always have a very specific effect.
The fact that the concept is sustainable can be seen from the fact that other projection festivals are following up, launching similar strategies or even asking for a transferable concept.
In the end, the awareness for places and cities is always sensitized by the unique, site-specific spectacles.
The audiovisual event starts already in spring with the publication of our Open Call and the announcement of the three competition buildings. A prize money of 15.000 Euro per building is awarded and we receive applications with artistic projects from all over the world during the competition period.
At the end of the competition, the applications will be judged by a jury of experts, while the public will also be able to vote at this early stage to decide who will perform their work in late summer.
During the past eight festival editions, a wide range of artistic styles were chosen as competition winners. Exciting, for example, was last year’s masterfully implemented, seemingly interactive audiovisual performance by Jonas Denzel on the façade of the newly opened Bauhaus Museum in Weimar.
Of 2016, the combination of live performance and video projection on a surface of water from Dieselqueen is also remembered.
Or the already mentioned mapping with the title “Grain Metal Punk” by VJZARIA on the façade of the squatted house in Gerberstraße.
Genius Loci Weimar continues to believe in the presence and magic of live events. We continue to believe in video mapping as a unique, ephemeral and sensual event, accompanied by overwhelming sound and an immense size that can be experienced collectively in public space. This is why we continue to focus on the live event on-site.
Genius Loci Weimar aims to further extend its constant growth path of recent years. As a festival and brand, GLW will continue to grow in breadth, but also in depth.
In the middle and long term, closer cooperation with universities is also conceivable, for example in the form of the creation of a new institute or similar. However, the core will always be the video and its connection to the historical heritage of the city!
Angefangen hat die Geschichte von Genius Loci Weimar bereits vor 8 Jahren, im Jahr 2012. Im Rahmen verschiedener Initiativen zur Regionalentwicklung suchten wir nach einem Konzept, das es schafft, moderne Medien und historisches Erbe miteinander zu verbinden. Dabei entstand das Genius Loci Weimar Festival, zunächst in kleinerem Umfang, das sich inzwischen zu einer Veranstaltung mit bis zu 50.000 Besucher*innen jährlich entwickelt hat. Das Konzept war dabei schon immer die Auseinandersetzung mit dem „Geist des Ortes“ und seiner individuellen Geschichte, dem „Genius Loci“ eben.
Wir möchten mit GLW mehre Dinge erreichen: Immer präsent ist natürlich das Ziel, ästhetisch ansprechende und hochwertige Kunstwerke in Weimar zur Aufführung zu bringen. Dazu kommt aber auch der Anspruch, eine positive Öffentlichkeit zu schaffen und mit dem Festival milieu- und altersübergreifend Zuschauer*innen anzusprechen.
Wie schon eben gesagt steht der „Genius Loci“ im Mittelpunkt unserer künstlerischen Arbeiten. Es ist also auch Ziel, Geschichte zu thematisieren und zu einer historisch-kulturellen Reflexion anzuregen, die durchaus auch politische und gesellschaftliche Facetten in sich trägt.
Ein weiteres Ziel ist das Erschaffen und Weiterentwickeln eines eigenen Formats, einer Marke, die der Produktion von künstlerischen Arbeiten in diesem Bereich einen Rahmen geben kann.
Die Videomapping-Szene ist noch recht jung. Sichtbarkeit, Kommunikation und Vernetzung sind also auch wichtige Anliegen unseres Festivals, insbesondere durch die Veranstaltungsteile TALK, CLUB und LAB. Dort, im LAB, findet auch verstärkt die Nachwuchsförderung statt. Die AV-Medien sollen als Kunstform und als künstlerisches Format noch weiter etabliert werden und heraus aus der „Avantgarde-“ oder sogar „Nerd-Ecke“, in der sie noch teilweise verortet werden. Ihr Potenzial als eine ästhetische Richtung mit unterschiedlichen künstlerischen Stilen und Geschmacksrichtungen herauszustellen, ist Ziel von Genius Loci Weima
Innerhalb der Stadt findet dank des Festivals jedes Jahr aufs Neue ein erheblicher Austausch auf mehreren Ebenen statt. Die Weimarer*innen sind inzwischen zu richtigen „Fans“ des Festivals und seiner Formate geworden und erwarten gespannt, welche neuen Orte jedes Jahr bespielt und auf neue Weise erfahren werden können.
So war neben sehr prominenten Gebäuden wie dem Nationaltheater oder der Herderkirche in der Innenstadt auch schon der Ilmpark und ein besetztes Haus in der Gerberstraße im Rampenlicht.
Gerade an kontroversen Orten, wie beispielsweise der Gerberstraße 3, können spannende Begegnungen entstehen: Das „Bürgertum“ wurde dort zum Betrachter der sonst so skeptisch beäugten Fassade des besetzten Hauses, die Bewohnerinnen des Hausprojekts wurden gleichzeitig zu Gastgeberinnen – auch für das sonst gemiedene „Establishment“. Eine spannende Situation für alle, die so nur im Moment eines Live-Events vor Ort entstehen kann.
Auf jeden Fall wird aber immer zur Reflexion angeregt: Austausch und Auseinandersetzung mit vergangenen Zeiten und anderen Lebenswelten. Auch die Gebäude treten in neuen Kontexten auf, die Bibliothek wurde einmal mit fiktiven Gebäudevisionen bespielt oder das Theater als Ort der Demokratie thematisiert. Die Auswahl und die Art der Bespielung sollen dabei immer eine ganz bestimmte Wirkung erzielen.
Dass das Konzept trägt, sieht man auch daran, dass andere Projektionsfestivals nachlegen und ähnliche Konzepte an den Start bringen oder sogar nach einem übertragbaren Konzept anfragen.
Letztlich wird immer das Bewusstsein für Orte und Städte durch die einmaligen, ortsgebundenen Spektakel sensibilisiert.
Das Festival beginnt bereits im Frühjahr mit der Veröffentlichung unseres Open Calls und der Bekanntgabe der drei Wettbewerbsgebäude. Pro Gebäude ist ein Preisgeld von 15.000 Euro ausgelobt und uns erreichen im Wettbewerbszeitraum Bewerbungen mit künstlerischen Projekten aus der ganzen Welt ein.
Nach Ende werden die Bewerbungen zum einen von einer Expert*innenjury beurteilt, und zum anderen kann auch das Publikum bereits an dieser frühen Stelle mit Hilfe des Public Votes mitbestimmen, wer im Spätsommer seinen Wettbewerbsbeitrag zur Aufführung bringen wird.
Während der vergangenen acht Festivaleditionen konnte eine große Bandbreite an künstlerischen Stilen als Wettbewerbssieger*innen gekürt werden. Spannend war zum Beispiel im letzten Jahr die gekonnt umgesetzte, scheinbar interaktive, audiovisuelle Performance von Jonas Denzel auf der Fassade des neu eröffneten Bauhaus-Museums in Weimar.
Aus 2016 ist aber auch die Kombination aus Live-Performance und Video-Projektion auf eine Wasserfläche von Dieselqueen in Erinnerung geblieben.
Oder das schon angesprochene Mapping mit dem Titel „Grain Metal Punk“ von VJZARIA an der Fassade des besetzten Hauses in der Gerberstraße.
Genius Loci Weimar glaubt auch weiterhin an die Präsenz und die Magie des Live-Events. An das Videomapping als einmaliges, vergängliches und sinnliches Ereignis, begleitet von überwältigendem Sound und einer immensen Größe, das kollektiv im Stadtraum erfahren werden kann. Deshalb fokussieren wir uns auch weiterhin auf die Live-Veranstaltung vor Ort.
Genius Loci Weimar will seinen konstanten Wachstumspfad der letzten Jahre weiter ausbauen. Als Festival und Marke soll weiter in die Breite, aber auch in die Tiefe gewachsen werden. Die reflektiven Formate wie etwa der noch recht neue TALK sollen auch weiterhin ausgebaut und verfeinert werden. Auch die AV-Hybride als Bühnenformat, wie beim AV-KINO in den letzten Jahren schon geschehen, soll noch weiter verfeinert werden.
Mittel- und Langfristig ist aber auch eine engere Kooperation mit Hochschulen, etwa in Form der Schaffung eines eigenen Instituts oder ähnliches denkbar
Kern wird aber immer das Video und seine Verknüpfung mit dem historischen Erbe der Stadt bleiben!
Valentin Boesch, Julien Bouvier, Mathieu de Brun, Yann Duplouye, Robinson Fostier, Marc Lourenço, Florian Piechta, Olivier Renard dévoilent leur court de fin d’études à Isart Digital : Race.
Un projet qui ne manquera pas de vous rappeler une célèbre saga se déroulant dans une galaxie lointaine, et qui nous invite à suivre une compétition acharnée entre pilotes de haut niveau :
À l’occasion de la finale d’une compétition galactique, un laser est tiré sur une planète désertique pour la détruire. Au coeur du chaos, quatre vaisseaux rivalisent dans une course contre la montre. Les pilotes devront éviter des pièges mortels. Un seul survivra.
L’article Course galactique et mortelle dans un court Isart Digital est apparu en premier sur 3DVF.
When Timur Civan was called upon to shoot a music video for the title track of “Lush Life” by New York City-based band, “Orion”, he took his cue from the pop rock tune and decided to have fun with it. Dubbed “bouncy music for bouncy people,” its reggae vibe brings to mind lilting palm trees, ...
She has performed live VJ sets, for example at Mira Festival, and has also been known to dabble in sound for her digital art pieces (see the ‘Visitor’ project below).
In her more recent work, she took her fantasy world to a physical space in the form of an installation at Galeria Melissa in New York City for her project ‘Paradise’. You can hear her talk about the whole project here.
Her latest project can be found on Vimeo (below).BUY US A COFFEE?
The Emerging Digital Artists Award (EDAA) is Canada’s award for critical experimentation in digital media. The award consists of $5,000 for the winner, and $1,000 for four finalists, as well as a group exhibition.
Since 2015, the EDAA has been promoting artists working within virtual space, by seeking submissions that push us in new directions, and challenge us to see the world through a different screen.BUY US A COFFEE?
Innovative hardware-and-app combination recognized in special edition of Future’s Best of Show Awards, presented by Digital Video June 4, 2020 — Reading, PA: Streaming solutions innovator StreamGear Inc. is proud to announce that its smartphone-empowered VidiMo handheld, live production system has been honored with a 2020 Special Edition Best of Show Award, presented by Digital ...
The post StreamGear Celebrates Coveted Award Win for VidiMo Live Streaming Production Solution appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
Marco Savo from Audiovisual City and Kate Rolfe from The Revels Office have never met in person. Theirs is a true digital relationship born of the pandemic.
Audiovisual City is a digital magazine that promotes and supports audiovisual artists and events worldwide. Connecting hundreds of digital artists from across the world, it is the go-to place for inspiration and information when it comes to the application of digital technologies in artistic expression.
The Revels Office is a cultural consultancy who specialises in finding new revenue for the arts, advising organisations on commercial opportunities and uniting them with funding partners who value the unique, high quality content that only the cultural sector can produce. Together with a network of consultants -The Catalyst Network – the team at The Revels Office manage a range of projects at the intersection between arts and commerce.
At a time when the sector is anxiously remodelling their core operations to survive months of low visitor numbers, reduced income through established business lines, and a new, uneasy socially distanced experience, we wanted to investigate what untapped value digital arts might offer.
We share with you here a summary of our findings, designed to inspire you at a critical time, to offer valuable ideas to consider in your re-modelling plans, and to decipher the role that digital can play in a sector based almost entirely on live and tangible experiences…
It is a collective strategy game in which different levels and challenges must be overcome, based on the idea of a labyrinth. Controlled externally by passers-by, Enjambre Celular offers an example of a pandemic-proof artistic installation.
They are invited to have contact virtually within the same image, bringing them together face to face. The head-to-head image created by the software is trying to constantly reduce the proxemic distance between the two people, creating unique and ephemeral meetings with the other and making a connection even when physically apart.
Put simply – do you need to move your live content online for commercial, audience or safety reasons, or do you want to create a new interpretation of your content that will explore your stories in an entirely new way? Neither choice is right or wrong, but it will impact the outcomes you achieve, as well as the process you go through.
“The importance of concept is key; you must start with your concept and then chose the technology to match”Hayley Cantor
No solution is quicker for overcoming an image of being elitist, static or uninteresting than a digital initiative, so long as it is done well, has a clear purpose and audience, and so long as it incorporates some kind of live and/or unique element that ensures the digital is not simply a mimic of the live experience.
While digital design is fantastic for bringing to life educational and historic content, and is arguably simpler for translating to an online platform, where digital arts stands out is in the sensorial, emotive experience that they can create, lasting longer in people’s memories and creating a sense of community and harmony even if you encounter the art alone.
Via a VR headset, the user flies through a 3D data-point cloud formed, visualizing more than 1,700,000 documents present in SALT Research archive collections. Refik Anadol’s installation was displayed as an extension to the artist’s Archive Dreaming project.
The price we have paid for the vast amounts of thrilling, comforting and informative digital content that has been dispersed throughout the global lock-down, is the expectation that digital means free.
In this way there is still value, there are no barriers to audiences engaging with you, and you can use data and reach to collaborate with new funding partners, upsell products and services, and request donations wherever possible.
In this way we have seen a really positive response during the pandemic, with culture-lovers willingly paying for online experiences, seeing this as a charitable donation to save something they love rather than a charge for valuable entertainment. However this has not yet translated into a consistent approach that audiences and funders recognise, or indeed made up the huge gap in revenue that arts organisations face.
Given the high value outlined by option 1, it seems reasonable that – just like the expectation to pay for the cinema or a gig – you will have to pay to participate in digital cultural experiences. This transactional view may not sit well alongside arts experiences that are traditionally free, such as museum-entry, but this demonstrates the opportunity presented by digital arts as opposed to digital design; by creating a new experience on a new platform, arts organisations can create something of value to their audiences (and new ones), one which better warrants a participation charge.
Ultimately this is an argument of supply and demand, but what we endorse is a collective reassessment of how and when to charge for digital experiences, thereby protecting arts organisations and artists from giving away valuable content for free, especially when for a time this might be one of their only viable sources of revenue.
The oldest full dome projection festival has been held virtually for the first time this year due to the pandemic, charging a ticket price for the online experience. A courageous decision from the organisers who decided to go full steam ahead, offering a 360 view of the festival using VR headsets.
Mutek is one of the top audiovisual events worldwide, born in Montreal and then expanded through an international network. The San Francisco edition has been online this year with their ‘Nexus Experience’, hosting live AV performers on two stages, offering digital galleries, online workshops, and ‘viewing party’ film screenings. The event was free and open to donations, with 100% of the festival proceeds going directly to the artists.
For those who want to consider digital as part of their future plans, digital arts producer Steph Clarke shares some considerations:
• Once a digital installation, artwork or exhibition is installed, it can often run 24/7 with minimal staffing and low running costs. Not only can this make valuable budget savings, it also accommodates far higher audience numbers over time, and can easily be adapted to allow for social distancing measures.
• Digital works can easily have their content re-purposed to suit different objectives. Content can be refreshed regularly to suit seasonality, adapted for VIP or stakeholder events, and used for advertising purposes if required.
• It is relatively easy to scale digital work depending upon size of venue or audience size, meaning this approach can be considered for a variety of projects, places and budgets.
• Digital can be used to extend and enhance audience engagement before and after the event/exhibition itself, through engagement online and via apps, creating more touchpoints with your intended audience and opportunities to capture insights and data.
• By digitalising the content for a digital installation, you are simultaneously archiving it too, preserving it for future generations and achieving important cost-savings.
• Given the huge range of digital formats available – apps, projection, light shows, VR, AR – there will always be a format suitable for your budget, timescale and objectives.
As part of the Bahidora 2018 festival, Medusa Lab created a unique experience for Ache Producciones and its client: Mezcal 400 conejos.
This article was written by Kate Rolfe from The Revels Office and Marco Savo from Audiovisual City with contributions from Hayley Cantor (Audiovisual City Creative Director, Multidisciplinary Graphic Designer and VJ), Sean Carroll (Business Improvement Project Manager), Nicola Casperson (Brand Marketing, Events and Place-Making Consultant), Steph Clarke (Digital Arts Producer), Marta Minguell Colomé (New Media Artist, VJ and Photographer), Amy O’Brien (Events Producer), and Mónica Rikic (New Media Artist). Collectively our experience includes roles at the National Gallery, Natural History Museum, Secret Cinema, Battersea Power Station, Westfields, and London’s Philharmonia Orchestra.BUY US A COFFEE?
The post What digital did next: Digital Arts and Social Distancing appeared first on Audiovisualcity.
Compact, software-centric installation achieves efficiencies through centralized workflows DUBAI, June 4, 2020 – Saudi Broadcasting Authority (SBA), part of the Ministry of Media in the Kingdom of Saudi Arabia, is replacing the playout technology for its main channels with an integrated solution from Imagine Communications. SBA, one of the most prestigious broadcasters in the ...
The post Saudi Broadcasting Authority Selects Imagine Communications to Deliver Integrated Multichannel Networking and Playout Solution appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
A small team creates magic installations and art projects, exploring mechanisms of interaction and inter-influence of inter-subjective reality and its digital projection.
Interacting with constantly changing projection, the viewer enters meditative state, turns from a passive observer into a co-creator. Thus, in “Symbiosis” installation the viewer literally merges with the alien creature, becoming a digital avatar that can be controlled by him or her.
Installations by Kuflex have been featured in many Russian and foreign exhibitions, festivals, museums, science and education centers in Moscow, Saint-Petersburg, Yekaterinburg, Krasnoyarsk, Tyumen, Abrau-Dyurso, Netanya (Israel), Antalya (Turkey), Athens (Greece, ADAF), Las-Vegas (USA, CES), Beijing (China,China Science and Technology Museum), Manila (Philippines) and others.
Just teasing you with a short #flashback of some of our shows from Festival of Lights Berlin 2019
#mpstudio #3dmapping #projectionmapping #videomapping #art #3dart #lightfestival #festivaloflights #cinema4d #c4d #octane #ae #adobe #aftereffects #motiondesign #event #best #digitalart #instaart #mappingprojection #3drender #millumin #watchout #catlover #artoftheday #festival #contemporaryart (at Berlin, Germany)
The visual elements of a presentation are essential to the work any broadcaster makes when promoting their brand. However, if the audio doesn’t match with the quality of the visual sophistication of the presentation, then the creative might as well as kiss their audience goodbye. The way a presentation is presented on a visual ...
The post Sennheiser’s 6000 Series Offers Broadcast Professionals High Quality Audio Transmission appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE. Broadcast Engineering News.
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.
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.BUY US A COFFEE?
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.BUY US A COFFEE?
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.
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.
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.
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.
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.
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…
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)
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.
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.
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.
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, ...
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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.
Jena, May 13 – 16 2020 – EDITION IN STREAMING
The FullDome Festival is the oldest and only fulldome festival with an unbroken continuity. With about 800 contributions from 30 nations and more than 500 visitors per year, the audiovisual event is most probably the biggest international festival of its kind.
Visitors do not only see and evaluate a great variety of international fulldome films, they meet professional, student and independent producers and take part in paper sessions, workshops, diverse presentations and expert talks. Festival curators, an international jury and the festival directors evaluate the submitted works and select the most interesting and innovative productions for the festival from these submissions and determine the works for one of the festival’s awards.
A core mission of the FullDome Festival has always been to encourage students to stretch the envelope of what’s possible in the dome. It is amazing to see completely new approaches to the medium at each festival. Many are really creative, some even can compete with professional works. For most students, the FullDome Festival not only offers an introduction to the medium, it is often the only way to present, and is one of the few public venues.
In the world of digital media, the need for content is growing, and the management of it is becoming more demanding. That goes for double for the content creators who strive not only in telling the most engaging stories but also in garnering an audience that fits in line with the main message of ...
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