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Dans un entretien avec un journaliste du site américain IGN, Gabe Newell a affirmé que notre réalité pourrait bientôt rejoindre celle du film The Matrix. La réalité virtuelle ne serait qu’à quelques pas d’une telle prouesse.
Nos confrères du site américain IGN ont eu la chance de pouvoir interviewer Gabe Newell, le cofondateur de Valve. Il est ainsi revenu, pendant environ une demi-heure, sur la situation actuelle de son entreprise. Le sujet Half-Life : Alyx a bien entendu été abordé. L’occasion pour ce vétéran de l’industrie du jeu vidéo de donner son avis sur la réalité virtuelle. Il a notamment révélé que d’après lui, la VR pourrait atteindre une forme beaucoup plus avancée dans très peu de temps. « Nous sommes bien plus proches de The Matrix que ce que les gens imaginent », a-t-il déclaré.
Gabe Newell a continué en précisant que cette évolution de la réalité virtuelle ne serait pas exactement comme dans The Matrix. En effet, le film passe complètement à côté des subtilités techniques intéressantes. Il ne parvient pas non plus à bien représenter ce que deviendra notre monde quand l’interface entre cerveaux et ordinateurs se sera démocratisée. Pourtant, cela devrait permettre de créer de nouvelles expériences incroyables pour tous.
Le papa de Gordon Freeman est alors entré plus en détail dans les spécificités du cerveau. Il affirme que connecter une interface aux cortex moteur et visuel d’une personne est une manipulation plus facile qu’il n’y paraît. Si pour le moment la technologie n’est pas encore tout à fait au point, Gabe Newell est persuadé que cela sera une immense source d’enseignements. Au fur et à mesure des différentes tentatives, l’on apprendra ce qui fonctionne et ce qui ne fonctionne pas. Cela permettra également d’écarter tout ce qui n’est pas essentiel sur le long terme.
À la question de savoir si ce concept pourrait avoir une interaction avec les jeux vidéo, le patron de Valve a répondu par l’affirmative. Il a même été plus loin en prédisant que les acteurs de l’univers du divertissement sous toutes ses formes qui ne prévoient pas d’utiliser cette technologie peuvent presque déjà mettre les clés sous la porte. S’ils n’y réfléchissent pas maintenant, il est certain que cela fera néanmoins partie de leurs plans dans un futur plus ou moins proche.
Si Gabe Newell n’a fait aucune mention d’un nouvel appareil de réalité virtuelle en préparation chez Valve, ses propos ne laissent cependant guère de place au doute. Quant à savoir quelle forme il adoptera, seul le futur nous le dira.
Cet article Selon Gabe Newell, The Matrix n’est pas un rêve si éloigné que cela a été publié sur Réalité-Virtuelle.com.
L’intégration des technologies d’impression 3D dans la fabrication industrielle s’est considérablement accrue ces dernières années. Malgré cela, de nombreuses entreprises hésitent encore sur le mode de production le plus avantageux et, surtout, sur les mesures à prendre pour adopter ces […]
Le Coronavirus s’est abattu sur le monde tel un véritable fléau, obligeant désormais des millions de personnes à rester cloîtrées chez elles. La réalité virtuelle est une des rares applications qui peut profiter de ce confinement. En effet, elle offre des visites de musées, des vidéos à 360° de tous les coins du globe. En revanche, les salles de VR souffrent énormément à cause de ces mesures drastiques. Alors qu’elles étaient en train de fleurir un peu partout, ce bel élan est aussitôt coupé et certaines pourraient ne pas s’en remettre.
C’est pourquoi le site realite-virtuelle.com lance aujourd’hui un appel à témoin à tous ceux qui souhaitent s’exprimer et faire part de leur situation. Partagez votre expérience et vos astuces pour ne pas se laisser abattre quand rien ne va plus.
Si vous souhaitez intervenir, veuillez remplir le formulaire suivant, nous vous répondrons dans les plus courts délais.
C’est en faisant front ensemble que l’on surmonte les plus grandes crises.
Cet article Appel à témoins : partagez votre expérience avec nos lecteurs a été publié sur Réalité-Virtuelle.com.
I have been exceptionally lucky to be able to pick Overlap’s Michael Denton’s brains with all of those nitty gritty questions about their career that every visual artist wonders about. How did they get to be where they are? What was the VJ scene like in the nineties? How is their relationship with technology and whose work inspires them?
Overlap are true veterans and represent original artists on the audiovisual live performance scene, not only have they experienced more changes in performance technology than I’ve had hot dinners, they’ve been up there with some of the most popular artists of our time, performing with the likes of Chemical Brothers and have animated artwork by Damien Hirst.
You have presented your work in some of the most prestigious international galleries around the world, including the Pompidou in Paris, Tate Modern, and the Victoria and Albert Museum as well as done a VJ set with the Chemical Brothers. What is the project that you are most proud of?
Remixing and VJing The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art was a highlight.
We’re pleased with the editions on SeditionArt. They incorporate a lot of ideas from the past and are also feeding into some future shows. Musically, Greylight Green is something that works when you’re in the right mood. As these recent editions highlight, we’ve always been at the more arty end of the Vjing/music industry, and the more musical end of the art world. The music industry and the fine art worlds attribute value in such different ways. But twenty years ago, we were lucky to stumble into a certain era of EDM culture, it was like the early days of flying’s uncharted freedoms. In Turnmills nightclub in Holborn, I remember one of the guys from Reality Check, (the house VJ and AV team, for nights, including The Gallery and Trade etc), saying they showed art to thousands of clubbers every week – and they did. Hopefully for an audience the circling and repeating imagery of VJ-ing done well can create a kind of memory image burn effect – they go home with a ‘memory painting’
Fine art galleries and big projects have not necessarily been the most rewarding – the really interesting moment for us was being at clubs and festivals with a large amount of freedom, developing a style of imagery and delivery without record companies and DJ Managers controlling what we did. It was genuinely creative and new, yet fulfilling a need. This for any artist is a luxury.
Early on we’d be flown out to Creamfields in Andalucia with Microchunk, or wherever, and literally be immediately on stage with a 50k audience and the DJ, no pre planning or rehearsing, ” 5 mins guys”, maybe an artist logo at the beginning, then mix.
As Overlap you have experimented with the majority of the audiovisual art formats. Is there one in particular that you enjoy?
Long VJ sets are a nice journey, in medium sized venues with a few different feeds going into multiple screens and low lighting. AV sets are always a bit more stressy – as doing the visual/music/sound for maybe 40 mins, feels more contrived/pre planned and edgy. Multi screens can make things a lot more architectural/sculptural, with 3d projections on objects etc, and simpler more graphic imagery. So a mixture of graphic and more pictorial screens is a nice balance. Again we tend towards a more art bias, whereas a lot of club imagery is a fairly bombastic extension of the lighting show – think rising chevrons. Equally a very simple installation/projection on a gallery wall can be really satisfying. For AV sets, good acoustics and smaller venues suit the minimal music we make.
I’m sure you have collaborated and met with many of the world’s most famous audiovisual and new media artists on the scene. Who particularly inspires you?
Loads of things inspire me, from motorcycling to design and architecture. More recently though works/gigs by Ryoichi Kurokawa, Fuse, some of the things AntiVJ have done, Davide Quayola. Nils Frahm, Biosphere, through to more obscure music form France Jobin to gallery based artist like Mat Collishaw. But also painters like Nigel Cooke, with his circuitous multi picture planes that create a pictorial balance that your eye follows round and around – comparable to good VJ mixing. We were lucky to be part of a talented group of VJs represented by Microchunk in our VJing hey day – unique underground artists. I think we all inspired and motivated each other to push further artistically. Lady Pat and Grand Dame are two of Anna’s favourite, similarly self taught, audiovisual artists.
The art of VJing is a relatively new term for the art of live video mixing. When did you first become aware of the term and how has it changed for you over the years?
Firstly it was the definitive move away from the pop video, which had been: point camera at people singing the song, illustrate/narrative/advertise – ie. TV. So the culture of EDM remixing, had the authority to legitimize its visual equivalent and create the context for VJing. It’s a term I’m not overly fond of, but it does put you on the stage side of technician, ie you make and shape content – not to demean the amazing art, that is light mixing, house sound, etc. VJ content is a form of visual serialism, like music about patterns, removing the asymmetry of drama, its infinitely more complex in its potential multi layer/screen applications than linear media, maybe more so than music.
When I was at Chelsea art school, there was Glitch (first time around, VHS crash editing, late 80’s), video artist lecturers talked derogatorily of ‘club wallpaper’,meaning all things shallow. But I was interested in this form, that had a use and the public liked – unlike so much video art of the era.
The first time I got paid to show images in a bar – also in Holborn, was in 1985. The fee, one bottle of wine.
The first time I thought about something like VJing was as a very young kid, around the time the Beatles released The White album, in the back of my dad’s car one evening, driving along country roads in Dorset and thinking about ‘films’ that would be like the trees sliding past the windows. Non narrative loop structures – I certainly didn’t know what narrative meant at the time, but I did have this strange certainty of there being a future for this sensory/sensual idea. The first time I got paid to show images in a bar – also in Holborn, was in 1985. The fee, one bottle of wine. Then I showed an AV Album work called Open at Megatripolis, Heaven, Charing Cross around 1994. I met Anna in the late nineties we got invited to do stuff at the ICA and bars in Shoreditch etc. We formed Overlap and she learned a lot of the Adobe programmes very fast and we started to get paid to VJ, both loving the visual depth, luminosity and surprises that multilayering and keying threw up.
How would you define the difference between an AV set and a VJ set? Could you describe one of your set ups to us?
People I know who travel the world for major DJ acts are operating in a different world from small AV acts. There’s’ a big difference between doing multi screen VJing, with pre programmed triggered clips via midi, osc etc and mixing live on the fly, by feel. Ben Francis who does visuals for Calvin Harris, for example is taking code with BPM info etc, from the CDJ’s, but is also live mixing. Keeping the audio and imagery separate still seems to be an industry standard. The music driving the imagery, which makes sense in some ways, but is also strangely anachronistic. When we do an AV set we have married imagery to 8 bar loops, some elements are locked with time code if we’re using a separate music source, CDJ’s etc and some not, to make it more organic. Most AV performers drive Resolume with Ableton or code, or at least lock them. Unusually, we use Resolume a lot for sound.
AV shows can be done in so many ways. In the end it seems the content and the feel of what you’re doing is probably more important than how you’re doing it. How much do you want to do live – how much does the audience care how dexterous you are? DJ’s spend a lot of time dramatically illustrating that they’re turning a mixer knob, that appears to have the equivalent friction of pulling a ship back up a launching ramp, they haven’t got anything else visually to do. Where as, if you’re doing a multi 4 Bar loop AV set, five layers deep and you’re triggering them live, you’re busy with no time for the high friction mixer antics.
Recently we’ve been using performance tools like Resolume to create on as well as a performance tool. I tend to pick it up like a guitar and mess around, sometimes its a really useful ‘writing’ instrument too.
As a Barcelona resident, I can’t help but notice that you once had regular visual slots at Razzmatazz. Tell me more about that! How was the VJ scene in Barcelona back then? How is the scene in the UK these days?
This was VJ-ing with visual specialists/agency Microchunk , who were represented by William Morris, which meant we were well looked after. There was a core group of artists including Lady Pat, Mischa Ying, Ben Francis, Muthabored, Todd Graft and ourselves and we were lucky to perform and make installations everywhere from Norway’sHove festival, to Glastonbury. In Barcelona, we’d perform two nights, mainly at The Loft, Friday and Saturday from around 11pm till 6.30 in the morning, sometimes just Anna and I, but often other VJ’s. The local VJs were very gracious about us filling their slots. It was always full on at Razzmatazz, a really intense atmosphere. The club was always packed.We’re not really involved with the UK club scene at the moment, but friends who work for major acts seem to be far more controlled by a corporate plan.
You have both lived through a plethora of technological developments throughout your careers, starting with the use of VHS in your installations. What is your relationship with technology? Is it one of love and hate or it is a match made in heaven?
Anna and I are different generations – before I met Anna, I spent a lot of time blagging my way into analogue beta edit suites in Soho to make material – it was tricky, but looking back people were incredibly kind and helped me realise effecting footage shot on motorcycle trips with a clockwork Bolex. Anna and I started at the point of very low resolution VJ software – so we used hybrid mixtures of micro chapter DVD loops and Flash loops mixed with V4’s. I like the things that technology makes possible, but get frustrated with the art world tendency to think if you ‘paint ‘ with technology, that you should necessarily be using the very latest tech and trend. I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary. Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.
I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary. Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.
I notice that landscapes have been a recurring theme in your work, right up to your most recent project of Transitional Landscapes. What is it about landscapes as a subject that inspires you?
We all project memories and feelings onto our immediate surroundings. Landscape is a good genre to play with the relationship between still and moving imagery, the romantic v the analytical, the unveiling of narrative contrasted by the implicit ambiguities of painting (movies v fine art).
Mixing trees from around the world is strangely satisfying, they’re overlaying branches having a legitimacy. English copses with New World deserts keyed through wallpaper and fabric’s repeated motifs reference Richard Dadd’s The Fairy Feller’s Master-Stroke’s, heightened stillness, petrified trees and flattened nature, more tapestry than living environment. Then we can add other man made impositions, ghosts of utilities, power lines, imagined data paths, architectural plans, wiring diagrams and intimate blinking status LEDs. It seems to suite a first person view, apart from narrative.
What would be your advice be to young audiovisual enthusiasts who are keen to develop their careers in the industry?
Like the fine art world there are so many different strands of audiovisual arts. It will keep changing, entertainment will morph. How and what ‘artists’ do v creatives and ‘technicians’ etc is complicated. The EDM model was that music was the most important element – but now with performance more of an earner than record sales – maybe the creatives/technicians/, (not the artists) are the main act. To further confuse it all, AV is crossing over with fine art and stage design etc. So maybe listen to everyone and ignore them all.
Find out more about Overlap on their artist page
The post Overlap Interview appeared first on Audiovisualcity.
6K est une jeune entreprise américaine qui s’est spécialisée dans la production de matériaux sous formes de poudres, que ce soit pour la fabrication additive ou pour d’autres procédés de production. Elle a développé un système de plasma à micro-ondes […]
Il y a quelques mois, nous vous avons présenté les principales caractéristiques du projet Kraken, un système qui combine fabrication soustractive et fabrication additive. La capacité du bras robotique à imprimer des surfaces de 20 mètres carrés et la variété […]
Cinematographer Stefan Ciupek gave us the lowdown on the visual language, lenses, and filming locations behind Guns Akimbo.
Alors que les Pays-Bas ouvraient la semaine dernière un premier studio d’impression 3D de chocolat dédié à la production en série, nous avons rencontré cette semaine une jeune pousse française, 3Desserts Graphiques qui a développé une imprimante 3D alimentaire pour […]
When a producer makes the move from DJ to live performer, interesting things happen. In today’s new How I Play video, we’re sharing a behind-the-booth, onstage interview with Satori. In the video, Satori shares a ton of insight into how he’s able to manipulate his performance in real time, reacting to the crowd and the […]
The post How I Play: Satori appeared first on DJ TechTools.
La fabrication additive touche vraiment tous les secteurs d’activité, la musique compris – la liste des instruments imprimés en 3D commence à être longue, sans compter les applications qui combinent musique et impression 3D. La jeune startup Odisei Music vient […]
De nombreux groupes industriels ont misé sur la fabrication additive pour gagner en agilité, proposer des produits plus innovants ou alléger des processus de production parfois trop lourds. Pour les biens de consommation, elle apporte surtout une plus grande personnalisation, […]
RADIAN est une marque de bijoux allemande qui s’est rapidement tournée vers la fabrication additive pour concevoir des bagues, bracelets et colliers originaux et personnalisés. La technologie lui offre davantage de flexibilité dans ses processus de création, de prototypage et […]
La conception est extrêmement importante pour tout processus de fabrication. Si vous voulez obtenir les performances et les réductions de délais offertes par les technologies de fabrication additive, vous devez commencer par choisir la bonne méthode de conception. MSC Software, […]
Basée au Canada, la startup 3DQue Systems a développé un système qui offre une production 24 heures sur 24, 7 jours sur 7. Après avoir identifié le besoin croissant d’automatisation sur le marché de la fabrication additive, elle a développé […]
Ganit Goldstein est designer et travaille sur de nouvelles façon de fusionner fabrication additive et mode pour apporter de nouvelles possibilités à l’industrie. Son objectif est d’utiliser les technologies 3D pour concevoir des vêtements et accessoires sur-mesure qui s’adaptent parfaitement […]
Basée à Boston, l’entreprise CELLINK a fait couler beaucoup d’encre sur le marché de la bio-impression notamment grâce à une large gamme de bio-imprimantes 3D. La dernière en tête, la BIO X6, permet par exemple aux utilisateurs de combiner plus […]
Alors que la fabrication additive métal gagne en maturité au fil des années, avec une croissance plus importante en comparaison aux procédés d’impression plastique, une question semble persister sur le marché : comment intégrer avec succès la fabrication additive métal […]
En octobre dernier, Marie Langer a été nommée PDG du groupe EOS GmbH, succédant ainsi à son père, le Dr Hans Langer qui a fondé l’entreprise allemande en 1989. Très vite, le fabricant de solutions de fabrication additive industrielles s’est […]
L’industrie aérospatiale a été l’un des premiers secteurs à adopter les technologies de fabrication additive. Elles sont même devenues un incontournable dans les usines de production tant c’est une solution viable pour produire des prototypes rapides, de l’outillage mais aussi […]
Fondé en 2014, VELO3D s’est donné pour objectif d’offrir un nouveau niveau de liberté de conception dans la fabrication additive métal. Au fil des ans, la société a permis aux ingénieurs de produire des pièces qui étaient auparavant considérées comme […]
Pour bien commencer l’année, on vous emmène en Belgique pour rencontrer AdditiveLab, notre première startup 3D de l’année 2020. Gagnante du Start-Up Challenge 2019 organisé par Formnext, elle a développé des solutions logicielles pour simuler l’ensemble du processus de fabrication […]
HEXA Surfboard est une jeune pousse française qui a misé sur l’impression 3D pour concevoir des planches de surf plus respectueuses de l’environnement, personnalisables et au design transparent. Consciente des problèmes écologiques actuels, la marque repense totalement la façon de […]
Basé en Floride, 3D Potter est un fabricant d’imprimantes 3D céramique qui peuvent utiliser de l’argile. Ses imprimantes 3D utilisent un système d’axe cardinal, plutôt qu’une configuration de type Delta, ce qui permet un contrôle précis avec un minimum d’effort. […]
Aleph Farms est une startup israélienne qui a développé une méthode pour produire des steaks de boeuf cultivés. Cette méthode imite le processus naturel de régénération musculaire qui se produit à l’intérieur du corps de la vache, mais dans des […]
Plan accordingly, know the usual problems, and be ready to adjust on the fly: A guide to handling two people at once for sit-down video interviews.
La fabrication additive métal a pris ces dernières années une place importante sur le marché global des technologies 3D : on observe une croissance du nombre de fabricants de machines, des alliages et matériaux plus résistants, des logiciels qui viennent optimiser […]
After seeing Shoeg’s project Infiltrate at LEV Matadero, we decided to catch up with him in Barcelona to find out more about his work, and to try and decipher the fascinating performance we saw that intrigued us to discover what technologies he uses to create his live AV shows.
Primarily I understand, you would consider yourself to be a musician, am I right? Or how would you label yourself? When did you decide to experiment with the A/V side of your show?
In the last years I’ve changed that way of seeing myself, so I would say I’m an artist. It’s not only sound anymore, I feel really that I am trying to express myself also through my code, my visual stuff, even my movements. I’m also collaborating with dance companies, where it is quite important to know how you move on stage, and this made me aware of that. So, for example I try to play without the table and computer blocking the visual line to the audience. I have also changed my relationship with sound, focusing more on textured layers instead of pitch.
I started as a “musician”, but my visual side has been always there. I’ve been working for 15 years as a video editor, and I always had this fascination about image and sound synchronicity and feedback.
Have you created the visual part of the show yourself or collaborated with a visual artist? (If so, who and why?) If not, tell us about how you developed the project and any challenges you faced in dealing with both elements of the performance.
I almost always create my own stuff. I’m not closed to collaborating with other people, but I tried to involve other artists in the past and for a reason it almost never happened, except for when I worked at the very beginning on the project with Ana Drucker, but after that I spent 2-3 years without a visual show, and I was really missing it. At some point, I wanted it back and I decided I had to refresh my coding knowledge to achieve what I wanted. I studied Computer Science for a couple of years, so at least I had a starting point – more or less.
I wanted to build a real time reactive visual system, that could be completely autonomous in a live set. The idea was to set up a bunch of rules, and do something sound reactive that could last 45 minutes in a live set without getting boring. So first challenge in this process was choosing which tools suited my needs the better. I tried, for example, Open Frameworks, which was a bit too complicated for my coding skills. Later, I knew about game engines like Unreal or Unity, which are free and you can do a lot of things scripting, easier to code. It’s also great to have this good amount of documentation and works done by other people online. I’m curious now about what Touch Designer can do, but for the moment Unity allows me to have a precise control of what I need.
On the other hand, I wanted to work with objects from the real world in 3D aesthetics. I could model them with Blender, but I have no idea. So I learned some 3D techniques, like photogrammetry or 3D scanning. I remember wanting something more “perfect”, but discovered almost by accident the beautiful imperfections this techniques introduce in the models.
We recently saw your performance of your latest project ‘Infiltrate’ at LEV Matadero. What tools and set up are you using for the show?
All the sound was generated using a couple of Etee sensors that the guys at Tangi0 lent me for a couple of months. These devices capture my hand and finger motion, as well as pressure data, and that is converted into MIDI signal through a Max MSP patch. Finally, MIDI is sent to the Virus and Digitakt. I had to bring hardware synths to the live sets, because I need a lot of polyphony to build these big layers of sound, and I couldn’t achieve it in virtual synths. Then, the visual stuff is a Unity app reacts to the sound mix.
How does the use of this technology improve, or add to the quality and experience of your show for you, as an artist?
It allows to express myself in ways I could’ve never imagined. I’ve never performed as comfortable and with wide palette of possibilities with an instrument until I discovered motion sensors combined with the computer. The ability to map any behaviour to any response allows you to optimize your abilities in order to get what you want. This can’t ever happen with “traditional” instruments, you have to adapt to the instrument rigidness and background. I also see the coding process as a prosthesis, an extension able to repeat mechanical operations while you pierce through them.
What does the future hold for Shoeg in the world of live performance?
In the near future, I have to improve a lot of things: I want to make my hands more prominent on stage and be less computer dependent. People keep asking what is happening with the sensors, and I want to make it a bit more understandable. I also have this long list of ideas to code which don’t have time to make, and I would also like to collaborate with other people. But before that, I want to record a new album. I hope I’ll be able to work on it in the next months.
You can find out more about Shoeg’s work through his artist page.
The post Blurring the boundaries between technology and the individual – Exclusive interview with Shoeg. appeared first on Audiovisualcity.
We sat down with art director Adam Rowe to discuss his vision of success in the industry — inspiration, process, and hard work.
Earlier this month, we met with Marta Verde to find out about her performance with Tensal at LEV Matadero, and to pick her brains about all those niggling little questions we had after following her career for the last few years.
Who are the artists that you are most looking forward to seeing at LEV Matadero?
Myriam Bleau and Ryoichi Kurokawa.
How were you contacted about the project at LEV Festival?
They called me and proposed that I collaborate with Tensal for their edition at Matadero in Madrid. I had never worked with him before.
Do you ever find that some genres of music just don’t inspire your work?
Absolutely. In general I don’t work on the clubbing, or nightlife scene, so related styles of music wouldn’t be my first choice of project. I actually started doing visuals with traditional Galician music.
Do friends often come to see your performances?
Yes, it depends on the performance. These days they tend to film me in vertical, so I rarely have content that I can use other than for Instagram [she laughs]
How do you feel about being on stage as a visual artist?
I don’t really like that part at all, but of course it’s part of the job. I’m quit shy, really. My show at LEV Matadero is quite different from what I usually do – in terms of music genre, as well as the time of the performance – pretty late, since I’m on at 1am.
What is the most unusual project are you’ve worked on in your career so far?
A few years ago I worked on a project with a musician called Julián Elvira who built a flute that played different frequencies (I had no idea that this wasn’t already the case with flutes!) It was really interesting, because I learnt a lot about music and we were able to work very closely together for the collaboration. We premiered the show in Martin E. Segal Theatre, New York.
What are you working on at the moment?
Right now, I’m working on a live performance with Madrid-based composer, José Venditti. He plays saxophone, and works on deconstructing sound through classical patterns.
What set-up will you be using for your performance tonight?
A couple of months ago I bought an analogue video synthesizer from LZX Industries. It’s really fun. There’s no preview, so anything can happen, and I also can’t save any presets. I also won’t be using any code for this show, which is very unusual for me. I’ve always been fascinated with the idea of analogue video techniques, and don’t really understand why people go to great lengths to copy the aesthetic digitally, when they could just try to get a real one.
Do you use social media a lot to promote your work?
You can follow me if you like, my instagram account is mainly dominated by photos of my cat and screenshots of my work. I don’t really get work through social media channels, people tend to contact me directly. The work is really interesting and every project is completely different. Usually I’m presented with some kind of problem and I find ways to solve it.
Apart from doing visual performances, you are currently working at a Fab Lab, right?
It’s very common for freelancers to supplement their work through teaching, which I love. I find it really motivational and inspiring to work with young people and their ideas. I used to work as a coordinator in a Fab Lab, and I still give classes on programming and digital manufacturing there, but not on a regular basis anymore. I tend to work in different locations and on a more ad-hoc basis, that way I can combine teaching with my own projects.
If you want to read more about Marta’s work, you can check her artist profile page here.
The post Marta Verde on her live A/V show with Tensal, at LEV Matadero appeared first on Audiovisualcity.
PremiumBeat examines the important role clothes play in film and television in this conversation with fashion designer-turned-costume maven Ginger Martini.
Collanews 