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Une reproduction du DEC H-500 sous Arduino

Le DEC H-500 est né d’un petit souci pour la Digital Equipment Corporation. Lorsque vous vous appelez DEC et que vous vendez des machines à plusieurs centaines de milliers de dollars à quelques compagnies à travers le monde dans les années 60, vous avez un petit souci de main d’oeuvre. Des machines comme les PDP 8 existent déjà , elles fonctionnent, mais les sociétés à qui vous voulez les vendre n’ont pas de personnel pour les manipuler et en tirer des résultats. 

Le DEC H-500 en action

Les ingénieurs qui sortaient alors de leur école avaient des connaissances poussées du mode de fonctionnement de ces engins mais elles étaient toutes théoriques et vu la demande qui commençait à exploser, cela posait quelques problèmes pour le futur de ces pionniers de l’informatique. L’idée de commercialiser le DEC H-500 naît de ce constat. Proposer un engin qui permet de piloter des circuits logiques, primitifs mais fonctionnels, avec des câbles et des boutons. Cela permettait surtout de comprendre le système et sa logique. On ne cherchait pas à calculer un résultat que l’on connait souvent déjà mais à voir si on arrive à programmer un engin qui va donner le résultat espéré. Comprendre sa logique et la manipuler facilement.

logic gates

Les fonctions logiques de base

Se faire la main sur un système relativement simple ou l’on programme avec des câbles sur un tableau lisible avant de s’attaquer à des engins franchement plus monstrueux. Passer de fonctions logiques basiques comme AND, OR, XOR associées à des bascules vers des circuits qui vont en accumuler des centaines voir des milliers avec des composants analogiques intégrés dans des tubes… Passer de la maquette au réel. Du concret à beaucoup plus abstrait.

DEC H-500 original

Le DEC H-500 original Photo imgur

Cela donne donc le DEC H-500, un caisson en bois avec des fonctions logiques que l’on peut câbler grâce à des prises jacks et les fameux boutons à bascule de l’époque. Un objet un poil encombrant mais bien moins qu’un DEC de l’époque. Et un poil moins cher également. Ces machines ont surtout été achetées par des institutions et des écoles pour former des ingénieurs en informatique mais certains particuliers ont également cédé. La curiosité, l’envie de comprendre a permis à certains de sauter le pas et d’acquérir un de ces engins à la fin des années 60 même si il ne risquaient pas forcément d’avoir la possibilité de piloter un ordinateur par la suite. 
DEC H-500

La reproduction  de Michael Gardi

Michael Gardi propose non pas un plan, mais une véritable leçon technique, sur la réalisation d’un clone de ce DEC H-500 autour d’une carte Arduino Mega 2560. Il liste, étape par étape, les éléments nécessaires à la réalisation de son projet. De manière très détaillée et didactique. Il faut dire que ce n’est pas son premier guide dans le genre puisque, sous son pseudo Megardi, il a publié pas mal de choses par le passé : une magnifique réplique du Minivac 601, le Digi-Comp 1 qui n’est rien d’autre qu’un ordinateur mécanique à imprimer en 3D et plein d’autres choses encore.

DEC H-500

Je vous passe les détails de cette création, tout est parfaitement expliqué par l’auteur sur la page Instructables de son projet. Il faudra faire preuve de compétences en électronique et en impression 3D. Le montage n’est pas si complexe et les pièces nécessaires n’ont rien de vraiment spécial. Un série de circuit intégrés SN74xx sont nécessaires à la reproduction des circuits logiques de l’objet. Ils se trouvent assez facilement en ligne. Mais, même si il est largement facilité par le guide, c’est un travail de longue, très longue haleine.

Le résultat obtenu est intéressant et permet de comprendre ou d’expliquer comment fonctionne la logique de base d’un ordinateur. Cela peut se faire avec d’autres solutions techniques, mais celle-ci à le mérite de partager une page d’histoire de l’informatique. 

Une reproduction du DEC H-500 sous Arduino © MiniMachines.net. 2020.

In-Between

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A journey into the encounter-clash between a body and its transformation into data.

video: Alessandro Amaducci
dance: Stella
choreography: Anna Maria Bruzzese

2020

Remake Remodel

https://i.vimeocdn.com/video/911529458_960.jpg960540urn:ebu

video and music: Alessandro Amaducci
By shaping visual memories of human figures and architectural structures that come from a distant past, a creature made of data tries, through necessary accidents, to rebuild a future world.
2020

Interview to Genius Loci Weimar

Par : Marco Savo

We have supported Genius Loci Weimar and promoted their open call for audiovisual artists since their early start.

We felt now was the perfect time to interview the organizers of the projection mapping festival. One of the fastest growing audiovisual events in Europe. (German version below)

1. Can you tell us about the history, concept ans goals of Genius Loci Weimar?

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”.

We want to achieve several things with GLW: Always present is the goal of presenting aesthetically pleasing and high-quality artworks in Weimar. In addition, we also want to create a positive public and to address audiences of all ages and backgrounds throughout the festival.

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 projection mapping scene is still quite young. Visibility, communication and networking are therefore also important concerns of our festival. Especially through the programme formats TALK, CLUB and LAB. There, in the LAB, the support and encouragement of young talents is increasingly taking place.

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.



2. The festival advocates the importance of video mapping as an audiovisual tool to deliver relevant contents, rather than mere entertainment gimmick. How do you think GLW have been impacting the relationship between the community and the architectonic heritage of the city?



Thanks to the festival, a considerable exchange takes place every year on several levels within the city. The citizens of Weimar have become real “fans” of the festival and its formats and are curiously looking forward to seeing which new locations will be played at each year and can be experienced in new ways.

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.

Genius Loci Weimar 2015 Winner - Audiovisual Event

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.



3. GLW Open Call is the core of the festival. Can you explain the complex decision process you undertake every year to award the three prizes? Are there any project that have been particularly relevant for you in the past editions?


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.



4. During these uncertain times many audiovisual events decided to implement hybrid or online formats. Can you tell us about GLW position in the current scenario?


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.


5. How do you see Genius Loci Weimar in the next 10 years?


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.

The reflective formats such as the relatively new TALK will continue to be expanded and refined. AV hybrids as a stage format, as has been the case with AV cinema in recent years, are also to be further developed and refined.

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!


Discover more about the audiovisual event




GERMAN VERSION

Können Sie uns etwas über die Geschichte, das Konzept und die Ziele von Genius Loci Weimar erzählen?

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

Das Festival befürwortet die Bedeutung von Video-Mapping als audiovisuelles Instrument zur Vermittlung relevanter Inhalte und nicht als bloßen Unterhaltungsgag. Wie hat GLW Ihrer Meinung nach die Beziehung zwischen der Gemeinschaft und dem architektonischen Erbe der Stadt beeinflusst?

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.

Der GLW Open Call ist das Herzstück des Festivals. Können Sie den komplexen Entscheidungsprozess erklären, den Sie jedes Jahr für die Vergabe der drei Preise durchführen? Gibt es Projekte, die für Sie in den vergangenen Ausgaben besonders relevant waren?

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.

In diesen unsicheren Zeiten haben sich viele audiovisuelle Veranstaltungen entschieden, hybride oder Online-Formate einzusetzen. Können Sie uns über die Position des GLW im aktuellen Szenario berichten?

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.

Wie sehen Sie Genius Loci Weimar in den nächsten 10 Jahren?

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!

The post Interview to Genius Loci Weimar appeared first on Audiovisualcity.

404.3

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The composition called “404.3” reveals the ritual depth of the album and is one of the most unusual pieces of the entire longplay. A mysterious and meditative, but at the same time dark and stormy track, where through the fragments of a granular sound, like a lonely singing of a whale, a long and echoing part of an analog synthesizer erupts. This exciting composition allows you to disconnect from external stimuli and transfer to the abstract space of pure sound.
404.zero’s first full-length album is out on June 5th.

Music and video by 404.zero

Here is a source project made with TouchDesigner
we.tl/t-YN58YGNXEA

It’s quite heavy to compute this video, so you may need something fast to run it on 30fps, like NVIDIA RTX 2080.
If you are not familiar with TouchDesigner, just download the latest build derivative.ca/download, sign up for free license and run the project.
The main container is locked and limited with 1080p but you are still free to tweak all parameters, make your own videos, or simply enjoy our piece without compression.

Avec Sylvain Masure, place au son de Mass Hysteria pour un voyage au pays du Metal

Par : admin

Après les lumières de Thomas Desrosiers, place au son de Mass Hysteria pour un voyage au pays du Metal avec Sylvain Masure qui mixe avec talent ce groupe. Humilité, compétence et zéro secrets, autant dire qu'on s'est régalé avant, pendant et après pour écrire ces lignes. Lire la suite

L’article Avec Sylvain Masure, place au son de Mass Hysteria pour un voyage au pays du Metal est apparu en premier sur SoundLightUp..

Runner

https://i.vimeocdn.com/video/902380580_960.jpg960540urn:ebu

Touchdesigner Experiment creating infinite traveling landscapes with FBX animated characters and particles simulations

Thomas Desrosiers (Chirac Design) reprend le flambeau sur Mass Hysteria

Par : admin

Mass Hysteria, groupe de rock Métal français fondé en 1993 compte déjà neuf albums à son actif. Pour une des dates de la tournée “Maniac”, au Zénith de Paris, nous avons rencontré Thomas “Prince” Desrosier, éclairagiste du groupe et membre du collectif Chirac Design. Lire la suite

L’article Thomas Desrosiers (Chirac Design) reprend le flambeau sur Mass Hysteria est apparu en premier sur SoundLightUp..

Yamaha System Designers Conference : L’immersif à pas de géant

Par : admin

La dernière édition du System Designers Conference, cet indispensable rendez-vous annuel organisé par Yamaha cette fois-ci à Prague, a laissé percevoir ce que pourrait être le son en salle de demain. Ça nous a donné envie de rêver à l'outil improbable, imparable et inutilisable ! Lire la suite

L’article Yamaha System Designers Conference : L’immersif à pas de géant est apparu en premier sur SoundLightUp..

~ n o w w w w w w w w w w w w w w w w w w w w w w w w ~

https://i.vimeocdn.com/video/893715962_960.jpg960540urn:ebu

Find the full real-time application, the live stream and the contextual frame work here:
nowwwwwwwwwwwwwwwwwwwwwwww.org/

This real-time online installation deals with the examination of concepts focused on how to generate, describe and modulate the very moment of “now”. Embedded in a contextual framework spanning from 1972 (-48 years / longest year ever / World3 [The Limits to Growth / Club of Rome]), to 1996 (-24 years / It’s all coming back to me now / The Long Now Foundation), to 2020 (-/+ 0 years / real-time installation), to 2044 (+24 years / expected [by World3] peek death rates), this installation adopts this narrative to a durational, experimental sonic arrangement, using several small, digital and physical applications, that work together, feed and support each other to generate a constant audio stream lasting exactly one year. A 5 second long recording of the word now from Celine Dion’s 1996 hit “It’s All Coming Back To Me Now” (money note at 5:09) is the main source of this sonic arrangement and is stretched in real-time to a duration of 31556952 seconds. This sonically magnifies the sound in between sounds and creates enormously slow oscillating harmonics.

The CTM Radio Lab is an initiative by Deutschlandfunk Kultur – Radio Art/Klangkunst and CTM Festival, in collaboration with ORF musikprotokoll im steirischen herbst festival, Ö1 Kunstradio, Goethe-Institut, and The Wire magazine

Tags: now, celinedion, unity and real-time

Holymage Showreel

https://i.vimeocdn.com/video/899476193_960.jpg960540urn:ebu

Holymage Showreel : Video design, Projection mapping, Immersives experiences.
Many thanks to all our partners, agencies and clients.
Music : Worakls / By the brooks - Album Orchestra
Thanks to Hungry music; hungrymusic.fr

Tags: show, video, video-mapping, design, cheval, projection-mapping, spectacle, chantilly, history, culture, horse, holymage, immersive, histoire, immersif and experience

CALL FOR DREAMS @ CANNES AVIFF ART FILM FESTIVAL 21-22.5.2020 ONLINE CLIP

https://i.vimeocdn.com/video/895861610_960.jpg960540urn:ebu

“Call For Dreams” takes part in official selection of Cannes Art Film Festival and will be streaming free here https://bit.ly/2LDNrIV during May 21-22
Don’t miss ✨no registration. share.

In the scene: Oleg Levin, Olga Kurkulina, Mami Shimazaki
Music: Greenmachine

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.

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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.

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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…

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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.

All-Star Istanbul 2018 / 3 Point Contest Opening Show

Client: ING BANK
Organization: The Sales Machine

Motion Capture Artist / Dancer:
Okan AYDOĞAN

Content Production, Modeling, Rigging, Render & Motion Capture by ILLUSIONIST

Executive Director : Ahmet GÜRBÜZ
Creative Director: Serdar KORKMAZ
Production Director: Onur KULEN
Art Director: Nila DEDEOĞLU
Project Coordinator: Zafer UYGUÇ
Composer & Sound Design: İbrahim ÖZMEN

CG Artist / Animator:
Kutbettin ECEVİT, Furkan ALABAŞ,Yunus Emre GÜLER,
Selçuk KAYA, Alican SAYGIN
Interactive Designer: Mustafa YILMAZ

Film Director: Egemen TOKAT
Filmmaker: Öğünç HATİPOĞLU
Videographer: Eray TAŞPINAR
Film Editor: Özgecan SEZEN

Visual Systems & Projection Technology
Display Team
İlker Kerem ÜSTÜNDAĞ

The post All-Star Istanbul 2018 / 3 Point Contest Opening Show appeared first on Video Mapping Blog.

XX. Anniversary of Independent Turkmenistan

Illusionist worked under supervision o K-Events for the 20th year celebration of Turkmenistan. Various video and animations were produced for LED.

The post XX. Anniversary of Independent Turkmenistan appeared first on Video Mapping Blog.

World Humanitarian Summit 2016 Opening Ceremony

Special Event Coordinator (UNOCHA/UNDP): Hazami Barmada
Executive Director (Global Events, UN Foundation) : Patricia Padilla
Sr Manager (Global Events, UN Foundation) : Elizabeth DeNoia
Associate (Global Events, UN Foundation): Amanda Trocola
Head of Film on Photo (UNOCHA): Charlotte Cans

Project Management: CEO Event

Creative Director: Krista Monson
Stage Manager: Gabriel Dube-Dupuis

CONTENT PRODUCTION / ILLUSIONIST

Music Composer: İbrahim Özmen
Art Director: Serdar Korkmaz
Production Manager: Onur Kulen
Artistic Director: Çisil Oğuz
Motion Designer: Yunus Emre Güler
CG Artist/Animator: Engin Fidan, Kutbettin Ecevit, Furkan Alabaş
Illustrator: Nila Dedeoğlu, Mustafa Aslan, Gülçin Girit
Film Director: Egemen Tokat
Director of Photography: Öğünç Hatipoğlu
Film Editor: Özlem Üstün
Lighting Designer: Arek Nişanyan, Yeşim Burcu Top
Stage Designer: Burcu Altan
Stage 3D Modelling Artist: Fatih Türkmen
Accessories: Umut Kurtuluş Gürbüz, İlke Tokat
Photographer: Rezzan Altürk
Assistant Stage Manager: Reyhan Özdilek, Dilek Ocak

Scenography Technical Provider: MMT Tasarım
Stage Fabric Provider: Showtex

Special thanks to
Costume Designer: Canan Göknil
Performers: Show34

The post World Humanitarian Summit 2016 Opening Ceremony appeared first on Video Mapping Blog.

Watsons Beauty Awards

CLIENT: WATSONS TÜRKİYE
PROJECT MANAGEMENT: Tarık KÖNİ / Plus Event
VENUE: Raffles Hotel İSTANBUL

SET DESIGN & CONTENT PRODUCTION by
ILLUSIONIST

Art Director: Serdar KORKMAZ
Production Manager: Onur KULEN
Artistic Director: Çisil OĞUZ
Scenography: Ela AYDEMİR
Composer & Sound Designer: İbrahim ÖZMEN
Motion Designer: Yunus Emre GÜLER
CG Artist/Animator: Erim BENER
Illustrator: Nila DEDEOĞLU, Yaprak Su YİĞİTER
Film Director: Egemen TOKAT
Film Editor: Özlem ÜSTÜN
Director of Photography: Öğünç HATIPOGLU
Stage 3D Modelling Artist: Fatih TÜRKMEN
Photographer: Rezzan ALTÜRK
Stage Manager: Hulya Ceren ANIL
Lighting Design: Çetin TÜRKMENLİ

CHOREOGRAPHY
Beyhan MURPHY
Benan İLASLAN

VISUAL SYSTEMS TECHNICAL PROVIDER
DISPLAY TEAM
Video-mapping Watchout Operator: İlker Kerem ÜSTÜNDAĞ

STAGE FABRIC PROVIDER
SHOWTEX PRODUCTION

SOUND ENGINEERING
ALTINÇİZME ELECTRONICS

SET DESIGN TECHNICAL PROVIDER
Y3 REKLAM

DJ
Enis ÇELENK

HAIR & MAKE-UP DESIGN: Özlem SACAR

SPECIAL THANKS TO
Ibrahim GÜRBÜZ
İrem GÖREN

The post Watsons Beauty Awards appeared first on Video Mapping Blog.

UN World Humanitarian Summit Istanbul 2016

Special Event Coordinator (UNOCHA/UNDP): Hazami Barmada
Executive Director (Global Events, UN Foundation) : Patricia Padilla
Sr Manager (Global Events, UN Foundation) : Elizabeth DeNoia
Associate (Global Events, UN Foundation): Amanda Trocola
Head of Film on Photo (UNOCHA): Charlotte Cans

Project Management: CEO Event

Creative Director: Krista Monson
Stage Manager: Gabriel Dube-Dupuis

CONTENT PRODUCTION / ILLUSIONIST

Music Composer: İbrahim Özmen
Art Director: Serdar Korkmaz
Production Manager: Onur Kulen
Artistic Director: Çisil Oğuz
Motion Designer: Yunus Emre Güler
CG Artist/Animator: Engin Fidan, Kutbettin Ecevit, Furkan Alabaş
Illustrator: Nila Dedeoğlu, Mustafa Aslan, Gülçin Girit
Film Director: Egemen Tokat
Director of Photography: Öğünç Hatipoğlu
Film Editor: Özlem Üstün
Lighting Designer: Arek Nişanyan, Yeşim Burcu Top
Stage Designer: Burcu Altan
Stage 3D Modelling Artist: Fatih Türkmen
Accessories: Umut Kurtuluş Gürbüz, İlke Tokat
Photographer: Rezzan Altürk
Assistant Stage Manager: Reyhan Özdilek, Dilek Ocak

Technical Provider: Magicbox
Scenography Technical Provider: MMT Tasarım
Stage Fabric Provider: Showtex

Special thanks to

Costume Designer: Canan Göknil
Performers: Show34

The post UN World Humanitarian Summit Istanbul 2016 appeared first on Video Mapping Blog.

CEV EuroVolley 2019 W Opening Ceremony Show

Open your eyes. See what is around. Feel what is inside.

Look. The world is built upon faith. Do believe in yourself. It’s in your nature.

Don’t forget. As you are made of earth, you may also rise and shine like a star.

Find out. The secret of success is carved in the endurance of a rock.

Extend a hand. Respecting the other is nothing but enrichment of your soul.

And connect. Find a way to open yourself to the world.

Don’t forget. It’s all in your nature. The world around you is all inside.

//

Aç gözlerini. Etrafını gör. İçindekini hisset.

Bak. Dünya inanç üzerine kurulu. Kendine inan. Bu doğanda var.

Unutma. Topraktan aldığın güçle, bir yıldız gibi yükselebilir ve parlayabilirsin.

Anla. Başarının sırrı bir kayanın dayanıklılığına oyulmuştur.

Elini uzat. Başkasına saygı duymak ruhunun zenginliğidir.

Ve bağlan. Kendini dünyaya açmanın bir yolunu bul.

Unutma. Tüm bunlar doğanda var. Etrafındaki dünya aslında içinde.


CREDITS:

CEV / TVF

Organization By SportnSports Marketing

Content & Production Design By Illusionist

Executive Direction: Ahmet GÜRBÜZ

Creative Direction: Serdar KORKMAZ

Content Creation: Emre BARCA & Egemen TOKAT

Project Coordination: Tuğçe DEĞİRMENCİ

Choreography: CAN GÖKDOĞAN

Scenography Specialist: Çisil OĞUZ

Copywriter: Güney ONGUN

Multimedia Coordination: Selay KARASU

Lead Compositing Artist: Furkan ALABAŞ

Compositing Artist: Tolga BOSTANCI

CG Artist:
Kutbettin ECEVİT
Selçuk KAYA
Taha Celal YILDIRIM
Pırıl SİLİ
Oğuz ÖZPAMUK
Yasin SINIK

Illustration:
Beren TEKİN
Serhan GÜNEŞ

Sound Design / Composer:
İbrahim ÖZMEN

Technical Design / Planning / Management:
Sedat GÜNDÜZ

Light & Kinetic Sculpture Design:
Adilcan ALUÇ

Interaction Design:
Mustafa YILMAZ

Performer:
Elif KORKMAZ

Visual Systems & Projection Technology By DISPLAY TEAM

Mahmut GÜRBÜZ
İlker Kerem ÜSTÜNDAĞ

The post CEV EuroVolley 2019 W Opening Ceremony Show appeared first on Video Mapping Blog.

Turkcell Technology Summit 2013 / Indoor Projection & Video Mapping

Turkcell Teknoloji Zirvesi 2013
—————————————–
INDOOR PROJECTION & VIDEO MAPPING
in Istanbul/TURKEY
Organisation by: Figür Turizm
Techical Provider: Pia
—————————————–
Concept Design
Light Design
Stage Design
Film & Animations
Production & Operation
by
ILLUSIONIST

The post Turkcell Technology Summit 2013 / Indoor Projection & Video Mapping appeared first on Video Mapping Blog.

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..

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