Tonight in Luxembourg at Rockhal.
Showing posts with label visual. Show all posts
Showing posts with label visual. Show all posts
Saturday, November 24, 2012
Thursday, November 8, 2012
The Augmented City: Istanbul’s Data, Made Visible in Glitchy Structures
Our century is marked by a wash of data, flooding out of explosive urbanization. Humans and numbers, it seems, are now densely packed, dynamic, and essential. Yet with that same density, they threaten to become invisible.
The challenge of visualists: break the barrier to reveal that unseen world. Call it data mapping.
“Augmented Structures” is, first and foremost, rather lovely to look at. It’s a kind of architectural performance, in glitching, flickering contrasts of sound and light. Maybe the scale of transformation requires something aesthetic. Here’s what co-creator Refik Anadol has to say about it – thanks, Refik, for sending in your work.
The project in this case is augmented sculpture, beamed onto a structure. But I wonder how this same data might become part of the tapestry of architecture or urban experience. Perhaps that’s not where it belongs – maybe it’s best kept independent, a mirror in art. Whatever the context, it’s only natural that this substance of our age, data, would become artistic medium, rendered in terms as changing and fluid as it is.
More:
Augmented Structures v1.1 : Acoustic Formations / Istiklal Street from Refik Anadol on Vimeo.
Augmented Structures v1.1 : Acoustic Formations / Istiklal Street from Refik Anadol on Vimeo.
The challenge of visualists: break the barrier to reveal that unseen world. Call it data mapping.
“Augmented Structures” is, first and foremost, rather lovely to look at. It’s a kind of architectural performance, in glitching, flickering contrasts of sound and light. Maybe the scale of transformation requires something aesthetic. Here’s what co-creator Refik Anadol has to say about it – thanks, Refik, for sending in your work.
‘Augmented Structures v2.0′ by Refik Anadol and Alper Derinbogaz is a distilled urban experience project which focuses on two dissimilar regions in istanbul and displays the inner characteristics of the texture of a city-center that has undergone a recent transformation within a suburban region consisting of gated communities. Presented at Istanbul Design Biennial within the ‘Musibet’ exhibition curated by local architect Emre Arolat, the work is based on soundscape and data mapping of two regions reveals the invisible information about their context and suggests an alternative way to understand the existence of urbanization through new media technologies.
By bringing disparate disciplines like sound, architecture and visual arts together, the development re-examines the world in aesthetic terms, in its capacity as an ‘interdisciplinary transformation’. ‘augmented structures series forces each discipline to alter its own ‘material’ state; transforming sound into mathematics, mathematics into architecture and architecture into a living structure, while presenting the viewer with a new media experience that is multi-levelled, produces sound, moves and breathes.’
The project in this case is augmented sculpture, beamed onto a structure. But I wonder how this same data might become part of the tapestry of architecture or urban experience. Perhaps that’s not where it belongs – maybe it’s best kept independent, a mirror in art. Whatever the context, it’s only natural that this substance of our age, data, would become artistic medium, rendered in terms as changing and fluid as it is.
More:
The team is diversified by sound designer Kerim Karaoglu and parametric designers Coşku Cinkılıç, Koray Bingöl. — at Istanbul Modern | Istanbul Museum of Modern Art.From the same artist, Refik Anadol, here’s an intervention in urban space, with more fluid projections – and, again, a sonic element:
Thanks to; IKSV, Emre Arolat, Nil Aynalı, Özlem Yalım Özkaraoğlu, Salon2, Antilop, Can Buyukberber, Başar Yurtçu.
Augmented Structures v1.1 : Acoustic Formations / Istiklal Street from Refik Anadol on Vimeo.
Augmented Structures v1.1 : Acoustic Formations / Istiklal Street from Refik Anadol on Vimeo.
Augmented Structures v1.1 : Acoustic Formations / Istiklal Streetaugmentedstructures.com
Architecture and (Media) Design are art forms that exist independently from one another. Over the last few years they have been growing together. They are entering into symbiotic dependencies and stimulations. Against the background of the information technologies, architecture has gained a new reality. No longer are objects or processes the constituting elements of a building. Now they are described as technical networks of communicating nodes, which balance themselves in contrived patterns.
“Augmented Structures v1.1 : Acoustic Formations/Istiklal Street” is an augmented structure, an installation by Refik Anadol and Alper Derinboğaz which is created through the use of innovative parametric architecture and audiovisual techniques. The projects deals with a new mediated space: How to translate the logic of media into architecture? In this first experiment field recordings of Istiklal Street will be transformed in to parametric architectural structure. The recordings were made by Kerim Karaoglu who also used these recordings to create an electro-acoustical composition. The project seeks interactions between space, sound, visual and light. A similar connection between architecture and media has been experienced in Philips Pavilion of Le Courbusier in 1958.
Beyond being an artwork this installation is an urban experience. The scale of surface, 2000sqm, and the dominance of the location will definitely take place in collective memory of İstiklal Street visitors.
There will be an exhibition opening on 20th of September at 19:30 in relation to this façade installation which showcases experiments of architecture- sound – visual correlations of Refik Anadol and Alper Derinbogaz.
During the night visual performance will be projected on the structure which will be accompanied with a generatively designed contemporary aesthetic visuals consisting of input data from the recordings and their transformed versions synchronized to the movement of graphics re-shaping and transforming the structure on which they are projected. The structure in turn influences and transforms the projections as well.
For more information: augmentedstructures.com
Refik Anadol / New Media Artist
refikanadol.com
Alper derinbogaz / Architect
salon2.info
Sound Design: Kerim Karaoglu
VVVV Realtime Graphics: Sebastian Neitsch
Projection Infrastructure: Visio-vox
Monday, November 5, 2012
An Ethereal Water Projection in Belfast
An Ethereal Water Projection in Belfast:
DSNT// Water Projection from DSNT on Vimeo.
Expect some serious brightness to make it work, but water can be an ethereal, otherworldly surface for light, blurring the lines between substance and image.
Oisín O’Brien of DSNT sends this brief but beautiful work from Belfast. DSNT are busy, too, providing both musical content and visual design for this creation.
Oisín shares some technical details with CDM:
DSNT// Water Projection from DSNT on Vimeo.
Expect some serious brightness to make it work, but water can be an ethereal, otherworldly surface for light, blurring the lines between substance and image.
Oisín O’Brien of DSNT sends this brief but beautiful work from Belfast. DSNT are busy, too, providing both musical content and visual design for this creation.
Oisín shares some technical details with CDM:
The screen of water was created by a series of jets which where mounted on the & floated out into the lake. The jets created a haze which carried the light, to get the amount of light that was needed we used a 12k lumens christie projector.Specifics:
Visuals on misty water screen.
Projector provided by third source.
Track : Mark Rogan – Paranoia (FSG Remix) – DSNT Records
Wednesday, October 31, 2012
Video: Behind The Scenes of Flying Lotus’ “Layer 3″ Visuals
Video: Behind The Scenes of Flying Lotus’ “Layer 3″ Visuals:
We're always fascinated by new concepts for onstage DJ and live performance booths, and after taking an office field trip last week to see Flying Lotus in Oakland, we were excited to see this new video crop up from Red Bull Music Academy. The... Read more
We're always fascinated by new concepts for onstage DJ and live performance booths, and after taking an office field trip last week to see Flying Lotus in Oakland, we were excited to see this new video crop up from Red Bull Music Academy. The... Read more
Sunday, October 28, 2012
Mapping, Beyond Projectors: ArKaos Adds Serious Plug-and-Play Pixel, LED Features
Mapping, Beyond Projectors: ArKaos Adds Serious Plug-and-Play Pixel, LED Features:re-blog from CreateDigitalMotion
ArKaos promises to make output to LED surfaces easier. Marco from ArKaos explains what we see here: “[This is the] Kling-Net mapper working with MediaMaster in Simple mode. In simple mode each layer can be sent to the video mapper or the Kling-Net mapper. In this screen shot layer 1 goes to Kling-Net and layer 2 goes to the video surface.”
It sounds like the computer system on a Bird of Prey on Star Trek, but Kling-Net is at the heart of where VJ and media server maker ArKaos – and a lot of the live visual world – is headed. Forget the phrase “projection mapping,” and think “video mapping” and “pixel mapping.” Yes, projectors will still be a big part of live visuals. But they’ll be just one outlet for visual performance, alongside increasingly-sophisticated LED lighting. And LED lighting is increasingly looking like a major choice in installations.
Let me put that in less technical terms: more bright shiny, shiny from the LEDs.
So, LED is amazing technology for visualization. But it can also be amazingly hard to set up. The race now becomes about how to make that technology easier to access. ArKaos’ play is doing just that with Kling-Net. (Kahplah! Sorry, I’ll stop that now.)
It’s not rocket science to do cool stuff like this with pricey media servers sold for expensive applications. But what about the independent visual artists, the experimental creators pushing the envelope? The good news is, ArKaos is bringing the same media server tech back to GrandVJ, an app that’s far more affordable.
Marco Hinic is engine architect and CEO of ArKaos and creator of Kling-Net. (I love that, in this business, the engineers typically run the show.) Marco tells CDM about what their goals are for the tech:
Kling-Net is a complex technology, so I’ll do two things. First, I’ll direct you to ArKaos’ site that explains how this works:
Kling-Net @ ArKaos
Second, I ask you to tell us what your experience is with these kinds of applications, and what you’d like to know. We’re fortunate enough to get to talk directly to Marco about the technology he engineered, so, seriously, ask anything. I look forward to your questions.
http://arkaos.net/
ArKaos promises to make output to LED surfaces easier. Marco from ArKaos explains what we see here: “[This is the] Kling-Net mapper working with MediaMaster in Simple mode. In simple mode each layer can be sent to the video mapper or the Kling-Net mapper. In this screen shot layer 1 goes to Kling-Net and layer 2 goes to the video surface.”
Let me put that in less technical terms: more bright shiny, shiny from the LEDs.
So, LED is amazing technology for visualization. But it can also be amazingly hard to set up. The race now becomes about how to make that technology easier to access. ArKaos’ play is doing just that with Kling-Net. (Kahplah! Sorry, I’ll stop that now.)
It’s not rocket science to do cool stuff like this with pricey media servers sold for expensive applications. But what about the independent visual artists, the experimental creators pushing the envelope? The good news is, ArKaos is bringing the same media server tech back to GrandVJ, an app that’s far more affordable.
Marco Hinic is engine architect and CEO of ArKaos and creator of Kling-Net. (I love that, in this business, the engineers typically run the show.) Marco tells CDM about what their goals are for the tech:
Kling-Net has been designed to create plug and play LED devices and we are converting more and more manufacturers to work with us. There is nothing else like that on the market and we hope it will enable a new level of integration for many users.The other side of the equation, apart from ArKaos’ software, is the lighting fixtures. Recently, ArKaos announced Chauvet is bringing Kling-Net support to their lighting, which you can see in the video and image below.
The good news is that we will also support Kling-Net in GrandVJ. Indeed this why we are late with releasing GrandVJ, while working on the video mapper in MediaMaster we added the functionality where a layer can be sent to a mapping surface and / or to Kling-Net – ArtNet. To support that in GrandVJ we need to rework it’s core engine and that’s what we are doing now… We are now looking forward to present that at NAMM with ADJ. Ed.: NAMM is the music trade show in California held in January. Mark your calendars. -PK
Chauvet’s EPIX strip product, as seen in a permanent club installation at Ft. Lauderdale, Florida’s club Off the Hookah.
http://www.chauvetlighting.com/Kling-Net is a complex technology, so I’ll do two things. First, I’ll direct you to ArKaos’ site that explains how this works:
Kling-Net @ ArKaos
Second, I ask you to tell us what your experience is with these kinds of applications, and what you’d like to know. We’re fortunate enough to get to talk directly to Marco about the technology he engineered, so, seriously, ask anything. I look forward to your questions.
http://arkaos.net/
Thursday, October 18, 2012
Solar System Kaleidoscope, As Monokle “Swan” Video Explores Mystical Night Sky
Solar System Kaleidoscope, As Monokle “Swan” Video Explores Mystical Night Sky:
Monokle (aka Vlad, of St. Petersburg) gets a mesmerizing new video for his track “Swan.” It’s the work of Bucharest-born, 23-year-old artist Alina Anca, spinning the glitchy goodness of Monokle’s music into a magical study of pattern and outer space.
Anca’s own work delves into the esoteric and surreal, never without some youthful fancy – the kind of spirit that sets work apart from the mundane. She’s a nice foil to the album artist for this release, Argentinian Carolina Nino.
In fact, with a growing number of young artists exploding into these sorts of releases, I’m eager to see what musical-visual collaborations may emerge, particularly as these same creatives grow.
The music is out this week on Ki-Records.
Music: www.facebook.com/monokle
Monokle (aka Vlad, of St. Petersburg) gets a mesmerizing new video for his track “Swan.” It’s the work of Bucharest-born, 23-year-old artist Alina Anca, spinning the glitchy goodness of Monokle’s music into a magical study of pattern and outer space.
Anca’s own work delves into the esoteric and surreal, never without some youthful fancy – the kind of spirit that sets work apart from the mundane. She’s a nice foil to the album artist for this release, Argentinian Carolina Nino.
In fact, with a growing number of young artists exploding into these sorts of releases, I’m eager to see what musical-visual collaborations may emerge, particularly as these same creatives grow.
The music is out this week on Ki-Records.
Music: www.facebook.com/monokle
Tuesday, October 16, 2012
Carrot HD Video Mixer + Controller, in Edirol V4-Style Layout, Coming Soon [Exclusive Prototype Details]
Carrot HD Video Mixer + Controller, in Edirol V4-Style Layout, Coming Soon [Exclusive Prototype Details]:re-blog from Create Digital Motion
HD Rabbit – Introduction from carrotvideo on Vimeo.
I keep waiting to write this headline and talk about something that’s shipping. But it might at last happen. We might finally be able to cover an HD mixer that lets you easily plug in two computers and mix as easily as you have done for years with analog inputs. It’s called the HD Rabbit, from upstart Carrot Video, designed by VJs for VJs – and yes, you might even be able to afford it.
You know what you want. You’ve known for a long time. You want a mixer that works in HD, one that handles multiple digital resolutions and multiple outputs, and lets you switch and mix at will. And you want it to work with computer inputs, and control computer software. Basically, you want to have the feeling you had when you used analog, standard-def mixers like Edirol’s classic V4, in something that works with computers running at modern resolutions.
Also, you want it to be something you can actually afford.
Carrot Video today gives us the first look at an HD mixer that might have you pinching yourself to see if you’re dreaming. First, let’s get the bad news out of the way first: this is a prototype, not a complete product, and Carrot tell CDM that they don’t want to suggest that they’re ready for mass production. They’re working on a small test batch. (I’m afraid I just unleashed a lot of requests from our readers to get into that batch. Sorry, guys. Well, you’ll have some good choices.)
But, then there’s the good news. It’s clear from the moment you see the design, with V4-style t-bar, a simple, VJ-friendly layout, and switching features. And then it just gets better from there:
On the other hand, I think the effort to make something integrated is itself admirable, even if the results may not satisfy everyone. It also suggests the technology is ready for mass-marketed, all-in-one products, with this as an excellent prototype of what they might look like.
(We’ll look at DIY options later this week, and explain some of the underlying technology. And I’m sure Carrot will read your feedback.)
*$#&*, yes. A conventional mixer body, with HD brains. Images courtesy Carrot Video.
Weight: 2.5 kg, fit into a compact 28 cm by 23 cm by 9 cm aluminum metal frame.
What will it cost?
Pricing is not yet announced, but Carrot Video tells CDM readers should look at the pricing of the Edirol V-8. That means we’re somewhere in the viscinity of 2000 USD / EUR. It’s a magical price point that in the past allowed VJs and independent artists, not just big institutions, to first invest in mixing. If Carrot can hit their price target and ship in greater volumes, the design could start that revolution all over again for HD mixing.
What do you get?
Early production information seen by CDM shows the mixer including the scaler – so you don’t have to buy extra hardware. The all-in-one box includes, as well, an RS232 patch cable, and cable/adapters for DVI, VGA, and HDMI.
Who’s behind it?
It’ll come as little surprise that VJs designed this thing. And you may already know the VJs: visualists Merijn Meijers (KBK), Karl Klomp (Molta), and Joris de Jong (Hybrid Visuals) are founders and developers, with Marc Snip (Embed Engineering) doing the hardware work.
Official information (though we’ve already got extra details here exclusive on CDM you won’t find there, with more to come):
http://carrotvideo.com/info/
Got questions for the creators? Don’t be shy about asking them here, as we’ll be following up. And yes, we hope to test this in person as soon as possible.
But congrats to this team for getting to this prototype phase. We can’t wait to use the finished tool.
HD Rabbit – Introduction from carrotvideo on Vimeo.
I keep waiting to write this headline and talk about something that’s shipping. But it might at last happen. We might finally be able to cover an HD mixer that lets you easily plug in two computers and mix as easily as you have done for years with analog inputs. It’s called the HD Rabbit, from upstart Carrot Video, designed by VJs for VJs – and yes, you might even be able to afford it.
You know what you want. You’ve known for a long time. You want a mixer that works in HD, one that handles multiple digital resolutions and multiple outputs, and lets you switch and mix at will. And you want it to work with computer inputs, and control computer software. Basically, you want to have the feeling you had when you used analog, standard-def mixers like Edirol’s classic V4, in something that works with computers running at modern resolutions.
Also, you want it to be something you can actually afford.
Carrot Video today gives us the first look at an HD mixer that might have you pinching yourself to see if you’re dreaming. First, let’s get the bad news out of the way first: this is a prototype, not a complete product, and Carrot tell CDM that they don’t want to suggest that they’re ready for mass production. They’re working on a small test batch. (I’m afraid I just unleashed a lot of requests from our readers to get into that batch. Sorry, guys. Well, you’ll have some good choices.)
But, then there’s the good news. It’s clear from the moment you see the design, with V4-style t-bar, a simple, VJ-friendly layout, and switching features. And then it just gets better from there:
- A mixer/scaler, a switcher, and a controller for your software.
- Built on the TvOne 1t-C2-750 scaler, it means you’re ready to handle any output resolution – even a strange one – at a moment’s notice, up to 2048×2048.
- Use LED walls, multiple projectors (via Triplehead2go, etc.), whatever.
- Mix (including “battle” mixing), key, color correct, add effects.
- Create custom controller “skins” for controlling software.
- Output OSC (OpenSoundControl, over UTP, and Artnet), DMX, and MIDI, plus RS-232.
- Input DMX and OSC.
- Freely-assignable control layout with 15 buttons, 3 knobs. (three user skins/presets, editable from your desktop computer)
- 2x DVI-I inputs, with RGBHV, RGBS, RGsB, and YPbPr support.
- Per-pixel or percentage scaling control, variable image zoom and shrink, dual picture-in-picture.
- Chromakey, lumakey.
On the other hand, I think the effort to make something integrated is itself admirable, even if the results may not satisfy everyone. It also suggests the technology is ready for mass-marketed, all-in-one products, with this as an excellent prototype of what they might look like.
(We’ll look at DIY options later this week, and explain some of the underlying technology. And I’m sure Carrot will read your feedback.)
*$#&*, yes. A conventional mixer body, with HD brains. Images courtesy Carrot Video.
Weight: 2.5 kg, fit into a compact 28 cm by 23 cm by 9 cm aluminum metal frame.
What will it cost?
Pricing is not yet announced, but Carrot Video tells CDM readers should look at the pricing of the Edirol V-8. That means we’re somewhere in the viscinity of 2000 USD / EUR. It’s a magical price point that in the past allowed VJs and independent artists, not just big institutions, to first invest in mixing. If Carrot can hit their price target and ship in greater volumes, the design could start that revolution all over again for HD mixing.
What do you get?
Early production information seen by CDM shows the mixer including the scaler – so you don’t have to buy extra hardware. The all-in-one box includes, as well, an RS232 patch cable, and cable/adapters for DVI, VGA, and HDMI.
Who’s behind it?
It’ll come as little surprise that VJs designed this thing. And you may already know the VJs: visualists Merijn Meijers (KBK), Karl Klomp (Molta), and Joris de Jong (Hybrid Visuals) are founders and developers, with Marc Snip (Embed Engineering) doing the hardware work.
Official information (though we’ve already got extra details here exclusive on CDM you won’t find there, with more to come):
http://carrotvideo.com/info/
Got questions for the creators? Don’t be shy about asking them here, as we’ll be following up. And yes, we hope to test this in person as soon as possible.
But congrats to this team for getting to this prototype phase. We can’t wait to use the finished tool.
Gallery
Tuesday, October 9, 2012
Pedestrians, Re-Sequenced: Walking Becomes Audiovisual Performance in “LAYERS”
Pedestrians, Re-Sequenced: Walking Becomes Audiovisual Performance in “LAYERS”:reblog from Create Digital Motion
LAYERS (teaser) / Audiovisual performance from NOhista on Vimeo.
In Madeleine L’Engle’s seminal science fiction novel A Wrinkle in Time, the characters on Camazotz walk in time to a pervasive beat produced by a telepathic brain known as IT. In “LAYERS,” synchronistic pedestrians are perhaps not so sinister. But in a more playful experiment, those figures become part of an audiovisual composition, a kind of beat-sequenced set of sampled walking people moving through volumes of color. The result is that an otherwise ordinary, mundane feature of the landscape becomes aesthetic.
Pedestrians, in other words, need not be pedestrian.
More information:
http://nohista.org
Live performance version:
LAYERS @ Sight and Sound 2012 from NOhista on Vimeo.
LAYERS (teaser) / Audiovisual performance from NOhista on Vimeo.
In Madeleine L’Engle’s seminal science fiction novel A Wrinkle in Time, the characters on Camazotz walk in time to a pervasive beat produced by a telepathic brain known as IT. In “LAYERS,” synchronistic pedestrians are perhaps not so sinister. But in a more playful experiment, those figures become part of an audiovisual composition, a kind of beat-sequenced set of sampled walking people moving through volumes of color. The result is that an otherwise ordinary, mundane feature of the landscape becomes aesthetic.
Pedestrians, in other words, need not be pedestrian.
More information:
Layers is an audio/visual performance about perception and memory, with the goal of creating a choreography for a digital crowd. Using audio-video fragments of anonymous pedestrians, Nohista confronts the public with his personal experience of the urban crowd.Thanks to Bruno/”nohista” for sending your work our way!
Here, space and time are dissolved through tables and reassembled throughout a partition where the audio and visual material becomes an instrument, propelling the viewer into an evanescent universe.
Audio-video by Nohista / Shot and produced in Montreal / 2012
for best video quality: nohista.org/?portfolio=layers-2
Exhibitions//
Sight and Sound 2012 / Eastern Bloc / Montreal
Byetone / Nohista / Centre Phi / Montreal
http://nohista.org
Live performance version:
LAYERS @ Sight and Sound 2012 from NOhista on Vimeo.
La Poste – Digital District
La Poste – Digital District: Posted on Motionographer
A superbly executed take on the old trope of the unfolding book voyage. Digital District, a French studio based in Paris, has taken the lighting to the next level while using engaging camera angles to highlight every detail that has been put into this spot. The layout and animation flows smoothly around the piece with great attention to the thoughtful transitions.
Gotta say it again though, you should check out their Reel! It’s pretty fantastic. This is definitely a studio to keep your eye on if you haven’t been already.
Gotta say it again though, you should check out their Reel! It’s pretty fantastic. This is definitely a studio to keep your eye on if you haven’t been already.
Amon Tobin ISAM 2.0 – Leviathan
Amon Tobin ISAM 2.0 – Leviathan:Posted on Motionographer
Chicago-based studio Leviathan crafts a creative projection-mapped piece to provide an immersive stage experience for Amon Tobin’s ISAM 2.0 tour. Check out the making of video here.
Amon Tobin : ISAM case study from Leviathan on Vimeo.
Chicago-based studio Leviathan crafts a creative projection-mapped piece to provide an immersive stage experience for Amon Tobin’s ISAM 2.0 tour. Check out the making of video here.
Amon Tobin : ISAM case study from Leviathan on Vimeo.
Wednesday, August 8, 2012
Philips Thinks We Want a Giant Wave of LED Panels, Controlled By iPad – And They’re Correct
Philips Thinks We Want a Giant Wave of LED Panels, Controlled By iPad – And They’re Correct:
LivingSculpture 3D module system from WHITEvoid on Vimeo.
Visualism has gone far beyond just projection. Lighting continues to dazzle, blurring the lines between the image, object, pixel, and display, as LED panels produce new three-dimensional forms and animation.
In a spectacular project for lighting giant Philips, Berlin-headquarted White Void, the interactive shop led by Christopher M. Bauder, produces a giant wave of screens, all controlled via iPad. (Bauder you might recall from a collaboration with Robert Henke, featured on Create Digital Music in 2009 in view and interview, in stunning, fanciful arrays of mechanized balloons and accompanying electronic score.)
Details:
at whitevoid.com
And yes, Philips, I’d like one for my evil lair once I come up with some truly unethical way of building one. In the meantime: LED’s future is bright for visual artists, no question.
LivingSculpture 3D module system from WHITEvoid on Vimeo.
Visualism has gone far beyond just projection. Lighting continues to dazzle, blurring the lines between the image, object, pixel, and display, as LED panels produce new three-dimensional forms and animation.
In a spectacular project for lighting giant Philips, Berlin-headquarted White Void, the interactive shop led by Christopher M. Bauder, produces a giant wave of screens, all controlled via iPad. (Bauder you might recall from a collaboration with Robert Henke, featured on Create Digital Music in 2009 in view and interview, in stunning, fanciful arrays of mechanized balloons and accompanying electronic score.)
Details:
The “LivingSculpture 3D module system” is the latest addition to the Philips “LivingSculpture” product family. WHITEvoid designed a modular plug and play OLED system that allows for infinite variations in layout and arrangement of a ceiling or wall lighting installation. The highly flexible system consists of an online configurator to create and order the individual arrangement, a plug and play modular hardware system and an iPad controlled light animation application.It’s sumptuous, immersive, sculptural eye candy. (I’m filing this in my Neo-Baroque file.)
at whitevoid.com
And yes, Philips, I’d like one for my evil lair once I come up with some truly unethical way of building one. In the meantime: LED’s future is bright for visual artists, no question.
Friday, August 3, 2012
Desmond Leung
Desmond Leung: Posted on Motionographer
Yes, yes, ink transitions are all very 2005, but Desmond Leung’s work reminds me of how beautiful natural patterns can be. Working with particle simulators everyday, it’s easy to forget that they’re simulating particles in the real world, and what we work so hard to create on screen can also be created with a paint brush and water. More videos on his vimeo.
Yes, yes, ink transitions are all very 2005, but Desmond Leung’s work reminds me of how beautiful natural patterns can be. Working with particle simulators everyday, it’s easy to forget that they’re simulating particles in the real world, and what we work so hard to create on screen can also be created with a paint brush and water. More videos on his vimeo.
Monday, June 25, 2012
Artisan / UVA: Sprint “The Dream”
Artisan / UVA: Sprint “The Dream”:
Do androids dream of electric sheep? Do cell phones dream of interactive on-screen cinema experiences? Artisan (part of UVA) used their in-house content mapping framework, d3, to create a stunning cell phone warning. The making-of that shows off the practical effects they filmed is particularly impressive.
Hat tip to creativeapplications.net.
Team Sprint – Campaign Credits:
Client/Ad or Campaign: Sprint’s “Dream” Cinema PSA for NCM Theaters
Agency: Team Sprint – Leo Burnett & Digitas
Chief Creative Officer: Susan Credle
Creative Directors: Michael Boychuk, Kevin Drew Davis, Mark Moll
EVP, Executive Director of Production: Chris Rossiter
Producer: Bryan Litman, Amanda Riley
Account Team: Vanessa Mackey, Julie Holton and Melissa Wolf
Production Company: Artisan
Director: Artisan and Chris Turner
VFX/SPX: Artisan
Editorial: Trim Edit
Editor: Paul Hardcastle
Director of Photography: James Medcraft
Sound Design: Scanner
Posted on Motionographer
Do androids dream of electric sheep? Do cell phones dream of interactive on-screen cinema experiences? Artisan (part of UVA) used their in-house content mapping framework, d3, to create a stunning cell phone warning. The making-of that shows off the practical effects they filmed is particularly impressive.
Hat tip to creativeapplications.net.
Team Sprint – Campaign Credits:
Client/Ad or Campaign: Sprint’s “Dream” Cinema PSA for NCM Theaters
Agency: Team Sprint – Leo Burnett & Digitas
Chief Creative Officer: Susan Credle
Creative Directors: Michael Boychuk, Kevin Drew Davis, Mark Moll
EVP, Executive Director of Production: Chris Rossiter
Producer: Bryan Litman, Amanda Riley
Account Team: Vanessa Mackey, Julie Holton and Melissa Wolf
Production Company: Artisan
Director: Artisan and Chris Turner
VFX/SPX: Artisan
Editorial: Trim Edit
Editor: Paul Hardcastle
Director of Photography: James Medcraft
Sound Design: Scanner
Posted on Motionographer
Tuesday, May 1, 2012
Com Truise, Set to DOS Nostalgia, Turned into Music Video Gold
Com Truise, Set to DOS Nostalgia, Turned into Music Video Gold:
The pace of technology has made past and future fold in on themselves, to the point where old things can look futuristic, what was once techno-shock can become nostalgic warmth, and the future can look dated. Our own Matt Earp waxed poetic on music’s take on these aesthetics by connecting them to worn VHS tapes. Com Truise’s music follows a similar pattern. Here, in an evidently-unofficial video, one Myk Dawg takes a straightforward approach: he just puts together a whole bunch of DOS visuals, animating screens from real software tools and generating new motion from text characters.
Of course, that doesn’t make the results less satisfying. File this away when you get audited for buying old PCs on eBay: it is a business expense, after all.
The more screens you recognize, the more awesome you are. If the rough, acid-colored textures of the ASCII or ANSI characters trigger deep memories of what each hex code is, you are the most awesome winner of everything.
And, of course, watch on your eight-core machine in 720p, because…
Kids, ask your parents, or show your parents how to install a virtual DOS machine on their MacBook Pro. Via Adi Robertson over on The Verge, easily my favorite general-tech site.
Here’s some official Com Truise video action, too:
http://comtruise.com/
The pace of technology has made past and future fold in on themselves, to the point where old things can look futuristic, what was once techno-shock can become nostalgic warmth, and the future can look dated. Our own Matt Earp waxed poetic on music’s take on these aesthetics by connecting them to worn VHS tapes. Com Truise’s music follows a similar pattern. Here, in an evidently-unofficial video, one Myk Dawg takes a straightforward approach: he just puts together a whole bunch of DOS visuals, animating screens from real software tools and generating new motion from text characters.
Of course, that doesn’t make the results less satisfying. File this away when you get audited for buying old PCs on eBay: it is a business expense, after all.
The more screens you recognize, the more awesome you are. If the rough, acid-colored textures of the ASCII or ANSI characters trigger deep memories of what each hex code is, you are the most awesome winner of everything.
And, of course, watch on your eight-core machine in 720p, because…
Kids, ask your parents, or show your parents how to install a virtual DOS machine on their MacBook Pro. Via Adi Robertson over on The Verge, easily my favorite general-tech site.
Here’s some official Com Truise video action, too:
http://comtruise.com/
Monday, March 12, 2012
Quayola and Memo Akten for the London 2012 Cultural Olympiad
Quayola and Memo Akten for the London 2012 Cultural Olympiad:
Nexus Interactive Arts has worked with Quayola and Memo Akten on Forms for the London 2012 Cultural Olympiad, which is part of the larger countdown to the Olympics. The piece uses archival footage of athletes from the National Media Museum as a seed for a series of abstract animations. An on-site installation also allows visitors to explore the individual layers that comprise each segment.
Nexus Interactive Arts has worked with Quayola and Memo Akten on Forms for the London 2012 Cultural Olympiad, which is part of the larger countdown to the Olympics. The piece uses archival footage of athletes from the National Media Museum as a seed for a series of abstract animations. An on-site installation also allows visitors to explore the individual layers that comprise each segment.
Oscar Lhermitte: Experiments
Oscar Lhermitte: Experiments:
Check out Oscar Lhermitte’s experiments on vimeo: Seeing in Circles and Revolve.
Posted on Motionographer
Check out Oscar Lhermitte’s experiments on vimeo: Seeing in Circles and Revolve.
Posted on Motionographer
Tuesday, March 6, 2012
New Music Tech Web Show Takes on VJing, Audiovisual Turntablism
New Music Tech Web Show Takes on VJing, Audiovisual Turntablism:
How do you expose live visual culture to larger audiences? Even as club visuals have become more commonplace, and – evidently – some US$10 million in gear sold last year, the awareness of the medium itself is both limited and, very often, contentious.
Producer and CDM reader Yaniv Fituci sends along one new entry, a show that will look at the meeting place of music and technology. (Hmm… I think I’ve been to that intersection.)
Hosted by G4 celeb Kevin Pereira, the production style definitely isn’t subtle. There appear to be leather-bound ladies around, for one. (If I produced a show in Berlin, leather and bare skin, yes. Ladies – maybe not so much.) And Kevin Pereira seems to be caught in a combination of a motion graphic for Monday Night Football and Lawnmower Man. (“Are you ready for some virtual reality?” Speaking of which, best IMDB tagline ever: “A simple man is turned into a genius through the application of computer science.” Hell, yes!) Can’t someone license the rights to Max Headroom, already?
The format, though, sounds intriguing. The show is done battle-style, judged on Twitter.
And once you get through the title graphics, Mike Relm shows off some video turntablism while doing a pretty nice, concise explanation of the modern live visual set’s evolution. I would have liked to hear some artist names mentioned — Emergency Broadcast Network and Coldcut introduced a lot of the video cut-up and remix techniques you see, and Coldcut the ground-breaking VJAMM software (which itself does get a mention). But it could reach some new audiences, and I’m curious to see how this VJ death match happens.
It’s all definitely focused on club visuals and audiovisual turntable sets, which in a way reveals how big the gulf is between this and the growing practice in generative visuals, projection mapping, and synthesis (even including a resurgence of analog video synthesis).
All of that said, it’s great to see this team take on the topic. More coverage can only be a good thing.
So, if this is a VJ and music tech program for the G4 set, what would you want as Create Digital Motion readers? I think we probably bought ten million dollars in cables last year, at least. (We’ve probably collectively bought $10 mil in those little Apple video dongles, as a community.)
http://entertheplaylist.com/ [Ah, remember those innocent days in the 90s when we all used VJAMM and ArKaos, and there was only one Matrix movie?]
Below, videos with ScreenWerks, Eclectic Method. And Yaniv tells us the next epi will feature controllerism “and bout Ean Golden vs Moldover in a 3-round controllerist battle.”
Bonus: Since my locality is set to Germany, IMDB tells me that, in German, Lawnmower Man is, naturally, “Der Rasenmähermann.” Oh, yes. Now I know what my hardcore deathtronic artist name will be.
How do you expose live visual culture to larger audiences? Even as club visuals have become more commonplace, and – evidently – some US$10 million in gear sold last year, the awareness of the medium itself is both limited and, very often, contentious.
Producer and CDM reader Yaniv Fituci sends along one new entry, a show that will look at the meeting place of music and technology. (Hmm… I think I’ve been to that intersection.)
Hosted by G4 celeb Kevin Pereira, the production style definitely isn’t subtle. There appear to be leather-bound ladies around, for one. (If I produced a show in Berlin, leather and bare skin, yes. Ladies – maybe not so much.) And Kevin Pereira seems to be caught in a combination of a motion graphic for Monday Night Football and Lawnmower Man. (“Are you ready for some virtual reality?” Speaking of which, best IMDB tagline ever: “A simple man is turned into a genius through the application of computer science.” Hell, yes!) Can’t someone license the rights to Max Headroom, already?
The format, though, sounds intriguing. The show is done battle-style, judged on Twitter.
And once you get through the title graphics, Mike Relm shows off some video turntablism while doing a pretty nice, concise explanation of the modern live visual set’s evolution. I would have liked to hear some artist names mentioned — Emergency Broadcast Network and Coldcut introduced a lot of the video cut-up and remix techniques you see, and Coldcut the ground-breaking VJAMM software (which itself does get a mention). But it could reach some new audiences, and I’m curious to see how this VJ death match happens.
It’s all definitely focused on club visuals and audiovisual turntable sets, which in a way reveals how big the gulf is between this and the growing practice in generative visuals, projection mapping, and synthesis (even including a resurgence of analog video synthesis).
All of that said, it’s great to see this team take on the topic. More coverage can only be a good thing.
So, if this is a VJ and music tech program for the G4 set, what would you want as Create Digital Motion readers? I think we probably bought ten million dollars in cables last year, at least. (We’ve probably collectively bought $10 mil in those little Apple video dongles, as a community.)
http://entertheplaylist.com/ [Ah, remember those innocent days in the 90s when we all used VJAMM and ArKaos, and there was only one Matrix movie?]
Below, videos with ScreenWerks, Eclectic Method. And Yaniv tells us the next epi will feature controllerism “and bout Ean Golden vs Moldover in a 3-round controllerist battle.”
Bonus: Since my locality is set to Germany, IMDB tells me that, in German, Lawnmower Man is, naturally, “Der Rasenmähermann.” Oh, yes. Now I know what my hardcore deathtronic artist name will be.
Sunday, February 26, 2012
Antilop: Coca-Cola’s 125th Anniversary Exhibition’s Future Room
Antilop: Coca-Cola’s 125th Anniversary Exhibition’s Future Room:
Istanbul creative agency Antilop created this audio-visual and interactive installation for Coca-Cola’s 125th Anniversary Exhibition’s Future Room concept for Turkish modern-art museum santralistanbul.
Friday, February 24, 2012
Jonathan Brainin
Jonathan Brainin: Jonathan Brainin's excellent camera an pendulum based feedback experiments /artworks
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