Mia Makela http://vimeo.com/8836599
PSM! – İspanya. Bir hikayeleri var, çekimleri var. İki müzisyen, iki videocu eş zamanlı kurgu yapıyorlar sahnede. Canlı filmi tekrar kurguluyorlar. Tabi hiç bir zaman aynısı olmuyor fakat genel gidişat ve vermek istedikleri birşey aynı.http://vimeo.com/21518564
Vj’liğin ilerlemesi ve yaygınlaşması canlı sinemanın
oluşumuna katkı sağlamıştır. Kulüplerde Dj’le birlikte yapılan “klasik” video
miks dışında Vjler eylem alanlarını genişlettiler, galeri, müze gibi daha “sanat”
olan yerlerde sesin ve imajın “daha sanatsal” birbirine geçtiği, üzerine
düşünülüp önceden çalışıldığı işler yapıyorlar. Djle görsel yaptığınızda çalacağı
parçaları bilmiyorsunuz. Canlı sinema ve Vjlik işlerini birbirinden kesin ayırmak
zor. Fakat canlı sinema seyircinin çoğu zaman oturarak görselleri/ekranı kendini
vererek seyrettigini varsayıyor. Eğlence ortamı olan kulüplerde görsellerin
izlenme sürekliliği yok, yani dans ediyoruz, içki almaya gidiyoruz, konuşuyoruz
vs. Genel ortamda renkli duyusal veriler oluşturuyorlar, bir hava/ortam
oluşturuyorlar. Vjlik görsel Djlik gibi, vj klipleri satılıyor. Bir Vjin kullandigini
digeri de kullanabiliyor. Canlı sinema sanatçılarının üretimleri daha kişisel
oluyor. Kulübe görselleri görmek için gidilmiyor ama canlı sinemada görüntü ve vjlik
müzikle daha eş bir yere sahip.
Opie- Fransa. Gerçek
oyuncuyla kamera önünde o sırada çekip o sırada kurgulayarak yapıyor.
Canlı AV olarak da adlandırılan çoğu
elektronik müzikle yapılan performanslar. Video ve müziği yapan kişi aynı
olabiliyor.
Ryoichi Kurokawa - Japonya http://www.cimatics.com/cms_site/news/archive/article.php?id=21
Olga Mink & Scanner- Hollanda, The Nature
of Being 2008
Aşağıdaki bilgiler Mia Makela’nın makalesinden özetle bu
performans çeşidinin teknik detaya girmeden kendine has özelliklerini ortaya
koymaya çalışıyor. http://www.miamakela.net/LIVECINEMA/Livecinema.html
Canlı Sinemayı Oluşturan:
- Projeksiyon
- Performansçı/performans
sanatçısı
- Seyirci
- Mekan ve aynı zaman
Dili: Montaj/Kurgu,
Kompozit/Birleştirme, Görsel Efektler
Kaynaklar: video klip,
Flash, 3d animasyon, processing, vvvv nin yaptigi soyut generative görseller,
Oyun motoru (JODI),
WJ=Web Jokey http://www.wj-s.org/
“WJ-S is a software and a flexible
public device for web performances allowing WJ-S (webjays, artists, web addicts
and web mutants) to play live with text, sound and visual content available on
line. WJs take the control of a multiscreens environment and surf at distance
in different browser windows simultaneously. WJ-S is a visible and collective
experience of the surf. WJS is an immersive experience in the flux. “
Google Earth Web servisini kullanan Satellite Jokey http://www.youtube.com/watch?v=VYG9VIEOUrg
ve canlı kamera
(Hotel Modern)
n Video
Sanatının, Vjliğin ve Canlı Sinemanın ortaklığı. Tekniklerin araştırılması,
ucuz yollarının.
TV, tüketim kültürü, globalleşmeye karşı. IT büyüklerinin
birey üzerindeki baskıcı gücüne karşı.
Open source, DIY hareketi- BEDAVA YAZILIM!
a.
ALAN
1. Dijital alan: gb, video compression
2. Masaüstü alanı: patch, sub-patch, hız
3. Performans alanı: dansçı,
müzisyenler
HC GILJE – Synk (dansçıyla canlı empr.) http://vimeo.com/3333216
Discotrope- “project moving images of dancers onto
the Discotrope ball. The video dancers power the ball, literally and
figuratively: the ball uses solar cells as disco ball mirrors. So the projected
dance videos not only reflect off the ball, they also “solar”-power the motor
that makes it rotate – which creates zoetrope-like projections on the
surrounding walls, floors, surfaces, and people.” Amy Alexander’s project: http://discotrope.org/
4. Projeksiyon alanı: beden, bina,
ekran formatı şekli
Bina üzerine:
- Fiziksel Alan:seyirciyle performançılar arasında kalan alan, önüne geçerse gölge,
teknik seylerin yerleri, site spesifik tasarım
- ZAMAN
1. Emprovizasyon: Müzik ve görselciler birbirinin
üzerine eş zamanlı etkileşimle sezgisel üretim.
“From the
perspective of media history, the vagueness of the term synchronization is interesting, in particular in view
of the relationship between the senses and media: where is the simultaneity of
seeing and hearing produced? Somewhere
between the medium and the viewer? This is where discourses about what the terms asynchronism[3] or synchresis[4] mean begin. A look at the prominent historical points with
respect to the technical interconnection of image and sound media —
from Edison’s Kineto-phonographs to digital audiovisual formats
— shows that the individual technical media for image and sound involved
change, as do the methods of their synchronization. Accordingly, such a
comparison of different methods of synchronization does not initially raise the
question of what an image or a sound actually is, but what
relationships they take up with one another. More precisely: in which temporal
relationships and at what positions can sounds and images occur in audiovisual
arrangements?” Synchronization as a Sound-Image Relationship by Jan Philip Müller
2002 Canlı Video Empravizasyon (1999’da Nato+055, video
object program, böylece canlı video görüntüsü manuel kontrollerle bilgisayarla
işlenip
“242.pilots received the image award at
transmediale (berlin) in 2003, for mastering “the multifarious aspects of image
production under the conditions of digital, interactive and network-based
media”:”242.pilots was born out of a necessity
to define and refine a new genre, live video improvisation: We
create programmed structures which we navigate through during a performance,
each pilot has his distinct way of processing the images before they blend
together.
We established 242.pilots as a visual
band with Kurt Ralske, Lukasz Lysakowski and myself…We specifically chose to perform in art-related venues like galleries,
cinemas and theatres to tie our links to early avantgarde cinema of the 20s and
experimental cinema of the 60s, more
than to the VJ club scene. 242.pilots have been compared to free-jazz groups”http://nervousvision.com/242pilots/pilots.stills/Picture%201.pdf
“I have found many similarities between my approach to video and
the way musicians work, especially within the noise and impro scene: The idea
of video as a flow, an energy, something that can be molded and transformed
like a substance, the focus on texture and the moment instead of creating a
musical structure. A live setting implies trying to have some control over a
chaotic energy, or to create a dialog between performer, structure and chaos.”
“(Tek müzisyen & bir ekran (Isodora) http://www.youtube.com/watch?v=DlTdFJbbVzs&feature=related )
a. Vjin Ritmik olarak reaksiyonu:
vj FEST 2009@ALBERt CAMUS
a. Canlı ve Gerçek Zaman: Kolayca tekrar edilemez, biricik
Canlı video-
AVCENTRALEN (İsveç) Pixelache Festivali 2003 : http://www.youtube.com/watch?v=uWIo2Ah1DmU
b.
Loop: Tekrar eden
kısa videoların ritminin müzik ritmi gibi oluşturulması veya doku ve zaman
önemsenerek (videonun enerji olarak hamur gibi yogrulması)...
VideoSample:
Videolardan
alınan kısa bir aralık. Sample müzik dilinde yaygın.
Sampling, analog bir veriyi dijitalleştirmek için yapılan belli aralıklarla data alarak/yazarak (sampling frequency). Frame per second mantığı.
Sampling, analog bir veriyi dijitalleştirmek için yapılan belli aralıklarla data alarak/yazarak (sampling frequency). Frame per second mantığı.
c.
YANSITMA
1.
Alansal/Hacimsel Projeksiyon
Suyun Üzerine: http://vimeo.com/29360362
blink (hc gilje
2009)by hc gilje http://vimeo.com/7066012
Video Nervous (hc gilje 1999-2000) : http://www.bek.no/~hc/media/videonervous/image-html/videonervousmov.html
Pictoroma Project at SAT,
Montreal (Free software LightTwist):http://www.youtube.com/watch?v=e2R7vg1YrHs
Anlatıyor
programı: http://www.youtube.com/watch?v=yjxWPenp54w&feature=related
2.
Mediatecture: LED,
architectural screens, interactive or not for weather, etc.
3.
Dokunulabilir
Ekran
REACTABLE, 2006, Tangible Music
Instrument: http://www.reactable.com:
http://www.youtube.com/watch?v=vm_FzLya8y4&feature=related
http://www.youtube.com/watch?v=vm_FzLya8y4&feature=related
d.
PERFORMANS
Bilgisayar karşısında ekrana bakan biri ne kadar performansçı
olabilir?
2003 Cinema Fabrique. JUSTIN MANOR (MIT tezi) Jest ve mimiklerle control edilen vj programı http://vimeo.com/952053
2010 “Live Internet VJ” VJ Übergeek
2003 Cinema Fabrique. JUSTIN MANOR (MIT tezi) Jest ve mimiklerle control edilen vj programı http://vimeo.com/952053
2010 “Live Internet VJ” VJ Übergeek
“Armed with air
mouse, mobile keyboard and swanky clothes, Übergeek (Amy Alexander) performs a
search engine. She inputs a search term into her custom search engine VJ
software, and search engine results interactively animate in psychedelic colors
and patterns ranging from Fischinger to Pong. Slightly hyperactive Übergeek
drives the visuals by banging away on a gaffer-taped Body Keyboard and conducts
the swirling text with her trusty remote control. A few other geek toys,
ranging from joysticks to Dance Dance Revolution pads also make occasional
appearances as Übergeek uses them to (hyper)actively control the imagery. …It's sort of
data visualization in reverse: The "literary voices" of the internet
(aka the real stuff people say online) are center stage. Search for single
words like "love" or "peace" and the results are
predictable. But search on "I've had problems with Prozac" or
"I've never smoked that" and a different story emerges... It's the
stuff you don't normally find on Google, tales from the desktop spun into the
club.”Amy Alexander (VJ Ãœbergeek) has performed CyberSpaceLand in a
variety of…http://cyberspaceland.org/
Görsel yapan çalabildiğiniz bir
alet nasıl olabilir?
Visual
music instrument Toshio
Iwai anlatıyor: http://www.youtube.com/watch?v=JgifXO0z7Us
“One could call the pattern of holes in the music box scroll a gestalt, which is to say an integrated perceptual structure. Via the tuned metal tongues of the music box the orientation of these holes is mapped onto the diatonic scale which is a sonic gestalt or integrated structure. It is impossible to play discordant music using the diatonic scale alone and Iwai’s various excursions into the visual-musical use this fact to map minimalist grid based patterns onto aesthetically pleasing sonic outputs. The diatonic scale can also be understood as a species of narrative structure where narrative is understood in the broadest sense akin to concepts such as pattern, gestalt, structure, system, game, language game etc. It is also possible to refer to Einstein’s connection between creative thinking and what he calls the ‘picture’” http://artintelligence.net/review/?p=349
“One could call the pattern of holes in the music box scroll a gestalt, which is to say an integrated perceptual structure. Via the tuned metal tongues of the music box the orientation of these holes is mapped onto the diatonic scale which is a sonic gestalt or integrated structure. It is impossible to play discordant music using the diatonic scale alone and Iwai’s various excursions into the visual-musical use this fact to map minimalist grid based patterns onto aesthetically pleasing sonic outputs. The diatonic scale can also be understood as a species of narrative structure where narrative is understood in the broadest sense akin to concepts such as pattern, gestalt, structure, system, game, language game etc. It is also possible to refer to Einstein’s connection between creative thinking and what he calls the ‘picture’” http://artintelligence.net/review/?p=349
TOSHIO IWAI works,
http://www.youtube.com/watch?v=UYeFf5a671o
TOSHIO IWAI – Soundlenz: http://www.youtube.com/watch?v=TF-EL_4kHXQ
2007. Loud Objects: It is a live physical computing concert, where they hook up different sound components on a overhead projector making it interesting also visually.http://www.youtube.com/watch?feature=player_embedded&v=I7xJ9pr0TXc http://www.youtube.com/watch?feature=player_embedded&v=_RQwhZjhBpo
2007. Loud Objects: It is a live physical computing concert, where they hook up different sound components on a overhead projector making it interesting also visually.http://www.youtube.com/watch?feature=player_embedded&v=I7xJ9pr0TXc http://www.youtube.com/watch?feature=player_embedded&v=_RQwhZjhBpo
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