1965:
San Fransisco: Kesey Bus First
of Ken Kesey & the Prankster’s Acid tests, Described as an
un-scripted Spontaneous Multimedia happening.Grateful Dead House
Band, Be In style freeform party with projections from Kesey &
Pranksters exploitation’s on their Bus ‘further’
1983: Herbie Hancock :- Rokit/Rockit video – made by Godley & Crème (British duo) …on their first video, it was one of the first commercially released showing scratch video techniques. http://www.youtube.com/watch?v=JicmU_MtOjE
The independent media movement had a major international impact on the growth of video and subsequent forms of electronic art.
1966: New
York: Andy Warhol & Exploding plastic inevitable.
Focus around the development of several Club nights in New York, the first ‘Andy wharhol uptight at the Film-Makers Cinematheque. The show began with a film called 'Lupe' starring Edie Sedgwick…”
1969: Nam June Piak & Vietnam & PortaPakThe first artist to acquire and use a video portapak as a tool of artistic expression. Paik is famed for having said "Television has been attacking us all our lives, now we can attack it back". Paik and many other artists were also deeply interested in occupying the broadcast space of television as an expanded arena for art. The portapak was developed by Sony as a lightweight portable recording device for use in air-to-ground surveillance during the Vietnam war.
Focus around the development of several Club nights in New York, the first ‘Andy wharhol uptight at the Film-Makers Cinematheque. The show began with a film called 'Lupe' starring Edie Sedgwick…”
1969: Nam June Piak & Vietnam & PortaPakThe first artist to acquire and use a video portapak as a tool of artistic expression. Paik is famed for having said "Television has been attacking us all our lives, now we can attack it back". Paik and many other artists were also deeply interested in occupying the broadcast space of television as an expanded arena for art. The portapak was developed by Sony as a lightweight portable recording device for use in air-to-ground surveillance during the Vietnam war.
The history of video art, particularly from the early
seventies until the mid nineties, is also the history of workshops,
co-operatives, pressure groups and activist organisations whose aim
was to provide access to the means of electronic communication and to
propose an alternative to the dominant forms
of communication and culture practised by broadcasting corporations
and mainstream art institutions. (North
America and most European countries, artists, media activists and
community-based political groups)
1970’s:
Video art progression, Stadium Rock & birth of spectacle.
Late
70’s Birth of hip-hop
1978:
Dara Birnbaum
“Technological Transformation: Wonder Woman”
http://www.youtube.com/watch?v=HhMG-QCJVsE&feature=related
1983: Herbie Hancock :- Rokit/Rockit video – made by Godley & Crème (British duo) …on their first video, it was one of the first commercially released showing scratch video techniques. http://www.youtube.com/watch?v=JicmU_MtOjE
1985:
May: Paul Hardcastle 19. He perfected a dramatic, arresting
semi-instrumental composition based on something he'd heard about the
average age of combat soldiers in the Vietnam War. The production
values of the resulting track have given "19" a place in
the all-time dance music winners enclosure.
http://www.youtube.com/watch?v=b3LdMAqUMnM
1985: June The motorcade sped on: Steinski. what is truly revolutionary about this song is that it was composed as an audiovisual piece using TV footage as A/V samples. The actual news footage – both audio and video – of Kennedy’s murder was cut-up and re-edited into a piece in which, once you’ve seen and understood the piece, the audio cannot be separated from the video. http://www.youtube.com/watch?v=JjyFwbSNh4o
1985: June The motorcade sped on: Steinski. what is truly revolutionary about this song is that it was composed as an audiovisual piece using TV footage as A/V samples. The actual news footage – both audio and video – of Kennedy’s murder was cut-up and re-edited into a piece in which, once you’ve seen and understood the piece, the audio cannot be separated from the video. http://www.youtube.com/watch?v=JjyFwbSNh4o
2010:
Duvet Brothers - Live Multiscreen Scratch Show
http://www.youtube.com/watch?v=xVp1N3bWft0
The independent media movement had a major international impact on the growth of video and subsequent forms of electronic art.
Scratch Video,
a form with close links to sampling in music and with its historical
roots in political photomontage and avant
garde film.– the constant re-use and
re-cutting of both original and found imagery in rapid-fire
electronic montages of sound and image is characteristic for his
work… As a style, Scratch spread rapidly across Europe, North
America and in Japan. It became a tool in the hands of media
activists who instinctively understood that its deconstructive
techniques could be applied to political campaigning.
A
key point in the development of scratch or appropriated video is in
the late 1970’s when American artist Dara
Birnbaum
made her series of short works Pop Pop Video, the most memorable of
these being Technological Transformation: Wonder
Woman.http://www.youtube.com/watch?v=HhMG-QCJVsE&feature=related
This brief – and for the time – rapidly edited montage of images
from the popular tv series Wonder Woman welded the irreverent
aesthetics of punk to a formal avant garde tradition and the so
called "drastic classicism" of New York’s post-minimalist
new music milieu, typified by the noise barrage of composers like
Rhys Chatham and Glen Branca. Birnbaum worked directly with musicians
from that milieu, along with other emerging video artists like John
Sanborn, Kit Fitzgerald and Mary Perillo, who had close ties with The
Kitchen Centre for Video, Dance and New Music.
London, weekly
screenings…The images would often be accompanied by music that
existed at the point of transition between post-punk
new wave, American hip hop, techno and Jamaican dub.
in the early eighties Scratch Video quickly became a widespread form
that broke with earlier, durational,
performative and minimalistic forms of video art. New York
clubs like Manmhattan’s Danceteria…young video artists who wanted
to develop and expose their work in a social context outside of the
mainstream gallery world.
In the mid eighties, London was the undisputed world
centre for video graphics.
In the USA, the heritage of Scratch as a political tool
for activism and cultural terrorism was reconfigured in the late
eighties and nineties by artists such as Paul Garrin, a former
assistant of Nam June Paik, and the group Emergency Broadcast Network
who developed an early form of "culture
jamming".
Drawing on the history of avant garde film –
particularly the abstract film language of artists such as Viking
Eggeling, Hans Richter and Oskar Fischinger.” The History of VJ,
Michael
Groups like Gorilla Tapes and Duvet Brothers grabbed the
recently introduced possibility of taping TV programs with a VCR, and
manipulated them in the editing studio (usually a public access video
workshop). // The scratch video makers used the "repeat-edit"
and other video tricks to turn Reagan's and Thatcher's media images
into stuttering marionettes that acted like aliens
or lunatics and said things which were the opposite of the official
protocol, but close, so one suspected, to the
thoughts that really crossed their minds.
Scratch
video was simultaneously a reaction to
the ubiquitous television environment, a tactical attack against its role as the mouthpiece of conservative politics, and a new way of personal expression, of asserting one presence in the egotistic world of media. Of course, it all ended up in a failure. The main problem was access. Broadcast television ignored scratch video until it had been cleaned off its political content and turned into a new "refreshing" stylistic formula for music videos, comedy programs and hamburger commercials. Scratch features also survived in video art, but neutralised and "sublimated" by museum and gallery walls.” Michael Heap (The History of VJ)
the ubiquitous television environment, a tactical attack against its role as the mouthpiece of conservative politics, and a new way of personal expression, of asserting one presence in the egotistic world of media. Of course, it all ended up in a failure. The main problem was access. Broadcast television ignored scratch video until it had been cleaned off its political content and turned into a new "refreshing" stylistic formula for music videos, comedy programs and hamburger commercials. Scratch features also survived in video art, but neutralised and "sublimated" by museum and gallery walls.” Michael Heap (The History of VJ)
“..in the late 1980s by the American multimedia ensemble Emergency
Broadcast Network (EBN). In video scratching, short clips from
television programs or other found footage are edited rhythmically to give the
effect of spoken lyrics to accompanying music.”
http://see-this-sound.at/compendium/maintext/54/4
http://see-this-sound.at/compendium/maintext/54/4
1991 Emergency Broadcast Network (EBN)
Queen song We Will Rock You-g.bush http://www.youtube.com/watch?v=PUDR9RckfEU
Newtek Video Toaster allowed real-time mixing and effects
to be performed on a desktop computer.
http://www.newtek.com/
http://www.newtek.com/
1997 Coldcut&Hextatic: Timber. Albumle birlikte cikardiklari Vjamm programı Vjliğin ve AV
remiksin yaygınlasmasına onayak oldu. best-known audiovisual performance
ensembles. http://www.myspace.com/coldcut
Better resolution: http://www.myspace.com/video/dj/coldcut-hextatic-timber/5860966
Timber video : http://www.youtube.com/watch?v=nLu7p9bTJ84
Timber video : http://www.youtube.com/watch?v=nLu7p9bTJ84
“1990:
Coldcut <TIMBER>Having synchronized the individual video
segments with the sounds, they were then edited into whole video
pieces that re-contextualize our understanding of the word "natural"
through the technological manipulation of these "natural
rhythms"...The result is a tightly edited series of audiovisual
songs woven together through an underlying message about living life
through music. The boundaries between the image and audio information
continually dissolve as spoken interviews become lyrics atop music
performed thousands of miles away, and where the sounds and images of
disparate cultures join in a symphony of unified existence made
possible through the technologies of audio-visual fragmentation.
The
unification of audio and visual information
is becoming increasingly present in theoretical circles as well. Of
particular note is French film theorist Michel Chion whose book
Audio-Vision espouses the notion of trans-sensorial
perception, an
understanding that the organs we usually attribute to sense
perception are only a part of how our bodies experience sensory
information. Just as what we call taste is often heavily reliant on
smell, so too sound is often processed on visual terms and vice-versa
(as the term "stereo image" illustrates). Similarly,
Canadian film theorist William C. Wees has explored the visual
apparatus in his book Light Moving in Time. Here Wees draws on
increasing scientific information that suggests sight is largely
processed by the brain in conjunction with other areas of perception,
and that the eyes
actually play only the smallest of roles in our experience of vision.
In keeping with this
increasing dissolution of the boundaries between audio and visual
perception, and drawing on experimentation’s such as the visual
soundtracks of Canadian animation master Norman
McLaren and the audio-visual computer programming
of John Whitney, Coldcut have
since forged new territory. Becoming what they call Digital Jockeys,
Coldcut have designed and made available custom software enabling
their live performances to be extensions of the studio processes used
to make Natural Rhythms. Together the "digital duo"
manipulate audio and video samples live, as DJs would manipulate
their records. Here, however, Coldcut
transcend the traditional material manipulations of the DJ and move
into the limitless realm of digital exploration where sound and image
can truly become one.” Michael
Heap (The History of VJ)
2004
DVJ Video klibiyle birlikte dvd olarak
piyasaya çıkan müzik parçalarını videoyla eş zamanlı
değiştirebilen Pioneer marka
mikser.http://www.pioneer.eu/uk/products/archive/DVJ-X1/index.html
2010 KUTIMAN:
2010
Addictive.tv 2010 genel
http://www.youtube.com/watch?v=gosWHZncLiE&feature=plcp&context=C37d65d1UDOEgsToPDskIz6uyJulUDwn0O5GjwhsHn
AV Alien Remix by VJ GOTO10:
“While
society, corporations and politics use images and medias to exert a
control on the masses, V-Atak challenges common sense and ideas
through images and sounds. The process that has become our trademark,
distorting contemporary media icons to recreate an original sense,
offers the public an opportunity to question with irony and violence
the mass media representations.”
GIOVANNI SAMPLE
2011 TASMAN
RICHARDSON
2011 AV
REMIX HISTORY notes@VJ
FEST ISTANBUL, June 2011 by Quananiche (AV artist from Canada)
Cover: Play the original song again with instruments
Quating:
Using small part of the original eg.Fashion design using Mondrian
pictures/Classical Music
Sampling:
Copy somepart of the original and create (by editing) sth new from
it. You can recognize the original. Collage in eg.pop art, Jungle
music.
Renoting(?)
Electronic way of making a cover of the music. Several small parts to
make sth new with them. You can recognize the original sometimes not.
Mash-up:
To take at least two songs and mix them. Principle is you can
recognize both songs.
*The
oldest videomusical remix: Hextatic "Timber" First time (i
think) people recognized audio-visual remixing that much.
*Most
interesting one (i think) is Restman. Just by cutting the video (no
sound editing) and then putting them side by side.
*1997.
From Toronto. Media critic.
Examples:
Coldcut&Hextatic
Addictive
Tv http://www.addictive.com
Eclectic
Method http://eclecticmethod.net/
France:
AV
Label: V-Atak: RKO/Nohista
http://www.v-atak.com/
GIOVANNI
SAMPLE http://www.giovannisample.com/
Israel:
KUTIMAN:
Thru You http://thru-you.com
Canada:
Ounaniche
Nwodtlem
Pete o' Hearn
Jubal Brown
Tasman Richardson: JAWA MANIFEST http://www.tasmanrichardson.com/
Label: Dropframe
Nwodtlem
Pete o' Hearn
Jubal Brown
Tasman Richardson: JAWA MANIFEST http://www.tasmanrichardson.com/
Label: Dropframe
Kaynak
ve Baglantilar:
http://www.fringeonline.ca/
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