12 Ocak 2012 Perşembe

Bilgi: (4) VJ'lik (1): Resim - Müzik - Bilgisayar - Işık (1900ler-2000ler)

VJ’lik, performans, müzik kültüreri ve interaktif teknolojiyle ilgileniyor.
Bugün VJ, “Visual/Video Jokey” olarak her tür müzik için canlı görsel yapan sanatçılar için kullanılır. Şimdi mtv’deki VJ kurgusal bir isim, ne video seçiyorlar ne de jokeylik yapıyorlar. Konu genel olarak Canlı Sessel-İşitsel Performans, alt başlıklar da VJ’lik, Canlı Sinema, AV Performans, Video Performans, Görsel Müzik...elektronik müzik, dijital kültür, yeni  medya...

VJ’liğe iki bakımdan yaklaşabiliriz.
1.    Müzikle birlikte varolan ve müziği görselleştiren,
2.    Müzikten bağımsız, kendi başına duran ve orkestradaki bir başka enstrüman.
sound-image interactions - Sineteziin Michel Chion’s book Audio-Vision (Millicent Cooley analyzes, 1998)

“…sounds and images into a cohesive whole as a strategy for making sense of the world, and that this tendency extends to our experiences of viewing films. When this fusion occurs, the meaning perceived by one sense contributes to the meaning perceived by the other. Chion describes this effect with the term synchresis (..."the forging of an immediate and necessary relationship between something one sees and something one hears”) which combines synchronism (things which occur at the same time) with synthesis (perceived relatedness of meaning) [op. cit. p.5]. …the degree to which the sounds and images in an audio-visual event are related, and how this relationship is used to create meaning. In a more dissonant or cross-literal audio-visual combination the sound carries a meaning which is different from the image, and the sound and image tend to change each other's meaning. In its most extreme version, audio-visual dissonance occurs when the sound carries one meaning and the image carries an entirely different meaning, and in the combination  a third meaning is created which is different from either of others.  Chion acknowledges that dissonant audio-visual combinations do not always work. He explains there are many ways that dissonance manifests, that synchresis is inexact, and that it is affected not only by the meanings carried by the particular sounds and images being combined, but by the context of the film story, and the personal and cultural biases of the listener/viewer [1]. "...the eye is more spatially adept, the ear more temporally adept... the eye perceives more slowly because it has more to do at once; it must explore in space as well as follow along in time" [op. cit., p. 11].
Bir enstrüman olarak video:
VIDEO – MUZİK ARASINDAKI BENZER YAPISAL ÖZELLİKLER?: Samplebased, loops, rhytm, resample
1880. Fotoğraf Makinesi
1890. Color Organ
1900. Sinema Makinesi
1922. Monochrome cathode ray tube (then colored tv-1954)
1960. Video Kamera -Sony taşınabilir:  Video-Music Tools, Performance Art,
1967. Light Shows, visual orchestra with rock n’ roll
1970. Intermedia: technology + art, multiple perceptions: difference and unity, synesthesia
1970. Video Mikser/Synthesizer: sound=image, image=sound
1975. İlk grafik bilgisayarlar
1980. Video Scratch
1990. Video Improvisation: Vj/Dj, AV synchronization,
Video Projeksiyon Cihazı, Edirol V4 video mikser
2000. Interaktif Technoloji, canlı sinema, Bedava Yazılımlar
2004  DVJ: AV mikser
2010. Kinect Kamera (ücüncü boyut)
2011. İnteraktif kullanım
1900ler resimle müziğin ilişkisi:

“the visual arts adopted music as a model for the depiction of movement and temporality

“as early as 1904, Adolf Hölzel had called for a counterpart in visual art to musical harmonics: “I mean, similar to the counterpoint and harmonics that exist in music one must also endeavor in painting to create a specific theory regarding artistic contrasts of every kind and their harmonious equilibrium.”[3]”

1911: KANDINSKY (Arnold Schoenberg konseri icin_Impression III (Concert) (1911)

“Musical terms such as fugue, rhythm, dance, and triad were also frequently used in painting titles, such as František Kupka’s Amorfa - Dvoubarevná fuga (Amorpha: Fugue in Two Colors; 1912), which is based on sketches of movement made at a ball. “His work became increasingly abstract around 1910–11, reflecting his theories of motion, color, and the relationship between music and painting (orphism).” “I regret to this day the crazy notion that led me to name the painting ’Fugue’ — at the time it was an expedient; it seemed to me — quite conventionally — that I had to provide a figurative title. However, the point was solely the concept of space and time, and the potential to evoke such space-time associations.”[14]

1921: WALTER RUTTMANN “Opus.1,2,3” http://www.youtube.com/watch?v=iKo3mBVLFeY&feature=related

“This multidimensional interconnectedness of the pictorial elements, for which Itten coined the term bandräumlich (spatially bound), keeps the viewer’s eye constantly moving.”
1923: HANS RICHTER “Rhythm.23”http://www.youtube.com/watch?v=EjM9SHZHdb8
Ferruccio Busoni, became interested in musical counterpoint. From this ensued his concept of optical counterpoint, a theory of visual composition based on the polarity of pairs of opposites of abstract elements, such as he attempted to realize in his film Symphonie Diagonale (1924).
1924: VIKING EGGELING –Germany, “Symphonie Diagonale” http://www.youtube.com/watch?v=uc5qPMSVixQ&feature=related
1930 Paul Klee’s concept of polyphonic painting made the most direct reference to Bach and the fugue. Klee borrowed the musical term polyphonic to describe a visual structure composed of several pictorial elements that permeate and overlay one another in constant flux, from which ensues simultaneous visual polyphony, a consonance of all the pictorial means employed. Klee:“Polyphonic painting is superior to music insofar as the temporal is more spatial in this genre. The concept of simultaneity is even richer here.”[6]

2009 Lipstick by Jacob ter Veldhuis http://www.youtube.com/watch?v=IQ-UI51r19I
1940: NORMAN MCLAREN-Canada “Dots” 
1950: OSKAR FISHINGER "Early Abstractions" (1946-57), Pt. 3 http://www.youtube.com/watch?v=RrZxw1Jb9vA&feature=related

Peter Kubelka used arithmetical processes in musical scores to develop the structure of his metric films.
Musical methodology based on permutations or mathematics was explored as a means of pictorial composition, in addition to the contrapuntal development of visual structures.

JOHN WHITNEY demonstrates his analog computer: http://www.youtube.com/watch?v=5eMSPtm6u5Y
<iframe width="420" height="315" src="http://www.youtube.com/embed/5eMSPtm6u5Y" frameborder="0" allowfullscreen></iframe>

John and James Whitney drew on the compositional principles of twelve-tone music to create serial permutations of a set of geometric forms for their Five Film Exercises 1943–1944

1975: JOHN WHITNEY”Arabesque” İlk dijital bilgisayar animasyonu http://www.youtube.com/watch?v=w7h0ppnUQhE&feature=related
“John Whitney is considered by many to be the "Father of Computer Graphics". He started in the 1940s building clockwork mechanisms with lights to draw directly on film. Later, he bought WW2 surplus analog ballistics computers and eventually started using digital computers. I believe this one was rendered using a vector display. “

2011: Simple Harmonic Motion study #3aby Memo Akten http://vimeo.com/27956766

2011. Processing - Connexions Part 2 by Alexandre Le Guillou
Realtime animations using Processing language: http://vimeo.com/24930344

2010 Mürekkeple resim ve yansıtma(PAINTING & WEB CAMERA)@vj fest istanbul, VJ Flora Hubot (Belgium)http://vimeo.com/17189491

2011: Tagtool (Bedava program:tagtool.org ) kullanılarak canlı çizim animasyon: http://vimeo.com/32032781

2011: ofxKinect 3D draw 001

2009: Boyama ve Yansıtma (PAINT & PROJECTION)@VJ Fest Istanbul,
VJ Scouap /France: http://vimeo.com/7448901

2011: Bedensel Boyama: http://vimeo.com/23411874

2011: 2009: Foton Boyama (PHOTON PAINT) SATI, France: http://vimeo.com/355803


2011: IŞIK BOYAMA (LIGHT PAINTING)http://vimeo.com/20412632

1930: IŞIK-ALAN (LIGHT-SPACE), MOHOLY NAGY “light space modulator” Kinetic sculpture that defines space by light.

2011: Yansıtma Heykel, Lighting Object Dev Harlan - "Parmenides I"http://vimeo.com/30108920

Collaborative improvisation became common practice at the end of the 1950s also in a new genre, the light show.

1965-1970: LIGHT SHOWS, slayt makinesi, projector, renk pervaneleri, tepegöz, flaş."improvised visual effects with a range of light instrumentssuch as slide and film projectors, color wheels, liquid projections, and reflective objects. Similar equipment is employed in VJing and audiovisual live performance." 

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