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,
TARİHSEL
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
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
1800ler COLAR ORGANS
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]
“This
multidimensional interconnectedness of the pictorial elements, for which Itten coined the
term bandräumlich (spatially bound), keeps the viewer’s eye
constantly moving.”
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]
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.
Kubelka - Schwechater [1958] http://www.youtube.com/watch?v=YEaSnvDBBtY&feature=related
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. “
“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. “
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
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
Graffiti
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.
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."
Işık Gösterileri için BAK: http://vjfestist.blogspot.com/2011/12/isik-gosterileri-karsk-medya-1968.html
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