12 Ocak 2012 Perşembe

Bilgi:(5)VJ'lik (3) Rave - Club - Visualizing

In late 1987: Raves & E culture ‡ rise of the superstar Dj. You're probably familiar with the story of how a bunch of holidaymking DJs discovered the synergy between house and Ecstasy in the clubs of Ibiza; how they brought the anything-goes "Balearic" vibe back to cool-crippled London in late 1987; how by the summer of '88, the trippy, futuristic sound of Chicago acid house had spawned the most demonized British subculture since punk, which then spilled out into the English countryside in '89 as inner city warehouse parties evolved.

1990-92: Rave really became a mass bohemia during the three year period 1990-92. As an anarchic cultural force, rave culture peaked in the summer of 1992, when the biggest commercial raves peaked at 25 to 35 thousand, and the techno traveller festival at Castlemorton Common in the West Country drew an estimated forty thousand revellers during its six days of highly illegal existence…By 1993, though, rave culture was in disarray: illegal raves were systematically crushed by local police forces across the country, the commercial rave circuit was in decline owing to bad vibes and rip-off events. Hardcore (like Prodigy) had always been less utopian than the uplifting house of 1988-89.
By the mid-Nineties, rave culture--hitherto a chaos of social and sonic mixing--was stratifying into increasingly narrowcast scenes organised around race, class, and region. Club culture became professionalized, with the rise of "superclubs"like Cream, Renaissance and Ministry of Sound…Gavin Hills, journalist and acid house veteran, put it: "Ecstasy culture is like a video-recorder now: an entertainment device, something you use for a certain element of pleasure. The club structure is like the pub structure: it has a role in our society."
"Ecstasy culture is like a video-recorder now: an entertainment device, something you use for a certain element of pleasure. The club structure is like the pub structure: it has a role in our society." That role is arguably as a kind of safety-valve/social-control mechanism, with youth living for the temporary utopia of the loved-up weekend rather than investing their idealism in a long-term collective project of political change. It's the traditional working class "culture of consolation", with three E's replacing ten pints. And E, the magic pill, has lost both its aura of enchantment and its status as the most favoured drug of the "chemical generation"; it is now just one brain-blitzing weapon in the neurochemical arsenal. Because of this "polydrug" culture of mixing-and-matching, the atmosphere in clubs has changed: instead of the clean, clear high of MDMA and the electric connection between total strangers, the vibe is bleary and untogether. Instead of getting "loved up", people talk of getting "messy".

1991 Vjamm vj software, COLDCUT - UK. “Digital Jockeys, 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.” Peter H.
“With the advent of affordable personal computers with processors and applications that were in a position to manipulate moving images in real time, the phenomena of sound and image, which were previously separate from each other in terms of media technology, could be linked by means of the algorithmic translation of auditory and visual parameters.”

“independent digital aesthetic. Sound could now be analyzed and broken up into wave bands and thus as data material provide the input for image-generating systems.”

“…the laptop became an easily available music instrument that, as such, not only revolutionized performance, but also the sound world of electronic live music…British duo Autechre, and musicians such as Carl Stone and Zbigniew Karkowski, featured interactive manipulation of sound processes. Watching a performer simply operating a computer made it difficult for audiences to relate to the musical act of sound generation, and this created a visual vacuum.”

“The development of the artist-musician/musician-artist gained new impetus from the spread of techno and other new forms of electronic music (house, drum’n’bass, electro, etc.). “

free spaces offered by the club culture

In the politicized concept art of the 1990s there was much talk of cultural producers and cultural workers with reference to these multiple roles. With the digitalization of media and the spread of the computer, visual and musical working methods became technically increasingly aligned with one another.


“The initial application areas of digital music visualizations encompassed club visuals and live performances within the scope of concerts with electronic music. Today…events of all kinds. LED technology, more and more public space is being conquered. Numerous buildings and billboards have playable surfaces and are used for artistic interventions. In addition, contemporary artists are increasingly producing multimedia works on DVD or as installations.”

1993 and 1997 “The aesthetics of such systems are more than occasionally targeted to a broad casual audience with an interest in psychedelic visual culture. The influential screensaver and visualizer Cthugha, for example, created by the Australian software developer Kevin “Zaph” Burfitt between , was advertized as “an oscilloscope on acid” and as a “form of visual entertainment, useful for parties, concerts, raves, and other events as well as just vegging out to mesmerizing, hypnotizing displays.”[6] “ see-this-sound.at. Software art

1999 Nato+055 opensource program, VTP: video technology Projection
NATO.0+55+3d was an application software for realtime video and graphics, released by 0f0003 Maschinenkunst in 1999 for the Mac OS operating system. Being one of the earliest applications to allow realtime video manipulation and display...”wikipedia.
242 pilots. CANLI video improvizasyonu, müziğe çabuk tepki verebilecek görsel bir alet. Kontroller, knob, fader gibi kontrollerin gönderdiği midi sinyallerini bilgisayar işliyor ve görselleri projeksiyon cihazına yolluyor.The increase in intersections between the fine arts and electronic music242.pilots differ from most other contemporary visual performers in that they perform as a visual ensemble; improvisation and collaboration occur not only between visual performers and musicians, but also between the visual performers themselves. 242.pilots, comprised of three video artists who have developed software that enables them to superimpose, contrast, blend, and otherwise transform images in real time, in improvised interaction that they see as comparable to free jazz.

VINCENT ELKA, Shout : audio into gestural sembolik çeviri

2003 Golan Levy, Messa di Voice: http://www.youtube.com/watch?v=STRMcmj-gHc

2009@VJ FEST at Ghetto, İstanbul:


John Cage about silence http://www.youtube.com/watch?v=pcHnL7aS64Y&feature=related


Moe by vedran kolac http://vimeo.com/22521504


2010 KINECT Kamera: “…selling a total of 8 million units in its first 60 days, the Kinect holds the Guinness World Record of being the "fastest selling consumer electronics device"

KINECT kamerayla: http://www.youtube.com/watch?v=s5vWzdGQ8BU&feature=related

3d scanner

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