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.”
LIVE ELECTRONIC MUSIC: DIGITAL MUSIC & DIGITAL IMAGES
“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.
VISUALING MUSIC:
“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
2004 DVJ http://www.youtube.com/watch?v=ZW_T0-vhs3E&feature=BFa&list=PL0224565B239534D0&lf=results_video
2009@VJ FEST at Ghetto, İstanbul:
VJ FEST 2009- SHADO VISUALS
John Cage about silence http://www.youtube.com/watch?v=pcHnL7aS64Y&feature=related
ELECTROMOON
Moe by vedran kolac http://vimeo.com/22521504
FUTURE CLUBS?
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
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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