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Using as title a Ludwig Wittgenstein formula, this composition deals with references, meanings and similarities. Is there something that is completely identical to another? How far you can make copies without changing the original? Do the copies themselves change the meaning of the original? Questioning tautological concepts, the performance aims to show in sound and image, this relationship. The work is performed using video-mapping techniques, creating illusions of three-dimensional depth to the viewer. On two symmetrical screens, shapes and objects are opposed, seeking to analyze, through images and sounds, the relations of equality, reality, their significant and meaning.
The composition is divided into five parts, each one dealing with a theme in some way related to the work title. In the first part, the images speak of identity. Something or someone can be exactly like another? what characterizes the identity? Why do people constantly seek an identification with a group, trying to fit into labels that would ensure an identity "itself." The second part deals with the relationship between signifier and signified. Testing the limits of language, a poem is spoken beginning with phrases that have meanings and logic and, over time, deconstructions in the syntax and the creation of neologisms lead to a search for the ineffable, the whole that is beyond language. The next part subject is the illusion of the senses. Optical illusions suggest that what we see is not always the truth, if it really exists. In the fourth part, are treated opposites (x equal to not x). With minimal use of colors, graphics will fight for a space on the screen. The final part is about the limit of use of the words. There are no words sufficient to noun everything that exists, so gaps are formed. In an attempt to create a utopian spectrum that could name everything, words and phrases are broken down, leaving its original form and seek to belong to a continuous thread that connects all that exists.
more info: http://hol.1mpar.com
credits timelapse/(Mnemosyne) - world premiere Choreography, Concept and Staging David Dawson Music Scanner Set Design Eno Henze Costume Design Yumiko Takeshima Light Design Bert Dalhuysen
In the meantime, this has happened. Here some stage images:
(Het Nationale Ballet, Amsterdam. Photography Eno Henze)
Just doing a realtime mix with VVVV.
Tools: VVVV, Fraps, Sony Vegas Pro.10.0, Xilisoft Video Converter Ultimate 6.
Music: Alva Noto + Ryuichi Sakamoto- Insen-Moon
Connected is a graphical/musical sequencer system. a three way flow of information, between graphics, sound and external triggers shape the composition. Recorded in real-time.
Space is multidimensional and unstable. Objects of the virtual world intersect with material ones.
Where it happens, the abstract emerges, free from a function or purposes. Abstract is solid and depends only on time.
Пространство многомерно и нестабильно. Объекты виртуального мира пересекаются с материальными объектами.
Там, где это происходит, возникает абстрактное, свободное от функции и целей. Абстрактное спокойно и зависит только от времени.
Александра Гаврилова, Сергей Титов
(stain - concept, real-time 3d projection)
Дмитрий Морозов
(
- analog sound synthesis)
Evq - tech support
Pavel Hrustalev - video
14.05.11 MELspace
Real-Time visual toy, what you hear is the recorded input of the microphone. it reacts well to the sound.
Real-time interface for physical interaction with virtual camera.
Created by CIANT | International Centre for Art and New Technologies
Motion-capture: Michal Máša
Software: Andrej Boleslavský
3D Artist: Michiel Houwen
Camera: Henrich Zucha
Actor: Šárka Maroušková
I'm a Konkuk University Student. Major is industrial design.
It's not 3D atually... I used polygon node.
I want your advice.....!
How can I do 3d mapping with vvvv??
The Edge, Queensland's digital culture center, held their relaunch this month after some down time to recover from Brisbane's monster floods. They asked us if we could provide some visuals that would be fresh and new- so we came up with some fun augmented reality Kinect hacks.
The scores are quite simple, and play with combining people's real silhouettes with the interactive media. This resulted in people leaping around, having fun and being quite silly.
Programing: Kyle McLean
Editing: Eva Luenig
Camera work: Pancho Colladetti
Music: CDK (CC BY)
Talysis II is the first in a series of artworks exploring the process of video feedback to create auto-catalytic self-generating artworks. Orginally comissioned for Art.fical 3.0, São Paulo, 2006
Mimicking the classic analogue video feedback process, this software simulation creates complexity from an economy of means. A simple shape is passed around a circuit of renderers. Transformations of the shape are applied to its conveyance around the loop resulting in a multitude of feedback species, geometric tessellated formations, that transform and reconfigure over time.
The strict symmetries, quasi-hyperbolic surfaces and parabolic forms generated from this machine monologue allude to the works from Perceptual and Op-Artist movements of the 60’s.
Exhibited at:
Art.ficial Emotion 3.0, São Paulo, 2006.
Playgrounds AV Festival, Tilburg, 2007
Zero to Infinity, London, 2008
Bridges, Budapest, 2009
Optofonica Museums Night, Amsterdam, 2010
Stills:
http://www.flickr.com/photos/transphormetic/sets/72157594213627690/
More info:
http://www.transphormetic.com/2_talysis2/talysis01.htm
http://www.paulprudence.com/?p=56
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