We see audiovisuals routinely in darkened, air-conditioned room. The Ark invites viewers to wander a botanical setting, plant life bathed in hard-contrast light and shadowjo, architectural forms animated through the vegetation. Set in Mexico’s Ethnobotanical Garden of Oaxaca, multiple works from visual label ANTIVJ create an open-ended environment of image and sound.

Concept & Visual design by Romain Tardy
Music composed by Squeaky Lobster (we’ve heard his fine music before in Mapping Festival trailers, among other places)
Project Management by Nicolas Boritch

THE ARK from ANTIVJ is a visual label on Vimeo.

Presented in April, ANTIVJ has just released their documentation. Laurent Delforge, aka Squeaky Lobster, composed an 8-channel musical soundscape, and has this to say: Continue reading »


There’s nothing like the comfort of your own home. The comfy feel of underwear instead of annoying … clothes. The absence of … other people in the same room.

Yes, if you’ve ever dreamt of learning the lovely semi-modular, powerful VJ tool VDMX, now you don’t need to wait until experts in the tool come to your part of the world. You don’t even need clothes. (Though, maybe you’re chilly. You can totally wear clothes, too.)

Vidvox’s own David Lublin will be presenting a workshop for video artists ready to get deep into VDMX. You can hear from this core developer, and then ask questions, too.

It’s not only a nice opportunity to hone your visual performance tools for AU$25, it’s a nice idea for training in general. With the visual community as scattered as it is around the globe, if this works well, I hope it gets repeated. We can’t all fly to be with one another, unfortunately. This is surely the next best thing. Scheduled at Noon USA Eastern (NYC) time on March 1, it works out reasonably well for much of the planet.

Find out more:
March 1: VDMX Masterclass @ ACMI with David Lublin, Vidvox, NY [skynoise]

Registration and info at the Australian Centre for the Moving Image

Let us know if you go for it.

And on your own time, there’s always this:

MARILYN MYLLER – Mini Making: Light Effects from Mikey Please on Vimeo.

Mastering today’s digital media often means expertly melding optical and digital.

One of the films that launched modern digital animation as we know it, ironically, developed its signature look primarily via optical effects. And resonances of that film, Tron, are certainly here.

The six-minute short Marilyn Myller gets a bit of everything. It’s hand-carved physical forms, stop-animated. It’s light painting with optical effects, captured digitally.

And it seems that optical/digital fusion holds a lot of promise for his medium, including live contexts. I’m certainly inspired watching.

Description of the whole project: Continue reading »


We are making the first tiptoe-steps from the world of the last centuries – proscenium theater, rectangular cinema, fixed perspective – into one that’s fluid in the way digital technology can be.

The techniques are simple, but you can see how our vision can be transformed in the latest work by talented West London-based visualist and effect designer Oscar González Diez. “Beatcam” fuses the camera’s point of view with the musical rhythms it accompanies, punctuating each bar with shifts in environment and architecture. Those architectural volumes, too, are transformed by layers of projection mapping, making impossible spaces.

Diez supplies music and imagery alike, and introduces his directorial label Plastic Science. It’ll be great to see where this goes – in Oscar’s work, and in other explorations along this vector.

‘Beatcam’ is the first short completed under my new label Plastic Science.
Always loved exploring the relationship between sound and imagery. Here I wanted to show a world where music literally drives everything we see, a symphony of movement & light projections woven into beat driven time lapse.
Concept, Music & Visuals: Oscar Gonzalez Diez @ Plastic Science


Beatcam from Oscar González Diez on Vimeo.

And his music:


We’ve seen plenty of dedicated VJ products or third-party add-ons. But when it comes to mixing and management, most DJ software still focuses exclusively on music libraries. The lone exception has been the Video-SL add-on in Serato.

Cross 3 from Mixvibes goes further to integrate video natively than any DJ tool previously. The new release of the software adds an extensive set of video features. And the aim remains appealing to DJs, particularly those who want Pioneer hardware integration or who come from the club scene. Mixvibes isn’t just a random developer – it’s the same company that developer rekordbox for Pioneer. That makes the addition of features normally associated only with VJ software all the more interesting.

It’s the stuff we’ve generally seen associated with the “DVJ” concept, but integrated in a truly DJ-friendly package. Mixvibes are explicit about the goal here, in no uncertain terms in the press release. In a header labeled “Video for ever DJ,” they caution, “make no mistake, Cross is a DJ software with powerful video features, not a VJ software.”

That said, just how much video functionality is here? Quite a lot. Now, it’s not unheard-of to see audio and video work together. But here, you can treat video and audio both as integrated assets and separate media, even syncing the BPM of video to audio, and merging the results into a single clip. Features: Continue reading »

Rodrigo Carvalho's experiments meld choreographic data with generative visualization. Photo courtesy the artist.

Rodrigo Carvalho’s experiments meld choreographic data with generative visualization. Photo courtesy the artist.

When it comes to dance technology, it isn’t enough to team dazzling engineers with dancers. Making digital technology meaningful to those steeped in the craft of dance means artists getting their hands dirty.

Dance has a history in experimental exploration, from Merce Cunningham’s pioneering work with the LifeForms software (directly in his choreography) to digital dance hybrids created by the likes of Troika Ranch (Dawn Stoppiello/Mark Coniglio).

The Motion Bank and Frankfurt, Germany could be the scene for dance tech’s next act. Choreographer William Forsythe launched a four-year project in Frankfurt am Main to collect data using Microsoft’s Kinect. The tool isn’t incidental: Kinect is wonderful technology for finally making digital motion accessible to dance. Conventional cameras are too clumsy to gather meaningful data, but high-end motion tracking is not only expensive, it’s rigid and inflexible. Kinect is something you can drop in a rehearsal studio and start using right away.

Partnering with research institutions and choreographers like Deborah Hay, Jonathan Burrows / Matteo Fargion, Bebe Miller, and Thomas Hauert, The Motion Bank project is open and collaborative. Elaborate data sets transform motion into digital scores, then allow them to be reused and remixed by artists, making digital sculptures out of thin air, as though reflected from the dances themselves.

An introduction to the project, explaining Forsythe’s involvement:

Motion Bank trailer 2012 (en) from motionbank on Vimeo.

Continue reading »


If projection mapping often seems superficial, tacked onto architecture as afterthought, Ryoji Ikeda finds the perfect site for his art in the row of circles at Fondation Vasarly, Aix-en-Provence.

There, as noise and beeps coolly hum away, a feed of sonic information flowing like a river, circle and square seem not just convenient geometry but genuine signifier. From moments of sublime abstraction, they become discs of data, portals into a microscope and then a telescope, distant worlds and mapped moons and weather patterns and oscilloscopes. There isn’t a distinction between the architecture and the content: the architecture becomes content. For a vision of what fluid architectural interfaces of the future might be, in fact, this demonstrates the forms of the building remade as displays, speaking volumes.

And even our short-attention span Internet, you may find yourself lost in reverie even in this video.

Site-specific work:

OCT 10-13, 2013 Fondation Vasarely, Marseille-Provence 2013, Aix-en-Provence, FR
concept, composition: Ryoji Ikeda
computer graphics, programming: Tomonaga Tokuyama, Norimichi Hirakawa

Documentation: Cyril Meroni.

Photo credit: Ryoji Ikeda.

Yeah, he’s still got it.

More iterations of this project: