Rechenzentrum at Mutek 2008 2 from Create Digital Media on Vimeo.

Far from randomly throwing some VJs in the background with music, there are some cases in which musician and visualist build a real relationship — just the sort of thing we care about here. CDM writers Liz and Peter Dines have been roaming the MUTEK festival in Montreal, and their dispatches and interviews are starting to come in. The word: audiovisualism is thriving.

Check out all the reports as they come in at our new “events” site, which we launched last week and we hope will grow into a kind of global event radar for music and motion:
events.noisepages.com

Peter was particularly taken with A/Visions, which is dedicated to audiovisualism. It’d be great to see this become more widespread at festivals here in North America (I gather it’s more common in Europe/UK). One very good sign: it was extremely difficult to get in.

Highlight so far: Liz has an interview with Rechenzentrum, the German A/V duo. Now, this bit may sound like a challenge to the Create Digital Motion community:

The video is live in the sense that I determine which image gets shown at which second, but obviously I’m not creating the image in real time because I’m not really interested in that. Real-time-created video usually looks pretty “blocky,” and I don’t really like it that much.

Curiously, though, he goes on to say:

It’s a mixture of pre-recorded video coming off a hard disk and live stuff reacting off of Marc’s music. But we’re not connected by any kind of MIDI connections or sound analysis. I just listen to his music and create stuff based on that. It’s a connection between our persons and not between our computers.

…. which sounds reasonably live to me. (I’m assuming he’s reacting badly to VJs unintentionally running lo-fi video not for aesthetic effect but just because they don’t know how to do anything else. And I expect we feel him on that.)

It does make me want to go do a big, blocky live visual set, though.

Full interview, with lots of good commentary about aesthetic issues, making it as A/V artists, and the relationship of sound and visual:
Interview: Rechenzentrum, A/V Duo at Mutek [Create Digital Music]

More from Mutek soon; stay tuned. (Below: more visuals from our friend Joshue, who’s really getting around with SuperDraw, his live generative visual tool built in Processing. Congrats!)

In January I had a chance to catch up with Deborah Johnson, who was touring Australia at the time with Sufjan Stevens. The morning after their show in Brisbane, Australia we recorded an hour-long discussion of the show, and seeming to cover the whole gamut of visual creativity and performance. I’ve finally managed to transcribe this epic from audio to text.

Deborah: I would really like to see our show from the audience’ perspective.

Jaymis: I would have loved to have shot some video. There are some really beautiful moments. Did you notice that there was quite a bit of the crowd cheering visuals?

Jaymis: No?

Jaymis: I noticed that there was a couple times when you did something, nothing else was happening, and people around me were “yeaah!”, and not just the people I’ve conditioned to do that, either.

Deborah: ~laughs~

Jaymis: You’ve obviously got a good aesthetic happening. I’ve seen on your website as well you have that kind of drawn aesthetic. Do you do the illustration yourself?

Deborah: On the website?

Jaymis: In the set, you have images that come up: Stars, growing vine objects…

Deborah: Those are all based on drawings, they’re all drawing programs that are written in Director. I work with a programmer, and we’ll be like “this is what I want to have happen”, and he writes an algorithm to make that happen.

Jaymis: That was my next question: How do you do your particle effects with the stars which are drawn on, stay and then fall. So that’s Director?

Deborah: Yep.

Jaymis: Peter would be very excited that someone’s still using Director… So that’s then rendered out to video clips?

Deborah: I mean, the dream is to be able to make them instruments that I can play live, but…

Jaymis: Director’s getting a bit old for that kind of thing. You might have to go with Processing or Quartz Composer or one of those fun things.

Deborah: I really would like to learn Processing. Recently I feel like I’ve become more of a curator, art director.

Jaymis: As video gets bigger that’s what you have to become; you can’t do it all anymore.

Deborah: For this, I knew what I wanted to happen, but I knew that I would need some help. So I started working with a programmer named Siebren Versteeg, who’s an awesome artist in New York. It was great because in Sufjan’s music there’s just so many layers of stuff that happens. My skills were limited to be able to create something that’s just totally generative and so massive, there’s no way that I could author that stuff. So how do you just get a source concept and send it out over an animation.

One thing that I worry about is that it becomes too… Say with Processing or that kind of work, people associate it with screensavers?

Jaymis: Very true. Well I guess that growing vines is one of those things which is quite ubiquitous with that sort of thing. Obviously you’ve got a particularly cool little spin on it and it works really well in the context of what’s happening on stage, but “something growing” is a very standard…

Majesty Snowbird, Live Visual from CandyStations on Vimeo.

Deborah: Exactly.

Jaymis: I think the other thing is that if you become too focussed on one particular tool, then that influences your output as well.

Beeple - iv.7 (annoyingly small mix) on Vimeo

Beeple’s Audiovisual exploits have been featured twice on Create Digital Motion, and raised a variety of questions. Momo the Monster cornered Mike Winkelmann in a dark alley and forced him to give us the information you crave.

What can you tell us about your method?

Well, usually I write the basis for a song using loop-based software like FL Studio, then i take and export all of those loops and make video that syncs precisely to each note in the loop. If it’s a melody line, then I will try to make it so that you can discern the different notes that are being played. If it is a more rhythmic or atonal sound,I will try to make some piece of video that “looks” like that sound. Then I render the loops of music and video together into one video file. Next, I take those video files into a NLE (I use Vegas 4, mostly) and attempt to write a large piece using my audio/video loops. I layer all of the pieces of audio/video, and because they are all individually synced, bits of my piece, the end product kind of makes itself in terms of video.

Our friend Sean Healy, aka Jean Poole, has a great interview with visualist *spark (Toby Harris of London). We love *spark for many reasons — for founding AVit, for being a wildly-talented artist, for reintroducing the idea of narrative to visualism, for VJing live on a giant touchscreen (see below), and other goodness, not necessarily in that order. Toby talks to Sean about everything from his philosophy of performance to some of the technical possibilities of audiovisual performance today.

I particularly like what *spark has to say about live cinema, and why the tools are “hotting up”:

That term ‘Live Cinema’ is something close to my heart though: I reckon you can specifically and deliberately combine a lot of whats good in established cinema and clubbing to give a completely new way of expressing yourself as a VJ-esque performer while engaging with audiences’s own creative thoughts. The key to it is an improvisational use of narrative, rather than forcing a fixed story down their throats, you could be a cinematic incarnation of the oral storytellers of old, weaving tales on the fly, or providing the scenarios and juxtapositions that people find themselves compulsively mapping their own narratives onto. Stepping back from that, I’m interested in anything that uses media to make people interact or think in unexpected ways, which has taken me from playing with the conventions of one-man theatre to storytelling installations. And the tools are really hotting up at the moment, things are getting interesting.

*sparkin’ it up [Skynoise.net]

Speaking of hotting it up, check out that potent combination of Ableton Live (for music) and VDMX (for visuals) on a MacBook Pro. It’s a coupling we’re seeing more of these days. (And it doesn’t necessarily have to be Live and VDMX per se, or even one laptop — but people exploring real audiovisual soundtrack means Live Cinema can be sonic as well as visual.) Those of you working on similar setups, we’d love to see them. Whether it goes on Create Digital Music or Create Digital Motion — well, I can flip a coin.

Whether in three-dimensional videos or paper sculptures, artist Martin Böttger manipulates organic, fluid geometry like a child with blocks. An artist working with Maya, vvvv, and Processing, his work demonstrates that even simple elements can yield a variety of creative products.

“Transformer” is an intentional nod to the robots and movie — with good reason; Martin seems like the type who could design you a robot that changes into a truck:

We’re big fans of NIN’s new album, Ghosts. Now, visualists will get to freely interpret the album in an open YouTube “festival”…

I’ve come out of my self-imposed solitary confinement only due to my man love for Trent Reznor. (Don’t ask.) Following up on the huge success of the Ghosts I-IV release (grossing a cool $1.6 mil during the first week), Trent is announcing a partnership with YouTube to present a user-submitted film festival for works inspired by Ghosts. From NIN.com:

First of all, a sincere THANK YOU for the response to Ghosts. We are all amazed at the reaction for what we assumed would be a quiet curiosity in the NIN catalog. My faith in all of you has been restored - let’s all go have coffee somewhere (my treat)!

Today we announce the expansion of the Ghosts project into the visual world. This record began as an experiment with us using sound as a means to describe visuals. Early in the project we thought it would be interesting to see what the community could create / collaborate on as a reaction to the music we were making. We wanted to keep the canvas as blank as possible for you, hence the lack of descriptive song titles and the primarily textural artwork and packaging.

So here’s the plan: we’ve teamed up with YouTube to host a “film festival” around Ghosts. The concept is for you to take whatever tracks you feel inspired by from Ghosts and create what you feel should accompany them visually. You will be able to see all of the submissions, and a team of us (including me) will be sorting through them and setting aside ones we feel are exceptional. Eventually (within a couple of months?) we will present a virtual “film festival” with me and some special guests presenting selections of your work.

This isn’t a contest and you don’t win elaborate prizes - it’s meant to be an experiment in collaboration and a chance for us to interact beyond the typical one-way artist-to-fan relationship. We’ve discussed some interesting ways this could go, including multiple installments of the online “film festivals,” to broadcast TV specials, to a one-time live performance of the entire Ghosts record with your visuals involved. It really depends on how this progresses and develops.

We are all very much looking forward to what you come up with, and hope you enjoy the experience. Visit our YouTube channel for information on how to participate.

NIN’s music has been and continues to be some of the most visually inspiring and cinematic music I listen to; now here’s a chance for myself — and everyone else — to freely be share their work and use NIN’s music without repercussion. If only there were more time!

Delving into Audiovisual performance, it’s easy to get overwhelming. Mashing up commercials, music videos, sampled footage and more can quickly lead to eyeball meltdown.

Here, then - Mike Winkelmann (as Beeple) takes simple and distinct typographic elements, synced to a minimal lo-fi tech soundtrack to create AV that is masterfully compelling and straightforward.

Beeple - Century Gothic from momo_the_monster on Vimeo.

Mr. Winkelmann continues to produce and release as Beeple - he’s created new more fanciful works since his first appearance on CDM. See his whole library at Beeple.com.

Also, he’s got screenings of IV.7(annoyingly small mix) coming up at Ann Arbor Film Festival (March 25-30), as well as the Wisconsin Film Festival (April 3-6th).

Vague Terrain, a journal on digital technology, has put together an issue surveying the global state of VJing, edited by VJ, sound artist, and designer Carrie Gates of Saskatoon. (Saskatoon, the place, though that’d also be a great name for, like, an edgy Web animation firm or something…)

Vague Terrain 09: Rise of the VJ

Blogged by Vague Terrain’s Greg Smith @ serial consign

The issue is fully of great stuff, with VJs Ana Carvalho, Kelly Bolen & Jake Hardy, Defasten, Francis Theberge, Jackson 2bears, Lara Houston, Leeane Berger, Michael Betancourt, Mo Selle, Neubau & Kero, Ryan Stec, Tim Jaeger, VJ Pillow & VJ Mademoiselle, VJzoo and Chrism & Fenris, Xárene Eskandar and Ziv Lazar, and an interview of Jaygo Bloom by Michelle Kasprzak. I contributed our interview with Solu.

Why? Because…

…live video mixing performances certainly address a hunger for immersive and synaesthetic sensory experiences where aural and visual elements work together to create a whole that is something beyond the sum of the parts.

From video turntables to political messages (Singapore riots), deconstructed vehicles to guerilla visual actions, vintage gear and VJ history to modern digital techniques, they run the gamut. And it’s clear that the range of expression and subject matter in VJing is far deeper and broader than what many people recognize.

Let us know what you think, and if you have any favorite bits.

Hong Kong, seen through the eyes of vj pillow & vj mademoiselle (Thien Vu Dang and Yasuko Tadokoro).

There are some serious, high-profile indications that big artists are beginning to embrace alternative licensing for their content, whether it’s pay-what-you-wish distribution, “please remix this for us” marketing campaigns, or genuinely open content. Whether that’s just a brief fad or the sign of things to come, it’s too early to say. But R.E.M. have at least uploaded a full eleven videos, nicely encoded in MPEG4, under an open source license:

Supernatural Serious Album Page, with vids

R.E.M. Releases New Videos Under Open Source License [ReadWriteWeb, via vade]

R.E.M. aside, I wonder: will at least some VJs embrace open content, perhaps even exclusively?

Now, this isn’t without caveats: