View allAll Photos Tagged videoprojection,
Saruta Hiko no Mikoto, god of roads and access.
His long nose associates to Tengu imaging.
"Le Japon Illustré" at Girodet Museum.
Temporary exhibition of Japanese prints and objects (most of the city of Rouen collections), mixed in the Museum collections.
Alice in Sunderland
In September 2009 we won the tender to produce the first two permanent outdoor projection artworks in the UK as part of Sunderland's ambitious Cultural Master-Plan.
Inspired by the discovery that Sunderland and it's environs had contributed to Lewis Carroll's vision of “Alice's Adventures in Wonderland”, the central theme of the two digital artworks on St Thomas Street is the inside of the White Rabbit's pocket watch. Local dancers appear amongst giant cogs and welders from industrial ship crane builders Liebherr to create the inner workings of the watch. The projection system, designed by us, works as a digital clock, triggered on the hour as part of an overall light and sound interactive installation spanning the entire street.
The installation was launched in September 2010 and is part of a complete face lift of St. Thomas Street that includes a commission by sound artist Bill Fontana, street lighting form Kapok, street furniture from Charlie Davidson. The project was initially curated by Ian Banks from Atoll. Supported by Sunniside Partnership, One NorthEast, Sunderland City Council, Sunderland arc and HCA.
http:www.sdna.tv
Series of photographs made of two male and female models taken on the fly. Video projection of generative audio-reactive visuals created by Max Msp jitter, on an experimental electronic musical background recorded just before by myself.
Created in 2016
*A-MINT* is a metaphor of a sustainable future, where man and machines work together in perfect symbiosis to cross a frontier that man alone could not dare. *A-MINT* is a new kind of adaptive Artificial Music Intelligence, the first one of its kind capable to crack the improvisation code of any musician in real time and able to improvise with him. Creating music and video along the execution, without any preset pattern, pitch or bpm. A new organic and lively form of contemporary electronic music. The futuristic real-time electronic orchestrations, enhanced by the generative videoprojections, rewrite the rules of live electronic music, and plunge the audience into a unique experience, always different because of the impulses and interpretations of the Artificial Music Intelligence A-Mint, a trip in unknown and never explored before territories and boundaries, made of new sounds,technology, images, energy , sweat, heart and soul.
Credit: Jürgen Grünwald
The Little Prince
The Child Alexandru China Birta
and Video appearences
The Pilot
Florin Zamfirescu
The Fox
Rodica Mandache
The Snake
Gelu Niţu
The Flower
Jeanine Stavarache
The King
Mugur Arvunescu
The Vain Man
Mircea Constantinescu
The Businessman
Ioan Batinaş
The Lamplighter
Mircea N. Creţu
The Geographer
Laurenţiu Lazăr
The Drunkard
Pavel Bartoş
Tudor Breazu (model)
Directed by
Carmen Lidia Vidu
Stage design
Constantin Ciubotariu
Cameraman
Neil Colțofeanu
Make-up
Ana Mihaela Marin
Videoprojection is to me a sort of a poem that I'm saying in each performance. I interpret through image the text which I'm staging. I sometimes set the story in a virtual space, like in “[a station...]”, other times I'm am setting the entire plot into the videoprojection, like in “Baby Smile”, and other times I am placing actors and their entire performance in a video space, like in “Fool for Love” and “The Little Prince”, or comment the condition of the characters in videoprojections, like in “Bitter Sauce”; other times I follow the writing, as in “I Hate Helen”... Videoprojection brings my spectacles close to contemporary art and distance them from classic theatre. It is enough to introduce a strong element in the spectacle, for all the other to have to change in their turn; and here I mean the actors' interpretation, light design and la sound-design. The spectacle is what calls me more than theatre and I'm trying to make performances out of videoprojections.
This is the Cambridge 800 event organised by 'Cambridge In America'. It was held at the Gotham Ballroom and was hosted by Sir David Frost. The main speaker was Stephen Fry. Music was supplied by the Choir of Clare College. As you can imagine it was a great evening. As I could not get the entire room into one photograph you will have to imagine that you are surrounded by video imagery on both walls of the room. Each projection was 20m x 6m.
This is an installation of Elliott Earls "Elegy for the Collapse of the Empire, Detroit Craft and Disentegration." at Cranbrook Museum during the "no Object is an Island" exhibition.
The Little Prince
The Child Alexandru China Birta
and Video appearences
The Pilot
Florin Zamfirescu
The Fox
Rodica Mandache
The Snake
Gelu Niţu
The Flower
Jeanine Stavarache
The King
Mugur Arvunescu
The Vain Man
Mircea Constantinescu
The Businessman
Ioan Batinaş
The Lamplighter
Mircea N. Creţu
The Geographer
Laurenţiu Lazăr
The Drunkard
Pavel Bartoş
Tudor Breazu (model)
Directed by
Carmen Lidia Vidu
Stage design
Constantin Ciubotariu
Cameraman
Neil Colțofeanu
Make-up
Ana Mihaela Marin
Videoprojection is to me a sort of a poem that I'm saying in each performance. I interpret through image the text which I'm staging. I sometimes set the story in a virtual space, like in “[a station...]”, other times I'm am setting the entire plot into the videoprojection, like in “Baby Smile”, and other times I am placing actors and their entire performance in a video space, like in “Fool for Love” and “The Little Prince”, or comment the condition of the characters in videoprojections, like in “Bitter Sauce”; other times I follow the writing, as in “I Hate Helen”... Videoprojection brings my spectacles close to contemporary art and distance them from classic theatre. It is enough to introduce a strong element in the spectacle, for all the other to have to change in their turn; and here I mean the actors' interpretation, light design and la sound-design. The spectacle is what calls me more than theatre and I'm trying to make performances out of videoprojections.
Alice in Sunderland
In September 2009 we won the tender to produce the first two permanent outdoor projection artworks in the UK as part of Sunderland's ambitious Cultural Master-Plan.
Inspired by the discovery that Sunderland and it's environs had contributed to Lewis Carroll's vision of “Alice's Adventures in Wonderland”, the central theme of the two digital artworks on St Thomas Street is the inside of the White Rabbit's pocket watch. Local dancers appear amongst giant cogs and welders from industrial ship crane builders Liebherr to create the inner workings of the watch. The projection system, designed by us, works as a digital clock, triggered on the hour as part of an overall light and sound interactive installation spanning the entire street.
The installation was launched in September 2010 and is part of a complete face lift of St. Thomas Street that includes a commission by sound artist Bill Fontana, street lighting form Kapok, street furniture from Charlie Davidson. The project was initially curated by Ian Banks from Atoll. Supported by Sunniside Partnership, One NorthEast, Sunderland City Council, Sunderland arc and HCA.
http:www.sdna.tv
The Little Prince
The Child Alexandru China Birta
and Video appearences
The Pilot
Florin Zamfirescu
The Fox
Rodica Mandache
The Snake
Gelu Niţu
The Flower
Jeanine Stavarache
The King
Mugur Arvunescu
The Vain Man
Mircea Constantinescu
The Businessman
Ioan Batinaş
The Lamplighter
Mircea N. Creţu
The Geographer
Laurenţiu Lazăr
The Drunkard
Pavel Bartoş
Tudor Breazu (model)
Directed by
Carmen Lidia Vidu
Stage design
Constantin Ciubotariu
Cameraman
Neil Colțofeanu
Make-up
Ana Mihaela Marin
Videoprojection is to me a sort of a poem that I'm saying in each performance. I interpret through image the text which I'm staging. I sometimes set the story in a virtual space, like in “[a station...]”, other times I'm am setting the entire plot into the videoprojection, like in “Baby Smile”, and other times I am placing actors and their entire performance in a video space, like in “Fool for Love” and “The Little Prince”, or comment the condition of the characters in videoprojections, like in “Bitter Sauce”; other times I follow the writing, as in “I Hate Helen”... Videoprojection brings my spectacles close to contemporary art and distance them from classic theatre. It is enough to introduce a strong element in the spectacle, for all the other to have to change in their turn; and here I mean the actors' interpretation, light design and la sound-design. The spectacle is what calls me more than theatre and I'm trying to make performances out of videoprojections.
See the video via Vimeo: www.vimeo.com/14031747
--
This simple video projection window display installation was a collaborative art project between Chairman Ting and Tangible Interaction in Vancouver, Canada.
The installation piece was created for only one night during the popular fireworks event to help maximize impact and generate awareness for Single Bicycles, a quality bicycle brand situated in downtown Vancouver on Robson Street.
From concept to production, this art installation took over a month to prepare, execute and test. The custom music track was composed and produced by Tom Pettapiece.
CREDITS + INFO:
Animation and production: Tangible Interaction
Illustration and artwork: Chairman Ting
Concept: Chairman Ting x Tangible Interaction
Music: Tom Pettapiece
Video edit: Chairman Ting
Client: Single Bicycles
Location: Vancouver, Canada
LINKS:
www.flickr.com/photos/tompettapiece/
FOLLOW:
*A-MINT* is a metaphor of a sustainable future, where man and machines work together in perfect symbiosis to cross a frontier that man alone could not dare. *A-MINT* is a new kind of adaptive Artificial Music Intelligence, the first one of its kind capable to crack the improvisation code of any musician in real time and able to improvise with him. Creating music and video along the execution, without any preset pattern, pitch or bpm. A new organic and lively form of contemporary electronic music. The futuristic real-time electronic orchestrations, enhanced by the generative videoprojections, rewrite the rules of live electronic music, and plunge the audience into a unique experience, always different because of the impulses and interpretations of the Artificial Music Intelligence A-Mint, a trip in unknown and never explored before territories and boundaries, made of new sounds,technology, images, energy , sweat, heart and soul.
Credit: Jürgen Grünwald
*A-MINT* is a metaphor of a sustainable future, where man and machines work together in perfect symbiosis to cross a frontier that man alone could not dare. *A-MINT* is a new kind of adaptive Artificial Music Intelligence, the first one of its kind capable to crack the improvisation code of any musician in real time and able to improvise with him. Creating music and video along the execution, without any preset pattern, pitch or bpm. A new organic and lively form of contemporary electronic music. The futuristic real-time electronic orchestrations, enhanced by the generative videoprojections, rewrite the rules of live electronic music, and plunge the audience into a unique experience, always different because of the impulses and interpretations of the Artificial Music Intelligence A-Mint, a trip in unknown and never explored before territories and boundaries, made of new sounds,technology, images, energy , sweat, heart and soul.
Credit: Jürgen Grünwald
En les seves performances multimedia D.A.V.E. Vivisector, creades entre 1998 i 2002, Obermaier ja investigava el video-dence-art amb mescles entranyes de cossos i videoprojeccions. Apparition va mes enlla i s'alca com a espectacle pioner de l'interactive-dance-art en el qual les technologies sofisticades i la dansa fisica comparteixen escenari.
soon in english as well
:)
Idea consepte, direccio, musica i visuals:
KLAUS OBERMAIER
Programacion i visuals:
PETER BRANDL
Preso alla lettera
Il Writing, alla lettera scrittura, è una disciplina codificata con tanto di storia alle spalle e di un rigido regolamento d’appartenenza. La pratica del writer si confronta costantemente con diverse tipologie di confini: la labile soglia tra legale e illegale, l’eterna diatriba tra arte e non arte, la frontiera concettuale della linea. Elemento fondante di un graffito è infatti l’outline, la sottile definizione di un contorno, che è parte intergrante dell’opera, ma che si frappone tra l’indagine ingegneristica del lettering da cui salpa e il contesto urbano in cui drasticamente approda. L’Aerosol art, come spesso viene chiamata, nel tempo ha subito un aggiornamento tecnologico che non si è limitato all’accrescimento della precisione tecnica o alla migliore performanza degli spray.
Plotterflux è la realizzazione concreta della deriva mediale del writing. La contaminazione con gli altri linguaggi del visivo - il fotografico, il cinematografico, l’audiovisivo in genere - consente alla crew dei Bergamasterz (Verbo, Font, Hemo, Loathin e Alfa) di esibirsi in un live media che fonde su di un’unica superficie la materialità del colore con l’immaterialità della proiezione. Il percorso di apprendimento di un writer passa attraverso l’assimilazione di principi basilari: velocità, precisione, stile. Verbo, superato il training iniziale, conduce una ricerca sul medium che lo porta a contagiare esperienze apparentemente inconciliabili come il writing e il vjing. L’utilizzo della luce in luogo del colore (proiettori al posto delle bombolette) consente di apparire e scomparire ancora più velocemente senza lasciare traccia, almeno sui muri. La pre-produzione (elaborazione digitale, Software engineering) si sposa alla post-produzione (live mix video) ingaggiando una guerriglia di simboli, icone e segni che alberga temporaneamente in disparati contesti urbani.
La parola d’ordine è free style: libere associazioni di idee, indiscriminate sovrapposizioni di concetti, improvvise accelerazioni linguistiche e brusche frenate sintattiche. Le Video Incursioni rappresentano la summa di un percorso che è iniziato in strada e non può far altro che ritornare in strada. Perché la strada è il veicolo di una comunicazione pubblica, veloce e illimitata. Perché la strada è capace di accogliere, di essere portatrice sana di una democrazia reale. Perché la strada è cultura, e viceversa. (Claudio Musso)
L’ÊTRE HUMAIN AU CŒUR DES TECHNOLOGIES
13 ARTISTES, 8 ŒUVRES DANS LE QUARTIER DES SPECTACLES
Du 1 AU 18 OCTOBRE 2015
Espace Commun? est un parcours de 8 œuvres dans divers lieux publics du Quartier des spectacles de Montréal, présenté du 1 au 18 octobre 2015. Résultat d’un processus créatif ayant pour thématique l’être humain au cœur des technologies, il réunit les talents de 13 artistes en provenance de 7 pays. Montréal constitue la première étape de ce parcours interactif international. Espace commun?, une coproduction de l’Office national du film du Canada, du Partenariat du Quartier des spectacles et de MUTEK, s’inscrit dans le vaste projet Human Futures réalisé grâce au soutien du programme Culture de l’Union européenne.
www.quartierdesspectacles.com/fr/evenement/127/espace-commun
__________________________
HUMANS AT THE HEART OF TECHNOLOGY
13 ARTISTS, 8 WORKS IN THE QUARTIER DES SPECTACLES
Common Space? is a tour of eight new works displayed at various sites in Montreal’s Quartier des Spectacles from October 1 to 18, 2015. It is the outcome of a creative process that merges the talent of 13 artists from seven countries, as they explore the question of humans at the heart of technology. Common Space? is an NFB, Quartier des Spectacles Partnership and MUTEK co-production, and is part of the much larger Human Futures project, produced with the support of the European Union’s Culture Programme.
www.quartierdesspectacles.com/en/event/127/common-space
__________________________________________
A SIDE MAN 5000 ADVENTURE
Darsha Hewitt et Nelly-Ève Rajotte (Canada)
Goethe-Institut
Le Wurlitzer Side Man 5000, créé en 1959, est le plus ancien « beat box » et le plus lourd instrument de musique portable au monde. Darsha Hewitt s’est interrogée sur le potentiel esthétique et innovant de le faire revivre. Elle expose cette fascinante machine et présente des films tutoriels expliquant son fonctionnement. Nelly-Ève Rajotte, quant à elle, propose un projet de multiprojections, une expérience immersive et luxuriante qui expose les rouages complexes et uniques du Wurlitzer Side Man 5000, accompagné d’une composition réalisée à partir d’extraits sonores provenant de cet instrument.
__________________________________________
Darsha Hewitt and Nelly-Ève Rajotte (Canada)
Goethe-Institut
The Wurlitzer Side Man 5000, created in 1959, is the oldest “beat box” and heaviest portable musical instrument in the world. Darsha Hewitt explores the aesthetic and innovative potential of reviving the Side Man by presenting this fascinating machine along with tutorial videos explaining how it works. Meanwhile, Nelly-Ève Rajotte offers a lush and immersive multi-projection experience that exposes the complex and unique workings of the Wurlitzer Side Man 5000, accompanied by a composition of sound bites from this instrument.
__________________________________________
Photo : Martine Doyon
Series of photographs taken on the fly. Video projection of generative audio-reactive visuals created by Max Msp jitter, on an experimental electronic musical background recorded just before by myself.
Created in 2022
*A-MINT* is a metaphor of a sustainable future, where man and machines work together in perfect symbiosis to cross a frontier that man alone could not dare. *A-MINT* is a new kind of adaptive Artificial Music Intelligence, the first one of its kind capable to crack the improvisation code of any musician in real time and able to improvise with him. Creating music and video along the execution, without any preset pattern, pitch or bpm. A new organic and lively form of contemporary electronic music. The futuristic real-time electronic orchestrations, enhanced by the generative videoprojections, rewrite the rules of live electronic music, and plunge the audience into a unique experience, always different because of the impulses and interpretations of the Artificial Music Intelligence A-Mint, a trip in unknown and never explored before territories and boundaries, made of new sounds,technology, images, energy , sweat, heart and soul.
Credit: Jürgen Grünwald
The Statue of Germania - Das Niederwalddenkmal - Rüdesheim - Rhine Valley - Germany.
Germania is transformed into Europa. In her robes of blue and gold she stares out across the landscape of a united Europe whilst the flags of all the member states unfurl before her. The waters of all the rivers of Europe flow out from her, symbolizing a land without borders, and the uniting of the future aspirations of the peoples of Europe.
The I was asked by the Rheinpartie to create a site specific projection piece that would reinterpret the statue of Germania into one of international European unity.
I had always had in mind that the statue would stand in water. At the base of the statue is a representation of the River Rhine in a human form. I have taken the Rhine to represent all the great rivers of Europe. As the waters of the river flow past, so the peoples of Europe have moved across the land, creating the landscape forms that we see today. As the streams merge to form rivers and flow onward to the sea, so the histories of the separate nations of Europe though sometimes turbulent, have now come together in unity.
Germania herself is now dressed in the blue and gold robes of Europa. She looks out across a united Europe whilst the flags of all the nations of Europe unfurl before her. The waters of all the rivers of Europe flow out from her carrying the hopes and aspirations of all the united member states into the future.
I commissioned soundscape designer Karen Monid to create the accompanying sound piece based on these ideas. For this piece, she needed to combine Beethoven’s Ode To Joy with this site specific projection in the Rhine Valley that would represent the European Union. She chose to follow the life of a river as the journeying theme. All rivers form part of the Water Cycle, which is a never ending movement of water from ocean to cloud to rain to spring, stream, river and back to ocean again. This also seemed appropriate as water and land know no borders or boundaries and so retain a sense of union.
The sound is not synchronised with the images. I wanted the sound to carry a slightly different message to the images in its cyclic nature.
This piece was created for the 'rheipartie', a series of light and video installations in the Rhine Valley World Heritage Site. The event ran from the 2 to the 4th of October 2009.
Installation at Helig Kreuz Kirche, by Christine Sciulli, Hildesheim Germany as part of Evi Lichtungen 25-29 January 2018.
Three channel video projection onto suspended nylon mesh sculpture. 6M wide x 13M long x 4.5 M high (3M above ground)
Curated by Bettina Pelz. Produced by Klaus Wilhelm
Alice in Sunderland
In September 2009 we won the tender to produce the first two permanent outdoor projection artworks in the UK as part of Sunderland's ambitious Cultural Master-Plan.
Inspired by the discovery that Sunderland and it's environs had contributed to Lewis Carroll's vision of “Alice's Adventures in Wonderland”, the central theme of the two digital artworks on St Thomas Street is the inside of the White Rabbit's pocket watch. Local dancers appear amongst giant cogs and welders from industrial ship crane builders Liebherr to create the inner workings of the watch. The projection system, designed by us, works as a digital clock, triggered on the hour as part of an overall light and sound interactive installation spanning the entire street.
The installation was launched in September 2010 and is part of a complete face lift of St. Thomas Street that includes a commission by sound artist Bill Fontana, street lighting form Kapok, street furniture from Charlie Davidson. The project was initially curated by Ian Banks from Atoll. Supported by Sunniside Partnership, One NorthEast, Sunderland City Council, Sunderland arc and HCA.
http:www.sdna.tv
Series of photographs taken on the fly. Video projection of generative audio-reactive visuals created by Max Msp jitter, on an experimental electronic musical background recorded just before by myself.
Created in 2022
Lincoln Center Festival presents David Michalek's
"Portraits in Dramatic Time"
Concept and direction David Michalek, on the
Façade of the David H. Koch Theater, on July 5, 2011.
Credit: Stephanie Berger
Borderline 2011 " Survive the Apocalypse."
Day 1 : Japan Apocalypse.
Performance "Black Rain"
Satomi Zpira
Series of photographs made of two male and female models taken on the fly. Video projection of generative audio-reactive visuals created by Max Msp jitter, on an experimental electronic musical background recorded just before by myself.
Created in 2016
Lincoln Center Festival presents David Michalek's
"Portraits in Dramatic Time"
Concept and direction David Michalek, on the
Façade of the David H. Koch Theater, on July 5, 2011.
Credit: Stephanie Berger
*A-MINT* is a metaphor of a sustainable future, where man and machines work together in perfect symbiosis to cross a frontier that man alone could not dare. *A-MINT* is a new kind of adaptive Artificial Music Intelligence, the first one of its kind capable to crack the improvisation code of any musician in real time and able to improvise with him. Creating music and video along the execution, without any preset pattern, pitch or bpm. A new organic and lively form of contemporary electronic music. The futuristic real-time electronic orchestrations, enhanced by the generative videoprojections, rewrite the rules of live electronic music, and plunge the audience into a unique experience, always different because of the impulses and interpretations of the Artificial Music Intelligence A-Mint, a trip in unknown and never explored before territories and boundaries, made of new sounds,technology, images, energy , sweat, heart and soul.
Credit: Jürgen Grünwald
This is the Cambridge 800 event organised by 'Cambridge In America'. It was held at the Gotham Ballroom and was hosted by Sir David Frost. The main speaker was Stephen Fry. Music was supplied by the Choir of Clare College. As you can imagine it was a great evening. As I could not get the entire room into one photograph you will have to imagine that you are surrounded by video imagery on both walls of the room. Each projection was 20m x 6m.
High power video projection image onto the Shell Building as part of the Mayor of London's New Years Eve Celebrations.
The images are 110m tall by 55m wide. Projection Design Ross Ashton for Jack Morton. Graphics Kate MacKay. Video inserts BBH. Event Sponsor: LG
This is the Cambridge 800 event organised by 'Cambridge In America'. It was held at the Gotham Ballroom and was hosted by Sir David Frost. The main speaker was Stephen Fry. Music was supplied by the Choir of Clare College. As you can imagine it was a great evening. As I could not get the entire room into one photograph you will have to imagine that you are surrounded by video imagery on both walls of the room. Each projection was 20m x 6m.
ProvocAzioni Festival @ Acrobax, Roma.
29-30/09/2012
www.facebook.com/media/set/?set=a.10151094109128932.43633...
www.facebook.com/media/set/?set=a.10151094249338932.43636...
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