In Entangled, Chris Salter shows that technologies, from the mechanical to the computational-from a "ballet of objects and lights" staged by Diaghilev's Ballets Russes in 1917 to contemporary technologically-enabled "responsive environments"-have been entangled with performance across a wide range of disciplines. This ambitious and comprehensive book explores technology's influence on artistic performance practices in the twentieth and twenty-first centuries. How technologies, from the mechanical to the computational, have transformed artistic performance practices. Available at art.org/history/ SoundArt/dangerous/MHeckert/Heck_int.html. An Interview with Matt Heckert: Roboticist and Composer. They aim to shine a light on digital and electronic art practice, involving coding, electronic gadgetry and technology mixed with other forms of more established media, to uncover the practice-as-research processes required, as well as the collaborative aspects of art and technology practice.ġ996. Less interested in the outcome itself – the artefact, artwork or performance – contributors instead highlight the emotional, intellectual, intuitive, instinctive and step-by-step creation dimensions. This book focuses on the artistic process, creativity and collaboration, and personal approaches to creation and ideation, in making digital and electronic technology-based art. In VJ: AudioVisual Art and VJ Culture, edited by Michael Faulkner and DFuse.
In live audiovisual performance, documents are complementary to the performance permitting its understanding, further study and construction of memory. From Chris Milk and Aaron Koblin's exploration of VR spherical filmmaking to Rebeca Méndez's projection and installation work exploring climate change to the richly mediated interactive live performances of the collective Cloud Eye Control, this volume captures a moment of creative evolution and sets the stage for imagining the future of the cinematic arts.
#THE ART OF THE VJ AND LIVE VISUALS FULL#
What does this mean for telling stories? Fast Forward answers this question by investigating a full range of contemporary creative practices dedicated to the future of mediated storytelling and by connecting with a new generation of filmmakers, screenwriters, technologists, media artists, and designers to discover how they work now, and toward what end.
Similarly, 3D cinematography, hypercinema, and visual effects require different modes for composing an image, and virtual technology, motion capture, and previsualization completely rearrange the traditional flow of cinematic production. Terms such as "worldbuilding," "virtual reality," and "transmedia" introduce new methods for constructing a screenplay and experiencing and sharing a story. As D-Fuse/Michael Faulkner notes in his book VJ: Audio- Visual Art and VJ Culture (2006), VJing has been denigrated through misapprehension: Artists view it as eye candy for the clubbing generation musicians view it as a secondary .Ĭinema, the primary vehicle for storytelling in the twentieth century, is being reconfigured by new media in the twenty-first.