Beatboxer and vocal sculptor Jason Singh, will perform a live vocal score to the 1929 silent film Drifters on November 6 at Cornerhouse in Manchester, England. Using techniques of pre-recorded vocal sequences, live vocal processing and sampling, Jason will create a sonic backdrop of ambient textures, experimental atmospheres and rhythms created solely by the use of the voice to accompany the film. Via Wired.

The Voice by Art of Failure (Nicolas Maigret and Nicolas Montgermont) - The Voice arises from the diversion of a software for blind people, allowing to transform a video image into sound. The concept is used to design a tool for a performance / installation, where some objects chosen on the place become a series of instruments producing tones according to their shape and color. The performers stage objects of everyday life in a concert where the spectator is immersed « in an almost utopian relationship between visual and sound ».

The Voice software has been designed by Peter B. L. Meijer to propose an alternative way of perception for blind people. With the use of a webcam or a mobile phone, a sound transcription of the visual scene recorded by the device is synthesized. After a learning phase, this set-up allows blind people to recognize some elementary objects, and then a real space movement (link). Continue reading

Joshua Light Show :: May 28-31, 2008; 8:00 pm :: Issue Project Room, (oa) can factory, 3rd Floor, 232 Third Street at 3rd Ave, Brooklyn, NY.

ISSUE Project Room is thrilled to host pioneering multimedia artist Joshua White and his legendary Joshua Light Show for a week of unique audiovisual collaborations. The residency will involve White’s iconic projections alongside an incredible roster of musicians, with a different musical genre represented on each night of the residency. The Joshua Light Show involves a team of video and light artists, led by White and his senior collaborator, Bec Stupak (Honeygun Labs) to improvise live synesthetic visuals behind a giant rear projection screen, involving the “liquid light” techniques he developed at Bill Graham’s Fillmore East during the late 1960s. Continue reading

Call + Response :: April 25-28, 2008 :: A Series of Events hosted by Candice Breitz :: Mudam Luxembourg, 3 Park Dräi Eechelen, L-1499 Luxembourg :: Please register online before April 10! Booking is essential due to limited seating.

Creative innovation has always relied, to some extent, on the logic of call-and-response, a phrase that Breitz borrows from musicologists, who use it to describe the interactive quality that is key to musical experience in various oral cultures. Mudam warmly invites you to share your ideas with a group of artists and thinkers as they explore the logic of call-and-response and reflect on strategies of artistic appropriation and creative recycling during a three-day line-up of performances, panels and discussions. Continue reading

London’s audiovisual Howlin’ Wolf (it’s a sideburn thing), Toby Harris (aka *spark), has been steadily building strong live video performances since the turn of the century, exploring his real-time video skills at countless festivals, sophisticated audiovisual performances and most recently on giant touchscreen plasmas within motor shows. He also founded AVIT, the real world spin-off of vjforums.com that prompted festivals around the world, so it was a pleasure to meet him @ Sonar in Barcelona mid 2007, as well as get his reflections on audiovisual possibility. Lotta words to follow, but worth the read for the pixel-inclined…

What appeals about real-time video manipulation, about ‘live cinema’?

The world is catching up with vjs in enjoying a spot of real-time video manipulation: just watch people using PhotoBooth on any modern Mac. Continue reading

Open Ear Presents: Cinema :: March 11, 2008; 8:00 pm :: Canterbury Christ Church University, Broadstairs Campus, Northwood Road, Broadstairs, Kent, CT10 2WA, England.

The majority of cinema as a form seeks to: 1. capture ideas and impressions of the spaces and places we inhabit or 2. visualise those we can’t. The former of these, representation, has been more dominant throughout cinema’s history. The lens has in effect become a means of capturing our ‘reality’, allowing us to store and later reproduce sights and sounds to be replayed as a substitute for personal memories. Continue reading

Generative Cinema - Oleg Marakov Islands + Mario Klingemann Flickeur = Islands of Consciousness.

The result of this fusion - Islands of Consciousness - is not a simple combination of the two concepts but a great advancement. Sound and Images enter a very close relationship in which the randomly arranged musical phrases are taking direct influence on the visual outcome. So when you look at this piece keep in mind that all the visuals are assembled in realtime using photos downloaded from Flickr.com. All the transitions and effects are entirely random and only happening on you screen. Other people will see a movie and hear a soundtrack that is totally different from yours. Continue reading

filmachine - by Keiichiro Shibuya and Takashi Ikegami places the visitor inside a vortex of sound and light that transcends the traditional perspective of the cinematic experience.

Three circles of loudspeakers are suspended from the ceiling above an abstract landscape. On entering the space, the visitor starts the composition with a button at the center of the piece, triggering an immersive audio-visual experience in a 3-dimensional soundscape, enhanced by a specially designed LED lighting system. Continue reading

Unidentified Sound Object (U.S.O.) is an experimental electroacoustic evolving organism. It builds on cinematic scale to create an abstract theatrical experience in which electronic floes replace the traditional performer.

Born from the fusion of works by two experimental electronic musicians — Matteo Milani and Federico Placidi — U.S.O.’s sound spans highly abstract digital music, to electroacoustic music. U.S.O. develops through the exploration of elementary particles arranged and organized in clouds of discrete and punctiform events, until they compose structures of extensive polymorphic and spatial complexity. Continue reading

e*scapes - part 1 -hallwalker

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