Dissertations / Theses on the topic 'Vj'

Este trabalho analisa a projeção e manipulação de imagens ao vivo no contexto da arte e tecnologia. As performances dos VJs - visual jockeys - têm sido cada vez mais requisitadas nos eventos direcionados à cultura eletrônica e as imagens geradas estabelecem relações híbridas com a música, o cinema, a videoarte e outras linguagens artísticas contemporâneas. A rápida expansão e ação desta forma de manifestação propulsionou a realização desta dissertação, que objetiva compreender essas relações com base na observação das apresentações, entrevistas estruturadas com agentes do meio e na leitura dos poucos textos existentes sobre o assunto, visto que a atividade de VJing é recente e aberta à experimentações que surgem a cada dia. É parte integrante deste trabalho um DVD com o vídeo \"VJing: imagens da cena\", que longe de ser uma experimentação artística, trata-se do registro de performances de VJing realizadas em casas noturnas, festivais e nos circuitos artísticos.
This work analyses the process of projecting and manipulating live images in the context of art and technology. VJs (visual jockeys) performances have been increasingly requested at electronic culture events and the generated images establish hybrid connections with music, cinema, video art and other contemporary artistic languages. The rapid increase of this kind of manifestation has incited the making of this dissertation, which aims at comprehending these connections based on observation of performances, interviews with the VJs and by reading the few existing texts about the subject, for VJing is recent and open to experiments that are held each day. A DVD with the video \"VJing: images of a scene\" is an essential part of the work and, far from being an artistic experimentation, it\'s a register of live visuals performances presented at clubs, festivals and artistic circuits.

Denna uppsats har för avsikt att beskriva och redogöra för området videoscenografi och hur en videoscenograf arbetar. Videoscenografer har 90- och 00-talets snabba utveckling av prestanda inom datakraften att tacka för sin funktion, i en värld som kräver alltmer av kreatören frågar jag mig hur videoscenografen ser på sin omvärld. Videoscenografen verkar i området mellan det konstnärliga, scentekniska och grafiska. Deras position är fortfarande under förvirring just eftersom deras arbetsfält är så brett. Uppsatsen klargör för läsaren vad det är de sysslar med inom en scenkonstproduktion och varför videoscenografin är en sak för framtiden. Video inom scenkonstproduktioner blir allt viktigare, samtidigt som dekormålares arbete blir allt mindre, men endå tvingas videoscenografen att utföra sitt arbete under trängda förhållanden, med full ljussättning på scen, eller samtidigt som repetitioner pågår där de riskerar att störa en kreativ process. Insynen i vad de sysslar med är högst begränsad eftersom det är ett ungt yrke, med så pass få utövare. Denna uppsats klargör för varför videoscenografens arbete är viktigt och varför de bör ges mer tid att utföra sitt arbete.

Detta examensarbete har två huvudsakliga mål. Det ena är att utöka funktionaliteten i mjukvaran C3Loops för att underlätta för musiker som producerar elektronisk musik som vill använda mjukvaran i liveframträdanden. Det andra är att titta närmre på hur processmodeller för mjukvaruutveckling stödjer innovation. Denna rapport ger läsaren ett tvärvetenskapligt perspektiv. Tre för ämnet relevanta teoretiska områden, innovation, software-engineering och design tas upp. C3Loops projektet används som ett exempel på ett innovativt mjukvaruprojekt och det är arbetet inom detta projekt som står som modell och bakgrund till resultatet och slutsatsen.

Idén till mjukvaran C3Loops är resultatet av tekn.Dr Rikard Lindellʼs avhandling ”jag älskar att allt ligger överst”. Arbetet resulterade i en interaktiv prototyp som Lindell beslöt sig för att ta vidare och kommersialisera. Syftet med prototypen var att utforska bruksvärdet av ytinteraktion med pekskärmar. Mjukvaran är ett preformance verktyg för kollaborativa multimedia-framträdanden. Den skall skapa nya möjligheter för liveframträdanden och samarbeten mellan elektroniska musiker, Dj och Vj.

C3Loops projektet är fortfarande pågående. Plattformen som projektet produceras för är iPad plattformen. Release datum för projektet är tänkt att överenstämma med iPads releasedatum i Sverige. Rapporten leder till ett förslag på hur organisationer som vill förbättra sin innovationsförmåga kan gå tillväga. Detta i form av en projektmetod tänkt att stödja processen för att ta fram och pröva idéer till V1.0 mjukvara. Det återstår att testa och utvärdera metoden i skarpa projekt.

This thesis work has two main goals. The first is to extend the functionality of the C3Loops software in such a way as to make it usfull for a wider variety of electronic musicians The second is to examine how well software engineering process models support innovation. The C3Loops project is used as a case wich is studied in relation to this inquiry.

The idea for C3Loops is the result of the doctoral thesis ”i love the fact that everything is on top” by tekn.Dr.Rikard Lindell. The work on this thesis resulted in an interactive prototype, which Lindell decided to try and commercialise as a product. The original purpose of this prototype was to explore the value of surface interaction using touch screens in a collaborative multimedia preformance context. It creates new posibilities for live preformance and collaboration between electronic artists, Djs and Vjs.

The C3Loops project is still ongoing. The software is being produced for the iPad platform and its release is planned to coincide with the iPad release in Sweden. The result of this report is a suggestion on how organizations that develop software can improve their ability to innovate. This suggestion takes the form of a process model specifically designed to help support the creation and evaluation of idéas for V1.0 software. Future work includes testing this new method on real projects.

The aim of this research is describe the development of artistic concepts for visual artists and to evaluate aspects which augments the art experience for audiences. Competition and increased attention for the art form demands greater art to be produced, studying psychological aspects increases the probability of the art being perceived in line with the visions of artists. This research project uses a review of literature for its theoretical research, which is then used to underline decisions within practical experiments in order to give examples of the development of concepts. Findings include a description of the artistic process as well as aspects to augment experiences for audiences. The main conclusion from this work is the importance of combing innovative expressions with theoretical knowledge, in order to create spectacular art which audiences perceives in line with the vision of the artist.

This exegesis looks at interactive, network based video through the development and use of experimental works. The works are described in terms of the concepts, techniques and theories explored and their implications for future works and theory. It documents the formal and technical experiments which were used to investigate the affordances of network based video for real time interaction, and tracks the development of vidgets as audio-visual tools and instruments as they increased in complexity and function, finally being specifically designed for use in live audiovisual (VJ) performances. It explains how ideas originating from the histories of sound art and systems based art as were used as frameworks for conceptualising and developing interactive screen based works. The term 'all-data' is devised as a means to describe both the network based digital environment which these new works inhabit and the expanded palette of digital signals which may be used and inco rporated into the works themselves. Through processes of action research and critical reflection, it identifies and explores a number of techniques and attributes which are common to interactive, network based video production as a practice and which may be used in a range of future projects.

Made available in DSpace on 2016-04-26T18:14:47Z (GMT). No. of bitstreams: 1 Claudio Henrique Brant Campos.pdf: 4570903 bytes, checksum: 7c39a789b22ebd7dbf1a62278f299758 (MD5) Previous issue date: 2014-12-12
The imagination of music: from the technical images until the aesthetics of the digital audiovisual. Based on the observation that computer images produced today approach the dimension of time-based media, such as music, this research investigates the relationship between the audiovisual synesthesia, analyzing an example in digital processing, in the figure of the VJ (video-jockey in neologism): mixer of images and remixing of sounds in samples for live performances. It was verify that the ways perception is processed in the digital environment of miscegenation, by the amount and the remixing. This thesis introduces the hypothesis that our object suggests a synesthesia that expands to other systems such as tactile, forming a rhythmic cinema and motorized, influence by video clips, but in a digital platform, which simulates a complementary synesthetics or a translation by rhythmic counterpoint. The thesis also asks how the structural elements can reverberate a stunted aesthetic, revealing them in a diluted form. Thus, the object finds the elements of an aesthetics of the inaccurate and paradoxical, described by H. J. Koellreutter, constructivist without hierarchy and presenting fields or atmospheres, complementary dualities as pointillism versus lines and density versus rarefaction. On the other hand, this object finds anew the example of the aesthetic of the Baroque in pursuit of constant change and folds in its metonymic material, searching for the playful as a commitment to language codes, the audible-tactile-visual textures. One last specific question relates to the concept of expanded cinema, of Gene Youngblood, and how it can be inferred from our audiovisual object. We rely on this author, to investigate aspects of synesthesia, synergy, complementarity of opposites, inventive spirit (aesthetic), the automated computing environment, as well as aspects of a final overcoming of the opposition between art and entertainment. This thesis is devoted to ancient, anthropological and aesthetic process issues of the variation. For this reason, it is investigated elements of our present, aesthetically diluted by history, that correspond to ancient techniques of composing images-sounds. A path is followed from the first songs of call and response of all popular music and of the European Middle Ages, up to the synthesized loops created by todays software. By referring to Baroque styles, we complained to our object of study of the neo-baroque aesthetics, conceptualized according to Haroldo de Campos and Severo Sarduy. By incorporating the aesthetic of the second half of the 20th century, this object transcends the notions of authorship, work, representation, like expanded cinema
A imaginação da música: das imagens técnicas às estéticas do audiovisual digital. Partindo da constatação de que as imagens computacionais produzidas atualmente se aproximam da dimensão das mídias baseadas no tempo, como a música, esta pesquisa averigua a relação de sinestesia no audiovisual, analisando um exemplo em processamento digital, na figura do VJ (do neologismo video-jocker): mixador de imagens e ou com mixador de sons, em recortes, para apresentações ao vivo. Verificamos como as maneiras de perceber se processam no ambiente digital da miscigenação, da quantidade e do recorte. Trazemos a hipótese de que nosso objeto sugere uma sinestesia que se amplia para outros sistemas como o tátil, num cinema rítmico e motovisual, de influência do videoclipe, mas numa plataforma digital, em que se simula uma complementaridade sinestésica ou uma tradução por contraponto rítmico. Perguntamos também como os elementos estruturais podem reverberar estéticas pregressas, revelando-as, de forma diluída. Assim, nosso exemplo reencontraria os elementos de uma estética do impreciso e do paradoxal descrita a partir de H.J.Koellreutter , na sua estruturação sem hierarquia e construtivista de obra aberta e de campos ou atmosferas, dualidades complementares como pontilhismo versus linhas e densidade versus rarefação; por outro lado, esse exemplo reencontraria as estéticas do barroco, na busca da variação constante e em dobras de seu material metonímico, busca do lúdico como compromisso de linguagem em códigos, das texturas sonoro-tateis-visuais. Uma última questão específica se refere ao conceito de cinema expandido, de Gene Youngblood, e como ele pode ser depreendido de nosso objeto audiovisual. Baseamo-nos neste autor, para investigar aspectos de sinestesia, sinergia, complementaridade de opostos, espírito inventivo (estético), no ambiente automatizado da informática, bem como aspectos de uma superação final da oposição entre arte e entretenimento. Nosso estudo se dedica à questão milenar, antropológica e estética dos processos da variação. Por esta razão, investiga os elementos de nossa atualidade, diluídos esteticamente pela história, que corresponderiam a antigas técnicas de compor imagens-sons. Traçamos um caminho desde as primeiras canções em tema e resposta, de toda música popular e do medievo europeu, até os loops sintetizados dos softwares de criação dos dias de hoje. Por remeterem aos estilos barrocos, reclamamos para nosso objeto de estudo uma estética do neobarroco, conforme a conceituam Haroldo de Campos e Severo Sarduy; e por corporificarem as estéticas da segunda metade do século 20, sugerimos que nosso objeto transcende as noções de autoria, de obra, de representação, como um cinema expandido

Made available in DSpace on 2014-06-12T15:59:49Z (GMT). No. of bitstreams: 2 arquivo5641_1.pdf: 8861232 bytes, checksum: 06bc13c415ab89ab54528cc9a26b9d6b (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2007
A popularização das artes mediadas por computador e, em especial, do visual-jóquei (VJ), estimula o desenvolvimento de novos sistemas multimídia de tempo real. Esta demanda vem sendo atendida por programas específicos para o controle de exibição de vídeos e efeitos como Resolume, ArKaos e diversas variantes; e com linguagens de programação visual como o Pd/GEM, Max/MSP/Jitter e diversas variantes. Entretanto, existe um compromisso entre usabilidade (facilidade de uso) e expressividade (limite técnico para se criar novos efeitos e funcionalidades) que ainda não é bem resolvido nestes sistemas e se torna problemático para muitos usuários como confirmado a partir de entrevistas respondidas por VJs. Este trabalho tem duas contribuições principais. A primeira é um estudo analítico e original das tecnologias existentes, incluindo desafios de arquitetura para processamento audiovisual em tempo real. A segunda contribuição é o desenvolvimento do sistema ViMus, que introduz o conceito de interface gráfica de caixa aberta" na tentativa de amenizar o problema de compromisso entre expressividade e usabilidade, fazendo uso de interfaces análogas às dos sistemas mais simples, porém pouco expressivos, como Resolume e oferecendo, gradativa e intuitivamente ao usuário, o acesso a uma máquina de processamento análoga à dos sistemas mais expressivos, porém mais difíceis de se aprender a usar, como o Pd/GEM

I am exploring the way music alters or enhances the perception of our environment. This creative project allows me to explore and visualize several issues that intrigue me: music (sound), emotion, and visual imagery (film). My goal in developing this topic is to allow others to have an experience related to sound and image, where image is altered and enhanced by the use of music.

Aquesta tesi doctoral neix de la inquietud d’estudiar l’ús que fan del vídeo els cibermitjans catalans i les diferències que la producció audiovisual a internet presenta respecte del periodisme audiovisual de les cadenes de televisió tradicionals. Analitzem com són els vídeos que publiquen els cibermitjans catalans i n’estudiem les especificitats. També avaluem els canvis que aquesta producció audiovisual ha viscut amb el pas del temps, entre 2012 i 2014. Tot plegat, en un context líquid i canviant propiciat pels incontestables avenços tecnològics, la consolidació d’internet com a palataforma periodística de primer nivell i els canvis de paradigma comunicacionals, de consum i de producció de missatges periodístics.
The concern of studying the use online Catalan newspapers do of video is the original seed of this research. And thus, also the differences between internet journalistic audiovisual production and broadcasting traditional television news channels. We analize the taxonomy and the specificities of the videos published by online Catalan newspapers. We also study how this audiovisual production has changed with the passage of time, between 2012 and 2014. All this in a context caused by liquid and undeniable technological progress, the consolidation of the internet as a journalistic platform and shifts on communicational, consumption and journalistic messages production.

In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation im Musikvideo durch EDM herzuleiten. In Teil IV werden die Erkenntnisse anhand der Fallstudie, dem Musikvideo „Windowlicker“ von Aphex Twin (Musik) und Chris Cunningham (Regie) aus dem Jahr 1999 ausgewertet und angewendet. Die Arbeit möchte die Dimension der ästhetischen Studien um das Musikvideo erweitern und verdeutlichen, wie sich das Musikvideo auch unter veränderten klanglichen Bedingungen als unentbehrlicher Bestandteil der Aufführung von Popmusik in der Monitorkultur erweist und als künstlerisches Genre unbedingt ernst zu nehmen ist, da sich in ihm zeitgenössische Avantgarden abbilden können.
This thesis explores the relationship between Electronic Dance Music (EDM) which originated in clubs, and the mass media consolidated music video. Focussing on how EDM influences the music video, an aesthetic paradigm shift on the latter is discussed. This change stemmed mainly from the structure of the instrumental, modular EDM track, which is significantly different from the structure of the song. Originally, the music video was intended as way of visualising the performance of the artist on the monitor; however, the advent of instrumental EDM tracks posed critical problems for this approach, and arguably renders it obsolete. New strategies of illustrations are required. Parts I and II of this thesis analyse music video and EDM through scientific discourses in an attempt to define their respective aesthetic attributes. In part III the relationship between tracks and images in club visuals is discussed in order to illustrate the singularity of this dialogue. In part IV, conclusions from the foregoing sections are evaluated and applied to a study of “Windowlicker” by British artist Aphex Twin, the video to which was directed by Chris Cunningham in 1999. The purpose of this thesis is to extend the aesthetic studies of the music video to clarify its status as an essential part of popular music in monitor culture. As an artistic genre it has to be taken seriously because it can display contemporary avant-gardes.

Refletir sobre as experiências com imagens e sons em tempo real é pensar em uma ampla gama de possibilidades e experiências pela humanidade, desde os tempos mais remotos. Pelo fato dessas experiências audiovisuais em tempo real serem numerosas no tempo e no espaço, e já amplamente citada em diferentes estudos, esta apresentação tem por objetivo realizar um recorte mais restrito às experiências audiovisuais em tempo real no campo cinematográfico contemporâneo: uma arte, meio e processo em expansão que culmina na existência de um fenômeno semiótico, realizado principalmente através de modos experimentais com a presença do(s) autor(es) concebendo a experiência audiovisual, conjuntamente ao aparato tecnológico e ao público, todos participantes da criação e exibição da obra audiovisual no mesmo tempo em que ela ocorre, em transmissão direta para a tela de cinema, monitores, telas digitais ou espaços arquitetônicos. Com base em obras audiovisuais realizadas entre 2007 a 2017 desenvolveremos uma reflexão e análise das poéticas e técnicas das experiências audiovisuais em tempo real, de maneira a compreender com um olhar mais atento as possibilidades criativas e contribuir com a reflexão sobre estes formatos do audiovisual contemporâneo, cujos meios e processos estão em contínua expansão de suas fronteiras. Em estética do cinema, esta pesquisa segue em continuidade aos estudos e práticas do cinema experimental e em sua vértice ao cinema expandido.
Reflecting about real-time imagery and sounds experiences is thinking about a wide range of possibilities and experiences for humanity, from the earliest times. Because the real-time audiovisual experiences are numerous in time and space, and already widely quoted in different studies, this presentation aims to make a more restricted cut-off to real-time audiovisual experiences in the contemporary cinematographic field: an art, medium and an expanding process that culminates in the existence of a semiotic phenomenon, performed mainly through experimental modes with the presence of the author(s) directing the audiovisual experience in real-time, together with the technological apparatus, the cast, and the public, all participants in the creation and exhibition of the audiovisual work at the same time as it occurs, in direct transmission to the cinema screen, monitors, digital screens or architectural spaces. Based on audiovisual works carried out between 2007 and 2017 we will develop a reflection and analysis of the poetics and techniques of audiovisual experiences in real-time, in order to understand with a closer look the creatives possibilities in live cinema and contribute with reflection on these forms of the contemporary audiovisual, whose means and processes are in continuous expansion of its borders. In aesthetics of the cinema, this research follows in continuity to the studies and practices of the experimental cinema, and in its vertex to the expanded cinema.

碩士
國立臺灣藝術大學
多媒體動畫藝術學系新媒體藝術碩士班
105
The "Rethink" features real-time, VJ projection mapping performance and installation, through images of the female face, female body, body measurements, slogans and scissors to interpret how women should break throught the patriarchal frameworks of beauty standard. The first chapter illustrates the creative background of the work and the research motive, the second chapter discusses the VJ performance development characteristic and category, In the third chapter elaborates on "Rethink" performance and installation concepts, as well as scenes, content, images, performance gestures, and sound design from the script. Finally, the creative method and process are expounded, conveying how women shouldn't define themselves according to patriarchal standards of beauty; they should define their own selves, regaining ownership of their bodies.