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Robert Heel 

is a German audiovisual artists, VJ and electronic musician in the fields of video and sound design, installation, audiovisual live performance, VJing and music production.

With his roots in media design Rob Heel's main goal is to define audiovisual relations - from bouncing beats and visuals in clubs to sophisticated audiovisual environments in gallery spaces and visual music projects.

Robert Heel's work has been screened at the European Media Art Festival Osnabrück, the Todayartfestival The Hague, the Amsterdam Film Experience, the VJ-Mapping Geneva, the Württembergischer Kunstverein Stuttgart, the fluctuating images gallery Stuttgart, the LAB gallery San Francisco and others. He also participated in art shows in Germany, Europe and the US.

As audiovisual team Rob Heel likes performing with the band .Computer.., with the DJ duo Robosonic and with Jan Hertz.

His VJ sets contain visual sensations from fascinating city-sights to every-day happenings, strange hours and moving moments, spiced up with video cutups from his previous video- and visual music pieces.

 

Source: Robert Heel website

 

 

Robert Heel, found footage

Reading

VJing (2010) is a reproduction of the Wikipedia article VJing, based upon the revision of July 25th 2010 and was produced as a physical outcome of the wiki-sprint, a collaborative writing workshop that was held 2010 in the frame of Mapping Festival, Geneva. (Greyscale Press)

‘vE-”jA: Art + Technology of Live Audio-Video (2006) by Xarene Eskander is a global snapshot of an exploding genre of tech-art performance: VJing and live audio-video. The book covers 40 international artists with 400+ colour images and 50+ movies and clips on an accompanying DVD and web downloads. (VJ Book)

VJ: Audio-Visual Art + VJ Culture (2006) edited by D-Fuse. A major change has taken place at dance clubs worldwide: the advent of the VJ. Once the term denoted the presenter who introduced music videos on MTV, but now it defines an artist who creates and mixes video, live and in sync to music, whether at dance clubs and raves or art galleries and festivals. This book is an in-depth look at the artists at the forefront of this dynamic audio-visual experience. (Laurence King Publishing)

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Hexstatic is a UK music duo, consisting of Stuart Warren Hill and Robin Brunson, that specializes in creating "quirky audio visual electro." Formed in 1997 after Hill and Brunson met while producing visuals at the Channel Five launch party, they decided to take over for the original members of the Ninja Tune multimedia collective Hex that had disbanded around the same time. They soon collaborated with Coldcut for the Natural Rhythms Trilogy, including the critically acclaimed A/V single Timber. (Wikipedia)

Coldcut: Natural Rhythm (1997) by Hexstatic is the second part of the Natural Rhythms Trilogy, Stuart Warren-Hill's first experiment in video sampling, the first piece being Frog Jam and the third being the critically acclaimed A/V single Timber, which won the MCM Atlas [French national TV] Award for Best Video Editing (1998). Although Stuart was the main architect of this trilogy, it was created with the support of Coldcut and Greenpeace. (Hexstatic)

The Z-Axis (2003) is a multi layered live audio visual performance by The Light Surgeons that fuses classic cult cinema with electronic sound scapes mixed live by DJ and audio artist Scanone. It has been toured internationally to venues such as: The Guggenheim Art Museum in Bilbao, San Fransico Art Institute, Moderna Museet in Stockholm, and the Villette in Paris between 2003 and 2006. (The Light Surgeons)

Christian Ernest Marclay (*1955) is a Swiss-American visual artist and composer. Marclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Christian Marclay is, in the words of critic Thom Jurek, perhaps the "unwitting inventor of turntablism." His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip hop's use of the instrument. (Wikipedia)

formula (2000), a constantly evolving work updated with each presentation, is a perfect synchronization between Ryoji Ikeda's sound frequencies and the movements on the screen. It places the viewer in a binary geometry of space, and exploits the darkness to amplify the perceptions, with outstanding success. (Ryoji Ikeda)