Monolake: Infinite Snow Edit II 

(2010) 

by Tarik Barri is an ongoing research project about the exploration of audiovisual surround possibilities in a club context. Surround audio part by Robert Henke (Monolake).

"Monolake Live Surround is an ongoing research project which is about the exploration of audiovisual surround possibilities in a club context. Within this project, Robert Henke (Monolake) does the surround audio part while I work with multiscreen video projections. During the Monolake Live Surround performances, I use two computers which are running an adjusted version of the Versum engine, made specifically for VJ purposes. Via a network connection the computers communicate with eachother and with Robert's music software to generate 3d images which react to the music. Precisely how these images react and how they evolve over time is something I control live. This enables me to directly and intuitively respond to the music and create a continuous flow of moving images which perfectly fit the moment. Oh, and please don't mind the sound quality of these video fragments: the music actually sounds really cool when you're really there!"

 

Source: Tarik Barri's website

 

 

Monolake: Infinite Snow Edit II, processing, architecture, multi projection, Live Visuals, Interactive

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)

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)

‘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)

 

SEE ALSO

The Art of Projectionism (2007) by Frederick Baker (in German) sets out the principles behind his use of projectors in the film making process. He defines a projectionist school of filmmaking and media art. In this publication he also presented Ambient film, a surround experience that can be shown in specially developed cinemas. (Wikipedia)

The Drowning (2009) by Kasumi explores the impressions running through a man’s mind in the moments before his death: the sensation of time slowing down, of heightened bodily perceptions, and the simultaneous unreeling of an internal cinema of images. (Kasumi)

Paul Sharits (1943-1993) is widely known for his structural films, the use of multiple projectors, infinite film loops, experimental soundtracks, and interventions at the level of the filmstrip in order to realize his elemental mode of cinematic presentation. Trained initially as a painter, and a prolific theoretical writer, Paul Sharits' art-making was in fact wide-ranging, evidenced by his early involvement with Fluxus artists in New York. His many works on paper — from diagrams to abstract film scores, fashion drawings, and hallucinogenic illustrations — have yet to be fully integrated into his better-known body of work. (paulsharits.com)

Malcolm Le Grice (1940) is probably the most influential modernist filmmaker in British cinema. Malcolm LeGrice's work has explored the complex relationships between the filmmaking, projecting and viewing processes which constitute cinema as a medium, and shows an intense interest in the processes enabled by optical printers and by the combination of different types and gauges of film stock. (Screenonline)

Audio.Visual - On Visual Music and Related Media (2009) by Cornelia Lund and Holger Lund (Eds.) is divided into two sections: the first deals with the academic discussion on the subject of visual music; the second introduces contemporary paradigms of audio-visual praxis in brief presentations and contextualises them. Apart from being a guide in the historical sense, this new volume provides theoretical approaches to understanding and making visual music. (Fluctuating Images)