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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)

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SEE ALSO

Shutter Interface (1975) by Paul Sharits is a hypnotic work a quartet of 16mm projectors stand, figure-like, side by side on imposing pedestals facing a long wall. Four looped films of varying lengths are unspooled and respooled in jewel-like swathes of colour interspersed with single black frames, creating the flicker effect Paul Sharits was the first to explore in colour films. (Frieze Magazine)

Animal (2011) by Arnaud Gillette and Yannick Jacquet is a desire of contrast, a graphic point of view on a subject in variable curves, a show where the equestrian universe tells the classic space of the theater stage. The main actors of this part into dialogue with digital and music art are four horses, using lights and video installations. (Arnaud Gillette)

APB - All Points Between (2001) was a live audio visual performance by The Light Surgeons. An feature length performance which skipped around the world through a series of capsule narratives and audio visual tracks. It combined and remixed original documentary material (including the short films Thumbnail Express and The City of Hollow Mountains) wth DJing and a multi screen presentation involving video, slides and 16mm projections. (The Light Surgeons)

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)

Paul Sharits (2008) edited by Yann Beauvais. Known primarily for his experimental cinema and pictorial works, Paul Sharits developed an oeuvre that evolved around two central themes: one, closely related to music and the world of abstraction, the other, within the psychological and emotional arena of the figurative. This complete monograph, drawn from a recent exhibition, explores the connections between these two practices, and in addition provides a general introduction to a remarkable body of work. Illustrated throughout, the monograph also includes several essays, texts by Paul Sharits and interviews. (les presses du réel)