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RyeRye/ MIA: "Bang" Visuals 

(2009) 

by David O'Reilly. Everything was done in a few days in preparation for M.I.A.'s Coachella concert. The visuals can be viewed with red/cyan glasses, the gun's distortion is in true 3d space.

"Here are some stage visuals I recently did for M.I.A. The deadline for this was extremely tight, everything was done in a few days in preparation for her Coachella gig last weekend.

You can view this with red/cyan glasses, the gun’s distortion is in true 3d space.

This is a composite of some of the other ones I did, more in line with M.I.A’s aesthetic. (unfortunately compression kind of kills the flat colors/strobe effects). Since these were rendered in extreme widescreen I compressed them both into one video. The left audio channel is for the song World Town and the right the final version of Bang. Listen to them separately with headphones."

 

Source: David O'Reilly's Website

 

 

RyeRye/ MIA: "Bang" Visuals, weapons, 3D (red/blue), flicker / strobe, pixelig, Live Visuals

Reading

Digital Harmony (1980): On the Complementarity of Music and Visual Art – John Whitney, Sr. wanted to create a dialog between "the voices of light and tone." All of his early experiments in film and the development of sound techniques lead toward this end. He felt that music was an integral part of the visual experience; the combination had a long history in man's primitive development and was part of the essence of life. His theories On the complementarity of Music and Visual Art were explained in his book, Digital Harmony, published by McGraw-Hill in 1980. (Paradise 2012)

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)

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)

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SEE ALSO

Oscilloscope Works (2004-2009) by Robin Fox. The oscilloscope is in ‘polar’ mode, so instead of scanning left to right, displaying the conventional ‘trace’ of the waveform, the trace orbits the screen. Waveforms create woven circles, loops, twisting spirals, filigreed knots. (Real Time)

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)

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)

Daihei Shibata (*1982) is a Japanese visual artist. He graduated from Chiba University, specializing in media design. Just after the graduation, he became a member of WOW inc., working in motion graphics, including video installation works, TV commercials, and short films. Daihei Shibata always tries to find new possibilities in visual expressions in wide range of fields.

John Whitney, Sr. (1917-1995) was an American animator, composer and inventor, widely considered to be one of the fathers of computer animation. One of his most famous works from this period was the animated title sequence from Alfred Hitchcock's 1958 film Vertigo, which he collaborated on with the graphic designer Saul Bass. In 1966, IBM awarded John Whitney, Sr. its first artist-in-residence position. (Wikipedia)