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SyncBody - VJ set 

(2012) 

pairs the VJing of Tokyo-based Daihei Shibata with the music of DUB-Russell and is produced by Japanese A/V label BRDG. A twitching thrill ride of jerking female forms and faces, digital mutations, and a glitchy-electronic meltdown.

Some absolutely amazing Cinema 4D work from Daihei Shibata, who describes this video simply as Synchbody for PMLS_IV_D from Jade Fib EP by Yaporigami.

In addition to creating some killer hair dynamics and a dope video that explores some very current themes of human representation in a simulated environment, Daihei also very generously makes his entire Cinema 4D project and audio files available for download. (Japanese plugs in required)

 

Source: Changethethought

 

 

“Intense !”, “Brutal !!!”, “OMFG this shit blew my mind.”—these are a few of the comments that accompany this video on its Vimeo page. And, while comment sections on video-sharing sites aren’t shy of over-enthusiastic exclamations, these are entirely justified.

The video pairs the VJing of Tokyo-based Daihei Shibata with the music of DUB-Russell and is produced by Japanese A/V label BRDG. BRDG specialize in Japanese IDM and we’ve noted their excellent taste in messed-up visuals and music before.

In this set Daihei Shibata pairs his Syncbody (below)—a freaky 3D human visual that dances to sound automatically—with VJing, which makes for a twitching thrill ride of jerking female forms and faces, digital mutations, and a glitchy-electronic meltdown that will certainly jar you from any mid-morning/afternoon slump you may be hitting at work. It’s over eight minutes long but well worth sticking with, as the ending takes it to some next level visual cacophony.

 

Source: The Creators Project

 

 

Daihei Shibata composites Hiroshi Sato's artwork with a CG model to create a truly terrifying android-like freakout. After attempting to tear my eyes away, I found that I had been mesmerized by the test's highly effective creep factor. Fair warning; you may never think of Barbies or mannequins the same way.

 

Source: Animation World Network

 

 

SyncBody - VJ set, body, flicker / strobe, dance, Live Visuals

Reading

VJam Theory: Collective Writings on Realtime Visual Performance (2008) presents the major concerns of practitioners and theorists of realtime media under the categories of performance, performer and interactors, audiences and participators. The volume is experimental in its attempt to produce a collective theoretical text with a focus on a new criticality based on practitioner/ artist theory in which artist/ practitioners utilise theoretical models to debate their practices. (VJ Theory)

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)

Links

 

SEE ALSO

Rosa Menkman (1983) is a Dutch visualist who focuses on visual artifacts created by accidents in digital media. The visuals she makes are the result of glitches, compressions, feedback and other forms of noise. By combining both her practical as well as her academic background, Rosa Menkman merges her abstract pieces within a grand theory artifacts (a glitch studies). Besides the creation of a formal Vernacular of File Formats, within her static work, she also creates (narrative) work in her Acousmatic Videoscapes. In these Videoscapes she strives for new forms of conceptual synthesis (synesthesia) of sound and video artifacts. (Rosa Menkman's blog)

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)

Yantra (1950-1958) by James Whitney constructed by punching grid patterns in 5" x 7" cards with a pin, and then painting through these pinholes onto other 5" x 7" cards images of rich complexity and dynamism. Yantra is a Sanskrit word meaning implement or machine. (...) This range of quasi-musical variations of implosions and explosions, light and dark, hard-edged pure textures and thick, irregular, hand-wrought solarized textures induces a contemplation of the self and reality, identity and universality. (William Moritz)

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)

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)