[spectre] Sonic Light 2003 - Full Program
Peter Luining
Peter Luining <email@ctrlaltdel.org>
Fri, 7 Feb 2003 18:18:59 +0100
Sonic Light 2003
composed light, articulated space
Amsterdam, Paradiso and de balie, 13th to 23rd February 2003
The ninth edition of the Sonic Acts festival will be held in Paradiso
and De Balie in Amsterdam under the name Sonic Light 2003. The festival
will comprise a week of film presentations, a three-day conference, a
small exhibition and three evenings of live music and light projections
in a space specially designed for this purpose - the 'Sonic Light Box'.
The central theme of the festival is the fascination held by artists
for the creative possibilities offered by giving musical form to light
and space.
The vision of a 'music for the eye' is centuries old and forms an
important undercurrent in the recent history of art and the new media:
from the construction of the first colour organs, light sculptures and
the first use of coloured lighting in theatre, through abstract film
animation and synthetic video images, to the design of interactive
software to generate light and sound. The idea of a musical light art
to be presented in an environment specially designed for that purpose
becomes topical every time a new visual medium appears on the horizon.
Among the present generation of computer artists a new type of visual
music is being created which can be performed live or made specially
for the Internet.
These 'light environments' would be inconceivable without some form of
immersive sound. For centuries composers have dreamt of being able to
compose and articulate a truly spatial kind of music. With the arrival
of electronic sound reproduction this dream received new impetus from
technology, which has led to the stereophonic and surround systems
which can now be found in most living rooms. In electronic music it has
become possible to minutely compose the spatial aspects of sound by
working with quadraphonic, hexaphonic (Boulez), octophonic
(Stockhausen) and dodecaphonic (Humon) loudspeaker arrangements. Recent
initiatives, like Naut Humon's Recombinant Media Labs, encourage the
new generation of sound artists and electronic music producers to
further investigate the huge potential offered by a new spatial form of
music.
see for full programme descriptions: http://www.sonicacts.com
------------------------------------------------------------------------
---------------------------------------------
------------------------------------------------------------------------
---------------------------------------------
Film programme
OpFilm No. 11: Sonic Light 2003
The OpFilm programme centres on three themes: the early experiments
with electronic images for 'experimental television', the work of a
number of filmmakers central to abstract filmmaking over the past fifty
years, and the relationship between film and kinetic art.
The programme will also include two science-fiction films with special
effects by two abstract filmmakers: Oskar Fischinger and Jordan Belson.
The programme includes several unique screenings of films that are very
rarely shown, especially the programmes on the work of Jordan Belson,
Nicolas Schöffer and Pierre Schaeffer.
Four video works will be shown continuously during the festival
projected on the facade of De Balie from dusk to midnight as part of De
Balie's ongoing 'Straal' project.
Thur.13, 20.00h
Illuminating Music - Dan Sandin, Bill Etra, Vasulka's, etc.
Fri.14, 20.00h
Meditation for the Masses - Steven Beck, Eric Siegel, Skip Sweeney
Sat.15, 20.00h
Absolute Classics - Oskar Fischinger, Len Lye, etc.
Sun.16, 20.00h
Motion Graphics - John & James Whitney
Mon.17, 20.00h
Text of Light - Stan Brakhage
Tue.18, 20.00h
Turn, Turn, Turn - Jud Yalkut
Wed.19, 20.00h
Luminodynamisme - Nicolas Schöffer
Thur.20, 20.00h
Through the Looking Glass - Jim Davis, Stan Brakhage
Fri.21, 20.00h
Light - Jordan Belson
Fri.21, 21.30h
The Time Travellers - Ib Melchior, Oskar Fischinger
Sat.22, 20.00h
The Right Stuff - Philip Kaufmann, Jordan Belson
Sun.23, 20.00h
Groupe de Recherche Images - Pierre Schaeffer
Fri.14 - Wed.26, dusk
'Straal' - Bainbridge, Casady, Lia, Scroggins
------------------------------------------------------------------------
---------------------------------------------
------------------------------------------------------------------------
---------------------------------------------
Sonic Light 2003 Conference
The conference part of Sonic Light will take place on 21st, 22nd and
23rd February in De Balie. The subject of the Sonic Acts conference
last year was 'The Art of Programming', this year it is to be
'Composing Light, Articulating Space'. The conference gives a broad
overview of the art of 'composed light': the shaping in time of light
and colour in a way which is comparable to the way sound is given form
in music. A large part of the conference will consist of presentations
by artists who will explain something of the background to their work,
the techniques they use or may have devised and will include
presentations of fragments of their work. Another part of the
conference will comprise more theoretical and historical presentations
which place present-day developments in a broader context.
To bring some order to the web of ideas and influences linking the
various contributions, the conference has been loosely structured
around three themes, coinciding with the three days. The first day will
centre on the links between light art, the visual arts and
architecture. The second day will be about strategies for making image
and sound compositions, focusing on computer animations in film and
for the web. The last day will deal with various approaches to perform
light and abstract images in real-time.
During the three days of the conference there will be a modest
exhibition in De Balie, consisting of two works. An amazing '3d-lumia'
box by Earl Reiback will be shown, a machine which produces refined
optically 'real' images that appear to float in the space before it.
There will also be a presentation on dvd of the reconstruction of
Ludwig Hirschfeld-Mack's 'Farbenlichtspiele', made in 2000 by a
Viennese team of performers headed by Corinne Schweizer and Peter Böhm.
Fri 21, 13:00h
Fred Collopy - The Contributions of Painters to the Development of
Visual Music
Earl Reiback - My Work in Lumia
Eleonore de Lavandeyra-Schöffer - Luminodynamism in the work of
Nicolas Schöffer
Fri 21, 16:00h
Cees Ronda - New Technologies for Illumination
Seth Riskin - Light Dance
Paul Friedlander - 3-D Light Forms
Fri 21, 20:00h
Robert Haller - The Films of Jordan Belson (film programme)
Sat 22, 13:00h
Frans Evers - A Dancer had a Dance: Synesthesia and the Unity of the
Arts
Sylvie Dallet - Groupe de Recherche Images
Larry Cuba - Form = Movement
Sat 22, 16:00h
Bart Vegter - A Vast Space with a Narrow Entrance
Chris Casady - Instant Visual Music around the World
Peter Luining - The Emergence of the Sound Engine
Sun 22, 13:00h
Pascal Rousseau - Light Experiments in the Beginnings of Abstraction.
An Archaeology of Participative Art
Peter Stasny - Light Art at the Bauhaus, the 'Farbenlichtspiele' of
Ludwig Hirschfeld-Mack
Michael Scroggins - Absolute Animation Through Improvisation
Sun 22, 16:00h
Benton Bainbridge - Try This at Home: Analog Video Synthesis
Fred Collopy - An Instrument for Performing Real-Time Abstract
Animations
Golan Levin - Interface Metaphors for Audiovisual Performance Systems
------------------------------------------------------------------------
---------------------------------------------
------------------------------------------------------------------------
---------------------------------------------
Sonic Light Box
The night programme of Sonic Light will take place in Paradiso,
Amsterdam, on February 21st to 23rd.
For this occasion the main auditorium of Paradiso will be transformed
into a 'Sonic Light Box', a space designed by Robin Deirkauf.
Essential to the concept of the 'Sonic Light Box' is the immersion of
audience and particpants in light and sound. This time the artists
responsible for these images and sounds will not be the centre of
attention themselves, but it will be their work that directly
communicates to the audience. In total 41 performers and collectives
producing image and sound will present solo pieces and collaborative
works specially prepared for Sonic Light.
The small auditorium of Paradiso will be dominated by Paul
Friedlander's kinetic light sculptures 'Wave Equation' and
'Hypersphere'. Students f the Interfaculty Image and Sound from The
Hague will present a daily programme of light and sound performances
here, DJs Christian Vogel (Friday) and KidGoesting (Saturday) will
provide a pleasant setting later in the night. Other light objects and
luminous interventions by the students of the Interfaculty Image and
Sound will find other places in the building of Paradiso.
In the 'Sonic Light Box' all light performances and projections will
take place on a gigantic light-object, as wide as it is high,
splitting the main Paradiso auditorium in two. This object can serve
as a projection screen but, more importantly, emits light of
continuously changing colour and intensity. It will be the sole source
of light for all events, together with the luminous and mobile roof
hovering above it.
The auditorium will also have no front and no back in terms of sound,
only a centre and periphery. Traditionally, all sound comes from the
direction of the stage, but during Sonic Light a spatial sound system
will be used in which the audience will be surrounded by six
independent loudspeakers on the floor and six hanging from the
ceiling. In this way it will be possible to compose the spatial
experience of both sound and light in the 'Sonic Light Box'.
As has become customary during the Sonic Acts festival, the programme
at the start of the evening will be aimed more at an audience
interested in the arts and will transform to a more dance-oriented
programme after midnight. The evenings will not be simply a succession
of performances according to a festival schedule, but will have a
modular structure. We have asked the invited artists to give a number
of short performances instead of playing one long set. For example, an
artist may be giving a short performance of pure sound collage on
Friday evening and play a dance-oriented set on Saturday. The
programme of each evening is designed to provide a maximum of variety
and contrast between successive sets.
We also asked the artists we invited to engage in various
collaborations. We have set these up to promote dialogue between the
different worlds of light art and sound art, and to show a wide
variety of approaches to the relationship between image and sound. The
programme offers a wide range of artists, from renowned composers such
as Amacher to young dogs such as Venetian Snares, from projections of
films by Oskar Fischinger to improvisations by Golan Levin and Benton
Bainbridge.
The exact time schedule of performances can be found two weeks prior
to the festival on www.sonicacts.com. There will also be a printed
schedule as guide for the evenings. Announcements will be made on
special displays in Paradiso.
The Friday evening starts at 23:00h with a programme until 4:00h.
The Saturday programme starts at 20:00h and ends at 4:00h.
The Sunday programme starts at 20:00h and ends at 3:00h.
Presences by:
@c, Maryanne Amacher, Scott Arford, Benton-C Bainbridge, Olivia Block,
COH, Sue Costabile, Fred Collopy, Richard Devine, Effekt, Dino Felipe,
Hazard, Hecker, Edwin van der Heide, Arnold Hoogerwerf, Naut Humon,
KidGoesting, Laminar, Golan Levin, Lia, Francisco Lopez, Lucia di
Monocordi, Peter Luining, Christian Marclay, Peter Max, Ikue Mori,
Numb, Robert Pravda, pxp, random k, Joost Rekveld, reMI, Seth Riskin,
Don Ritter, Otto von Schirach, Sutekh, tcw23, Telco Systems, Yasunao
Tone, Venetian Snares, Christian Vogel
------------------------------------------------------------------------
---------------------------------------------
------------------------------------------------------------------------
---------------------------------------------
Sonic Light 2003 Conference Programme in Detail
Fri 21, 13:00h
Fred Collopy - The Contributions of Painters to the Development of
Visual Music
In this talk Collopy will describe some of the early contributions of
abstract painters to the development of an art of light, as well as
some of their theories about the relationship of painting to music.
The artists considered will include Leopold Survage, Morgan Russell,
Stanton Macdonald Wright, Paul Klee, Gyorgy Kepes, Piet Mondrian, and
Laszlo Moholy-Nagy.
Fred Collopy was a former visiting scientist at IBM's Thomas J. Watson
Research Center and teaches technology and design at Case Western
Reserve University's Weatherhead School. His web site at
rhythmiclight.com details the history and theoretical foundations of
visual music.
Earl Reiback - My Work in Lumia
Reiback will present his 'lumia' work and explain his methods and
techniques.
After an initial career as a nuclear physicist, Earl Reiback turned to
kinetic light art through an effort to improve the environment in
which he was living. His light boxes were quickly picked up by the
contemporary art scene and were termed 'lumia' after the work of
Thomas Wilfred who independently had been doing similar things and
became a close friend. Outside the art world he did large-scale
projects for light environments in restaurants, for interior design,
as backdrops for fashion shows and for the Electric Circus, the first
discotheque in history.
Eleonore de Lavandeyra-Schöffer - Luminodynamism in the work of Nicolas
Schöffer
Nicolas Schöffer had an amazing output of visionary ideas about art
and the future of mankind. He started as a painter but understood
around 1948 that in our present society it was no longer possible to
create valid art using the traditional 'beaux-arts' media. He turned
to making art using the immaterial substances of space, light and
time, which led him to formulate Spatiodynamism, Luminodynamism and
Chronodynamism, respectively. He made many moving, interactive and
programmed sculptures, experimental cybernetic shows, films, projects
for urban planning and published a number of books.
Eleonore de Lavandeyra-Schöffer abandoned her own career as an
ethnomusicologist and Indian music teacher to take care of her husband
and his work when he became partly paralysed in the last years of his
life. After his death she has continued to preserve and promote his
work.
Fri 21, 16:00h
Cees Ronda - New Technologies for Illumination
Cees Ronda will give an introduction on the physics underlying -
familiar light sources and on the relationship between how light is
generated and the way colours can be reproduced. In the second part of
the talk he will discuss new developments in illumination from a
technical research and development perspective. He will elucidate the
basic physical processes and interactions leading to the emission of
light in the new light sources, which differ quite extensively from
the light sources and illumination systems used nowadays. Ronda will
also discuss recent developments in LED technology, in colour variable
light and give a survey of future technologies.
Cees Ronda is professor 'Materials Science' at the Ornstein
Laboratoryof Utrecht University and works for the Philips Research
Laboratories in Aachen as research fellow.
Seth Riskin - Light Dance
Riskin's work involves physical movement with the additional element
of light instruments attached to his body, carefully aimed and
adjusted to produce space-defining effects. The silent performances,
known as Light Dance, surround viewers with fluid architectures of
light. The talk will set the Light Dance art form within a broad
historical context of human expression through the medium of light.
Emphasis will be placed on the conjunction of the body with light --
the light-body -as a highly charged, trans-cultural image that is key
to an "anthropology" of light.
A former U.S. national champion gymnast, Seth Riskin originated Light
Dance at the M.I.T. Center for Advanced Visual Studies. He has been
performing internationally and has been conductingresearch that led
him to India to study Hindu ritual fire dances. Currently Seth is a
Research Fellow at the M.I.T. Center for Advanced Visual Studies and
Director of the M.I.T. Light Symposium 2003, a forum on new light
technologies, emerging visual culture and the role of art.
Paul Friedlander - 3-D Light Forms
Friedlander will describe how he first became interested in kinetic
art and began to develop an interest in light sculpture. He will talk
about his previous career in stage lighting and his subsequent quest
to create a means of 3-D projection, and how this led to the invention
of Chromastrobic Light. He will recount the discovery of the gyrating
forms that blend harmony and chaos which are so characteristic of his
work. He will then show how these lightforms developed from a desk- top
sized novelty to light sculptures on a monumental scale.
Paul Friedlander was raised in Cambridge on a diet of relativity and
cosmology, and was an aspiring rocket scientist and interstellar
propulsion expert. He metamorphosed to become a stage lighting
designer, computer artist and light sculptor. His sculptures have been
shown widely all around the globe. He was also an award winner at
'Lightforms '98' in New York.
Fri 21, 20:00h
Robert Haller - The Films of Jordan Belson (film programme)
Like Oskar Fischinger, Jordan Belson approached film with one foot in
Eastern religion and one in modern science. His works fall into
several phases: the 1940's, the period 1950-62, and a third phase that
began in 1964 with 'Re-entry'. Robert Haller will introduce a
programme which includes the following films by Belson: Allures
(1961), Re-Entry (1964), Phenomena (1965), Samadhi (1967), World
(1970) and Light (1973).
Robert Haller has been in charge of the collections and film
preservation of Anthology Film Archives in New York. Among other
things, he has been involved in the preservation of the works of Jim
Davis, published several texts by Jim Davis, Stan Brakhage and the
catalogues of events he has curated: 'First Light' in 1998 and
'Galaxy' in 2001.
Sat 22, 13:00h
Frans Evers - A Dancer had a Dance: Synesthesia and the Unity of the
Arts
Evers will talk about his work in experimental research, ranging from
perceptual psycho-physics to the study of synesthetic concepts in
experimental art. He will discuss his collaborative work with Larry
Marks in a cross-modal research programme, which showed strong
perceptual interactions between auditory pitch and loudness with
visual brightness and sharpness of visual form. Besides this, he will
discuss some of the art projects based on the study of historical
synesthetic models by Castel (1725), Scheuer (1798), Wagner (1850),
Kandinsky (1911), Schönberg(1910), and Mondrian(1922), etc.
Frans Evers has been head of the Interfaculty Image and Sound of the
Royal Conservatoire and the Royal Academy of Art in The Hague since
1989, and was one of the founders of the Sonic Acts festival in 1994.
Prior to and alongside to his work as an innovator in art education,
he studied synesthesia at the University of Amsterdam and, further to
receiving a Fulbright Award, was able to continue his research at Yale
University.
Sylvie Dallet - Pierre Schaeffer and the Groupe de Recherche Images
Pierre Schaeffer is mostly known for his pioneering work as a composer
and theorist of 'Musique Concrète'. Much less known is the fact that
he was also a profound thinker about mass media, multimedia and about
the relationship between image and sound. For a number of years he was
not only the head of the 'Groupe de Recherches Musicales' but also of
the 'Groupe de Recherche Images' and other research groups devoted to
technology and literature. These were experimenting with two
innovative approaches: the transition from the classical Arts to the
recording Arts , and the critical practice of the 'observer/observed'.
Sylvie Dallet is a philosopher and historian. She was chosen by
Schaeffer to initiate reflection on his work and to preserve his
archives and consequently, since 1995, she has been the director of
the 'Centre d'Etudes et de Recherche Pierre Schaeffer'. She was
appointed professor at the University of Marne la Vallée to start a
research and study programme devoted to contemporary art in relation
to new technologies, which began in 2002. She has also regularly
published essays on cinema and political history.
Larry Cuba - Form = Movement
In the pure form of abstraction that Cuba pursues, visual perception
is paramount. But because the images are generated via algorithms
written in computer language, there is a paradox in trying to use
words to describe images for which words do not exist. He will present
and discuss his work on film 'Two Space', '3/78' and 'Calculated
Movements' and will reveal his current projects.
Larry Cuba is widely recognized as a pioneer in the use of computers
in animation art. Producing his first computer animation in 1974, Cuba
was at the forefront of the computer-animation artists considered the
"second generation" - those who directly followed the visionaries of
the sixties: John Whitney Sr., Stan Vanderbeek and Lillian Schwartz.
He is the founder of the iotaCenter in Los Angeles, an organization
dedicated to preserving and promoting the art of light and movement.
Sat 22, 16:00h
Bart Vegter - A Vast Space with a Narrow Entrance
Bart Vegter has developed his own algorithms and his own software to
make his most recent abstract films. In this presentation he will talk
about the obstacles and discoveries when using computers to make moving
images and he will explain something about the making of two of his
recent computer films: 'NACHT-LICHT' and 'FOREST-VIEWS'. Sketches,
image tests and fragments of these films will be shown, 'FOREST-VIEWS'
will be shown in its entirety.
Bart Vegter has a background in physics and electronics. He started to
make films after coming into contact with the Free Academy Psychopolis
in The Hague and many of the people involved, such as Frans Zwartjes,
Peter Rubin, Paul de Mol and Jacques Verbeek. Since 1981 he has made
seven abstract films using a variety of techniques.
Chris Casady - Instant Visual Music around the World
Chris Casady is animating with Macromedia Flash aiming to
re-invigorate the field of abstract animations begun by the early
non-objective painters of the 20th century. Many of them were
interested in film and made various attempts to animate their visions
with technology of the time; tedious hand animation. Today, the
ability to easily place moving coloured images and sound in front of
eyeballs around the world instantly, is an opportunity too compelling
to ignore. We owe it to those who did it the hard way, to do it the
easy way. Chris will share his experiments.
Chris Casady is a 'traditional' effects animator with an early
training in visual music at Cal-Arts in Los Angeles. Working from his
studio in Hollywood he has earned two Clio awards for his work in
commercials and directed an animated music video for the Beastie Boys.
His film credits include the first three Star Wars films, TRON,
Beetlejuice, Airplane! and Tank Girl. His animated film "Pencil Dance"
won awards at animation festivals in France, Italy, Japan and Canada
and he was a five-time speaker at the FlashForward International
conference.
Peter Luining - The Emergence of the Sound Engine
From the early beginnings of the Internet Peter Luining was interested
in combining images and sounds interactively, and in his talk he will
describe how his work evolved in relation to the development of
computers and the Internet. With computers turning into multimedia
machines and the Internet becoming faster, a new type of audiovisual
work emerged: the sound engine. This is a small piece of software
which allows the user to interact with images that are linked to
sounds, thus making sound-image compositions possible. Luining will
present his own sound engines, discuss some of the ideas behind them
and show how they have evolved to fit different contexts.
After his contemporary philosophy study, Peter Luining became active
in the Amsterdam vj-scene, made 3d-animations and videoclips. In 1995
the character of his work changed dramatically when he discovered the
net and Luining first won international recognition with his work
"Clickclub", at the Transmediale festival in Berlin. Since 1997
Luinings' work has turned towards a kind of minimalism, while
continuing his earlier research on the dynamics of the net.
Sun 23, 13:00h
Pascal Rousseau - Light Experiments in the Beginnings of Abstraction.
An Archaeology of Participative Art
Rousseau will give an analysis of the first experiments with colour
music and light shows in Europe and the United States, focusing on the
idea of collective participation and popular communion in the new era
of the modern age. He will approach this early history of light art by
discussing the mystical and religious motives of the earliest light
artists and the electrical metaphor of music as a magnetic and
electrical fluid. He will draw parallels between these ideas from the
early period and the avant-garde in the 1920s, the 'happenings' and
environments of the 1960s, and the new emphasis on collectivity in
today's lounge phenomenon.
Pascal Rousseau is professor of contemporary art at the University of
Tours and also works as a curator. He curated the exhibition "Robert
Delaunay. From Impressionism to Abstraction" in the Centre Georges
Pompidou in 1999 and is currently preparing a large exhibition about
"The Origins of Abstraction" for the Musée d'Orsay in Paris in 2003.
He has published several articles on synesthesia in the first stages
of abstraction.
Peter Stasny - Light Art at the Bauhaus, the 'Farbenlichtspiele' of
Ludwig Hirschfeld-Mack
The 'Farbenlichtspiele' by the Bauhaus student Ludwig Hirschfeld-Mack
resulted from investigations into the interaction of colour and form
as well as from a shadow play by fellow student Kurt Schwerdtfeger in
1922. Their first public performance at the Bauhaus in 1923 was the
starting point for Hirschfeld-Mack to become an important pioneer of
the moving coloured image. The further development of the
'Farbenlichtspiele' towards mechanization ended abruptly in 1940 when
Hirschfeld-Mack was deported to Australia from England, his country of
exile. In this lecture Stasny will outline the history of the
'Farbenlichtspiele' and discuss their origins in the fundamental
aesthetic research conducted at the Bauhaus, which also included
direct and reflected light.
Peter Stasny did his thesis research on the work of Hirschfeld-Mack
and curated the Hirschfeld-Mack exhibitions at the Museum for Modern
Art in Bolzano, the Jüdisches Museum in Vienna and the Jüdisches
Museum in Frankfurt in 2000. He teaches design science and design
history in Linz, St. Pölten and Vienna.
Michael Scroggins - Absolute Animation Through Improvisation
"The approach to creating absolute animation that I have found to be
the most successful draws upon the power inherent in real-time
improvisation. A change made to the image creates a particular affect,
this affect then influences the choice made in creating the next
change, and so on. From my earliest experiences finger painting in the
1950s, doing liquid light projection in the 1960s, working with video
synthesizers in the 1970s, playing video studio production switchers
in the 1980s, to planning immersive VR performances in the 1990s,
improvisation has been an essential factor in discovering affective
compositional structures."
Michael Scroggins is a pioneer in the field of performance animation.
His absolute animation works have been widely exhibited
internationally. His most recent work investigates the potential of
gesture capture in creating real-time absolute animation in immersive
VR.
Sun 23, 16:00h
Benton Bainbridge - Try This at Home: Analog Video Synthesis
Bainbridge will give a demonstration of his low-tech version of video
synthesis, showing his tools, explaining his backgrounds and ideas. He
will talk about his fascination with the pioneers of direct video
synthesis and show fragments of his installation work and his work as
a VJ.
Benton-C Bainbridge draws upon a youth misspent playing with fire,
food and electronics to compose moving pictures for stage
performance, generative installation and fixed media dissemination. He
was a founding member of several video performance collectives in New
York, such as 77 Hz, The Poool and NNeng. His collaborations include
work with Bill Etra and David Linton's UnityGain.
Fred Collopy - An Instrument for Performing Real-Time Abstract
Animations
Imager is an instrument that permits painters to play images in the
way that musicians play with sounds. Its design, which organizes
controllers and modulators to manipulate colours, forms, and motions
in real-time, will be discussed.
Fred Collopy designed his first version of Imager for the Apple II
computer in 1977. Since then he has implemented it on several
platforms and his work has been presented at SIGGRAPH, the IEEE
Symposium on Visual Languages, the International Symposium on
Electronic Arts (ISEA), the Academy of Management, and numerous
universities and shows.
Golan Levin - Interface Metaphors for Audiovisual Performance Systems
This talk presents an overview of interface metaphors for the
real-time and simultaneous performance of dynamic imagery and sound,
with special attention to the metaphor of an inexhaustible, infinitely
variable, time-based, audiovisual substance which can be gesturally
created, deposited, manipulated and deleted in a free-form,
non-diagrammatic image space. With the goal of realizing instrumental
systems through which the unison of sound and image could be tightly
linked, commensurately malleable, and deeply plastic, a series of
examples which make use of this metaphor will be presented and
discussed.
Golan Levin is an artist, composer, performer and engineer interested
in developing artifacts and events which explore supple new modes of
reactive expression. His work focuses on the design of systems for the
creation, manipulation and performance of simultaneous image and
sound, as part of a more general inquiry into the formal language of
interactivity, and of non-verbal communications protocols in cybernetic
systems.