Klipp av: Live Algorithmic Splicing and Audiovisual Event Capture

摘要

Recent new media concerts feature a trend toward the fuller integration of modalities enabled by close audiovisual collaborations, avoiding the sometimes artificial separation of disc jockey (DJ) and video jockey (VJ), of audio and visual artist. Integrating audio and visual domains has been an artistic concern from the experimental films of such notaries as Oskar Fischinger and Norman McClaren earlier in the 20th century, through 1960s happenings, 1970s analog video synthesizers, and 1980s pop videos, to the current proliferation of VJing, DVD labels, and live cinema (Lew 2004). The rise of the VJ has been allied with the growth in club culture since the 1980s, with Super-8 film and video projectionists at early raves now replaced by "laptopists" armed with commercial digital VJ software like Isadora, Aestesis, Motion Dive, and Arkaos VJ.