The NuVJ allows DJs to incorporate images and video clips in much the same way as mixing music. With the NuVJ, the VJ can trigger images and video clips, add effects to them, mix them through an onboard DJ style crossfader and tweak them in order to create unique and spectacular shows. The hardware controller works seamlessly with existing DJ gear and the software is compatible with most computers and laptops. The NuVJ is simply easier, better and more affordable than any other VJ product on the market.
nuvj.com
Design e Comunicação Visual
MUNARI, Bruno. Martins Fontes, 2001.
Em 1967 Bruno Munari ministrou um curso de aproximadamente cinqüenta aulas sobre comunicação visual nos Estados Unidos, a convite da Harvard University. O curso resultou neste livro que é, sem dúvida, uma das obras mais importantes do autor. Trata-se de um verdadeiro manual do design e da comunicação visual. Baseia-se nos novos métodos de ensino e não mais nos conceitos do belo e do feio.
Street art has taken over the world in recent years. Cities have been "liberated" by artists who are as motivated by the drive to invent new forms of media as they are to create new images. Art of Rebellion features the broadest possible variety of street art including flyers, stickers, spraycan and stencil art, and a host of interesting hybrids that fall somewhere in between. Provocateurs such as Space Invader, Above, Lefunk, Milk, Fume, Hoernchen and East Eric use an amazing variety of techniques to create their own individual iconography in projects as crazy as bathrooms painted gold, battle tanks painted pink and cities plastered with pictures of toasters. The ultimate collection of worldwide street art this remarkable book leaves absolutely nothing sacred.
the-art-of-rebellion.com
Once upon a time there was a computer music system called GROOVE (Generating Realtime Operations On Voltage-controlled Equipment, Bell Telephone Laboratories, Murray Hill, New Jersey), which outputted in the realm of sound, and was a wonderful and still-unique tool for the composition thereof. Once upon a time a then-young composer who was using GROOVE for music got the hairbrained idea that if she made a few minor changes here and there she could use it to compose images as well. This she did in 1974-6, and though the untimely demise of the system completed, owing to massive hardware changes in this system's home lab, prevented creation of much documentation in the form of aesthetic works of its output, the system did function sufficiently to make some description worthwhile. While it is true that the mid-1960s DDP-224 computer on which GROOVE became a VAMPIRE (Video And Music Program for Interactive Realtime Exploration/Experimentation) was a massive roomsized computer, it has by now long been eclipsed in power by the constantly improving home computer. It is worth describing the concepts involved in part because there are by now many small computers capable of emulating its musical methods. Besides, I had a deep personal relationship with that computer, and wish to commemorate it. Here then follows the tale of Graphical GROOVE, a.k.a. the VAMPIRE.
Pajubá
Linguagem usada pelos travestis, baseada nas línguas africanas Nagô e Iorubá, usada em terreiros de candomblé
Visual Music Instrument Patents
BETANCOURT, Michael. Wildside Press, 2004.
Visual Music Instrument Patents is a collection of primary source documents for visual music instruments, often called "color organs," gleaned from the United States Patent Office. Information about these devices is often only available through the inventor's patent applications, but these applications are not currently available except through the time-consuming process of searching Patent Office databases. This volume is an informational resource for those instruments that are already known and studied (Bishop, Rimington, Wilfred, Fischinger), and includes a number of patents for other instruments that have not been examined as thoroughly (Munsell, Hallock-Greenwalt, others). Volume One also includes a few patents that are related to visual music instruments such as systems of notation for writing visual music and devices for determining "color harmony" through a relationship to musical form.
Vimeo is a site for organizing and sharing video clips.
The beta version of this site launched in mid February, 2005. We are very serious about continually improving this site.
This site was conceived by me, Jakob Lodwick, and was brought to life when I teamed up with Zach Klein. We both work at Connected Ventures, the company responsible for CollegeHumor, Busted Tees, The Big Shocker, and AllDumb.
If you don't know any of those sites, you should ask your kids about them.
Some of the technology behind Vimeo includes Apache (server software), PHP (programming), MySQL (database), and FFMPEG-PHP (thumbnails).
The inspiration for this site, most prominently, comes from Ludicorp's Flickr, Josh Schachter's del.icio.us, Lev Manovich, Albert-Laszlo Barabasi, and Dr. Maria Montessori.
Jer Thorp’s Darwin’s Instruments is a result of research into Neural Networks and Genetic Algorithms, it allows you to evolve little multi-sound instruments and has the appeal of learning, a somewhat hermetic and tantalising system, through interaction. By selecting two sounds you create parents to produce offspring hybrids.
Twisty Little Passages
MONTFORT, Nick. The MIT Press, 2003.
Interactive fiction -- the best-known form of which is the text game or text adventure -- has not received as much critical attention as have such other forms of electronic literature as hypertext fiction and the conversational programs known as chatterbots. Twisty Little Passages (the title refers to a maze in Adventure, the first interactive fiction) is the first book-length consideration of this form, examining it from gaming and literary perspectives. Nick Montfort, an interactive fiction author himself, offers both aficionados and first-time users a way to approach interactive fiction that will lead to a more pleasurable and meaningful experience of it.
Twisty Little Passages looks at interactive fiction beginning with its most important literary ancestor, the riddle. Montfort then discusses Adventure and its precursors (including the I Ching and Dungeons and Dragons), and follows this with an examination of mainframe text games developed in response, focusing on the most influential work of that era, Zork. He then considers the introduction of commercial interactive fiction for home computers, particularly that produced by Infocom. Commercial works inspired an independent reaction, and Montfort describes the emergence of independent creators and the development of an online interactive fiction community in the 1990s. Finally, he considers the influence of interactive fiction on other literary and gaming forms. With Twisty Little Passages, Nick Montfort places interactive fiction in its computational and literary contexts, opening up this still-developing form to new consideration.
The bizarrely-capitalized sCrAmBlEd?HaCkZ! takes an audio sample, slices it up into rhythmic slices and categorizes it in a database by spectral content, and then (here's the good part) retriggers the audio based on an input. In other words, you can beatbox into a microphone and get a totally mashed-up version of MC Hammer in response.
To celebrate the availability of the First Person paperback, I’m happy to share the table of contents for the sequel that Pat Harrigan and I have edited. The new book, Second Person: Role-Playing and Story in Games and Playable Media, is currently in the MIT Press production process (and will hopefully appear on shelves this fall). We’re very pleased with how the new book has come together. It includes leading game designers, innovative computer scientists, writers and artists engaging the playful potential of digital media, and scholars who take games and other “playable” media seriously along computational, representational, performance, and ludic dimensions. Plus three appendixes include alternative RPGs from John Tynes, Greg Costikyan, and James Wallis!
Poesia Experimental Portuguesa - Cadernos e Catálogos
O objectivo deste projecto é recolher, classificar, digitalizar, traduzir e reproduzir em formato electrónico, as publicações (revistas, catálogos, suplementos) de poesia concreta e visual portuguesa associada ao Movimento da Poesia Experimental dos anos 60 (conhecido como PO-EX), com vista à produção de um CD-ROM de divulgação da mesma. Considera-se espólio da PO-EX os Cadernos, Suplementos, objectos, catálogos e panfletos, dispersos actualmente.
The iCinema Centre for Interactive Cinema Research, established in 2001, is a joint venture of the College of Fine Arts and the Faculty of Engineering, School of Computer Science and Engineering at the University of New South Wales.
It brings together researchers and postgraduate students in digital media, aesthetics, sociology of art, cinematic theory, multimedia design, computer science, cognitive science and software/hardware engineering.
The iCinema research program focuses on experimental and theoretical research into immersive digital interactivity for applications within cinematic, mobile and home theatre contexts. These contexts include all forms of the moving image, made visible on any type of screen or in any sort of immersive environment, whose structure is constituted by emergent forms of narrative.
Kaldron: An On-Going Investigation of Visual Poetry
So, What's Visual Poetry?
Visual Poetry runs under many names and definitions. Some of the names are descriptive of different modes of the same thing. Some are silly or unfortunate. Some forms of this type of art are radically different and come from opposed conceptions of what poetry is. Concrete, a rigid, minimalist form, relying heavily on, and partly inspired by, the printers' type used in newspaper headlines, is the best known. We see the possibilities of art forms under the visual poetry name as extensive. Some practitioners want to keep it a highly verbal art, Others dispense with words altogether. The late, great sage David Cole put forward several definitions. Perhaps the one most often accepted is that visual poetry is a form of visual art that comes from a literary background. His antecedents were his university instructor, William Empson, and his poetic model was Walt Whitman - hardly men who were at a loss for words. Some argue for a visual poetry highly dependent on words written in standard alphabets. My definition is poetry that is inaccessible to people who can not see it. No matter how you read it to them or explain it to them, something is always missing if they can't see it. Although I have spent time studying the iconographic writing systems of pre-Columbian central Mexico, which didn't depend on a spoken language, and see no reason for poetry to include words, my own visual poetry is usually highly verbal. Karl Kempton's is usually not. Despite the difference, we have had little argument about it during the past 30 years. The definition for Kaldron has always been to spread as big a tent as possible and to avoid all dogmas. We both have agreed, however, that what gets the most attention elsewhere gets less in Kaldron because it is already more widely known and we want to bring forward the less well known types of visual poetry. In the printed magazine, Kempton put less attention on some modes that became more widely accepted.
POEMS THAT GO
What makes a poem a poem? If a text is sung, does it become a song? When motion graphics are involved, does that make it animation? If the images are photographic, is it cinema?
In the age of "Post-media aesthetics," as Lev Manovitch has pointed out, the blurring of traditional media genres makes it difficult, if not impossible, to rigidly define media territories. Instead of struggling to draw these separations, we freely let the arts mingle in a space we still dare to draw a circle around and label "poetry."
Although we use the term "new media poetry" as a genre of "electronic literature" to describe the work included in Poems that Go, "literature" itself proves to be a pesky term. Indeed, we have been accused of devaluing the word at the expense of the image. Our goal here is not to elevate one art above the rest, but to seek an inclusive understanding of literature, one that goes beyond written text-based works, to include visual, aural and media literacy.
In this spirit, Poems that Go explores the intersections between motion, sound, image, text, and code. The work we feature explores how language is shaped in new media spaces, how interactivity can change the meaning of a sign, how an image can conflict with a sound, and how code exerts machine-order on a text.
We'd like to think of this space on the Web as a creative field for this generation's artists and writers to probe the medium's potential and integrate these art forms to challenge the definition of poetry. One which challenges you, the new viewers, readers, writers and artists, to discover extraordinary ways to make sense of language, art, and narrative in a way that is both critical and entertaining.
The Aesthetics of Visual Poetry (1914-1928)
BOHN, Willard. University Of Chicago, 1993.
"Bohn's is the first comprehensive study of what is increasingly recognized to be a major twentieth-century genre, the visual poem. It analyzes the complex 'words-in-freedom' of the futurism, of Papasseit, and the radical experiments of New york '291' group, especially Maryus the Zayas. Beautifully illustrated and critically acute, this is a book tha all students of verbal-visual poetics will want to own"
- Marjorie Perloff
Type in Motion: innovations in digital graphics
BELLATONI, Jeffrey & WOOLMAN, Matt. Rizzoli, 2001.
Exploding, liquidizing, floating, mutating--the use of type today knows no boundaries. Words on paper have become pictures in themselves, rather than simply segments of sentences. In the popular mediums of television and film, designers today paint moving pictures with words.
Type in Motion features projects in video, film, mixed media, digital and event print that are thematically grouped into five sections by the way the kinetic type is used: its precursors; its narrative function; its message potential; its plastic form; and its possibilities for ambient, interactive environments. The work of internationally recognized design studios including Bruce Mau (Toronto), Jonathan Barnbrook (London), and the MIT Media Lab (Boston) are shown alongside the most daring student work from around the world.
A dynamic design in itself, Type in Motion will set the standard for the future of typography and design.
Arte e Mídia: perspestivas da estética digital
ARANTES, Priscila. Senac, 2005.
Vida artificial, arte transgênica, cultura digital. Seria o fim da arte, propriamente? Priscila Arantes prova que não. A partir de pesquisas, análises, entrevistas e estudos, a autora traça, em linguagem objetiva e clara, um panorama do desenvolvimento da história da estética digital, especialmente no Brasil, após a década de 1990, em que a interconexão de diversos campos das artes com os meios tecnológicos, científicos e midiáticos traz à tona muitas discussões sob os pontos de vista estético, ético, racional e sociólogo.
Sinais e Símbolos
FRUTIGER, Adrian. Martins Fontes, 2004.
A consciência de que não existem elementos casuais ao nosso redor ou dentro de nós, mas de que toda a matéria (inclusive a mental) obedece a uma composição ordenada, leva a pensar que até o traço ou rabisco mais inocente não pode existir acidentalmente, por puro acaso, mesmo que o observador não reconheça claramente as causas, a origem e o motivo desse 'desenho'. Essas considerações básicas são apresentadas na obra e têm como objetivo reconhecer e julgar com mais facilidade a origem, o sentido e a mensagem de determinado sinal no decorrer do presente estudo.
Maybe the problem was ever announcing "Flarf" as a concept, suggestive of a movement, etc., in the first place. There were those among us who shrewdly warned about the dangers of such a move-Katie Degentesh, for example. The truth is, Flarf is not a movement, never was, because it has no principles as such, beyond some characteristic compositional techniques that developed along the way (collaging Google search-engine results, etc.).
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