Este trabalho analisa a projeção e manipulação de imagens ao vivo no contexto da arte e tecnologia. As performances dos VJs - visual jockeys - têm sido cada vez mais requisitadas nos eventos direcionados à cultura eletrônica e as imagens geradas estabelecem relações híbridas com a música, o cinema, a videoarte e outras linguagens artísticas contemporâneas. A rápida expansão e ação desta forma de manifestação propulsionou a realização desta dissertação, que objetiva compreender essas relações com base na observação das apresentações, entrevistas estruturadas com agentes do meio e na leitura dos poucos textos existentes sobre o assunto, visto que a atividade de VJing é recente e aberta à experimentações que surgem a cada dia. É parte integrante deste trabalho um DVD com o vídeo \"VJing: imagens da cena\", que longe de ser uma experimentação artística, trata-se do registro de performances de VJing realizadas em casas noturnas, festivais e nos circuitos artísticos. / This work analyses the process of projecting and manipulating live images in the context of art and technology. VJs (visual jockeys) performances have been increasingly requested at electronic culture events and the generated images establish hybrid connections with music, cinema, video art and other contemporary artistic languages. The rapid increase of this kind of manifestation has incited the making of this dissertation, which aims at comprehending these connections based on observation of performances, interviews with the VJs and by reading the few existing texts about the subject, for VJing is recent and open to experiments that are held each day. A DVD with the video \"VJing: images of a scene\" is an essential part of the work and, far from being an artistic experimentation, it\'s a register of live visuals performances presented at clubs, festivals and artistic circuits.

Este trabalho analisa a projeção e manipulação de imagens ao vivo no contexto da arte e tecnologia. As performances dos VJs - visual jockeys - têm sido cada vez mais requisitadas nos eventos direcionados à cultura eletrônica e as imagens geradas estabelecem relações híbridas com a música, o cinema, a videoarte e outras linguagens artísticas contemporâneas. A rápida expansão e ação desta forma de manifestação propulsionou a realização desta dissertação, que objetiva compreender essas relações com base na observação das apresentações, entrevistas estruturadas com agentes do meio e na leitura dos poucos textos existentes sobre o assunto, visto que a atividade de VJing é recente e aberta à experimentações que surgem a cada dia. É parte integrante deste trabalho um DVD com o vídeo \"VJing: imagens da cena\", que longe de ser uma experimentação artística, trata-se do registro de performances de VJing realizadas em casas noturnas, festivais e nos circuitos artísticos. / This work analyses the process of projecting and manipulating live images in the context of art and technology. VJs (visual jockeys) performances have been increasingly requested at electronic culture events and the generated images establish hybrid connections with music, cinema, video art and other contemporary artistic languages. The rapid increase of this kind of manifestation has incited the making of this dissertation, which aims at comprehending these connections based on observation of performances, interviews with the VJs and by reading the few existing texts about the subject, for VJing is recent and open to experiments that are held each day. A DVD with the video \"VJing: images of a scene\" is an essential part of the work and, far from being an artistic experimentation, it\'s a register of live visuals performances presented at clubs, festivals and artistic circuits.

Denna uppsats har för avsikt att beskriva och redogöra för området videoscenografi och hur en videoscenograf arbetar. Videoscenografer har 90- och 00-talets snabba utveckling av prestanda inom datakraften att tacka för sin funktion, i en värld som kräver alltmer av kreatören frågar jag mig hur videoscenografen ser på sin omvärld. Videoscenografen verkar i området mellan det konstnärliga, scentekniska och grafiska. Deras position är fortfarande under förvirring just eftersom deras arbetsfält är så brett. Uppsatsen klargör för läsaren vad det är de sysslar med inom en scenkonstproduktion och varför videoscenografin är en sak för framtiden. Video inom scenkonstproduktioner blir allt viktigare, samtidigt som dekormålares arbete blir allt mindre, men endå tvingas videoscenografen att utföra sitt arbete under trängda förhållanden, med full ljussättning på scen, eller samtidigt som repetitioner pågår där de riskerar att störa en kreativ process. Insynen i vad de sysslar med är högst begränsad eftersom det är ett ungt yrke, med så pass få utövare. Denna uppsats klargör för varför videoscenografens arbete är viktigt och varför de bör ges mer tid att utföra sitt arbete.

VJ表演隱藏著一種矛盾性。VJ表演之觀眾特徵，較常表現出非主流的品味，傾向於追求與眾不同的體驗，與對於自主權的掌握展現較高的積極性。然而享受音樂表演意味著某種程度的沈浸與忘我，在觀賞表演時需暫時捨棄自身的自主權與主體性方有可能真正享受其中，這之間便產生了控制與被控制的矛盾。當互動科技的元素介入到VJ表演時，這種矛盾性就會更加明顯，甚至被揭露與強調。互動科技的加入旨在過程中使人們能夠參與，讓人們擁有做決定或影響表演的權力。故互動的VJ表演具有控制權矛盾之特徵，而這樣的矛盾性應當被表演設計者所發現並探索。本研究希望透過理論爬梳與作品實踐，探索互動加入在VJ表演時如何提高觀眾的參與感。於是如何盡量減少互動所造成的干擾性以完成一場互動表演，便成為本研究關心的一項重點。 　　在內容主題上，台灣民間信仰是關於控制與被控制一個很好的轉喻。故此計畫將設計一個以台灣民間信仰為主題的互動VJ表演，並利用台灣民間信仰來反映觀眾主體性矛盾與控制權矛盾的不同面相。

This exegesis looks at interactive, network based video through the development and use of experimental works. The works are described in terms of the concepts, techniques and theories explored and their implications for future works and theory. It documents the formal and technical experiments which were used to investigate the affordances of network based video for real time interaction, and tracks the development of vidgets as audio-visual tools and instruments as they increased in complexity and function, finally being specifically designed for use in live audiovisual (VJ) performances. It explains how ideas originating from the histories of sound art and systems based art as were used as frameworks for conceptualising and developing interactive screen based works. The term 'all-data' is devised as a means to describe both the network based digital environment which these new works inhabit and the expanded palette of digital signals which may be used and inco rporated into the works themselves. Through processes of action research and critical reflection, it identifies and explores a number of techniques and attributes which are common to interactive, network based video production as a practice and which may be used in a range of future projects.

<p>Detta examensarbete har två huvudsakliga mål. Det ena är att utöka funktionaliteten i mjukvaran C3Loops för att underlätta för musiker som producerar elektronisk musik som vill använda mjukvaran i liveframträdanden. Det andra är att titta närmre på hur processmodeller för mjukvaruutveckling stödjer innovation. Denna rapport ger läsaren ett tvärvetenskapligt perspektiv. Tre för ämnet relevanta teoretiska områden, innovation, software-engineering och design tas upp. C3Loops projektet används som ett exempel på ett innovativt mjukvaruprojekt och det är arbetet inom detta projekt som står som modell och bakgrund till resultatet och slutsatsen.</p><p>Idén till mjukvaran C3Loops är resultatet av tekn.Dr Rikard Lindellʼs avhandling ”jag älskar att allt ligger överst”. Arbetet resulterade i en interaktiv prototyp som Lindell beslöt sig för att ta vidare och kommersialisera. Syftet med prototypen var att utforska bruksvärdet av ytinteraktion med pekskärmar. Mjukvaran är ett preformance verktyg för kollaborativa multimedia-framträdanden. Den skall skapa nya möjligheter för liveframträdanden och samarbeten mellan elektroniska musiker, Dj och Vj.</p><p>C3Loops projektet är fortfarande pågående. Plattformen som projektet produceras för är iPad plattformen. Release datum för projektet är tänkt att överenstämma med iPads releasedatum i Sverige. Rapporten leder till ett förslag på hur organisationer som vill förbättra sin innovationsförmåga kan gå tillväga. Detta i form av en projektmetod tänkt att stödja processen för att ta fram och pröva idéer till V1.0 mjukvara. Det återstår att testa och utvärdera metoden i skarpa projekt.</p> / <p>This thesis work has two main goals. The first is to extend the functionality of the C3Loops software in such a way as to make it usfull for a wider variety of electronic musicians The second is to examine how well software engineering process models support innovation. The C3Loops project is used as a case wich is studied in relation to this inquiry.</p><p>The idea for C3Loops is the result of the doctoral thesis ”i love the fact that everything is on top” by tekn.Dr.Rikard Lindell. The work on this thesis resulted in an interactive prototype, which Lindell decided to try and commercialise as a product. The original purpose of this prototype was to explore the value of surface interaction using touch screens in a collaborative multimedia preformance context. It creates new posibilities for live preformance and collaboration between electronic artists, Djs and Vjs.</p><p>The C3Loops project is still ongoing. The software is being produced for the iPad platform and its release is planned to coincide with the iPad release in Sweden. The result of this report is a suggestion on how organizations that develop software can improve their ability to innovate. This suggestion takes the form of a process model specifically designed to help support the creation and evaluation of idéas for V1.0 software. Future work includes testing this new method on real projects.</p>

Detta examensarbete har två huvudsakliga mål. Det ena är att utöka funktionaliteten i mjukvaran C3Loops för att underlätta för musiker som producerar elektronisk musik som vill använda mjukvaran i liveframträdanden. Det andra är att titta närmre på hur processmodeller för mjukvaruutveckling stödjer innovation. Denna rapport ger läsaren ett tvärvetenskapligt perspektiv. Tre för ämnet relevanta teoretiska områden, innovation, software-engineering och design tas upp. C3Loops projektet används som ett exempel på ett innovativt mjukvaruprojekt och det är arbetet inom detta projekt som står som modell och bakgrund till resultatet och slutsatsen. Idén till mjukvaran C3Loops är resultatet av tekn.Dr Rikard Lindellʼs avhandling ”jag älskar att allt ligger överst”. Arbetet resulterade i en interaktiv prototyp som Lindell beslöt sig för att ta vidare och kommersialisera. Syftet med prototypen var att utforska bruksvärdet av ytinteraktion med pekskärmar. Mjukvaran är ett preformance verktyg för kollaborativa multimedia-framträdanden. Den skall skapa nya möjligheter för liveframträdanden och samarbeten mellan elektroniska musiker, Dj och Vj. C3Loops projektet är fortfarande pågående. Plattformen som projektet produceras för är iPad plattformen. Release datum för projektet är tänkt att överenstämma med iPads releasedatum i Sverige. Rapporten leder till ett förslag på hur organisationer som vill förbättra sin innovationsförmåga kan gå tillväga. Detta i form av en projektmetod tänkt att stödja processen för att ta fram och pröva idéer till V1.0 mjukvara. Det återstår att testa och utvärdera metoden i skarpa projekt. / This thesis work has two main goals. The first is to extend the functionality of the C3Loops software in such a way as to make it usfull for a wider variety of electronic musicians The second is to examine how well software engineering process models support innovation. The C3Loops project is used as a case wich is studied in relation to this inquiry. The idea for C3Loops is the result of the doctoral thesis ”i love the fact that everything is on top” by tekn.Dr.Rikard Lindell. The work on this thesis resulted in an interactive prototype, which Lindell decided to try and commercialise as a product. The original purpose of this prototype was to explore the value of surface interaction using touch screens in a collaborative multimedia preformance context. It creates new posibilities for live preformance and collaboration between electronic artists, Djs and Vjs. The C3Loops project is still ongoing. The software is being produced for the iPad platform and its release is planned to coincide with the iPad release in Sweden. The result of this report is a suggestion on how organizations that develop software can improve their ability to innovate. This suggestion takes the form of a process model specifically designed to help support the creation and evaluation of idéas for V1.0 software. Future work includes testing this new method on real projects.

The aim of this research is describe the development of artistic concepts for visual artists and to evaluate aspects which augments the art experience for audiences. Competition and increased attention for the art form demands greater art to be produced, studying psychological aspects increases the probability of the art being perceived in line with the visions of artists. This research project uses a review of literature for its theoretical research, which is then used to underline decisions within practical experiments in order to give examples of the development of concepts. Findings include a description of the artistic process as well as aspects to augment experiences for audiences. The main conclusion from this work is the importance of combing innovative expressions with theoretical knowledge, in order to create spectacular art which audiences perceives in line with the vision of the artist.

Made available in DSpace on 2016-04-26T18:14:47Z (GMT). No. of bitstreams: 1 Claudio Henrique Brant Campos.pdf: 4570903 bytes, checksum: 7c39a789b22ebd7dbf1a62278f299758 (MD5) Previous issue date: 2014-12-12 / The imagination of music: from the technical images until the aesthetics of the digital audiovisual. Based on the observation that computer images produced today approach the dimension of time-based media, such as music, this research investigates the relationship between the audiovisual synesthesia, analyzing an example in digital processing, in the figure of the VJ (video-jockey in neologism): mixer of images and remixing of sounds in samples for live performances. It was verify that the ways perception is processed in the digital environment of miscegenation, by the amount and the remixing. This thesis introduces the hypothesis that our object suggests a synesthesia that expands to other systems such as tactile, forming a rhythmic cinema and motorized, influence by video clips, but in a digital platform, which simulates a complementary synesthetics or a translation by rhythmic counterpoint. The thesis also asks how the structural elements can reverberate a stunted aesthetic, revealing them in a diluted form. Thus, the object finds the elements of an aesthetics of the inaccurate and paradoxical, described by H. J. Koellreutter, constructivist without hierarchy and presenting fields or atmospheres, complementary dualities as pointillism versus lines and density versus rarefaction. On the other hand, this object finds anew the example of the aesthetic of the Baroque in pursuit of constant change and folds in its metonymic material, searching for the playful as a commitment to language codes, the audible-tactile-visual textures. One last specific question relates to the concept of expanded cinema, of Gene Youngblood, and how it can be inferred from our audiovisual object. We rely on this author, to investigate aspects of synesthesia, synergy, complementarity of opposites, inventive spirit (aesthetic), the automated computing environment, as well as aspects of a final overcoming of the opposition between art and entertainment. This thesis is devoted to ancient, anthropological and aesthetic process issues of the variation. For this reason, it is investigated elements of our present, aesthetically diluted by history, that correspond to ancient techniques of composing images-sounds. A path is followed from the first songs of call and response of all popular music and of the European Middle Ages, up to the synthesized loops created by todays software. By referring to Baroque styles, we complained to our object of study of the neo-baroque aesthetics, conceptualized according to Haroldo de Campos and Severo Sarduy. By incorporating the aesthetic of the second half of the 20th century, this object transcends the notions of authorship, work, representation, like expanded cinema / A imaginação da música: das imagens técnicas às estéticas do audiovisual digital. Partindo da constatação de que as imagens computacionais produzidas atualmente se aproximam da dimensão das mídias baseadas no tempo, como a música, esta pesquisa averigua a relação de sinestesia no audiovisual, analisando um exemplo em processamento digital, na figura do VJ (do neologismo video-jocker): mixador de imagens e ou com mixador de sons, em recortes, para apresentações ao vivo. Verificamos como as maneiras de perceber se processam no ambiente digital da miscigenação, da quantidade e do recorte. Trazemos a hipótese de que nosso objeto sugere uma sinestesia que se amplia para outros sistemas como o tátil, num cinema rítmico e motovisual, de influência do videoclipe, mas numa plataforma digital, em que se simula uma complementaridade sinestésica ou uma tradução por contraponto rítmico. Perguntamos também como os elementos estruturais podem reverberar estéticas pregressas, revelando-as, de forma diluída. Assim, nosso exemplo reencontraria os elementos de uma estética do impreciso e do paradoxal descrita a partir de H.J.Koellreutter , na sua estruturação sem hierarquia e construtivista de obra aberta e de campos ou atmosferas, dualidades complementares como pontilhismo versus linhas e densidade versus rarefação; por outro lado, esse exemplo reencontraria as estéticas do barroco, na busca da variação constante e em dobras de seu material metonímico, busca do lúdico como compromisso de linguagem em códigos, das texturas sonoro-tateis-visuais. Uma última questão específica se refere ao conceito de cinema expandido, de Gene Youngblood, e como ele pode ser depreendido de nosso objeto audiovisual. Baseamo-nos neste autor, para investigar aspectos de sinestesia, sinergia, complementaridade de opostos, espírito inventivo (estético), no ambiente automatizado da informática, bem como aspectos de uma superação final da oposição entre arte e entretenimento. Nosso estudo se dedica à questão milenar, antropológica e estética dos processos da variação. Por esta razão, investiga os elementos de nossa atualidade, diluídos esteticamente pela história, que corresponderiam a antigas técnicas de compor imagens-sons. Traçamos um caminho desde as primeiras canções em tema e resposta, de toda música popular e do medievo europeu, até os loops sintetizados dos softwares de criação dos dias de hoje. Por remeterem aos estilos barrocos, reclamamos para nosso objeto de estudo uma estética do neobarroco, conforme a conceituam Haroldo de Campos e Severo Sarduy; e por corporificarem as estéticas da segunda metade do século 20, sugerimos que nosso objeto transcende as noções de autoria, de obra, de representação, como um cinema expandido

I am exploring the way music alters or enhances the perception of our environment. This creative project allows me to explore and visualize several issues that intrigue me: music (sound), emotion, and visual imagery (film). My goal in developing this topic is to allow others to have an experience related to sound and image, where image is altered and enhanced by the use of music.