Edited by: Steve Gibson, Stefan Arisona, Donna Leishman and Atau Tanaka, 2022

From the publisher:

This volume surveys the key histories, theories and practice of artists, musicians, filmmakers, designers, architects and technologists that have worked and continue to work with visual material in real time.

Covering a wide historical period from Pythagoras’s mathematics of music and colour in ancient Greece, to Castel’s ocular harpsichord in the 18th century, to the visual music of the mid-20th century, to the liquid light shows of the 1960s and finally to the virtual reality and projection mapping of the present moment, Live Visuals is both an overarching history of real-time visuals and audio-visual art and a crucial source for understanding the various theories about audio-visual synchronization. With the inclusion of an overview of various forms of contemporary practice in Live Visuals culture – from VJing to immersive environments, architecture to design – Live Visuals also presents the key ideas of practitioners who work with the visual in a live context.

This book will appeal to a wide range of scholars, students, artists, designers and enthusiasts. It will particularly interest VJs, DJs, electronic musicians, filmmakers, interaction designers and technologists.

Read more on the publishers site: https://www.routledge.com/Live-Visuals-History-Theory-Practice/Gibson-Arisona-Leishman-Tanaka/p/book/9781032252681

Special Issue on Art/Science Hybrids. Journal of Professional Communication (JPC), Volume 3, Issue 2, 2013

https://digitalcommons.mcmaster.ca/jpc/

A collection of papers originally presented at Digital Art Weeks 2013 Singapore (DAW), https://www.digitalartweeks.ethz.ch/

Editor in chief: Alex Sévigny, McMaster University

Guest editors: Steve Gibson, Faculty of Art, Design and Social Science, Northumbria University, Newcastle, UK and Stefan Arisona, University of Applied Sciences and Arts Northwestern Switzerland FHNW / Future Cities Laboratory, ETH Zurich

The rise of new transdisciplinary practices in the late 20th and early 21st Centuries is striking. The gulf between art and science that has widened since the Enlightenment has now been challenged by a wide body of scholars, artists, designers and scientists. This special issue explores the concerns of emergent transdisciplinary research that seeks to re-unite the arts and sciences.

Table of Contents

Editorials

Preface to the JPC special issue on Art/Science Hybrids. Alex Sévigny

Art Into science/science into art. Steve Gibson

Iterative Emergence of Art/Science Hybrids. Stefan Arisona, Pascal Mueller, Simon Schubiger, and Matthias Specht

Commentary

Augmenting science through art. Matthias Berger

Next nature: ‘nature caused by people’. Sue Thomas

Interview

Interview with George Legrady, chair of the media arts & technology program at the University of California, Santa Barbara. Stefan Arisona

Research Articles

Art-science and verbal articulation in hyper-visual techno-culture. F. Scott Taylor

Theoretical aesthetics. Adam Tindale

Mapping art to systems thinking. Paul Goodfellow

The superhero and the DJ: Science meets design. Mikael Lindstrom, Farvash Razavi, and Nandi Novell

Social commentary through the transdisciplinary practice of audio-visual performance. Léon McCarthy

The digitization of music and the accessibility of the artist. Marius Carboni

Live programming for robotic fabrication. Jason Lim

Title: Art/Science Hybrids
Editor: Alex Sévigny
Guest Editors: Steve Gibson and Stefan Arisona
Journal: Journal of Profession Communication
Year: 2013
Volume: 3(2)
Link: https://digitalcommons.mcmaster.ca/jpc/

Special issue on Live Visuals in Leonardo Electronic Almanac (LEA), edited by Özden Sahin, Lanfranco Aceti, Steve Gibson and Stefan Arisona. https://www.leoalmanac.org/vol19-no3-live-visuals/

Live Visuals, Leonardo Electronic Almanac LEA, Volume 19 Issue 3

Key advancements in real-time graphics and video processing over the past five years have resulted in broad implications for a number of academic, research and commercial communities. They enabled interaction designers, live visualists (VJs), game programmers, and information architects to utilize the power of advanced digital technologies to model, render and effect visual information in real-time.

Real-time visuals have a profoundly different quality and therefore distinct requirements from linear visual forms such as narrative film. The use of visual elements in a live or non-linear context requires a consideration of insights and techniques from other “non-visual” practices such as music performance or human-computer interaction. The issue is organised under the general rubric of knowledge-sharing between disparate research bodies and disciplines. This allows for distinct and dispersed groups to come together in order to exchange information and techniques. A key concern is to bring a humanistic approach by considering the wider cultural context of these new developments.

The special issue explores the future of the moving image, simultaneously acknowledging and extending on recent artistic trends and technological developments.

The issue is co-edited by Özden Sahin,Lanfranco Aceti, Steve Gibson, Stefan Arisona.

Table of Contents

When Moving Images Become Alive! Introduction by Lanfranco Aceti

Revisiting Cinema: Exploring The Exhibitive Merits Of Cinema From Nickelodeon Theatre To Immersive Arenas Of Tomorrow by Brian Herczog

The Future Of Cinema: Finding New Meaning Through Live Interaction by Dominic Smith

A Flexible Approach For Synchronizing Video With Live Music by Don Ritter

Avatar Actors by Elif Ayiter

Multi-Projection Films, Almost-Cinemas And Vj Remixes: Spatial Arrangements Of Moving Image Presence by Gabriel Menotti

Machines Of The Audiovisual: The Development Of “Synthetic Audiovisual Interfaces” In The Avant-Garde Art Since The 1970s by Jihoon Kim

New Photography: A Perverse Confusion Between The Live And The Real by Kirk Woolford

Text-Mode And The Live Petscii Animations Of Raquel Meyers: Finding New Meaning Through Live Interaction by Leonard J. Paul

Outsourcing The VJ: Collaborative Visuals Using The Audience’s Smartphones by Tyler Freeman

AVVX: A Vector Graphics Tool For Audiovisual Performances by Nuno N. Correia

Architectural Projections: Changing The Perception Of Architecture With Light by Lukas Treyer, Stefan Arisona & Gerhard Schmitt

In Darwin’s Garden: Temporality and Sense of Place by Vince Dziekan, Chris Meigh-Andrews, Rowan Blaik & Alan Summers

Back To The Cross-Modal Object: A Look Back At Early Audiovisual Performance Through The Lens Of Objecthood by Atau Tanaka

Structured Spontaneity: Responsive Art Meets Classical Music In A Collaborative Performance Of Antonio Vivaldi’s Four Seasons by Yana (Ioanna) Sakellion & Yan Da

Interactive Animation Techniques In The Generation And Documentation Of Systems Art by Paul Goodfellow

Simulating Synesthesia In Spatially-Based Real-Time Audio-Visual Performance by Steve Gibson

A ‘Real Time Image Conductor’ Or A Kind Of Cinema?: Towards Live Visual Effects by Peter Richardson

Live Audio-Visual Art + First Nations Culture by Jackson 2bears

Of Minimal Materialities And Maximal Amplitudes: A Provisional Manual Of Stroboscopic Noise Performance by Jamie Allen

Visualization Technologies For Music, Dance, and Staging In Operas by Guerino Mazzola, David Walsh, Lauren Butler, Aleksey Polukeyev

How An Audio-Visual Instrument Can Foster The Sonic Experience by Adriana Sa

Gathering Audience Feedback On An Audiovisual Performance by Léon McCarthy

Choreotopology: Complex Space In Choreography With Real-Time Video by Kate Sicchio

Cinematics and Narratives: Movie Authoring & Design Focused Interaction by Mark Chavez & Yun-Ke Chang

Improvising Synesthesia: Comprovisation Of Generative Graphics And Music by Joshua B. Mailman

Title: Live Visuals
Editor: Özden Sahin
Volume Editors: Lanfranco Aceti, Steve Gibson, Stefan Arisona
Journal: Leonardo Electronic Almanac
Publisher: MIT Press
Year: 2013
Volume: 19(3)
Pages: 384
ISBN: 978-1-906897-22-2
ISSN: 1071-4391
Link: https://www.leoalmanac.org/vol19-no3-live-visuals/

Save the date for the night: The EPI is coming to Singapore, and which space would be a better match than Velvet Underground? My friends Tom Kuo (Toronto), Steve Gibson (Vancouver / Edinburgh), Dyz (Singapore), Marcellus & Sho-B (Zurich) and I will be spinning and flickering all night…

Steve Gibson and Stefan Arisona, since 2011

Virtual VJ takes the concept of Virtual DJ one step further and unites the role of the DJ and VJ into one interface: 3D space. The concept of Virtual VJ is to allow two or more users to control different aspects of the sound and video environment with their movements. One tracker is set to trigger sound and video and the other is set to manipulate the sound and video initiated by the first tracker. The focus of the media integration is on the development of observable connections between the audio and video mediums in order to assist the users with ease of interaction.

The key conceptual idea that is explored in Virtual VJ is the idea of cooperation and the sense of personal space in ephemeral, virtual systems. This is achieved by programming the trackers so that dramatic events happen when the two trackers are close together or far apart. For example the environment has been programmed so that the trackers apply distortion to the audio when they are proximate to each other. At the same time video effects are added when the same proximity of the two trackers is observed.

This can result in a game of cat and mouse where the users determine whether they will chose to closely follow the movements of the other participant or decide whether they wish to pursue a more individual experience. Audience members are allowed to interact in whatever manner they chose, but at the same time noticeable results will be produced as they inhabit similar spaces, encouraging them to cooperate with each in order to produce dramatic audio-visual results.

Documentation and videos at the VirtualVJ site: https://www.telebody.ws/VirtualDJ/virtualvj/virtualvj.html

3D tracking, sound, and programming: Steve Gibson
Visuals and programming: Stefan Arisona

History

• November 2011 - Duncan of Jordanstone College of Art & Design, Dundee, Scotland. Invited Exhibition
• August 2011 - Jade Valley Winery, Xi’an, China. Invited Exhibition
• July 2011 - The Interactive Experience, HCI 2011, Culture Lab, Newcastle University. Refereed exhibition
• May 2011 - Culture Lab CHI party, Intersections Digital Studio, Emily Carr University of Art and Design, Vancouver. Refereed exhibition