1. In Moving Color Spring 2013

    01:36

    from Marwen / Added

    0 Plays / / 0 Comments

    Joe Meredith and Anne

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    • In Search of a Mystic Bar-tone

      01:49

      from Mack McFarland / Added

      15 Plays / / 0 Comments

      There are two theories of Alexander Scriabin's that come into significant play for the work, In Search of a Mystic Bar-Tone. The first is in the title, Mystic Bar-Tone. The reference here is to Scriabin's Mystic Chord, or Promethean chord. A six note sequence that is meant to open up the listener to Transcendental knowledge. He would later expand on this. Developing a 13 note chord for the Prefatory Action for his never realized multi media opera know as the Mysterium. The other theory in play is Scriabin's note to color system. Scriabin said he suffered from synesthesia, a sensory phenomenon in which stimulating in one sense triggers an involuntary reaction in another. Scriabin reported seeing colors when he heard sounds. This reoccurring experience lead him to create the clavier à lumières (keyboard with lights) which played colored lights during his Prometheus symphony. It is this system of color to musical note that I have used in the video.

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      • Polychrome suite (10:24 mi.)

        11:32

        from red yellow blue / Added

        404 Plays / / 2 Comments

        Polychrome suite (10:24 mi.) Polychrome Suite explores what it is to navigate conditions of a site, its situation, characteristics, and implication. The gallery, exhibition space or museum is a condition; it colors the artwork it holds, it shifts the viewers experience and perceptions, just as the site and its condition can influence and shift the artists process. Scale, color, light, placement, pace and feel is all considered in this relationship. Polychrome Suite is a reaction to the vastness of this exhibition space; a place that a sculpture would be inclined to fill and work monumentally. Using the body as sculpture and as object, it addresses the site to plays with scale, light, placement, pace and feel and by shrinking the site, creates a common ground between artist, performer, sculpture and place. Part 1- Reading Between the Spectrum - 4:09 Part 2- Where did We Meet - We Met in the Middle - 3:09 Part 3- Squares Inside of Squares Inside of Squares and on and on - 2.97 Music: Sure Cold Heart, Gem City Saints Weekend, The Sounds Sound bites by Zimbot, T_quote_mo, Harri, Toilettrolltube Camera: Erin McKenna Performers Assistance: Danielle Julian Norton 2013

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        • polychrome part 3

          03:03

          from red yellow blue / Added

          102 Plays / / 0 Comments

          Squares Inside of Squares Inside of Squares and On and On

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          • Polychrome Suite Part 2

            03:25

            from red yellow blue / Added

            133 Plays / / 2 Comments

            Where Did We Meet, We Met in the Middle

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            • Polychrome Suite Part 1 by Melissa Vogley Woods

              04:28

              from red yellow blue / Added

              2,315 Plays / / 0 Comments

              Part 1 Reading Between the Spectrum 2013

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              • FluxNOISations solos 2 & 3 side (from Parallel Soundscapes)

                11:34

                from Joshua Mailman (w/ S. Paraskeva) / Added

                31 Plays / / 0 Comments

                Noise- and symmetry-based audio-visual performance art exploiting motion-capture, dance-like movement, and physical modeling. No recordings, audio samples, or videos are used. 
All sounds and graphics are generated in the moment of performance by Joshua Banks Mailman. The performance includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements through the FluxNoisations interactive-dance system. Through this system, the performer simultaneously generates and steers a stream of percussive-noise sound. FluxNoisations produces sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves. FluxNoisations interactive system (sound and graphics):
Designed and programmed by Joshua B. Mailman 
Sensor gloves: Designed, programmed, and built by Sofia Paraskeva For additional videos Parallel Soundscapes, Duo with Luke T. Taylor's bent radio playing, at UCSB Lotte Lehmann hall, May 30, 2013: http://vimeo.com/76344440 http://youtube.com/watch?v=8eBra9gd5QQ http://vimeo.com/69186535 For the older sibling, Fluxations, http://vimeo.com/fluxations/mc1 http://vimeo.com/fluxations/mc2 http://
joshuabanksmailman.com/interactive/FluxNoisations/ 
joshuabanksmailman.com/interactive/interactive_gallery.html For partial documentation, see the following publication: Mailman, Joshua B. "Improvising Synesthesia: Comprovisation of Generative Graphics and Music" Leonardo Electronic Almanac v.19/3, 2013, special issue on Live Visuals http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf

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                • FluxNOISations solo No.1, side view (from Parallel Soundscapes)

                  06:30

                  from Joshua Mailman (w/ S. Paraskeva) / Added

                  59 Plays / / 0 Comments

                  Noise- and symmetry-based audio-visual performance art exploiting motion-capture, dance-like movement, and physical modeling. No recordings, audio samples, or videos are used. 
All sounds and graphics are generated in the moment of performance by Joshua Banks Mailman. The performance includes improvised live computer graphics, a colorful spectacle projected on a large screen, controlled by spontaneous body- and hand-movements through the FluxNoisations interactive-dance system. Through this system, the performer simultaneously generates and steers a stream of percussive-noise sound. FluxNoisations produces sounds of wood, metal, water, sandpaper, sticks, etc. and live computer graphics controlled through infrared camera motion-capture and sensor gloves. FluxNoisations interactive system (sound and graphics):
Designed and programmed by Joshua B. Mailman 
Sensor gloves: Designed, programmed, and built by Sofia Paraskeva For additional videos Parallel Soundscapes, Duo with Luke T. Taylor's bent radio playing, at UCSB Lotte Lehmann hall, May 30, 2013: vimeo.com/76344440 youtube.com/watch?v=8eBra9gd5QQ vimeo.com/69186535 For the older sibling, Fluxations, vimeo.com/fluxations/mc1 vimeo.com/fluxations/mc2 
joshuabanksmailman.com/interactive/FluxNoisations/ 
joshuabanksmailman.com/interactive/interactive_gallery.html For partial documentation, see the following publication: Mailman, Joshua B. "Improvising Synesthesia: Comprovisation of Generative Graphics and Music" Leonardo Electronic Almanac v.19/3, 2013, special issue on Live Visuals http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf

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                  • Humanae; A Work In Progress. The Gallery

                    01:40

                    from empathyeducates / Added

                    Angelica Dass presents the Humanæ Project. This Work In Progress is a study in skin and color and yet, it is neither of these in the conventional sense. It is often said, "Beauty is only skin deep." Let us then assess the color, or what we think we see. Angelica Dass has done so in her extraordinary work. Humanæ is a chromatic inventory, a project that reflects on the colors beyond the borders of our codes by referencing the PANTONE® color scheme. (PANTONE® Guides are one of the main classification systems of colors, which are represented by an alphanumeric code, allowing to accurately recreate any of them in any media. It is a technical industrial standard often called Real Color) The project development is based on a series of portraits whose background is dyed with the exact Pantone® tone extracted from a sample of 11×11 pixels of the portrayed´s face. The project’s objective is to record and catalog all possible human skin tones.

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                    • Color Sentence

                      01:18

                      from Marissa C de Baca / Added

                      10 Plays / / 0 Comments

                      Remember the lips where the wind breath originated, and let your note be clear. Don't try to end it. Be your note. I'll show you how it's enough.

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