1. End Transmission combines two long-term obsessions: extremely degraded material on the boundaries of recognisability, and complex audio-visual relationships. It follows a series of experiments where audio and video signals were made to interfere with one another (in a very lo-tech 'hardware hacking' scenario). In this instance, I've taken the idea of interference more literally. Several pairs of video senders/receivers, of the domestic variety used to transmit satellite tv around the home, were used to send audio and video signals and cause them to 'jam' each other to produce the glitchy images and sounds you see and hear (I also used a selection of CB and Ham radios in the same way for the audio). This process was quite performative, and many little fragments and gestures were produced, to be edited meticulously, often at the frame-level, into a fixed-media composition. I wanted to combine the spontaneity I've evolved through my live audiovisual performances with the rigor of studio-based composition. My aim was to evoke a complex but extremely degraded transmission or message which has the patterns, shapes and structure of a meaningful communication, but with largely unrecognisable or enigmatic and barely-recognized material.

    # vimeo.com/3241660 Uploaded 1,602 Plays 10 Comments
  2. This was commissioned by Hewlett Packard, Alias Software (now part of Autodesk) and the Watershed Media Centre (Bristol, UK), as part of the SE3D project.

    SE3D was essentially a Research and Development project initiated by HP. They're developing something called the 'Utility Render Service', which is basically an enormous server 'farm' (literally thousands of computers sitting in a room somewhere in California) for 3D animation. This facility can be rented as required, potentially giving access to the kind of render power the likes of Pixar and Dreamworks use to... well, people who aren't Pixar or Dreamworks. So, to test the service, 11 projects were commissioned from small media companies or individuals, and I was one of them. With some extra funding from Arts and Business, I was paired up with Supernatural Studios, a new production company in London.

    This was really an R&D project on a personal level too. Much of the project was devoted to developing a piece of software (imaginatively titled 'soundtracker'), which allows various parameters of sounds to be extracted and applied to any aspect of animation (in, in this case, Maya). So, the motion, cameras, lighting and even geometry are all derived from the sound in this demonstration piece.

    I think there's a lot of potential in these techniques, and that we only just scratched the surface here. One day I'll do a follow-up (and more substantial) piece. One day...

    # vimeo.com/1574649 Uploaded 440 Plays 0 Comments

Joseph Hyde Video Work

Joseph Hyde Plus

Although I'm essentially a musician by trade, I've been making video works for many years now, first in collaboration with film-makers/ animators etc., then latterly often on my own. I've always been interested in the visual side of things; and found…


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Although I'm essentially a musician by trade, I've been making video works for many years now, first in collaboration with film-makers/ animators etc., then latterly often on my own. I've always been interested in the visual side of things; and found that in the digital age, skills learnt working with sound can readily be applied to video. However, I'm also aware of my limitations: I'd never attempt to direct a narrative film (or at least I don't think so..) - rather I limit myself to abstract pieces that I guess could broadly be described as 'visual music'.

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