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      <h4><strong>MUSICAL LANGUAGE IN THE VJING ART </strong></h4>
      <p>&nbsp;&nbsp;<a href="../contributors/contributors_tordino.htm">Daniela 
      Tordino </a></p></td>
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          <td height="50" colspan="2" valign="top"> <p>Translated by Thompson 
              Loiola<br>
              Reviwed by Joyce Alders </p>
            <p>&nbsp;</p>
            <p align="left"><em>My computer program is like a piano.<br>
              I could continue to use it creatively all my life.</em><br>
              John Whitney </p>
            <p align="right">&nbsp;</p>
            <p>The aim of this article is to analyse how musical language is involved 
              in all aspects of the process of projecting and manipulating live 
              images � VJing, a kind of artistic manifestation, is increasingly 
              present at electronic culture events and has caught the attention 
              of arts and technology scholars. </p>
            <p>&nbsp;</p>
            <h6>The scenery of VJing in technoculture </h6>
            <p>Pieces of art that use video in their elaboration have been recurrent 
              since the 60s, but not until the 90s, when hardware and software 
              became more affordable, could experimentation in that area improve. 
              Technical evolution and the decrease of prices altered perspectives 
              for art and its producers, who started to realise multiple possibilities 
              like never before. Digitalisation allowed several arts � music, 
              photography, video and cinema, for example � to be mixed into the 
              production of a single piece of work. Techniques of numeric figuration 
              , states Couchot, &quot;modify art in the sense that they are used 
              to control all automatic images (photography, cinema, television), 
              because those will be transformed into figures that will then be 
              registered, treated, diffused, conserved and manipulated&quot; (Couchot,1993:45).</p>
            <p>In this scenario, dancing electronica has conquered its space and 
              spawned the position of the VJ � visual jockey -, the person in 
              charge of projecting and live editing of images in clubs, rave parties, 
              festivals and galleries. Besides musical attractions, those places 
              began to offer improvisation of live-played video, accompanying 
              the rhythm of the music played by the DJs. Arlindo Machado analyses 
              the images of the &quot;videoclips addressed to the clubbers&quot; 
              as &quot;retinal stimulation patterns very similar to those rhythmic 
              patterns of the music&quot;. It is also characterised by the absence 
              of a linear narrative, since &quot;in places where audience go mainly 
              to dance, it does not make sense to project images that demand involvement, 
              contemplation, fixed attention at the screen&quot; (Machado, 2000:179).</p>
            <p>In Brazil , the pioneer was Alexis, who, after a Kraftwerk performance 
              at 1998's Free Jazz Festival, was touched by the beautiful images 
              presented there. He realised the importance of video in a musical 
              event and started to project his own productions at electronic music 
              parties. Red Bull Live Images, in September 2002, had some of the 
              biggest Brazilian artists and contributed to the consolidation of 
              VJing, which turned from superfluous to essential in the main events 
              of the electronic scene.</p>
            <p>DJs mix their sources during performances; and so do the VJs. Besides 
              the symbiosis between sound and images, the characteristics of the 
              space of performing � such as architecture, lighting, and the amount 
              and disposition of the screens where images are projected � determines 
              the kind of enjoyment of the audience. The combination of variable 
              factors stimulates the senses and transforms the place into a synaesthetic 
              environment. A project by the VJ collective Embolex exemplifies 
              this issue. �Embolex Whiteout� happened for three months, during 
              2003, at an underground club in S <strong>&atilde; </strong>o <strong></strong>Paulo 
              located in a mall on Augusta Street . The dance floor was in a sort 
              of dark basement, only accessible through stairs. Three large screens, 
              strategically positioned, would exhibit the projections, while loud 
              techno and breakbeat were played. It was nearly impossible not to 
              be reached by a big load of stimulation. The very name of the project, 
              �Whiteout�, as opposed to blackout, was inspired by a concept of 
              the Critical Art Ensemble group, according to which the excess of 
              light can be as blinding as the lack of it.</p>
            <p>In that scenario, is it possible to establish a stronger link between 
              VJing and musical language, besides the synchronization of the images 
              with the music during performances? </p>
            <p>&nbsp;</p>
            <h6>The technology that makes performances feasible</h6>
            <p>Basic equipment used by VJs have similar functions to those of 
              the DJs: two laptops to store the images and a mixer. Digital video 
              cameras are also used � to capture images in real time � and some 
              other devices, like the DVD-J, that allows those images to be manipulated 
              like the DJ manipulates the records, with scratches, for instance. 
              Interestingly, a very modern digital set can have analogical references.</p>
            <p>Musical language is also present in the utilisation of the MIDI 
              protocol, through keyboards connected to the computers. Associating 
              keys to an image bank, the VJ can play those images. Videoartist 
              Lucas Bambozzi, from the collective Feitoam <strong>&atilde; </strong>os, 
              emphasizes the importance of the possibility of �steering clear 
              from the old and anachronistic computer-based references of the 
              �qwert' keys, that has little to do with music or image� (2003:73)</p>
            <p>Those experiments can be considered an evolution of the image synthesizer 
              created by videoartist Nam June Paik and of later inventions, like 
              GROOVE (Generated Real-time Output Operations on Voltage-controlled 
              Equipment) and VAMPIRE (Video and Music Program for Interactive 
              Realtime Exploration/Experimentation), this software allows live 
              manipulation of sounds and images, which were both experimented 
              with by Laurie Spiegel.</p>
            <p>VJing software like Flowmotion, Modulat8, VJamm, Neuromixer e Arkaos, 
              are similiar in their logic and interface to those used in scenic 
              and musical performances. They are the same in many cases: KeyWorx, 
              Isadora or MAX/MSP - Jitter.</p>
            <p>The internet deserves to be mentioned here as well, due to it's 
              importance to the spreading of the VJing culture. On the internet, 
              it is possible to download software, participate in forums of discussion 
              like VJBR ( Brazil ) and VJCentral (global) and to watch a multitude 
              of online videos. In his article, Kim Cascone emphasizes the role 
              of the internet in the broadcasting of digital music and in the 
              process of self-teaching of the composers. The composers use the 
              internet as much as a tool for learning, as a means of ditribution 
              of their compostions, in what Cascone calls �cultural feedback looping� 
              (Cascone, 2000:12). In VJing technique, one can observe the very 
              same process. Bambozzi states in �The era of digital ready-made�: 
              �many websites make available to their audience what we can call 
              true machines of manipulation of senses, through the online editing 
              of excerpts of audio and video�. Also, �the ideal of the VJ is now 
              just in front of any internet user, with no transformation or specific 
              know-how needed�.</p>
            <p>&nbsp;</p>
            <h6>Elements of recombination and sampling</h6>
            <p>Images projected by VJs are situated in what Bellour calls &quot;Between-Images&quot;: 
              the space where photo, cinema and video meet and intertwine in a 
              multiplicity of superpositions and configurations that are scarcely 
              predictable (Bellour,1997:14). Fragments are edited in software, 
              mixed and recombined with the aim of generating new meanings, different 
              from the original ones. According to Couchot, &quot;the numeric 
              order makes it possible an almost organic hybridization of visual 
              and sound shapes, of text and image, of arts, languages, practical 
              knowledge and ways of thinking and perceiving&quot; (Couchot,1993:47).</p>
            <p>Those images may be filmed, scanned, downloaded from the internet, 
              extracted from films, videos and used with or without copyright. 
              &quot;They are the universal property of the information networks 
              interlinked in contemporary times&quot;, says Chris Mello. In other 
              words, image sampling became as natural as music sampling in rap 
              or electronica. The collective Critical Art Ensemble believe that 
              &quot;it can be verified today that plagiarising is acceptable, 
              and even unavoidable, in the context of the post-modern existence, 
              with its technological structure&quot;. They emphasise: &quot;one 
              of the main objectives of the plagiariser is to restore the unstable 
              and dynamic flux of the meanings, taking on fragments of culture 
              and recombining them over&quot; (2001:85).</p>
            <p>Says Lucas Bambozzi: &quot;sampling, copying/pasting, live processing 
              have sophisticated the phenomena of reproductibility. We are in 
              the 'ready-made and digital remixing era'.&quot;</p>
            <p>&nbsp;</p>
            <h6>Image and sound recreating environment</h6>
            <p>VJ Spetto developed the VRStudio software, which associates images 
              stored <strong>on </strong><strong></strong>computer hard disks 
              to the keys on the keyboard in a way he can &quot;type&quot; selected 
              images. He believes that the objective of VJing is to create another 
              environment, through reconstructing the space where he performs. 
              With that in mind, we can once again relate video and music, since 
              concrete music was, <strong>in </strong><strong></strong>Robin Minard's 
              point of view, essential to the formulation of a concept in which 
              &quot;sound, its spatial contexts and visual elements become one, 
              creating a multi-sensorial space&quot;. Minard is inspired by Pierre 
              Schaeffer's reflections, which &quot;liberated sound of its original 
              context and established a structure where sound is a new material 
              to the artist, one to be molded with all the shapes of abstract 
              creative process&quot; (Minard, 2002:48).</p>
            <p>Emmerson analyses the importance of electroacoustic music, which 
              changed the pattern of spaces where concerts took place, as inadequate 
              for contemporary artistic needs: &quot;audience looks for multimedia 
              spaces, in a mix of music, images and socialisation&quot; (2001:19). 
              That is exactly what can now be found in nightclubs.</p>
            <p>Helga de la Motte-Haber believes in the importance of the 60s and 
              70s' experiments, when artists' intentions were to create a specific 
              aesthetic for the audience and to &quot;respect human perception, 
              that functions holistically, with all senses alert to capture information&quot; 
              (Haber, 2002:33). In the book &quot;Expanded Cinema&quot;, Gene 
              Youngblood describes several intermedia events that made use of 
              the technological resources of the times, like Carolee Schneemann's 
              Kinetic Theatre, Milton Cohen's Space Theatre or John Cage's experimental 
              concerts. In 1958, Jordon Belson joined the composer Henry Jacobs; 
              together, they produced the Vortex Concerts, in which visual abstractions 
              were projected in the dome of Morrison Planetarium, in San Francisco 
              , and electronica was played. Not to mention Nam June Paik and the 
              group Fluxus' work.</p>
            <p>Riddell goes even further in stating that &quot;our century turned 
              installation into a form of art&quot; and concepts started to be 
              experienced by means of place, image and sound (2001:340). VJing 
              may be considered &quot;the origin of 'happenings', taken to club 
              culture&quot; (Emmerson, 2001:19). </p>
            <p>&nbsp;</p>
            <h6>Improvisation and the &quot;live factor&quot; during projections</h6>
            <p>Besides the term &quot;visual jockey&quot;, the VJ is also called 
              a &quot;visual jammer&quot; in some countries. That designation 
              creates a link with music and it might be even more appropriate, 
              since just like in jam sessions, improvisation is the basis of VJing 
              performances.</p>
            <p>Christine Mello, in her article &quot;Live Images&quot;: &quot;following 
              the logic of unpredictability, chance and aleatory probability � 
              announced in visual arts by Schwitters' Dadaism and the Fluxus group, 
              in literature by Mallarm <strong>&eacute; </strong> and in music 
              by jazz improvisations and John Cage and Pierre Boulez �, there 
              might happen or not, in live video, the manipulation and rearrangement 
              of images in real time, from the selection of a pre-existing image 
              bank (made by elements taken from the media, in many cases).&quot; 
              In this way, the improvisation and unpredictability of sounds and 
              images, combined with the audience and the space itself, turns the 
              moment of performance in to a unique event, impossible to be relived 
              in all its depth. Mello also says that &quot;when projections include 
              audience participation and real time in the very core of meaning 
              and sensorial construction, they become a kind of art that is non-object 
              oriented, transitory and impermanent, opposed to art related to 
              a specific product (like a videoclip), to the final result of a 
              piece or to the contemplation of a spectator.&quot;</p>
            <p>During performances, the &quot;vibe&quot; of the audience interferes 
              in the DJ's play list, and the VJ selects images as the songs are 
              played and the participants react. Choice of colors and speed, for 
              instance, may stimulate people with greater or smaller intensity, 
              therefore changing the &quot;feeling&quot; of the environment. Laurentiz 
              points out that reception of those images influence their own creation, 
              since &quot;image/ sound syntony, the way they are perceived, the 
              'heat of the audience', the rhythm of the place, 'here-and-now', 
              are to conduct the development of the sign construction on the screens&quot; 
              (Laurentiz, 2004:5).</p>
            <p>&nbsp;</p>
            <h6>Conclusion</h6>
            <p>Beyond synchronicity with songs played in environments that prioritise 
              multisensoriality, the VJing art is deeply connected to the musical 
              language, either in its origin, or in the process of elaboration 
              of images, software interfaces, collages and mixes, in media relations 
              or in the recreation of spaces. That relationship is present in 
              the studies about video and electronic image. &quot;As it exists 
              only in time, including the real and present time, electronic image 
              is sheer duration, sheer dromosphere, speed inscription, keeping 
              therefore a stronger relation with music, the very aesthetic of 
              duration, than with plastic or visual arts&quot; (Machado, 1996:55). 
              Taking the approach that timing is the determining factor for this 
              connection, Domingues adds: &quot;the life of the images is directly 
              determined by the duration of pictures, their rhythms, frequencies, 
              gaps and other syntagmas of musical language&quot; (1993:115). </p>
            <p>That is the life that pulsates on the screens of the venues that 
              shelter the contemporary electronic scene.</p>
            <p><span class="notes"><img src="../images/heading_line_red.gif" alt="" width="557" height="5"></span></p>
            <p>&nbsp;</p>
            <p><strong>Bibliography </strong></p>
            <p class="notes">Bambozzi, Lucas (2003). �Outros cinemas�. In: K&aacute;tia Maciel 
              e Andr&eacute; Parente (orgs.). <em>Redes sensoriais: arte, ci&ecirc;ncia, 
              tecnologia </em>. Rio de Janeiro : Contra Capa Livraria, p. 61-75.            </p>
            <p class="notes"> Bambozzi, Lucas �O fen&ocirc;meno da manipula&ccedil;&atilde;o 
              de imagens� in <a href="http://pphp.uol.com.br/tropico/html/textos/2555,1.shl" target="_blank">http://pphp.uol.com.br/tropico/html/textos/2555,1.shl</a> , TR&Oacute;PICO, acesso em 23 de julho de 2006.</p>
            <p class="notes">Bambozzi, Lucas �A era do ready-made digital� in <a href="http://p.php.uol.com.br/tropico/html/textos/1680,1.shl" target="_blank">http://p.php.uol.com.br/tropico/html/textos/1680,1.shl</a>, 
              TR&Oacute;PICO, acesso em 23 de julho de 2006.</p>
            <p class="notes">Bellour, Raymond (1997). <em>�Entre-Imagens�, in Entre-Imagens, 
              Foto, cinema, v&iacute;deo </em>: Ed. Papirus, S&atilde;o Paulo 
              (1ed. Francesa em 1990)</p>
            <p class="notes">Cascone, Kim (2000).�The asthetics of failure: �post-digital' tendencies 
              in contemporary computer music�.Computer Music Journal 24 (4): p.12-18.</p>
            <p class="notes">Couchot, Edmond (1993). �Da Representa&ccedil;&atilde;o &agrave; 
              Simula&ccedil;&atilde;o: Evolu&ccedil;&atilde;o das T&eacute;cnicas 
              e das Artes da Figura&ccedil;&atilde;o�, In: <em>Imagem-M&aacute;quina: 
              A Era das Tecnologias do Virtual </em>, Andr&eacute; Parente (org), 
              Editora 34, p.37-47 <strong>. </strong></p>
            <p class="notes">De La Motte, Helga (2002). �Esthetic perception in new artistics 
              contexts�, In: <em>Resonances:Aspects of Sound Art </em>, Bernd 
              Schulz (org), Keher Verlag Heidelberg, p.29-37 <strong>. </strong></p>
            <p class="notes">Domingues, Diana (1993). �A Imagem eletr&ocirc;nica e a po&eacute;tica 
              da metamorfose�. S&atilde;o Paulo : Comunica&ccedil;&atilde;o e 
              Semi&oacute;tica/PUC, disserta&ccedil;&atilde;o de doutorado. </p>
            <p class="notes">Emmerson,Simon. (2001). �From Dance! To �Dance�: Distance and Digits.� 
              Computer Music Journal 25(1):p.13-20.</p>
            <p class="notes">Ensemble, Critical Art (2001a). <em>Dist&uacute;rbio Eletr&ocirc;nico </em>, Cole&ccedil;&atilde;o Baderna,S&atilde;o Paulo, Conrad Editora, 
              tradu&ccedil;&atilde;o de Leila Souza Mendes: �The eletronic disturbance�.</p>
            <p class="notes">Laurentiz, Silvia (2004). <em>Sobre � A montagem dos VJs: entre 
              a estimula&ccedil;&atilde;o &oacute;tica e fisica� </em>� de Patricia 
              Moran, Comp&oacute;s, texto in&eacute;dito, S&atilde;o Paulo .</p>
            <p class="notes">Machado, Arlindo (2000). <em>A Televis&atilde;o Levada a S&eacute;rio, </em>S&atilde;o Paulo : Editora Senac.</p>
            <p class="notes">Machado, Arlindo (1996). <em>M&aacute;quina e Imagin&aacute;rio: 
              o Desafio das Po&eacute;ticas Tecnol&oacute;gicas. </em>S&atilde;o 
              Paulo :Edusp</p>
            <p class="notes">Mello, Christine. �Imagens vivas� in <a href="http://p.php.uol.com.br/tropico/html/textos/1645,1.shl" target="_blank">http://p.php.uol.com.br/tropico/html/textos/1645,1.shl</a>, 
              TR&Oacute;PICO, acesso em 24 de agosto de 2006.</p>
            <p class="notes">Minard, Robin (2002). �Musique concr&egrave;te and its importance 
              to the visual arts�, In: <em>Resonances:Aspects of Sound Art </em>, 
              Bernd Schulz (org), Keher Verlag Heidelberg, p.44-48 <strong>.</strong></p>
            <p class="notes">Riddell, Alistair.(2001). �Data culture generation: after content, 
              process as aesthetic.� Leonardo 34(4): p337-343.</p>
            <p class="notes">Tordino, Daniela (2003a) �Imp&eacute;rio dos Sentidos�, In: Revista 
              Simples, S&atilde;o Paulo , Wide Publishing, p.58-65.</p>
            <p><span class="notes">Youngblood, Gene (1970). <em>Expanded Cinema </em>. NY: E.P. Dutton 
          &amp; CO., Inc.</span> </p></td>
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          <td valign="top" class="headingpage"> VJ Theory: TEXTS<br>
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