Vjing as Method Ph.D. Thesis and Researchs
While on the one hand, my research is about finding the answers in the nomad, tribal ‘unchangingness’ and inner ‘feelings’ of our digital visual culture, and vjing in particular, on the other hand, the process of the research runs parallel with technological progress, especially the Art & Tech trends. In the 21st century, technological innovation with results in real-time processing gave new tools to artists, and opened up different perspectives in digital audiovisuality, the synthesis of sound and image and made a significant step in the fields of live audiovisual arts and visual performances: the artist could became an electronic visual musician. The goal of my research is to present the activity of vjing and the creative personality of the VJ. The theme of the dissertation integrates the analysis of visual arts in visual music history and visual culture of the underground party scene. My goal is to interpret vjing as a method dealing with responses through receptive actions based on musical perception, both in terms of the personal immanent and environmental expansive processes.
DLA 2017: Doctoral School at Hungarian University of Fine Arts
Lecture places: Fotonica Festival, Rome, 2024, Street Lecture at Playground Festival, Vienna, 2017 / Splice Festival, London, UK, 2017, ROM Festival, MüSzi, Budapest 2016 Audiovisual, Transelectronic and Visual Music University Course, Hungarian University of Fine Arts, Intermedia Department, 2017-2024 Light Art University Course, Hungarian University of Fine Arts, Intermedia Department 2022-2024 EXPLORING THE MOMENT IN BINARY Art and technology through sounds and images Lecture, with Álmos Gergely, Római Magyar Akadémia, Róma, 2018 Vjing as a creative thinking method, during Media Desing University Course, Metropolitan University Budapest, 2017-2022
I. Univerzoom: social- and cultural interactions, the indirect, external environment; neo-tribes and the effect of techno paradox
- Urban folk tales
- Neo-tribes and tribal jumps
- Manufcturisation, private property, the dual role of the VJ in different qualities
- Technomadia as alternative society; the techno-paradox
II. Abstract Cosmos: the background of VJ, the relationship between the underground partyculture and visuality
- Party visual
- Designing the party space
- Setting
III. Cyberfield: the space: Sonic-visual data / The visual environment, categories of genres, analog visual roots and growth, the computer period
Sonic-visual data
- Data to data, automation and human playground
- Controls: color organs, video synthesizers, MIDI and other standards and virtual color organs
The visual environment, categories of genres, analog visual roots and growth, the computer period
- Where does the term VJ come from?
- VJ as performer, video-based thinking
- Random, instinct and gesture, The mixing
- Non-linear thinking: the first generation of VJ software, live cinema, database cinema, live coding
- Modular thinking, VJ as programmer, generative vjing, VPL
- Web-based thinking, network and community
- Extended thinking and illusion, projection mapping
- Geometric organ, the resurgence of white light
IV. The VJ: subjective inner perspectives, experiences from instict to consciousness
- Synesthesia, music inspired analogue and digital images
- Processes during vjing activity
- Digital presence, real time, loop and mantra
- The playful attitude, gamer habit
- Movement, instinct, gesture, dynamic interaction and feedback
