The main criteria for the festival is that artists are using signals of some kind to control the horizontal and vertical movements of a beam of light — as is found in oscilloscopes, vector monitors, and ILDA laser displays. We aren’t really interested in digital video which only has a “vector graphics” look, we are interested in people who genuinely engage with the possibilities of analog vector graphics.
Vector Hack Festival 2018 trailer
Vector Hack is the first ever international festival of experimental vector graphics. The festival brings together artists, academics, hackers and performers for a week-long program beginning in Zagreb on 01/10/18 and ending in Ljubljana on 07/10/18.
Vector Hack will allow artists creating experimental audio-visual work for oscilloscopes and lasers to share ideas and develop their work together alongside a program of open workshops, talks and performances aimed at allowing young people and a wider audience to learn more about creating their own vector based audio-visual works.
More info on event, artists, partners, and sponsors:
vectorhackfestival.com/
Trailer video by Ivan Marusic Klif
Vector Hack is the first ever international festival of experimental vector graphics. The festival brings together artists, academics, hackers and performers for a week-long program beginning in Zagreb on 01/10/18 and ending in Ljubljana on 07/10/18.
Vector Hack will allow artists creating experimental audio-visual work for oscilloscopes and lasers to share ideas and develop their work together alongside a program of open workshops, talks and performances aimed at allowing young people and a wider audience to learn more about creating their own vector based audio-visual works.
More info on event, artists, partners, and sponsors:
vectorhackfestival.com/
Trailer video by Ivan Marusic Klif
macumbista University of California
Santa Barbara Media Arts and Technology lab VectorHack workshop
presentation, First Thursday at SBCast Santa Barbara. Video by @docnorth Thx to Alan Macy for hosting us! @sbcast @mat_ucsb @systemics.mx
You not only create musical devices but also perform with them. Do you consider the device itself as your own artwork, or do you consider the images and sounds created with it as your artistic expression?I have long considered electronic instruments to be interactive compositions of sorts. Since the work of John Cage, David Tudor, Pauline Oliveros, and others, the idea of a composition has been radically expanded to include open-ended systems rather than deterministic lists of actions to be performed as accurately as possible within a linear time frame. An electronic sound instrument concretizes specific ideas about sound and sets of sonic possibilities into a physical form for the performer to interact with. “Whose sounds are they?” is a loaded question, based on very outdated ideas of genius and individualism which ignore the fact that the electronic artist cannot be extracted from the technoscientific culture within which they create. So, whose sounds are they? Maybe they belong to the anonymous engineers at Roland who invented the 303, the 606, and the 909, and everyone else is just twiddling their knobs. I curated a journal issue several years ago (sadly offline now) to talk about the idea of the electronic schematic as score. You can read some of the texts via the Wayback Machine.
Have you ever been impressed by the sounds or images of people’s expressions using the device you created, or have they been different from your intentions or beyond your imagination?The Benjolins which I built for people, based on the visionary circuit design by Rob Hordijk, are very good examples of how sonic ideas can take physical form.