The thrill of wrapping up! As HOLO 2 nears completion, a world of detail falls into place. Excited yet? Here are ten (more) reasons why we are. The restless (color coded) loop of featured artist Jürg Lehni’s Flood Fill – Clock (2009) shown above couldn’t capture the current, final, stage of magazine production any […]
The sixteenth edition of Montréal’s ELEKTRA festival took place from May 13th-17th and delivered a range of audiovisual performances and installations addressing the notion of ‘post-audio’ or perception beyond sound—CAN was on hand to have our retinas singed and eardrums buzzed by the ‘POST-AUDIO’-themed programming.
Learn more about the making of HOLO 2. Featuring over 30 contributors from a dozen countries and a hefty 200 pages of premium print, HOLO returns and endeavours to be smarter, more substantive, and more special than our first issue.
A report on the CAN/HOLO artist Q&A sessions and related audiovisual performances at Montreal’s EM15 festival, which was jointly organized by the teams behind MUTEK and Elektra.
As part of EM15 in Montreal, CAN will be organising live Q&A sessions with audiovisual performers Matthew Biederman and Alan Thibault, and Paul Prudence.
This new piece by Paul Prudence takes conceptual cues from cyclotrons and particle accelerators and alludes to aspects of particle physics, space exploration and 4-dimensional space. It is inspired to commemorate the first wave of Russian cosmonauts and also the artists of the Constructivist movement who conquered space conceptually.
Mitchell Whitelaw, #climatedata proposal (2009) One of the most articulate and accessible voices within the generative art scene is undoubtedly the Canberra-based scholar/practitioner Mitchell Whitelaw. Given his relative (internet) silence over the last year, news of an interview—conducted by Paul Prudence, no less—published in the most recent issue of Neural magazine, is cause for minor celebration. Mitchell posted the transcript of […]
Parhelia by Paul Prudence is a real-time A-V performance piece where sample based mechanical sounds are used orchestrate a family of concentric forms in space. The vvvv scenes suggest the workings of a imaginary machine where its component parts, or ‘gears’ interact with one an another triggering corresponding sounds. Parhelia uses direct translation of sound to […]