Pink Noise is a live video engine for highly intuitive media jamming.
The first deployment occurred in April 2007 at O3ONE Gallery, Belgrade (part of the exhibition «Contrasted Working Worlds», curated by Marko Stamenkovic). During the exhibition opening, the software generated live visuals for the performance of electronic musician Exteenager. The source imagery was derived from a large database of video material accumulated by the N3krozoft Media Group during its psycho-geo-strategic investigations in the Balkan region. It included a fair amount of music video clips and television advertisements, mostly gathered from the infamous serbian television station TV Pink). The processed material was complemented by live input from surveillance cameras placed inside the gallery space, in order to «integrate the viewer and his local environment into the larger macrosystem of information transmission» [Gene Youngblood, 1970].
In June 2007, the software was further developped during a public «N3krozoft Office» work session in the frame of the exhibition Remote Fairytales at MAAC Gallery, Brussels. During this development phase, the visual feedback loop (which soon became the core feature of the software) was tested and optimized.
In September 2007, Pink Noise was again deployed as a generative visual performance instrument, during an accoustic/electronic live act by musician Mourah at Monniati Festival, Geneva. The imagery was picked partly from miniature surveillance devices that offered a dynamic view of the band’s performance, partly from video footage of the rural surroundings of the concert venue.
In October 2007, an installative version of the project was set up in the context of the exhibition PLAZMA, curated by Felicia Herrschaft for Leonhardi Kulturprojekte, showcasing contemporary artistic productions from both Kosovo and Serbia. This time, the audience had the possibility to interact with the software through a control device (a common videogame joystick), stressing the hybrid position of the video engine increasingly referred to as a «the game».
During February 2008, Pink Noise was shown at a community art-event at Théâtre Marni in Brussels (curated by PPGF – Patrimoine Pour les Générations Futures), where documentary footage from a chosen urban area was rendered into a colorful psychogeographic collage by the enthralled audience (see PPGF project for further details).
In June 2008, another site-specific deployment was realized again in Brussels, during the exhibition WATERZONE, dedicated to the aquatic element in the cityscape of the belgian capital, while a second edition of the PLAZMA exhibit was shown at Siemens ArtLab in Vienna from June 26 to July 19.
List of exhibitions:
2007 – April: O3ONE/Beograd
2007 – June: BXL-1/MAAC, Brussels
2007 – September: Monniati Festival, Geneva
2007 – October: PLAZMA, Karben
2008 – February: BXL-2/Ixelles, Théâtre Marni, Brussels
2008 – June: BXL-3/Waterzone
2008 – June: PLAZMA @ Siemens Artlab, Vienna
Project supported by:
Leonhardi Kulturprojekte, Frankfurt a.M.
PPGF (Patrimoine Pour les Générations Futures), Bruxelles.
Federal Office of Turbo-Folk Recycling, Minsk.
Klaus Theweleit: «Play Station Cordoba. Yugoslavia. Afghanistan etc. Ein Kriegsmodell», Frankfurt 2002.