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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
Zoetrope
Joseph Hyde
I see my work Zoetrope with video as a natural extension of my work with sound. To a large extent, my crossing of this dividing line (if one exists) has been made possible by the technology I am using. I use computer-based non-linear editing systems for both video and audio, and find that one can work with video in Adobe Premiere (for example) in much the same way as one works with sound in Digidesign Pro-Tools.
This compatibility of working practice allowed me to make a conceptual leap and realise that I could apply the techniques and aesthetics of my compositional practice, developed to a large extend through work on systems such as Pro-Tools, and apply them to video materials, and a specific kind of music that has recognisable antecedents in electroacoustic or acousmatic work. With both sound and image I use entirely concrete materials, process them, often very heavily, and assemble them in complex abstract audiovisual forms, which are largely gestural on a micro level, and operate according to recognisably “musical” forms on a macro level. Although there are some parallels between my work and contemporary video art/time-based arts practice (I have been quite strongly influenced by recent works by Bill viola, such as The Passing and Deserts, for example), some of the issues current in this area of work are almost bypassed, since I am applying so much of the critical vocabulary of sonic art and music. Indeed, as mentioned above, I have found most inspiration in early abstract formal film, and in the experimental use of often overtly “musical” forms in this work. I was also influenced by more recent animation, by artists such as Bärbel Neubauer and Thomas Renoldner.
This compatibility of working practice allowed me to make a conceptual leap and realise that I could apply the techniques and aesthetics of my compositional practice, developed to a large extend through work on systems such as Pro-Tools, and apply them to video materials, and a specific kind of music that has recognisable antecedents in electroacoustic or acousmatic work. With both sound and image I use entirely concrete materials, process them, often very heavily, and assemble them in complex abstract audiovisual forms, which are largely gestural on a micro level, and operate according to recognisably “musical” forms on a macro level. Although there are some parallels between my work and contemporary video art/time-based arts practice (I have been quite strongly influenced by recent works by Bill viola, such as The Passing and Deserts, for example), some of the issues current in this area of work are almost bypassed, since I am applying so much of the critical vocabulary of sonic art and music. Indeed, as mentioned above, I have found most inspiration in early abstract formal film, and in the experimental use of often overtly “musical” forms in this work. I was also influenced by more recent animation, by artists such as Bärbel Neubauer and Thomas Renoldner.
Joseph Hyde (GB), born 1969, is an electronic artist specialising in sonic art and multimedi. He has studied with Jim Fulkerson, Trevor Wishart, Nigel Osbornem, Vic Hoyland and Jonty Harrison, and has a PhD in Musical Composition from the University of Birmingham. He is currently working at Dartington College of Arts, as lecturer and Academic Coordintor in Performance Technology. He is also Visiting Lecturer at Exeter University and a director of Sonic Arts Network.