vjmix from maokalman on Vimeo.
Four-physical theatre from maokalman on Vimeo.
visualtheatre.hu/
paranoia from maokalman on Vimeo.
Riding experiment from maokalman on Vimeo.
2009/10/30
maokalman (Hungary)
vjmix from maokalman on Vimeo.
Four-physical theatre from maokalman on Vimeo.
visualtheatre.hu/
paranoia from maokalman on Vimeo.
Riding experiment from maokalman on Vimeo.
2009/10/29
lcyoung
Az lcyoung nevű amerikai hőlgy blogjában érdekes elméleti fejtegetést olvastam, megosztom veletek. (Ha gond van az értéssel, használjátok az oldalt levő fordítót!)" What's in a name? That which we call a VJ
In an interview with Eduardo Kac, Nam June Paik, Korean-born American artist, considered to be the first video artist, stated that the relationship between art and new technology is as old as art. He considered the Egyptian Pyramids as the combination of high art and high tech. There will always be visionaries in the artistic endeavors incorporating new technology of his or her times. MTV’s approach to image and music is interesting and popularized “visual music” in the entertainment culture. Nam June Paik give credits to artist like Laurie Anderson, a fine artist, performer, musician whose multimedia work has been a catalyst bridging high culture and popular culture. He claimed that the new technology of today can be and will be used artistically in two basic ways: in the fine arts and in the applied arts, and the line is blurred. The VJ community is divided into two basic groups. The artistic VJ, who typically does not call him or herself a VJ, but prefers the term media artist, practicing in the realm of fine arts, and the club VJs who traditionally have played second fiddle to the DJ’s in the club culture. There is a rift emerging between the traditional VJs and the new breed of media artists.
As I read many of the essays from Vague Terrain, an appropriate title, I am intrigued by the theoretical and philosophical discourse surrounding the real-time audiovisual performance. VJ or Veejay is a derivative term from DJ or deejay. The meaning of VJing has changed from individuals hired as TV hosts presenting music videos on MTV of the early eighties to media artists in real-time mixing sounds, visuals, light, audience and space at present. The definitions are as varied as the individual performers themselves. VJing incorporates many more practices than just video mixing; furthermore, wanting to be seen as representing modernity, art and style in the 21st century by the practitioners themselves. In her essay, VJ Theory, Ana Carvalho writes, “The term visual performer, describes practitioners working in live cinema, interactive installations, gallery performances, guerrilla interventions and club performances.” Words like hybridity and crossovers are often associated with the practice. In other words, the performers or practitioners are typically multi-disciplinary, non-conforming and working outside of the box. Looping through cyberspace at times, they see themselves on the cutting edge of mixing art and technology at a time when cultural materials have never been as readily available to the general public as it is now with the help of the almighty Internet, the network of networks. Like any emerging artistic endeavor, media artists’ practice is being defined and challenged at the same time. In his article, Last night a video band killed my DJ, Ryan Stec writes, “Currently, VJs have an exceptional collective knowledge of technology and have developed a clear understanding of how to augment the sonic experience for the audience. What is struggling to be understood is our role within the performance and how we might become the performance itself?”
Why the struggle? Ryan Stec again asks the question, “How does a VJ cultivate this performance side of his or her work? The more important question is whether the VJ, media artist, wants to dominate the live cinema that engages vs. allowing the audience to consume the experience. In the latter case, performance then takes on the “wallpaper” dilemma. Michael Betancourt examines the fine line between wallpaper visualizations vs. performance practice in Wallpaper And/as Art. Context is crucial. When a VJ performance or live cinema is set in a gallery/theater, it engages the audience and is customarily viewed as art. In the club setting, a non-art venue, VJ performances takes a back seat. The audio-visual mix on screen, however artistic it may be, becomes a “wallpaper” visual experience. The audience dominates and consumes the performance. There seems to be a real need on the media artist’s part wanting recognition for their techno skills. No doubt that artistic and technical expertise are required on the VJ or media artist’s part during their unique real-time performance. I suppose aside from creating Cubism, Picasso should also have demanded recognition for his brushwork. The need for many VJs wanting to establish themselves as performance artists because of their ability to maneuver electronic equipments seems superfluous.
Michael Betancourt writes, “Art can be transformed into wall paper, just as wallpaper can be transformed into art.” Although, the club VJ often considered second fiddle to the DJ, is very much like a film director, stays behind the scenes. The focal point of the VJing is the screen as it should be since the goal is to create synaesthesia, where the audience is engrossed in the totality of a sensory experience. Carrie Gates states, “The senses are enveloped and the mind is tantalized into a world being spun into existence on the spot. Perhaps it is this feeling of immediacy and immersion that is so rewarding for performers and audiences alike. Perhaps it is the intense bombardment of the senses that does it. Or perhaps it is the richness of the dialogue between technology, spatial architecture, and human expression that speaks to us so powerfully.”
This brings me to the introduction of VDMX by David Fodel. The software is amazing. The limitless potential of mixing audio and video is absolutely overwhelming. For any artists who might have the slightest inkling of wanting to work in time-based medium, it is like having a magic wand creating amazing humanly impossible special effects. The danger is that sometimes, the results obtained from manipulating software can be so far fetched and detached from reality that I wonder if we are really gaining anything? Just because we have unlimited access to technology, technology does not create artists. Is the latest thing always the best thing? Are we just blindly following fashion trends regardless of our body shapes? By overly depending on electronic devices, we are sacrificing our sensibilities as artists. In 1983, MTV was criticized for feeding its zombie-like viewers with endless doses of sugarcoated mindless garbage. MTV has greatly reduced its overall rotation of music video because of the Internet, the void I believe, has been taken up by a good portion of arbitrary art seen on the net.
In contrast to arbitrarily composed work, I enjoyed viewing professor Phil Solomon’s experimental video mixing gaming software and cinema. He is less concerned with the performance aspect but more interested in engaging the audience to experience his creation as he intends. His observation of the new paradigm, “the world is full of one-liners, superficial and immediate” is thought provoking. How do we balance the ease and the immediacy with which vast interactive materials are at ones fingertip, linking otherwise disconnected cultural data, and to transform and create work that is fluid, interconnected and relative, is hopefully the goal of every artist no matter the medium. "
(REMIX)
As I read many of the essays from Vague Terrain, an appropriate title, I am intrigued by the theoretical and philosophical discourse surrounding the real-time audiovisual performance. VJ or Veejay is a derivative term from DJ or deejay. The meaning of VJing has changed from individuals hired as TV hosts presenting music videos on MTV of the early eighties to media artists in real-time mixing sounds, visuals, light, audience and space at present. The definitions are as varied as the individual performers themselves. VJing incorporates many more practices than just video mixing; furthermore, wanting to be seen as representing modernity, art and style in the 21st century by the practitioners themselves. In her essay, VJ Theory, Ana Carvalho writes, “The term visual performer, describes practitioners working in live cinema, interactive installations, gallery performances, guerrilla interventions and club performances.” Words like hybridity and crossovers are often associated with the practice. In other words, the performers or practitioners are typically multi-disciplinary, non-conforming and working outside of the box. Looping through cyberspace at times, they see themselves on the cutting edge of mixing art and technology at a time when cultural materials have never been as readily available to the general public as it is now with the help of the almighty Internet, the network of networks. Like any emerging artistic endeavor, media artists’ practice is being defined and challenged at the same time. In his article, Last night a video band killed my DJ, Ryan Stec writes, “Currently, VJs have an exceptional collective knowledge of technology and have developed a clear understanding of how to augment the sonic experience for the audience. What is struggling to be understood is our role within the performance and how we might become the performance itself?”
Why the struggle? Ryan Stec again asks the question, “How does a VJ cultivate this performance side of his or her work? The more important question is whether the VJ, media artist, wants to dominate the live cinema that engages vs. allowing the audience to consume the experience. In the latter case, performance then takes on the “wallpaper” dilemma. Michael Betancourt examines the fine line between wallpaper visualizations vs. performance practice in Wallpaper And/as Art. Context is crucial. When a VJ performance or live cinema is set in a gallery/theater, it engages the audience and is customarily viewed as art. In the club setting, a non-art venue, VJ performances takes a back seat. The audio-visual mix on screen, however artistic it may be, becomes a “wallpaper” visual experience. The audience dominates and consumes the performance. There seems to be a real need on the media artist’s part wanting recognition for their techno skills. No doubt that artistic and technical expertise are required on the VJ or media artist’s part during their unique real-time performance. I suppose aside from creating Cubism, Picasso should also have demanded recognition for his brushwork. The need for many VJs wanting to establish themselves as performance artists because of their ability to maneuver electronic equipments seems superfluous.
Michael Betancourt writes, “Art can be transformed into wall paper, just as wallpaper can be transformed into art.” Although, the club VJ often considered second fiddle to the DJ, is very much like a film director, stays behind the scenes. The focal point of the VJing is the screen as it should be since the goal is to create synaesthesia, where the audience is engrossed in the totality of a sensory experience. Carrie Gates states, “The senses are enveloped and the mind is tantalized into a world being spun into existence on the spot. Perhaps it is this feeling of immediacy and immersion that is so rewarding for performers and audiences alike. Perhaps it is the intense bombardment of the senses that does it. Or perhaps it is the richness of the dialogue between technology, spatial architecture, and human expression that speaks to us so powerfully.”
This brings me to the introduction of VDMX by David Fodel. The software is amazing. The limitless potential of mixing audio and video is absolutely overwhelming. For any artists who might have the slightest inkling of wanting to work in time-based medium, it is like having a magic wand creating amazing humanly impossible special effects. The danger is that sometimes, the results obtained from manipulating software can be so far fetched and detached from reality that I wonder if we are really gaining anything? Just because we have unlimited access to technology, technology does not create artists. Is the latest thing always the best thing? Are we just blindly following fashion trends regardless of our body shapes? By overly depending on electronic devices, we are sacrificing our sensibilities as artists. In 1983, MTV was criticized for feeding its zombie-like viewers with endless doses of sugarcoated mindless garbage. MTV has greatly reduced its overall rotation of music video because of the Internet, the void I believe, has been taken up by a good portion of arbitrary art seen on the net.
In contrast to arbitrarily composed work, I enjoyed viewing professor Phil Solomon’s experimental video mixing gaming software and cinema. He is less concerned with the performance aspect but more interested in engaging the audience to experience his creation as he intends. His observation of the new paradigm, “the world is full of one-liners, superficial and immediate” is thought provoking. How do we balance the ease and the immediacy with which vast interactive materials are at ones fingertip, linking otherwise disconnected cultural data, and to transform and create work that is fluid, interconnected and relative, is hopefully the goal of every artist no matter the medium. "
(REMIX)
2009/10/28
Girls - Vj|andreea - Andreea Serghi (europe)
Ma a "lányok" sorozatban a román Andreea Serghi-t ismerjük meg.May 1st 2008 visual reel from Andreea Serghi on Vimeo.
Live visuals performed by VJAndreea,
CLIENTS: gossip club Mamaia, nights.ro, love events, one fm.
starting the summer along dj's like
Miercuri, 30 Aprilie:
- Monochrome (liveact) (Livio&Roby feat. George) (RO)
- Dj Optick (RO)
Joi, 1 Mai:
- AudioJack (UK)
- Dj Pagal (RO)
- Dj Faster (RO)
Vineri, 2 Mai:
- 2 Crazy Bastards Dj Rosario Internullo & Dj Adrian Eftimie, (RO)
- Dj Kool (RO)
- Dj Proof (RO)
Sambata, 3 Mai:
- David K (Freak'n Chic)
- Simon Baker (UK)
- Dj Negru (RO)
live visuals for Katya Vanila/DeepMix Moscow by Vj Andreea from Andreea Serghi on Vimeo.
visual reel live@gossip club/ 21 iunie 2008 /mamaia/black sea coast / romania (nights.ro & love events)
Rosario Internullo - Sentimente (Nagual 2CB Sessions 2007) by Andreea Serghi from Andreea Serghi on Vimeo.
Made with iSight in live Nagual Sessions
mynagual.ro
Princess Knickers
2009: Sample Whore: Princess Knickers from ladypat on Vimeo.
music by The Japanese Popstars 'Sample Whore' extracted from 'Pete Tong's Wonderland' CD (Ministry of Sound)
visual mix as performed at Pete Tong's Wonderland party in Ibiza summer 2008
starring Princess Knickers
original footage by Toby Amies
music by The Japanese Popstars 'Sample Whore' extracted from 'Pete Tong's Wonderland' CD (Ministry of Sound)
visual mix as performed at Pete Tong's Wonderland party in Ibiza summer 2008
starring Princess Knickers
original footage by Toby Amies
2009/10/27
toby*spark (london, uk)
personal site: tobyz.netvj site: sparkav.co.uk
D-Fuse 'Particle' Performance [On_Off / 2009] from toby*spark on Vimeo.
This is a quick edit of the first performance of Particle, as part of the On_Off festival, São Paulo.
Thanks to Itaú Cultural, all the staff there who helped made it happen, and their photographer for the title shot.
D-Fuse 'Particle Experiment' [Abertura3 / 2009] from toby*spark on Vimeo.
This shows some excerpts from an experimental performance exploring some of the content and aesthetics of the D-Fuse piece 'Particle'.
As part of my on-going work with D-Fuse, I've been seeing what an abstracted live reworking of the Endless Cities project could look like. This is part of the answer, combining VDMX with some Quartz Composer patches that help collage sources into the triplehead format, and custom open-GL rendering.
Performed at Abertura3, curated alongside audio artists Ales Zemene and Tatsumaki
2009/10/26
Vision Nocturne (Brussels)
more+++ visionnocturne.bebook: info@visionnocturne.be
Superformula Wip03 - VJ live performance from Vision Nocturne on Vimeo.
software: vvvv
work in progress
live capture (fraps)
VN_LIVE_ZOO_GENEVE from Vision Nocturne on Vimeo.
Live zoo Geneve@3 octobre 2009++++
generative realtime visual
Ninja Warrior from Vision Nocturne on Vimeo.
show tv for VT4, zommertoer festival 2006
REWIND ACT2 from Vision Nocturne on Vimeo.
rewind ACT2 rewindconcept.be
Friday december 18
Theatre national
Bruxelles
DJ:
Tony Rohr myspace.com/tonyrohr
RomForLove myspace.com/romforlove
The Brixon's
Euphix
Shred&Mash
VJ:
Vision Nocturne myspace.com/vj_visionnocturne
2009/10/24
Halloween visuals
Submit To Me Now from NEWFUTURENOW on Vimeo.
Halloween visuals for Jon Berry (Kompakt) and his new label Fright Records. Performing live @ Brixton Academy 24 October 2009.
Music by Gatekeeper - http//www.myspace.com/frightrecords
Halloween visuals for Jon Berry (Kompakt) and his new label Fright Records. Performing live @ Brixton Academy 24 October 2009.
Music by Gatekeeper - http//www.myspace.com/frightrecords
mashup
Salem Buur Nabulsi (Denmark) szépen összerakott fílmje egy fontos témáról.
Atomic Walse from Salem Buur Nabulsi on Vimeo.
This is a mashup i did from a collection of old footage from when the nuclear age started.
I added l lots of visual and sound effect to furhter enhance drama in the footage.
Music: Ginman/Joergensen
Enjoy!
Note: All video material release under Creative Commons license.
Atomic Walse from Salem Buur Nabulsi on Vimeo.
This is a mashup i did from a collection of old footage from when the nuclear age started.
I added l lots of visual and sound effect to furhter enhance drama in the footage.
Music: Ginman/Joergensen
Enjoy!
Note: All video material release under Creative Commons license.
2009/10/23
Rapid Eye Movement
Rapid Eye Movement from POWSKII on Vimeo.
shot in Tokyo, Kyoto, Japan summer 2008
music by Modeselektor
shot in Tokyo, Kyoto, Japan summer 2008
music by Modeselektor
2009/10/22
luma launisch (new york / vienna)
Arstid Steiner, vagyis luma launisch a következő "áldozat" ma.
DEFUSION / SASS from luma launisch on Vimeo.
first time live visuals at SASS vienna sassvienna.com made by LUMA LAUNISCH luma.launisch.at
DEFUSION by KARL MÖSTL defusionrecords.com with SIAN (pokerflat, simple rec) sianmusic.net
music : afralon : karl möstl
RE:HAYDN audiovisual remix by ogris debris + luma.launisch from luma launisch on Vimeo.
some LIVE impressions ... re:haydn event at semper depot vienna ... oct 2nd 2009
rehaydn.at : the CD on deutsche grammophon rec
audio:remix : ogris debris : myspace.com/ogrisdebris
video:remix : luma launisch : luma.launisch.at
monstah UKO ken hayakawa remix from luma launisch on Vimeo.
... as a part of the uko/sound:frame remix project LUMA LAUNISCH did this video remix
some photo+video material (the singer who paints herself) was supplied by uko
... KEN HAYAKAWA did the great audio remix
many thanks to BUSK for his font "bolb" cmod.at
luma.launisch.at / uko.fm / soundframe.at / myspace.com/kenhayakawa
7 Minutes 20 Seconds from luma launisch on Vimeo.
The installation 7 Minutes 20 Seconds is a site-specific collaboration between Johannes GIRARDONI and Astrid STEINER. Two perpetually looped multi-media works investigate the relationship between perceptual phenomena and narrative imaging by layering opposite projections – pure light and video – into a spatial-temporal setting.
The installation is composed of two projected sequences:
The video is a visual metaphor of a dialogue between Alice in Wonderland and the Caterpillar. It refers to the different aspects of self-perception and identity in contrast to societal projection.
The LED and sound projection sequence investigates the boundary between manufactured states and perceptual events. Visual planes open and close depending on the viewers’ position within the work’s layered setting, creating a constantly shifting environment.
Music for Video Sequence by ZANSHIN aka Gregor Ladenhauf
Correspondences remixed - The Scents of a Metropolis from luma launisch on Vimeo.
Charles Baudelaire’s poem “Correspondences” is the basis for a composition by Gene Pritsker, originally scored for chorus, chamber orchestra, Di.J. (live Samplestra electronics) and accompanied by a live visual composition of luma.launisch. The original piece was premiered at the Musikfest Bremen in 2007 with Kristjan Järvi's Absolute Ensemble, the Latvian State choir "LATVIJA" and Astrid Steiner.
In the concert "Correspondences remixed" Gene Pritsker manipulates the live instruments and chorus and improvises on the material with electronics, while Steiner visualizes the poem live to the music.
Baudelaire's "Correspondences" describes the scents and smells of our environment, originally focusing on the sensation of nature. The visuals show the beauty of nowadays environment and visualize the scents of a metropolis – an homage to New York.
xx xy visuals (Rome)
Ma Sladzana Bogeska és Giuseppe Pradella római csapatát mutatom be." Rome, Italy - based - multimedia duo of Sladzana Bogeska and Giuseppe Pradella. Collaborate together since 2005. Start presenting their live av, installations and screenings in various art, music and film festivals.
Collaboration include artist as Fernando Corona – Murcof, through 2008/07 xx+xy also developed the visual concepts for
album Cosmos [Leaf Label], performing at more than 15 dates, at festivals as: Mutek 9 Montreal, Dissonanze 8 Rome, Play Madrid, Shift Basel, Seconde Nature Avignone, NatFilmFest Copenhagen, etc. "
BoZa AV set at Bestiario Opificio Telecom Rome from xx xy visuals on Vimeo.
BoZa AV set at Bestiario Opificio Telecom Rome
19 9 09
xx+xy visuals
Iqbit
Rabbi from xx xy visuals on Vimeo.
sound by IQBIT, Liminal. soon HD latest cut version ...check our web site for more.
LUMA from xx xy visuals on Vimeo.
LUMA audio video project by xx+xy.
full lenght, both video and audio.
Audiovisual project that consists of different and unique parts presented as complete single works
inside one composition.
Luma plays along with the sound, creating unique non narrative visual landscapes, deeply inspired by the earth and the air elements.
The sound, inspired and created for this project wants to create disturbing, unnerving moods with low and high sounds, through noises of nature tastes and metallic frequencies.
DOT from xx xy visuals on Vimeo.
dot/video produced in 2007/sound by ziv jacob, omonim album.
2009/10/21
ArKaos GrandVJ 1.2b1
Az Arkaos egy béta verzióval frissítette a GrandVJ-t!" This is a beta release. See Related Links below for the last stable release.
DESCRIPTION
ArKaos GrandVJ...Powerful video made easy.
Manipulate, trigger and mix video clips, animated text strings or live cameras in much the same way as mixing music to create a spectacular visual show. GrandVJ can mix up to 8 layers with a vast library of video effects and sound driven video generators Works with all setups GrandVJ runs on both PC and Mac and accepts all common video and image formats. Its more...
Download Now
WHAT'S NEW
Version 1.2b1:
New ultra smooth engine
Support for Akai APC40 & Generic midi feedback (also for Behringer BCR2000/BCF2000, Livid OHM, ..)
Quartz composer player (Mac OS X)
Support for Flash Actionscript 3
Cell layer assignment
Mixer state saving
Added master blackout button
New enhanced soft-edging algorithm
Added vertical/horizontal position presets for TripleHead2Go
Several Bug fixes.
New fullscreen option (PC)
REQUIREMENTS
Mac OS X 10.4 or later
G4, G5, or Intel Mac (1 GHz and faster)
QuickTime 6.5.x and later
Flash Player 9.0 and later
3D accelerated graphics card "
2009/10/20
VJing @ Peak Cologne
Egy kis Klubb hangulat...
Some Club feeling...
VJing @ Peak cologne with Nikon 1.8/50 from Johannes LDC Guerreiro on Vimeo.
VJing @ Peak Cologne from Johannes LDC Guerreiro on Vimeo.
myspace.com/peak_cologne
Some Club feeling...
VJing @ Peak cologne with Nikon 1.8/50 from Johannes LDC Guerreiro on Vimeo.
VJing @ Peak Cologne from Johannes LDC Guerreiro on Vimeo.
myspace.com/peak_cologne
AVmixer Pro version 1.5
A Neuromixer kiadta az AVmixer Pro új verzióját." AVmixer Pro has broven to be a professional VJ tool for mixing live visuals at concerts, dance parties, and special events.
AVmixer Pro is a simple software to use which is the key to it's success! It's a pleasure because of the simple interface, not to say it's not powerful, through it's various design stages it's increased with power and stability each time. "
AVmixer Pro is a simple software to use which is the key to it's success! It's a pleasure because of the simple interface, not to say it's not powerful, through it's various design stages it's increased with power and stability each time. "
" We are happy to announce the latest update to the popular VJ software AVmixer Pro version 1.5 is now available for Mac and PC. Download and use for Free for full 30 days.
For more info and introduction demo video please visit:
http://www.neuromixer.com/product-avmixer.php
What's new in version 1.5:
- Built-in keystone for the main output window, great for projection mapping to a single surface
- "Fade to Black" slider for the main output window
- Desktop screen capture for Channel A and B for capturing onscreen content as well as software based feedback effect
- DV input for Channel A and B
- Improved performance
AVmixer Pro 1.5 license is nicely priced at $89. As our mailing list special, you may receive a 20% discount at check out by entering the coupon code "9f7z3h", act fast as this offer will expire soon.
Need an authorization code quickly? Now you can get your authorization codes right away through our automated on-line authorization system.
Coming soon: AVmixer Lite 1.5 and AVdrum 1.0 beta. "
Click here to download v1.52 for MAC OSX
Click here to download v1.52 for Windows PC
(Free download, trial lasts 30 days)
(Neuromixer)
AVmixer Pro 1.5 Intro Demo Video from Neuromixer on Vimeo.
In this video VJ Fader will show you what's new in AVmixer Pro version 1.5, how to load content, execute simple playback controls, composite and apply effects.
AVmixer Pro is an audio visual mixing software by Neuromixer. You may download and try this software for free, trial lasts full 30 days.
For more info and introduction demo video please visit:
http://www.neuromixer.com/product-avmixer.php
What's new in version 1.5:
- Built-in keystone for the main output window, great for projection mapping to a single surface
- "Fade to Black" slider for the main output window
- Desktop screen capture for Channel A and B for capturing onscreen content as well as software based feedback effect
- DV input for Channel A and B
- Improved performance
AVmixer Pro 1.5 license is nicely priced at $89. As our mailing list special, you may receive a 20% discount at check out by entering the coupon code "9f7z3h", act fast as this offer will expire soon.
Need an authorization code quickly? Now you can get your authorization codes right away through our automated on-line authorization system.
Coming soon: AVmixer Lite 1.5 and AVdrum 1.0 beta. "
Click here to download v1.52 for MAC OSX
Click here to download v1.52 for Windows PC
(Free download, trial lasts 30 days)
(Neuromixer)
AVmixer Pro 1.5 Intro Demo Video from Neuromixer on Vimeo.
In this video VJ Fader will show you what's new in AVmixer Pro version 1.5, how to load content, execute simple playback controls, composite and apply effects.
AVmixer Pro is an audio visual mixing software by Neuromixer. You may download and try this software for free, trial lasts full 30 days.
2009/10/18
2009/10/17
AEAEAEAE Visual Remiks
AEAEAEAE Visual Remiks;;; Logo ~ Wxyz () Sabrina ~ Bois bois bois from Gutta Bois on Vimeo.
??????/////.>>>>......>.......æææææÆÆÆÆÆÆÆ⁄⁄⁄⁄⁄⁄⁄!!!!!!
why?why?why?why?why?why?why?why
....???....???....???....???....???...???...???....
its the emtpiyness../ "Cacadysxi/>
??????/////.>>>>......>.......æææææÆÆÆÆÆÆÆ⁄⁄⁄⁄⁄⁄⁄!!!!!!
why?why?why?why?why?why?why?why
....???....???....???....???....???...???...???....
its the emtpiyness../ "Cacadysxi/>
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