Alkeshka – Let There Be Seizures

Video Artist

Interview on March 16th at Cellar Door, Dongcheng

Alkeshka—让我们嗨翻全场！

视频创作家

于3月16日，东城区，Cellar Door酒吧采访

KL: Have long have you been doing this?

A: I’ve been doing visuals for about three years. I did it in college as well but stopped when I came to Beijing so after two years here I picked it back up again – three years ago.

KL：你从事视频创作这行多久了？

A：我做这行有三年了，我在大学的时候也做过一些视觉但中途停止了。两年后我来到北京，又开始做起这行了。

KL: Why’d you quit doing it?

A: I’m not a trained graphic designer so I realised that I was spending so much time on one visual where I could have been studying. I quit for awhile and then came here and realised that it’s a lot more fun when you’re not having to study all the time.

KL：为什么中途停止了呢？

A: 我不是一个训练有素的平面设计师，并且我意识到制作一个视觉作品要花好多时间，我可以利用这些时间好好学习，所以我暂时放弃了。之后来到北京，我发现不学习的时候，玩点视觉还是挺有趣的。

KL: So, it started off as something you did purely for pleasure or have you always wanted to do some ongoing collaborations?

A: Yeah, it’s always different working with musicians. You can use one visual for a certain style of music then it might not be acceptable in another. So, the stuff I do with Noise Arcade can be a lot more chaotic than something for Motorbike Girls. It’s very different artist by artist but when I was doing it before it was mostly for experimental musicians and getting back into different genres took quite a bit of getting used to.

KL：所有你是纯粹因为乐趣而开始视觉创作吗，你有想进一步与别人合作吗？

A:是的。和很多不同的音乐人合作感觉很不同。你可以为某一种特定的音乐制作特定的视觉效果。所以我和Noise Arcade合作的作品就比和 Motorbike Girls合作的作品更失控。不同的艺术家会有不同的制作风格。我之前大都为实验音乐家创作，现在转变到其他不同风格的音乐制作，这中途花了蛮长的时间去适应呢。

KL: Working across different genres, do you have to work with narrative at any point?

A: Just visuals as accompaniment for everything. Nothing, for me, is narrative. We were going to plan in the future but we haven’t gotten to that yet with an unnamed project.

KL: 做了那么多不同的风格，什么时候你会做叙事型作品呢？

A：只要视觉能为任何东西点缀就足够了，对我而言，没有什么是叙述性的。我们以后准备计划这个，但目前还没有任何进展，这个项目还没敲定。

KL: Which bands have you worked with?

A: Noise Arcade, Comp Collider, I did some stuff with Gui Gui Sui Sui before. Mostly it was pieces that Dann [Gaymer] and Su [Nan] created and I just mixed them. Motorbike Girls, Puking Unicorns, Disco Puppet, Dee [Sheng Di], this unnamed project I’m working with now. They are in several other bands so I won’t say them.

KL： 你和哪些乐队合作过？

A：Comp Collider，Noise Arcade, 之前还和鬼鬼祟祟合作过。大部分作品都是Dann [Gaymer]和Su [Nan]创作的，我只是将音乐结合起来。像这些未命名项目：Motorbike Girls, Puking Unicorns, Disco Puppet, Dee [Sheng Di] 这个未命名的项目是我现在在做的，这些作品都来自不同的乐队，我就不一一提了。

KL: It’s a secret. A covert mission.

A: Deep ops. I know it’s cliché, but I’d have to kill you if I told you.

KL: My will to live is dissipating so I might appreciate that service at some point.

A: Deal.

KL: 你是军事特工哦？还不能提？

A：是的，这很保密。我知道这是陈词滥调，但是如果我告诉你了，我要把你杀了才行。

KL：我都快不想活了，我应该感激你赐我一死才对。

A： 成！

KL: That could be a very interesting visual project as well but trying to match it to the right audio…

A: That might be difficult. My favourite so far has been working with Noise Arcade because Mike [Cupoli] is usually saying, “just give people seizures. Do it! Go!” Working with Comp Collider was really fun. Those guys were actually just, “Colours. Shapes. Go!” Which is a lot more fun being able to have free experimental rein. Not having a lot of constraints. Some bands typically are very precise with what they want. What colours, bit rate, everything. So it’s fun to just be able to go out and do whatever I want.

KL：这肯定是很棒的视觉创作，外加配上合适的音频...

A: 那会很难哦。到目前为止，我最享受的还是和Noise Arcade的合作，因为Mike [Cupoli] 总是说：“我们的目的是让现场燥起来！尽情发挥！。”然后和Comp Collider合作也很有趣，这群家伙总说：“有想法，就大胆做啊，不管什么颜色形状，你决定就好”。有这种自由发挥的实验机会真的很有趣，有些乐队很清楚自己想要什么，视觉要做成什么颜色啊，要多少比特率啊，所有事情都有要求。所以只要能做我想做的，就已经很满意了。

KL: So do you have a sense of responsibility, this weight on you that you have to represent their musical vision?

A: Not at all. It's fun. I don't feel much weight with it. It's more or less just reading the audience. If people are typically getting bored you don't want to keep doing the same thing you're doing so you have to adapt. The same thing an improvising musician would do. You have to be able to adapt to the crowd and adapt to the music at the same time. That’s a little bit of weight but other than that, not much.

KL：用你的作品去代表他们的音乐风格会不会使你觉得有负担？

A：不会的，没有觉得有多大负担，反倒这样很有趣。其实或多或少就是要读懂观众的心，如果观众觉得你的作品很无聊，那这个时候你需要调整了，一个即兴创作的音乐家也会这样做。相比较而言，最重要的是你的视觉创作，在适合群众的同时还要适合音乐背景。

KL: That would make you very software dependent, too. How does the tech side of things go?

A: The tech side is a little more fun. I use a GoPro HERO5 and a Nikon D3300 to get everyday scenery. On one project we worked on, I just took a trip to the hutongs with my GoPro. There were some things I had to edit out particularly people pissing in the street.

KL：那这样会很依赖电脑软件，你有什么在技术方面的操作吗？

A：技术操作其实很有趣的，我日常摄影用的是GoPro hero5和尼康D3300。之前有一个我合作的项目——胡同游，就是用GoPro拍的，里面有一些图片需要我后期加工，其中就有一幅一群人在街上撒尿的图。

KL: I feel like there would be some bands who would really appreciate someone pissing in the street.

A: Some but I feel like that wouldn’t get passed the censor bureau. Someone might come by and ask me to “have some tea” and I might be missing in China for a few months.

KL: That’s quite bad, too because tea is a diuretic so it would lead to more pissing and it would be a downward spiral of trouble.

A: Especially if the camera’s rolling.

KL: And it always is, right, with a GoPro?

A: That’s right, it is. Just strap it on your head and go have tea. Get beat by a few armed guards. That would make a good video.

KL: All in a day's work.

KL：一定有会有乐队喜欢这个。

A：但我觉得这些作品很难通过官方审查。某人人说不定某天来找我“喝茶”呢，也许之后我就消失好几个月呢。

KL：那你也太倒霉了，茶不愧是一种利尿剂，喝得多，排得多，排得多，说得多。

A：特别是在摄像移动时。

KL：所以你去哪都带着GoPro吗？

A：当然啦，你把它戴在头上，就可以出门和任何人“喝茶”了，如果有人打你，GoPro也都帮你录下来了。

KL：一天里做过的所有事都能录下来。

A: Exactly. But, yeah, as for software there’s a few different ones that you can use Resolume, for example, or sometimes you can even take the raw data of a video and tweak the audio components. So you’re altering audio components on raw data and then you’re able to export it back to a video and you can see some really cool effects but, that’s particularly time consuming because it doesn’t always work. If you mess up the header of a video, your video is done. It will not work. You always have to constantly back files up because experiments do have their downfall. Sometimes your computer will crash if your audio is too big, the raw data is too big or, if you’re using the wrong file type. Using different types of video files live can be problematic at times. I've had computers crash mid-set. The crazy blue screen of death. It sometimes can work but then you’re looking at a blue screen for the next 20 minutes.

A：对啊。但是对一些软件而言，稍有不同，例如你可以使用Resolume（一款VJ音频软件），或者你可以将视频的原始数据和音频组建到一起。当你把这些音频的原始数据改掉后，你就能将他们倒回到视频里，这样就能形成一个很酷的视觉效果了。但是，这种方法很费时，因为这种方法并不是总能起效，如果你把视频标头弄混了，那这个视频就完了。所以你必须要不断的给这些文件备份，因为这些试验确实有它的缺陷。有时候如果你的音频太大，原始数据太大，或者你使错了文件类型，那你电脑就会死机咯，使用不同类型的视频文件也会带来问题。我电脑在设置中途就有死机过，电脑直接给我黑屏...有时候黑屏后还能工作，但有时候要等上20分钟才能运行。

KL: Was there any footage, in particular, that has been taken by the mid-set computer crash that you were upset to lose?

A: Once we were doing it at Temple and I had three or four .mov files on top of each other and I thought, hey why don't I add a fifth because that’s smart. Usually, most computers can handle three or four videos depending on the size and these were all quite large. So, when I added the fifth in it just went crazy. My computer started flashing all these blue screens popping up and then you saw my desktop.

KL：电脑死机后，有些视觉镜头或片段也没有了，你会不会难过？

A：有一次我在Temple做现场的时候，我有3-4个MOV格式的文档在运行，然后我就想，干脆再加一个吧，反正操作是自动的，通常大部分电脑都是能同时处理3-4个视频嘛，当然也看视频大小，那几个视频还挺大的，我再加一个视频上去，电脑刚好饱和，结果崩了，我看到它开始不停地闪，然后就黑屏了，接着你看到了我的桌面.....

KL: Do you always use your own visuals or do you also collect interesting stuff?

A: Both. I’ll use visuals that I’ve made and sometimes I will use sci-fi films, but I don’t think I’m allowed to use for music videos. I might get a phone call from Fincher or other directors who aren’t particularly happy with that but we have used films like Blade Runner, Predator, Alien. So, you'll have a bunch of hectic colours and then boom Sigourney Weaver's face is staring at you. Some people in the audience do typically find that off-putting and a little disconcerting seeing Sigourney Weaver staring back at you when there's a metal band playing.

KL：你平时都用自己创作的视觉作品还是也收集一些其他有趣的作品呢？

A：都有吧，有时候使用自己创作的作品，有时候使用一些科幻电影元素。但我感觉一些电影制作人不会同意我去使用他们的电影来做音乐视频，像Fincher或其他导演会很不满地给我打电话。但是我们有使用过电影元素，像Blade Runner, Predator, Alien，用的就是电影元素。这些作品会让霓感到一团激情燃烧的颜色，像炸开了一样，然后你会雪歌妮·薇佛的脸在盯着你。其实当金属乐队表演时，许多观众一看到雪歌妮·薇佛就会感到厌恶和不安。

KL: It’s even worse when you’re in the shower.

A: One of my favourites is using scenes from Blade Runner because the colours are already pretty interesting in the film alone and then being able to tweak the distortion, taking the blues out and adding extra reds does make for a good video.

KL：幸亏她没在你洗澡的时候出现，哈哈，不然更让人讨厌。

A：我最喜欢的一个作品，使用了《银翼杀手》里的场景，因为里面的颜色真的太赞了，它能处理失真画面，除掉蓝色，添入红色，并且制作出一个很酷的视频。

KL: They do have usually have distinctive colour palettes. As far as your adventures around the hutong with your GoPro, is that an important element? You want to bring in the Chinese, the local?

A: Definitely. One video we made before is called Editing Bad Translations and the whole thing I wanted to do is take something that’s significant to China. I live in a hutong right down the street and wondered what here has no one seen outside of China? Duh, the hutongs. So I just went for a walk and in parts of the video, you can see a guy cleaning a fish in the street over a grate. There's at least 15 fish beside him and he's just sitting there, chilling. You go a little farther and there's someone taking a piss. You go a little farther and there's maybe 80 or 90 Qingdao bottles just stacked around. That's the hutong and this is going in the video now. So, instead of stopping there I just kept walking so as soon as the hutong ends you see a Starbucks and then you see all this modern China. Then the video ended up being about 12 minutes long so it matched the audio perfectly.

KL：这确实是一个与众不同的调色板。但是带着GoPro去胡同探险是你日常必备吗？你想在作品里加入中国元素吗？

A：当然啊！我之前做的一个视频叫《烂翻译的校订》，我想做的就是加入中国元素。我住在胡同里嘛，然后我就想中国什么地方是大家不太愿意去的？嗯...胡同啊！所以你在这个视频里也看到有一部分是我去散步的场景。还能看到一个人在清理街上被碾碎的鱼，他身边至少有15条鱼，他坐在那怪吓人的。你再往胡同里走，你会发现有人在小便，再走远点，你会发现有80-90只青岛啤酒瓶堆积在路边，这就是北京的胡同，也是这个视频现在所呈现的。我没有停下脚步，而是继续前行，直到走到胡同的巷尾，遇见星巴克，接着看见现代化的中国。这个视频有12分钟长，刚好和音频时间相吻合。

KL: So, this is an introductory lesson for the uninitiated to China?

A: Pretty much, yeah. That video was quite difficult to work with because it was over two and a half gigabytes so putting that into the rendering software then transferring it to raw data. Adding reverb and chorus to it then going back to a video took at least 15, 20 tries just to get the video back in one piece. At one point it was just a green screen and you could see some movement through the hutong but it was mostly green. Getting rid of that took a while. The final product turned out good. At least, I think so.

KL：所以这是给不熟悉中国的朋友的入门课吗？

A：对啊。这个视频制作起来相当费劲，因为它有两个半字节，我们要把它添入渲染软件，之后又转移成原始数据，然后添加混响和合音，最后转回成视频。我们至少做了15，20次才完成这个视频。对了，这个视频背景为绿色画面，你可以看到胡同里有东西在动，不过动的都是绿色物体。虽然这个视频费了好长时间，但最终效果非常好，至少我很满意。

KL: Does the frustration show through?

A: It does. There were a few times I rage quit, slammed the computer down. It doesn't stop until I open it back up, CTRL-ALT-DELETE, cancel everything, then I rage quit again. Then the drinking starts.

KL: And you get even less done.

A: You get less done.

KL：中途有受挫过吗？

A：有啊，好几次气得我想退出了，啪的一声把电脑一关。之后打开电脑，又气得我按CTRL-ALT-DELETE键，删除所有东西，又是一次放弃，然后接着喝酒去了。

KL：然后你做的越来越少了。

A：是的

KL: Do you think you have a particular visual style that is recognisably your own?

A: Seizure-inducing, chaos, lots of colours, too many colours. I would say, I like going heavy on the greens and reds, you know, Christmas style. Adding distortion to a video, I'd like to think it's my style because I'm not clicking a button that says distort. A lot of it is importing the raw data and finding the effects that I like in a video and then programming it into the software and then using it live. 

KL：你觉得你的视觉风格特别到能被人识别出吗？

A：我觉得我的作品风格是“疯狂、混乱的感觉，丰富饱满的色彩”。我想说的是，我喜欢那种很厚重的绿和红，有种圣诞的感觉，然后视频里再添加点失真的意境，这是我的视觉风格。因为我不会直接点击电脑中某个按钮，让它失真就失真，而是导入原始数据和特效结合，接着编程操作，转到某软件里，然后使用它现场直播。

KL: Does constantly doing video works linked to audio change the way that you listen to music in your everyday life?

A: It does.

KL: Synaesthesia?

A: As far as synaesthesia goes, I can hear a certain bass line and think that would look good on a video. So being able to replicate that on a video takes quite some time to adapt to but once you get it, it’s one of the best feelings. It’s like you just made a sound turn into a visual effect and getting that takes a lot of trial and error but once you get it, it’s worth every second.

KL：那你经常做这些视频和音频连接工作有改变你生活中听音乐的方式吗？
A：有的。

KL：有一听到音乐就联想到图形、数字、色彩或其他东西吗？

A：如果有的话，应该是我能听出一些低音部分，并且能辨认出哪个制作成视频会好看些。当然这也需要花很多时间去复制这些制作成视频。但只要你一完成，就感觉超赞！好比如你只是做了一个声音出来，但你能把它转成视频里的视觉效果，尽管中途经历大量的失败，但一旦完成，你会发现，它值得你花每分每秒。

KL: Are there any particular songs or bands that you want to make videos for, even if it’s only for you to enjoy at home?

A: I have been seeing Dress Code all over these days and would really like to work with them. Those guys are all incredibly gifted musicians with some catchy tunes.  Also, I was listening to zydeco recently and there’s a lot of good driving beats which would probably go so well with some visuals.

KL：你有没有想为一些乐队或歌曲做视频呀？哪怕自己做给自己享受。

A：我这几天一直在看Dress Code ，还想和他们一起合作呢。这些人都是很有天赋的音乐家，创作的曲目朗朗上口。另外，我最近还听一些zydeco（柴迪科舞曲），里头有很多不错的拍子，也许可以很好地将它和一些视觉艺术结合起来。

KL: That’s getting into some diverse genres, there. Do you feel a bit limited by the bands on offer in Beijing?

A: Not really, no. Everything I work with is usually a different genre, from experimental IDM to punk rock and everything in between.

KL：恩...这样类型会很多样化。你觉得北京的乐队受限多吗？

A：也不全是，我的作品基本上都是不同类型的，从实验IDM到Punk摇滚还有一些介于中间的的作品。

KL: If you’re working with someone like Comp Collider where there is a degree of improvisation, do you have to do somewhat of a mind meld with the guys?

A: Yeah. They are in their own world and will change on the ground as they’re moving so I’ll have to adapt with them because I don't know where they’re going. Those guys can read each other and I have no idea where they are going. You have to be where they are going to be without having too much going on, on the screen and they start toning down. Sometimes I do want to go balls to the wall and make it just absolute unadulterated chaos but you have to keep yourself back because if they start toning down their playing style then I have to as well. Or, I could just be an asshole and just keep it going like a strobe light or static. Keeping myself in check is kinda difficult.

KL：如果你要和像Comp Collider 这种即兴表演的人合作，你想和他们心有灵犀吗？

A：当然想啊。其实他们都活在自己的世界里，随着时间的前进，他们也会不断地改变自我，所以我要跟上他们的节奏，因为我不知道他们即将去哪儿。这些家伙能够读懂彼此的心，可我不了解他们。所以我必须在他们身边，跟上他们的进展。为了创造出纯粹的混乱效果，我会全力以赴。有时候若他们想淡化演出风格，我也必须淡化我的作品效果。有时候我也很健忘，忘记检查作品，导致视频一直闪，或者静止不动。不过，提醒自己检查真的挺难的。

KL: In that collaboration are you considered a part of that improvisation? Would you go to their rehearsals or would they talk to you about their intentions?

A: Mostly they tell me their intentions so they say this is what we want to do, this is what we plan on doing, let’s make it work. Usually, I’ll send snippets of the videos to each of the bands or each musician. I’ve only been criticised a few times and always take that into account. Sometimes it’s difficult to rein in the chaos.

KL: Is it always the same person?

A: Usually. Most people are pretty cool.

KL：你们在上次的合作里，你有加入到他们即兴创作中吗？你有和他们一起彩排吗？还有他们有告诉你他们的想法吗？

A：大部分情况下，他们会告诉我：“hey，这是我们计划要做的，我们想做的，我们一起加油。”通常呢，我会给他们发送视频片段。我有好几次因为失误被批评了，所以我对这件事非常重视，尽管有时候很难掌控局面。

KL：都是同一个人？

A：通常吧，大部分人还是挺酷的。

KL: What do you have coming up?

A: After the Noise Arcade and Disco Puppet show at fRUITYSPACE on Wednesday I’ll be at RECroom on April 1st and 8-Bit on April 22nd. I’m also doing a music video for Mike [of Noise Arcade] now. Don't know which song I’m gonna choose but as soon as I figure out, I’ll let you know. We’re making a series of music videos for him and it’s very difficult to keep up with him because the man can put out music. His last album I did one called Developmental Speed. It was so much fun to work with. I just took old footage from beach trips and goofing off around Beijing, spliced them all together. It's kinda creepy at some points because you see the silhouette of a head pop up. As for the series we’re trying to do three, four or five more. Hopefully.

KL：你现在有什么想法？

A：Noise Arcade 和Disco Puppet在fRUITYSPACE演出后，4月1日我会去RECroom 演出，4月22日在 8-Bit演出，我现在也在为Mike [Noise Arcade] 做音乐视频，目前还不晓得选哪首歌，但是如果我确定了歌曲会告诉你的。我们在给Mike的音乐视频做一个系列，但我发现很难跟上他的脚步，因为他总在出专辑。他有一张和我合作的最新的专辑是叫Developmental Speed，这张专辑超级有趣，我只是把从漫步海滩到闲逛北京的老镜头拼接到一起，看上去挺令人毛骨悚然的，因为你会看到一个头的轮廓突然出现在你面前。至于这张专辑，我们希望能做到系列三，四，五这样。

KL: So, it’s definitely a partnership at this point?

A: He’s the musician, I just swim in his wake.

KL: Would you consider doing visuals for anything independent of music?

A: Yeah, I wouldn’t mind doing that. I would like to get involved with art galleries but I haven’t really spoken with anyone about that yet but it’s something that I would like to do in the future. Art galleries or at small bars. I’ve done visuals at Soi Baochao with Van a few times while DJing, for other DJs or just while he’s playing music and just trying out new things. I’d like to do other bars, other environments as well. 

KL：所有你们现在是合伙制吗？

A：他是一名音乐家，我只是帮忙打杂的。

KL：你有想过为除了音乐之外的平台做视觉创作吗？

A：有想过。我想和一些艺术画廊合作，虽然我还没和任何人讨论过这件事，但这是以后我想做的，在艺术画廊或小酒吧现场做视觉。我在宝钞仓库做过几次视觉，Van也一起，他主要打碟。对于其他DJ而言，他们只是图个新鲜，然后随便玩玩玩音乐而已，而我想在不同的地方做视觉创作。

KL: Do you think your vision is more Gulou-centric or would you do stuff at Sanlitun as well?

A: We’ve played at RECroom before with Eclectic Electric. I did one thing last summer with them and it was so much fun. It was a Eurotrash party so we were using old BBC videos and people were getting into it. I think I heard Barbie Girl at least three times that night.

KL: Oh, God!

KL：那你现在的注意力是鼓楼这个圈子还是你也会在三里屯做演出？

A：在和 Eclectic Electric合作前，我在RECroom演出，去年夏天和他们做了一件事，超级有趣。那是一个欧洲派对，所以我们用了一些旧的BBC广播视频，然后大家都投入到制作里，那天晚上，我至少听了三次Barbie Girl 的声音。

KL：天哪！

A: I said, okay, you guys wanna do that? I can do some weird stuff, too. It was pretty fun doing stuff like that. I’ve only played in Sanlitun a few times. I've noticed a lot of people don't really like the chaos aspect that is more welcomed in Gulou so you can definitely see that there’s a dichotomy existing between the two. Wudaokou is a different scene, too. A lot of bars there won't have any visuals. They just put on a movie and say play.

A：然后我说：“你们想做这些是吧？那我也可以做一些奇怪的东西。”其实还是挺有趣的。我在三里屯演出过几次，我发现大家不太喜欢喧闹嘈杂的音乐，这种音乐在鼓楼比较受欢迎。所以你可以看到这两者间还是有些差距的。五道口也是个很与众不同的环境，很多酒吧没有视觉艺术，他们只是简单地放电影而已。

KL: Temple was doing that for a while.

A: I remember Kill Bill was on at one point and I could listen to metal and watch Uma Thurman slice some people up. It’s perfect.

KL: They were stuck on Who Framed Roger Rabbit for a while there.

A: I appreciate that. I’m perfectly fine with Who Framed Roger Rabbit.

KL: After a few blackout drunks, you wake up in the morning and are like, what’s reality? Why was Bob Hoskins there?

A: There are cartoon characters in your room, little birds flying around.

KL：Temple有段时间也是只放视频。

A：我记得有一次他们放Kill Bill 时，在某一片段，我听见了金属的声音和看见了Uma Thurman将人切成一片片，这太有创意了！

KL：他们有段时间热衷放Who Framed Roger Rabbit。

A：我觉得Who Framed Roger Rabbit挺好的。反正我挺喜欢的，没意见。

KL：晚上醉的不省人事后，早上一觉醒来，精神恍惚，然后纳闷：“我在虚拟世界吗？为什么 Bob Hoskins也在那里。

A：这时你的房间里会出现几个卡通人物，然后发现小鸟在飞来飞去。

KL: Let’s wind it up with what’s your dream project? Where do you wanna head from here?

A: I would like to see more musicians have VJs – people who can adapt to music instead of just pressing play on a video. I have seen some people around recently that are doing some pretty great work and I would like to see more of that with bands. Playing music is highly respectable. I love it but having someone that can adapt music to visual design is something I’d like to see more in the future.

KL：好吧，你梦想的计划是什么？你准备朝什么方向发展？

A：我想在不同的演出里看到更多的VJs，我希望这些VJs能将视觉效果和音乐风格相融合，而不是简单地将音乐剪辑成视频。演奏音乐是件受人尊敬的事，我很享受。我最近看到有人在做一些很棒的视觉创作，我希望看到更多这样的乐队。但我更希望看到未来有更多的人可以将音乐与视觉设计相互融合起来。

KL: So, it’s not so much what you’ll do but how you’re going to make an impact on society?

A: Hopefully, people don’t say, God, this sucks! Stop doing it. Hopefully, I’m not going against any movement. I’d like to get more people involved with making designs using raw video as opposed to just finding something on YouTube.

KL: Maybe you’ve gotta work on some sort of propaganda angle.

A: Perfect. Get me in touch with the CPC. I’ll do it.

K：所以，其实你只是想影响这个社会而已？

A：是的，我希望大家不说“我靠，这么垃圾！我不干了！”这种话，当然我不会反对任何形式的创作。我想让更多的人参与到原视频制使用和视觉设计的过程中，而不仅仅在YouTube上纯找东西。

KL：我建议你做一些宣传工作。

A：完美。让我多多了解下共产党。我会的。

KL: Maybe you need to start flashing subliminal messages.

A: We’ve done that before. Just flashing the word “headache” every now and then. I don't know if it worked or not. Maybe the music induced some headaches.

KL: I think you should do something measurable. A visual Simon Says and watch the crowd.

A: That’s a good idea. Tap your head. Jump up and down.

KL: Scratch your nose.

J; I’m gonna have to do that. I'll do that for the Wednesday show and hopefully, can make some people pat their head or turn a few circles.

KL: Or something completely ridiculous.

A: Throw your shoe. Preferably at Michael.

KL：也许你需要放一些通过下意识影响观众的东西 。

A：我们以前试过。在视频里偶尔闪现“头痛”这个词。我不知道是不是起作用了。也许是音乐引起的偏头痛。

KL：我觉得你可以做些“可衡量”的事情，比如放做一个视觉《西蒙说》的视频，接着观看下观众对此的反应。

A：这主意不错。比如拍拍自己脑袋啊，或者蹦蹦跳跳下啊。

KL：挠下鼻子啊。

A：是的，这周三演出我会用下这个技巧，希望我能让一些人嗨到摇头晃脑。

KL：或者让他们做些更疯狂的事。

A：比如朝着Michael扔鞋。

Alkeshka, is a musician, producer and VJ hailing from the United States. His style varies performance to performance, but always contains a particular sort of peculiarity. Catch him VJ with Noise Arcade, 4 Channel Club and bREAKTHEDOLL at RECroom on April 1st and with Noise Arcade and DmH at 8-Bit on April 22nd.

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