The term VJ along with its title as an occupation is relatively new in the entertainment business. Its only two letters, V and J combine as an acronym to represent the label, ‘video jockey.’ It is said that the parameters for the responsibilities of a VJ run parallel with that of a disk jockey, otherwise known as a DJ. The definition of VJing, as pinpointed by Eva Fischer’s collective definition, consists of the practice of “video mixing, visual jamming [and] visual live coding” to create visuals in realtime (106). Similar to how DJing is rooted in the practice of selecting and manipulating certain audio tracks, VJing focuses on the manipulation of live visuals originating from that of a “library of media” (106). This vast library is endless in its content, spanning materials from real video loops, movie footage, still photography as well as generated visual material. The results that are obtained from these components’ mutual cohesion are limitless while providing the premise for a visual format that “defies the traditional forms [as well as norms] of a [standard] visual narration” (108).
The main performative character of a VJ performance is as closely related to the structures of music as VJing is related to its counterpart, DJing. The performative is influenced by the compositions and rhythms of music that in all, generate and maintain a “desire to create immersive spaces” (108). It is, however, crucial and ultimately, respectful to be able to decipher between that of a VJ performance and a simple ‘music video screening’. Similar to how one would refrain from trivializing a DJ’s performance to the effortless task of button pressing, one must learn to associate the acts of a VJ beyond and far from the production and projection of a simple and repetitive loop.
The performative format that is VJing, is extraordinary in its similarity to live cinema performances, glistening with liveness and uniqueness that sets them apart from other forms of art and media. A lot of this ubiquitous distinctiveness that occurs throughout VJ performances is dependent on the performing VJ him/herself. The VJ, who must rely on pure improvisation to posit the VJing performance furthest away from other live audiovisual performances, often collaborates with individual musicians to create an external association that is otherwise inherent in other forms of audiovisual performance (not VJing).
While VJing has seen a huge progression in past years, it still has various issues and problems that prevent it from becoming a pure area of innovation void of bias. The term, ‘visual wallpaper,’ as coined by Dabid Bernard is a leading cause in the gradual increase in individuals who deter from pursuing pure VJing. Visual Wallpaper is described as a familiar sense of competition that comes into play as a result of the “dissatisfaction [directed towards ] many VJs, who report being treated and perceived increasingly unfavorably by hosts and audiences” relative to musicians and DJs (113). The visual art created by VJs is often more than not, perceived with less appreciation and respect, as they often become the ‘accompanying acts’ to the main musicians in club contexts. VJs have, since the creation of VJing, “been fighting for fairer treatment and recognition as equal artists” (115).
Over my entire life, I have been fortunate enough to have attended concerts and club events that house various VJ artists as well as DJs/musicians. Most recently, I’ve immersed myself in the atmospheres of both Shawn Mendes and the Chainsmokers, both in which sport distinct personalities and musical genres. The concerts and raves they performed at, respectfully, were all accompanied by the likes of VJ produced real-time visuals. After reading this article, I realize that I am guilty of participating in the act of propagating ‘Visual Wall[paper.’ At either of these events, I failed to take into consideration the uniqueness and liveness that the visuals provide, as well as the arduous work that goes into its creation. I hope in the future, that more people can learn to accept the works of a VJ as an equal artist worthy and deserving of their own respect and recognition.