credits timelapse/(Mnemosyne) - world premiere Choreography, Concept and Staging David Dawson Music Scanner Set Design Eno Henze Costume Design Yumiko Takeshima Light Design Bert Dalhuysen
In the meantime, this has happened. Here some stage images:
(Het Nationale Ballet, Amsterdam. Photography Eno Henze)
Music is originally built for a 6-channels setup.
Premiered at TecArtEco Festival, Lugano (Switzerland), May 2011.
credits thanks to vvvv-kinect-openi sceleton patches!!! and biggest thanks to vvvv!
Sometimes it seems as if I were looking at myself from the outside. As if the imaginary camera eye moved away from first person view to third person view. I think it is an error in perception. Brain creates reality in itself after all and senses are only reference points for its creation. But I know what a feeling it is. It is as to look at the whole chaos of life from from above and to feel the line around which new events spring up. It is a united line which is the median of everything that happens.
In my work I'm looking for a composition in visual and audio chaos which which is unified by one line. I am accepting chaos and falling into it while still trying to have control over what I am doing. It is as lucid dreaming - lucid or dreaming awake is dreaming while being aware of dreaming. Operating the installation is like searching for the house in which I am - I will never find it but I can feel it.
The interface works through kinect - a device for the game console xbox 360, and the visual coding software vvvv. The piece can be comprehended as a musical instrument which is an innovative combination of object control and work with the body. This is the first version that will evolve into a more complex performance.
The work originated from the impulse at kinect workshop in progressbar and it was displayed as an output of this workshop at the festival Multiplace 2011 in Bratislava. The pieces at the festival work as remakes and my installation works with the folloiwing: "Wojciech Bruszewski - The Music of BEhaviours" a "David Rokeby (1982) - Very Nervous System (1986-1990)"
link for this work in my portfolio: http://vitazek.com/?portfolio=lucid
credits An ongoing collaboration between Abstract Birds and Quayola
Partitura is a custom software to generate realtime graphics aimed at visualising sound. The term “Partitura” (score) implies a connection with music, and this metaphor is the main focus of the project. Partitura aims to create a new system for translating sound into visual forms. Inspired by the studies of artists such as Kandinsky, Paul Klee, Oscar Fischinger and Norman McLaren, the images generated by Partitura are based on a precise and coherent system of relationships between various types of geometries. The main characteristic of this system is its horizontal linear structure, like that of a musical score. It is along this linear environment that the different classes of abstract elements are created and evolve over time according to the sound. Partitura creates endless ever-evolving abstract landscapes that can respond to musical structures, audio analysis and manual gestural inputs. It is an instrument that visualises sound with both the freedom of spontaneous personal interpretation/improvisation and at the same time maintaining the automations and triggers of mathematical precision.
Partitura defines a coherent language of its own for the creation of new contemporary abstractions. It is within this system that Partitura creates worlds that expand from a single dot to multiple galaxies, from minimalism to complexity, from rigid to elastic, from solid to liquid, from angular to smoothness, from tentative to boldness, from calm to agitation, from slow to fast, from desaturated to saturation, from dark to lightness, from predictable to unpredictability. Literally ‘everything’ and its opposite… just like a musical flow.
credits www.soundframe.at www.indat.at
anamorphic mapping object by unlicht (unheilbar & lichterloh)
After "anna.null" has remained a concept in our drawers, we followed an invitation by the sound:frame festival 2011 to realize "anna.eins", as part of the festival's exhibition.
"anna.eins" is all about deconstructing space, challenging perception, demanding truth.
While the spectator is forced to wander around to find this single perspective, where all the distorted parts unite to form a recognizable object, fragile becomes heavy, small becomes big and confusion seems to disappear....so, how about truth?
credits Alessandro Perini; Stefan Östersjö
"La escritura del dios" (2010)
for electric/MIDI guitar, live electronics and interactive video
Stefan Östersjö, guitar
December 4th, 2010
Inter Arts Center, Malmö (Sweden)
The reference is to one of Jorge Luis Borges’ short stories, included in El Aleph. In Borges’ text, an Aztec priest is imprisoned by a spanish conquistador. The priest/magician tries to decipher the spots on the fur of a jaguar in order to find a magic formula that would set him free.
In this piece, the magic formula is constituted by two scales (derived from the tuning of an Aztec flute) used to build the entire musical plot. This formula is then hidden and filtered in different ways, following the processes occurring on the visual level. The interactive video system, reacting to the guitar’s audio and MIDI signal, plays with a granular background of sand (dreamt by the priest in the short story), a fragmented image of the jaguar and a set of symbols taken from the codex Fejérváry-Mayer, an Aztec mauscript containing a sacred calendar.
Webpage of the project with full video:http://tinyurl.com/3eus4kp
credits Alexander Bogdanov Elena Azzedin P-lab
"Spoken World" in collaboration with other poets and musicians (poetry, vvvvisuals and music) for the P-Lab (Laboratory of Poetry)
credits Antonio Buendía Pagan Eva Sans Elena Azzedin Alexander Bogdanov REC Live cinema festival 2010
Audiovisual performance made with vvvv where Antonio Buendía Pagan played ethnic instruments and Eva Sans painting live on stage representing the analog, Alexander Bogdanov with live visuals and live electronic music, Elena Azzedin with live digital drawing. This project was one of the 6 projects selected in the international competition section of the REC Film Festival in Tarragona. April 2010.
credits Tresorg Imagenacion, Chussa Alcaraz, Belen Orta
"Line, a moving point" (Contemporary dance and live video synthesis ) with Chussa Alacaraz, a work integrated in "Lunatics" initiative coordinated by Belén Orta.
"Línea, un punto en movimiento" ( Danza y síntesis de vídeo en tiempo real) con Chussa Alacaraz, obra integrada en la iniciativa Lunáticos comisariada por Belén Orta.
credits Players: Iris Andraschek, Joshua Thornton, Steven Morel, Diego Shea, Dan McGee, Jenny Parsons, Randy Martin, Dyan Jones. Twilio, Python and VVVV support by Rob King. Camera by Michael Tweed.
Jordan Bimm, NOW Magazine:
Geoffrey Shea takes on digital billboards with his interactive music projection piece TRIO. Revellers will be confronted by large projections of three folk musicians jamming, while corresponding audio tracks mix together to create a song. Viewers can dial a number on their mobile devices to change musicians in the trio – there’s a pool of nine, each with a different instrument – and create a new audio mix in the process.
Shea says he chose to showcase folk music because of its politics of participation and inclusion. “Folk was started by people who felt like they had something to say, who wanted to get involved. As a genre, it puts less emphasis on technique, and makes music more accessible.”
While it might seem contradictory to link folk music and high technology, Shea explains that the connection is all about art and democracy. “Everyone is getting creative with digital media these days, so I see media art as the new folk art.”
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