credits LAB BINÆR
The State Textile and Industry Museum »tim« in Augsburg is a wonderful place to dive into the worldwide history of the textile industry. (timbayern.de/en/)
Fashion always has been a big thing in the history of mankind but the conditions for the workers have been and still are pretty questionable:
Sweat, blood, dust, noise, chemicals, mechanical power and lots more of raw materials are processed in huge numbers.
An abandoned building called »Basilika« is one of the last remaining, not yet affected by the gentrification, contemporary witnesses of a time when Augsburg was a big player in the textile industry and it is placed vis-a-vis the »tim«.
In the context of an artist intervention for the fifth anniversary of the museum we created an audiovisual installation for this building.
The performance show takes about 10 minutes and is divided into two very opposed parts:
The first part interpretes aspects of the production process, is black and white and pretty noisy. It is controlled in realtime by an original punch card that normally is used to weave a towel with the lettering »Made in Augsburg« on a loom.
The second part is colorful, enjoyable and with a very contemporary style even though the footage are patterns of cloth from 1806 to 1988 which we digitalized for the project.
For the sounddesign we use samples of original weaving machines and analog synthesizers.
The artwork tries to illustrate the schizophrenia of the industry that is still pervasive although far away for most of us.
The installation F O L D S is inspired by a theoretical examination of the correlation of the human body and the digital image.
The goal is to create virtual spaces, in physical reality, thereby not abstracting people from their own bodies and their relation to physical space around it. In contrast to the long pursued dream of virtual reality - to feel present in a synthetic world - the intent of F O L D S is not to transport the mind to a virtual environment, but to actualize the virtual in physical space and create a tactile experience.
Volumetric shapes and walls are created with light and fog, subdividing the space and remodeling it. Making these spaces shapeable through physical interaction with the body, creates a dialog between the body, the physical and the virtual. The perceived tactility influences the way, one moves through space, sometimes adapting to the constraints of the space, sometimes actively shaping the environment. These interwoven relations between space and the body reflect on the notion of Marc B.N. Hanson, who in his “New Philosophy for New Media”, describes such interactions as the very process that gives meaning to the arbitrary addressable space, that is the digital image.
The mirror is a central part in this arrangement it creates a virtual extension of both the physical and the digital. The room is not only expanded through the image in the mirror, but the light shapes are also cast back continuing the hapes in new directions and creating new spheres of interaction. The mirror is also opening new perspectives, literally reflecting on the relation of the body to the space.
In this total space, virtual and physical become one addressing mind and body to the same
extent and leaving room for interhuman interaction.
Advanced New Media Studio Class
University of the Arts Berlin
Prof. Joachim Sauter, Prof. Jussi Ängeslevä, Dr. Stephan Humer
"Submerging Blue-Black" by Podington Bear (http://podingtonbear.com/)
A short impression of the Choreographic Coding which happened alongside retune conference at Uferstudios in Berlin in September 2014.
Scott deLahunta, Jeanne Charlotte Vogt, Florian Jenett
The participants | Michael Baumann, Till Bovermann, Oliver Connew, Arístides Job García, Ersin Han Ersin, Johannes Helberger & Felipe Sanchez (Kling Klang Klong), Amelie Hinrichsen, Mária Júdová, Anton Koch, Markéta Kuttnerová, Alessandra Leone & Hen (StratoFyzika), Mark Matthes, Lea Pischke, Antony Rayzhekov, Marko Ritter, Nick Rothwell, Joshua Rutter, Stavros Skouras, Bela Usabaev, Simon Weckert, Wooguru
Video | Mária Júdová and Florian Jenett
Music | Nostalgia of an ex-gangsta-rapper by Deef
The lab was co-organised by Motion Bank and NODE Forum for Digital Arts.
Thanks to support by HZT Berlin and Native Instruments we were able to meet at Uferstudios in Berlin with other movement hackers and practitioners to discuss and work on projects, ideas and challenges.
more info choreographiccoding.org/#lab-retune-2014
In a digital culture of apparent, virtual and intangibles realities, of artifacts without soul and disembodied thoughts, Angels (Tribute to Giordano) is a software entity located in the unlikely boundary between a spiritual dimension and other purely technological. If a cyborg is a cybernetic organism result of hybridization between a machine and a body, tell me, how do you imagine the hybridization combining the meaning of the notion of spirit with a technological genesis of 0s and 1s?
Musical biofeedback and movement composition for two actuators and an audience
by Antoni Rayzhekov & Katharina Koeller
Trailer 2014 - 2015
including footage from
ATALAIA Artes Performativas Festival - Ourique Portugal 2014, Old City Prison
NODE15 Festival for digital Arts - Frankfurt Germany 2015, Mousonturm Theater
Zagare Fringe Festival - Zagare Lithuania 2015
Cover Photo by Jessica Schaefer
Powered by VVVV, Senstage, MAX/MSP, Ableton
Joshua von Hofen
Wie sieht ein Ton aus oder wie hört sich ein Bild an?
Die Arbeiten entstanden als experimentelle Versuche, sich dieser Fragestellung zu nähern. Ton und Bild agieren in einem Zusammenspiel, dass sie als Einheit wahrnehmen lässt. Das Gehörte entsteht nur als logische Konsequenz aus dem Gesehenen und umgekehrt. Generative Grafiken, die Klänge durch zufällige Konstellationen und Bewegungen erzeugen, aber auf der anderen Seite auch klar komponiert sind. Mit Kreisen und Linien werden Bilder generiert, die mit unserer Wahrnehmung spielen. Die reduzierten Formen und der Verzicht auf Farbigkeit legt den Fokus auf die Bewegungen und die dabei entstehene Geräuschkulisse. Mit jeder neuen Szene wird eine neue Form und dadurch auch eine neue klangliche Szenerie kreiert. Der Sound besteht nicht aus klassischen Elementen, sondern setzt sich in Anlehnung an die digitale Erzeugung aus Sinuswellen, White Noise-Rauschen und kurzen Klicklauten zusammen. Das Bild visualisiert in abstrakten, grafischen Formen die Erzeugung dieser Klänge.
Die Arbeit entstand im Rahmen des Projekts „Sound and Vision”.
Prof. Tom Duscher, Christian Engler und Martin Sperling
VJLoops.com presents lecloneur VJ Mix recorded live at VJLoops.com studios in Valencia, Spain.
All visual are made in real time using C-Mix, VVVV based application with custom coding.
Audio Track: Liquid Jazz Bass Session 06 by pulsewidth
Visuals available for purchase by visiting: http://www.vjloops.com/lightbox/the-collection-ii-268.html
credits Concept, Lighting design/ Mária Júdová http://mariajudova.net/ Choreography, Dance/ Markéta Kuttnerová Sound programming/ Petr Zabrodský Hardware, Software/ Andrej Boleslavský http://id144.org
Outcome of the residency in Swiss Theatre Roxy based upon our previous bio-interactive dance performance body(input);.
A solo dance speculating on a parasitic relationship between the physical body and technology. It is concerned with the gradual extension of the human senses, the way we perceive the world, ourselves, our physical body and our abilities through innovation. On the other hand it also reflects the increasingly complex technologies that adapt, evolve and become more autonomous.
The interactive light generated according to the dancer’s biological function is used as a metaphor of technology. The way light reacts on the dancer changes during the performance, and thus it also defines their relationship and autonomy. At some point the light reacts accurately on the dancer’s heartbeat, breath and muscle activity, otherwhile the light behaves independently on the input data as an autonomous entity. The focus of the performance is therefore on the ambiguity of the situation in which we find ourselves nowadays and the new questions arising from it.
Thanks to/ Sven Heier, Yves Regenass,Benny Hauser, Mitch Gruss, Opendot, Kristína Dúhová, Miloš Vojtechovský
Supported by/ Roxy Birsfelden, Migros culture percentage, FAMU
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