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credits Lorenz Potthast
A sculptural object consisting purely of a material with screenic properties.
MORE INFORMATION: http://www.lorenzpotthast.de/screenization/
What if screens could be shaped into any form? What would happen to our expectations of forms and materiality, if all surfaces contained screenic properties?
Following the tendency of screens for self-effacement, the materiality and surface condition of the object step back in favor of its content: The appearance of the sculpture is defined purely by its screenic materiality. As a mock-up of a screenitized object, the sculpture simulates the behavior of screenic properties outside a flat rectangle. Regardless the technologies used, the sculpture questions our understanding of shape, material and surface in a world where screens are increasingly dominating our visual perception.
A screenic sculpture was built, that consists of a thin mold of semi-transparent plastic, cast from epoxy resin. The form of the object is deliberately designed as a “non-shape”, not representing any known form and also the materiality of the plastic is strangely unfamiliar. In the inside three mini-projectors are mounted with a custom-built short-throw lens system. A specific projection setup creates a seamless coverage that fills the whole object from the inside. The projectors are battery driven and wireless connected, and therefore allow for the sculpture to be moved around in space freely without limitations or shadowing. The images shown on the surface can reach from abstract shapes to concrete depictions and are controlled by a VVVV patch on an external computer. A modification of the VLC player is used to send the video data to the three Android projectors synchroniously. This parallel existing digital version of the object is used to merge virtually simulated properties with the physical appearance of the object in real-time. Using different sensors for tilting or touch recognition, the object can behave according to its context and be interacted with.
This project is part of Lorenz Potthast’s Master Thesis “Screenization - On the Diffusion of Digital Screens” in the Digital Media program at the University of Arts Bremen. It combines a detailed examination of the historic development of screens and theoretical thoughts about the essence of screenic properties with two experimental infrastructures to make speculations about screens of the future tangible. Furthermore it is embedded in the ongoing research on experimental screens with his collective for audio-visual art Xenorama.
By Lorenz Potthast
Music: Solar Nexus (Tim Heinze & Richard Oeckel)
Thanks to: Mulu, Felix, Raymond, Jonas, Frieder, Dennis, Moritz, Richard, Marcel, Tim, Lukas, Chang, Özgür, Max, Lulu and all the Digital Media Studio inhabitants and the Master-T group, Bettina, Asli, Roland, Ernie and many others.
http://natansinigaglia.com/works/mousike/
Concert for piano, dance and realtime graphics system
2018
Artists
Gloria Campaner, piano
Natan Sinigaglia, dance and visuals
Music program
Bach / Siloti - Preludio in si minore BWV 855a
Pärt - Für Alina
Bach - Suite inglese n. 3 in sol minore BWV 808
Skrjabin - Studio in do diesis minore op. 2 n. 1
Skrjabin - Vers la flamme op. 72
Bach / Kempff - Siciliano in sol minore dalla Sonata per flauto n. 2 BWV 1031
Prokof’ev - Toccata op. 11
In ancient Greece, the term Mousiké was used to indicate the most important form of representation, an essential tool for every citizen’s education.
This artistic practice was expressed in three inseparable and complementary ways: poetry (singed words), instrumental music and dance. Through the perception of harmony (rhythm) between the components of mousiké, a person was able to forge his identity recognising himself as one element in the harmony of cosmo, becoming in this way "citizen of the world".
The Mousiké project wants to get back to this original vision of the artistic act as a symphony of multiple expressive forms: combining instrumental music, real-time visuals and body movement to find in their corality an essential symbol of the human’s complexity.
A Fazioli grand piano was specifically modified to allow two different worlds like classical music and contemporary digital art to establish a dialogue: a sensor bar placed under the keys of the piano captures every gesture and action of the musician, providing this informations to the software that will later interpret it to generate the visuals.
By using a tracking system device the visual artist interacts with the software through the language of movement; the body becomes in this way a sophisticated and precise interface that provides meaningful data to the system.
A custom made software uses the data extracted from the piano and the dancer’s movement to generate and animate the visual compositions, allowing the artists to react immediately to the visual feedbacks and explore the vibrant space in between the languages.
Performances
4-5 Apr 2018 | Piccolo Teatro di Milano| Milan, Italy (World Premiere)
11 May 2018 | Teatro Morlacchi | Perugia, Italy
Credits
Programming contributions:
Tebjan Halm, Julien Vulliet, Kyle Mclean, Michael Burk, Johannes Timpernagel
Commissioned by Società del Quartetto di Milano
In co-production with Fazioli and Piccolo Teatro di Milano
Photo:
Adriano Scognamillo, Roberto Moro, Valentina Colombo
Video shooting:
IED Milano video design students
Marta Di Stasi, Francesca Paglialonga, Asia Sbrugnera, Elisabetta Zecca
Video Editing:
Ivan Bottelli
ALEA(s) is an audiovisual collective based in Brussels joining the forces of illustrator FSTN, musician and synth manufacturer Shakmat and motion graphic designer Boris Wilmot.
Born from the will to offer a unique live experience, ALEA(s) delivers boiling, improvised performances mixing live drawing, video animation and electronic music.
Surrounded by their audience, the three members are busy creating their show, without any safety net. While the complex, loaded electronic music fills the room, the illustrator’s physical implication in his drawings and the hypnotic animations projected onto the big screen unite to finish this well-rounded show.
ALEA(s) performances are often described as immersive, intense and crafted.
http://aleas.be
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Part of my MA Thesis: VR Robotic Controlling
Couldn´t keep my feet still: though im working on a proper documentation, i want to give you a quick look on what i was working on
more explanation and credits will follow
Concert for piano and real-time graphics system
2018
Gloria Campaner, piano
Natan Sinigaglia, visuals
Music program:
Bach / Siloti - Preludio in si minore BWV 855a
Pärt - Für Alina
Bach - Suite inglese n. 3 in sol minore BWV 808
Skrjabin - Studio in do diesis minore op. 2 n. 1
Skrjabin - Vers la flamme op. 72
Bach / Kempff - Siciliano in sol minore dalla Sonata per flauto n. 2 BWV 1031
Prokof’ev - Toccata op. 11
Commisioned by:
Società del Quartetto di Milano
in collaboration with:
Fazioli
in co-production with:
Piccolo Teatro di Milano
Video shooting
IED
Aid Kid AV live concert for For Spectaculare festival 2018 Prague.
credits
Music: Aid Kid
Visuals: Pavel Karafiát
Venue: CAMP Prague
Festival: Specraculare festival
Software: VVVV, Instance noodles, Dx11.particles, Reality Capture, Houdiny
Setup: 4 x 1080 projectors, 4 channel sound
Camera: Lunchmeat studio
Photos: Vojta Zikmunda, Milan Kratochvíl
Visual System had the pleasure to present a visual and sound performance in the famous Centre Pompidou during The FIAC. Laurent Garnier and Pedro Winter performed in this giant Dj Booth. The contents were both pre-programmed and react in real time with the music.
For TodaysArt festival of 2018 Carolien teamed up with RNDR to create projections on De Volharding.
De Volharding Building (1927–28) is a design by Jan Buijs and is De Stijl or cubistic in conception, influenced also by Russian Constructivism and clad entirely in glass. It was "a city-scale luminescent sculpture", an internationally famous example of architecture of the night, "probably the most frequently cited example for the potential applications of a future 'light architecture' in 1920s Europe".
https://en.wikipedia.org/wiki/Jan_Buijs#De_Volharding_Building,_The_Hague
During TodaysArt the light panels on the facade where once again illuminated, this time by means of digital projections.
The light panels transformed from being carriers of data about the festival into individual organically moving color pixels.
The typographic animations which used the TodaysArt program as input, where generated by RNDR studio https://rndr.studio/
using their creative coding framework called openRNDR
https://openrndr.org/
Made possible by Asahi and Peter Zuiderwijk
Θ Theta: Sensory Feedback System is an interactive installation for two people that generates images in the mind of one user with the help of the neuronal activity of a second user. It is a feedback loop that both users close by wearing each one a EEG device and looking into blinking lights that are synchronized to the frequency of the other user's neural oscillation. The lights blink so fast that the mind tries to give them meaning creating patterns and forms that resemble real objects, scenes or landscapes.
Neural activity is codified in light and both brains communicate with each other using a non-human language. It is a syntax composed of frequency and amplitude of bioelectrical signals that travel through cellular membranes because of visual stimulation.
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