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Der Singende Kopf is an experimental opera fragment by Marc Sinan with a libretto by Maike Wetzel and resembles one third of the Endless Pleasures triology. The piece is based on Ovids epilogue on the story of Orpeus and Euridike and the Chinese Opera The Peony Pavilion.
For the performance the stage was transformed into an immersive room on the edge between reality and virtuality, resembling Orpheus way between life and death. The four by four grid of vertical light poles react in realtime to the performance of the partly improvising musicians, while the reflections of the light sculpture beutifully reflect on the stage floor, which was completely covered with mirror foil.
First performance at Radialsystem Berlin on April 6th, 2019
Ensemble ConTempo Beijing
Xiong Xiohan (Dizi)
Fanhe Liu (Pipa)
Jiakang Zhang ( Zheng)
Yang Zheng ( Sheng)
Marc Sinan Company
Oğuz Büyükberber (Klarinette)
Daniel Eichholz (Schlagzeug)
Almut Kühne (Gesang, Performance)
Marc Sinan (E-Gitarre. Elektronik)
Performance: Rike Schuberty
Komposition, Musikalische &
Künstlerische Leitung: Marc Sinan
Libretto: Maike Wetzel
Objekte/ Konzept & Performance: Ulrike Langenbein
Dramaturgie: Holger Kuhla, Maike Wetzel
Produktionsleitung: Eric Nikodym, Annika Stadler // YMUSIC
Sound reactive video featuring original footage compiled and composited in VVVV
All instruments except guitar played simultaneously on an EWI USB MIDI wind controller.
Each panel reacts to instrument's sound as follows:
Panel 1 - Baritone Saxophone
Panel 2 - Tenor Saxophone
Panel 3 - Trumpet
Panel 4 - Tenor Trombone
This is a project of the master program digital healthcare of FH St. Pölten (Austria). This prototype simulates an x-ray tube, which is controlled by gestures. This is supposed to be an approach to reduce germ transmission as well as to increase ergonomics for radiographers. For the development, Leap Motion was used for hand tracking, VVVV for processing and Arduino for mechatronics.
The first solo exhibition by VOLNA, presenting a reconstruction of the art collective's major works from 2016 – present in a virtual space. The exhibition spaces and installations were created using video game development tools (Unreal Engine) that simulate real-time scenes and lighting effects. VVVV was used to reproduce the real-life behaviour of the installations (as they were mainly controlled via VVVV in the reality). Exhibition visitors are invited to immerse themselves in the surroundings of each installation and can move freely in the room and choose any observation point.
Time always concerned even gods, the perfect beings. Aphrodite (or Venus) is an ultimate symbol of beauty and youth that shall be destroyed in order to be preserved only as a memory.
video edit of the single IRINA from the debut LP of the same title by METAMAN.
Out now on vinyl by WON TON records!
Digital distribution Just Gazing records
“Irina” was entirely made in vvvv (the multipurpose toolkit) in addition FieldTrip, InstanceNoodles (both contributions from Kyle McLean (aka everyoneishappy ) and some other custom tools, made in C# and HLSL, were used during the creation process.
The content itself is a result of an audioreactive experiment, where sound frequencies, a beat and some MIDI instructions contribute equally to the final result. Parameterization succeeds timelines and 3d -polished - graphics are being replaced by a thick grainy fog with a “raymarched” head which is constantly evolves and mutates proceduraly to noisy and abstract shapes.
The entire project is part of a purpose made and designed tool capable to support METAMAn on their live shows as a real-time content generator, therefore this version of the video is just one yield or a variation of a bigger abstract-visual dynamo.
2020 WON TON ©
The audiovisual project Beethoven recomposed commissioned by german broadcasting company WDR is a unique approach to make the music of Ludwig van Beethoven tangible for people with and without hearing impairment.
In order to let the whole audience experience a classical concert with their eyes, the symphony was translated into a visual journey through three generative worlds following the melodic motion, rhythm and changes of mood. These visuals were projected on a large monolitic canvas hanging above the orchestra. On each side of the canvas three LED strips were added to open up the stage scenery in form of the orchestral pit. While the projection aimed at telling a coherent story and reflect the narrative and emotional aspects of the music, the lower resolution and different light intensity of the led strips was used to convey the music in a rather didactive way.
Orchestra: WDR Funkhausorchester
Musical Direction: Wayne Marshall
Composition: Stefan Behrisch
Direction: Annechien Koerselmann
Idea: Katharina Höhne
Software & Visuals & Stage Design: schnellebuntebilder
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