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Fantasie#1 is an audiovisual performance for radio telescope, artificial intelligence and self-playing organ.
Located outside of the venue, the radio telescope streams live all incoming data. The received electromagnetic waves are transferred to the audible frequency range. Electronic noises, hums and beeps fill the air. An algorithm transcribes the noise of the skies into midi tones, they are sent to an electronic apparatus operating the organ. During the play various selection and filtering processes (e.g. specific artificial intelligences) are applied in a determined order, serving as a basic score and dividing the piece into three chapters. The artists on stage have a set of parameters available to respond live to the incoming signals, using both the radio telescope and the AI as musical instruments. On the floating canvas above the stage, the sounds turn into abstract images, into a visual representation of what is heard.
Little by little, neural networks take control over the organ and seek in the non-worldly noises for known harmonies, for the smallest traces of human music. In the last chapter, ideas of melodies evolve as the artificial intelligence begins to fantasize about familiar tunes in these alien sounds.
In collaboration with Christian Losert.
Thanks to Sebastian Müllauer for the telescope and Klaus Holzapfel for his Orgamat.
Duration: 25-35 minutes
23.11.2019 – 05.01.2020
Latent Being is the new site-specific installation by Refik Anadol, pioneer in the aesthetics of artificial intelligence. The work responds to the cathedral-like concrete vastness of Kraftwerk Berlin, a former East Berlin power-plant. Visitors will walk through the immersive, interactive environment, in which data relating to the city, the architecture and the visitors will be transformed into hallucinogenic, large-scale AI data paintings. By using a cutting-edge deep learning algorithm to create this interactive AI-human constellation, Anadol challenges our perception of ‘space’ and our relationship with AI machines.
Sound Design by Kerim Karaoglu
filmed at Kraftwerk Berlin
Commissioned by LAS Light Art Space
Video production: Hiroo Tanaka
Director of Photography: Cornelius Diemer
Assistant Camera: Hans Goedecke
Editor: Paul Bröse
© Refik Anadol Studio
© LAS Light Art Space
All Prophets Are Wrong is a sound space governed by the capture of particles coming from the background radiation through a Geiger Counter. The random intervals of the radiation detections are linked to an internal random process of the system that hosts them, which generates the wandering of these signals through 9 bells of old clocks. Released from their original function, the bells are no longer obliged to give the hours, but instead, they count the unpredictable rhythm of invisible particles coming from space.
Following the capricious occurrence of these particles, the bells can remain silent or be activated, and depending on their order and rhythm, occasionally get into resonance between them. Through that subtle listening layer, those resonances and silences seem to want to talk about another quality of links and stories.
All Prophets Are Wrong is part of the project Little Dramaturgy for Technical Objects
Production: Huarte Contemporary Art Center. Government of Navarra.
The large-scale kinetic light installation “Empyrean” was created as a stage design for the event 59 ° 57 '/ 30 ° 19' by Roots United, which took place on Oct. 19th, 2019 at the Mutabor club in Moscow.
The idea and name for the installation is based on the Empyrean, an ancient cosmological image of a higher heaven filled with light and flames. This is a place occupied by celestial bodies consisting of pure light that exist in constant motion while simultaneously being at eternal rest. The installation uses 216 moving luminaries to depict this abstract cosmological world, descending down to the earthly world – in this case the dance floor – from which we can observe the heavenly harmony above.
Concept and production: VOLNA, 2A Production
Video and photo: VOLNA
Lighting operator: Mark Zaicev
Music: Ultra Milkmaids - injection
Project commissioned by Roots United
© VOLNA (2019) © Ultra Milkmaids (2010)
Documentation video of Fantasie#2, performed @Radialsystem Berlin by Maria Reich and Franziska Aller
Fantasie#2 is an audiovisual performance for objects burning in earth's atmosphere, artificial intelligence and human musicians
With the help of an antenna facing south-west, the artists receive the signal from a French military radar system called GRAVES. This transmits radio waves from the ground to space; high atmospheric layers reflect them back to earth. This reflection registers each object as it enters the Earth's atmosphere.
Two musicians perform these data in real time. The noise of the sky is translated to the range of the respective instrument. Atonal soft noises sound unanimously as long as no meteor, satellite particles, unknown flying object or other artifacts disturb the silence of an unharmed atmosphere. However, the impacts of the incandescent objects in the Earth's atmosphere are set to music by both performers together. While one instrument receives the raw signals as notation, the notes of the second instrument are algorithmically alienated: an artificial intelligence searches the raw data for the tiniest possibilities of music, taking these unknown, non-worldly sounds as an occasion to dream of familiar melodies.
In a kind of musical relay, the piece is ideally performed over several hours, taking into account the timeless character of the meteorites, the universe and its potential inhabitants.
In collaboration with Christian Losert.
Special thanks to Ensemble Resonanz.
All pictures and video from performance @Radialsystem Berlin.
Performing musicians: Maria Reich (violin), Franziska Aller (contrabass), Cansu Tanrikulu (voice), James Banner (contrabass),
Created as part of the fellowship program #bebeethoven, a project by PODIUM Esslingen on the occasion of the Beethoven Anniversary 2020, funded by Kulturstiftung des Bundes.
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