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Second Litany from the List í ljósi - Art in Light Festival 2019. The projection went well, locals loved it and that is always the most important thing - to use the environment and make the work become one with it! Big thanks to organization team for calling me in and making this happen! Any talented artist can try enter the open call on listiljosi.com.
This piece is about relating dance to religious experiences, how it can facilitate them and pose as a spiritual part of people experience without relying on specific dogma.
SPATIAL SOUND ARCHIVE FOR CULTURAL HISTORY EXHIBITION
With more than 200 hours of radio history, transmitter stations, mobile handhelds, and a wifi-based tracking system.
We created an acoustic parcours inviting visitors to dive into 100 years of radio history in close collaboration with Nathalie Singer, Professor for Experimental Radio at Bauhaus Universität Weimar, the artist, architect and musician Cevdet Erek and the exhibition spaces Haus der Kulturen der Welt in Berlin and Museum Tinguely in Basel.
In times of 4k and even higher resolutions, the pixel vanishes.It becomes a thing of the past. Think again, with 756 pixels, 3 color channels and 20cm depth. It's a canvas which feels totally different in terms of movement, speed, sound and light composition. It breathes, it is a living, yet mechanical thing, communicating with it's surrounding.
The EQ Teaser was designed by Atelier Markgraph (Christoph Diederichs). wirmachenbunt (Christian Engler) developed the software, interaction and motion graphics.
Big thanks to vux & colorsound for support.
credits concept & lead: Christoph Diederichs (Atelier Markgraph), software, interaction & motion design: Chris Engler (wirmachenbunt)
In times of 4k and even higher resolutions, the pixel vanishes. It becomes a thing of the past. Think again, with 756 very physical pixels, 3 color channels and ~20cm depth. It's a limited canvas which demands careful decisions in terms of movement, speed, sound and light composition. It breathes, it is a living, yet mechanical thing, communicating with it's surrounding.
Big thanks to vux & colorsound for support.
credits Project by onformative. Production: Julia Laub, Creative Direction: Cedric Kiefer, Art Direction: Moco Ziegler, Technical Direction & Code: Moco Ziegler, Code: João Fonseca, Aristides Garcia, Max Mittermeier, Commissioned by: VOK DAMS, Architecture & Interior: Universal Design Studio / MAP Project Office, Technical Setup: Archimedes Exhibitions, Built with vvvv
»FLUX« is a data-driven art installation visualizing the different facets of the Internet of Things and cognitive technologies. Through four unique visual modes, the sculpture cycles through mesmerizing imagery created through streams of living data. Intelligently engaging with its viewers, the piece is a focal point of the IBM Watson Headquarters, Germany.
credits music::lars leonhard - deep breath, crunch - grama & toe tac t.c. thanks sebl for shadertoys_05. his translation of the mandelbulb node let me research myself on shadertoy.com. I'm not the fittest programmer because I started late (in my adolescence computers were as big as living room cabinets and came from IBM). yes, code understood. it was more difficult to find parameters that are not iterated and to which audio can be added / multiplied without making them misshapen lumps. at first there were spastic twitches with every heavy drum beat. I could fix that. work continues
credits Lorenz Potthast
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.
Concert for piano, dance and realtime graphics system
Gloria Campaner, piano
Natan Sinigaglia, dance and visuals
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.
4-5 Apr 2018 | Piccolo Teatro di Milano| Milan, Italy (World Premiere)
11 May 2018 | Teatro Morlacchi | Perugia, Italy
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
Adriano Scognamillo, Roberto Moro, Valentina Colombo
IED Milano video design students
Marta Di Stasi, Francesca Paglialonga, Asia Sbrugnera, Elisabetta Zecca
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.
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
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