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credits Roberto Vitalini (@Bashiba) .:. Sebastiano Barbieri (@Noir) .:. www.bashiba.com
BASHIBA Zaryadye https://vimeo.com/bashiba/organ
Inauguration of Zaryadye’s Concert Organ | 24 hours live concert
Zaryadye Concert Hall | Moscow | 29.02.2020
"The light will come to life, it will breathe and dance to the sounds produced by the organist, who will be center stage”
Daniele Finzi Pasca
Video memory by Roberto Vitalini, bashiba.com
I was part of the creative team and was present during the 24 hours. The concert offered many memorable moments, this is a mini memory, mainly for the purpose of remembering the work we have done and the fantastic skills of the organists (the sound is simply recorded with the built-in camera microphone, this is not a professional recording).
Organists in order of appearance: Winfried Boenig, Hiroko Inoue, Olivier Latry
24 Organists | 24 hours live concert | 10'000 spectators |
Sound-reactive lighting and generative video content by BASHIBA (Roberto Vitalini and Sebastiano Barbieri) for Compagnia Finzi Pasca.
As a long-term partner, we developed a range of presentation platforms for premium car manfufacturer BMW over the past years. Responsible for concept, technical planning, and software, we came up with solutions on show in Geneva, Paris, Shanghai, Frankfurt, Beijing or Toronto. Tailored to the individual models and their features, the combination of bespoke media content, presentation tools, and physical elements gave BMW’s product geniuses on site powerful means to conduct their pitches.
(c) 2016 by MESO Digital Interiors GmbH
FACING EXTINCTION / VIDEO INSTALLATION (Excerpt)
Facing Extinction is about the Anthropocene and Earths sixth mass extinction event
More than 30,000 species are threatened with extinction.
The IUCN RED LIST OF THREATENED SPECIES:
Initially exhibited as a Projection Mapping at the Goethe Universität in Frankfurt am Main:
Gestaltet und produziert von m box,
Mit Beratung und Archivmaterial von:
Senckenberg Gesellschaft für Naturforschung
Joel Sartore / National Geographic Photo Ark
Louie Psihoyos, Oceanic Preservation Society
Mit Unterstützung von:
Stadt Frankfurt am Main,
Goethe Universität, Frankfurt am Main,
Okeanos - Foundation Of The Sea,
Molco - Cling Film Experts
credits Dresden Xperience Schlösserland Sachsen,tamschickmediaspace,colorsound,vux,ndrv,usomo,matecdresden ,tempestenclosures
Staatliche Schlösser, Burgen und Gärten Sachsen gGmbH
Dr. Dirk Welich
TAMSCHICK MEDIA+SPACE GmbH
Media-Based Scenography: Creative Direction, Creative Producing, Conception, Development of Script, Audio Drama and Music, Media Design, Media Production, Media Technology, Light Design, Fittings
Tobias Ziegler, Hanna Stoff
Ekaterina Petrova (Assistance)
Charlotte Tamschick, Jan Köpper, Elisa Broß, Camila Bernal Samper
Gaël Perrin, Mattis Gutsche
Abraham Manzanares, Julien Vullet , André Viergutz
Planungsbüro Seeger, Dipl.-Ing. Björn Seeger
SchillerWendt GbR, Christian Schiller and Marianne Wendt with TAMSCHICK MEDIA+SPACE GmbH
Not A Machine GbR with TAMSCHICK MEDIA+SPACE GmbH
usomo by FRAMED immersive projects GmbH & Co. KG
lichttransfer, Katrin Söncksen with TAMSCHICK MEDIA+SPACE GmbH
Design: Karin Knott
Realization: Stahlbau Altdöbern GmbH
Archimedes Exhibitions GmbH
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
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
Facebook : https://www.facebook.com/metaman.ath/
Instagram : https://www.instagram.com/metaman.ath/
Bandcamp : https://metamanath.bandcamp.com/
Spotify : https://open.spotify.com/artist/3g0Bl...
Discogs : https://www.discogs.com/artist/118841...
2020 WON TON ©
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.
“Irina” was entirely made in vvvv (the multipurpose toolkit) in addition FieldTrip, InstanceNoodles (both contributions from Kyle McLean) 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.
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.
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