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credits Dresden Xperience Schlösserland Sachsen,tamschickmediaspace,colorsound,vux,ndrv,usomo,matecdresden ,tempestenclosures
Official Project Site :https://www.tamschick.com/en/projects/festung-xperience/
Credits
Client
Staatliche Schlösser, Burgen und Gärten Sachsen gGmbH
Curator
Dr. Dirk Welich
Lead Agency / General Contractor
TAMSCHICK MEDIA+SPACE GmbH
TMS Tasks
Media-Based Scenography: Creative Direction, Creative Producing, Conception, Development of Script, Audio Drama and Music, Media Design, Media Production, Media Technology, Light Design, Fittings
Creative Lead
Charlotte Tamschick
Creative Producing
Jan Köpper
Project Management
Tobias Ziegler, Hanna Stoff
Ekaterina Petrova (Assistance)
Concept
Charlotte Tamschick, Jan Köpper, Elisa Broß, Camila Bernal Samper
Art Direction
Gaël Perrin
Motion Design
Gaël Perrin, Mattis Gutsche
Software Development
COLORSOUND-IXD S.L.
Abraham Manzanares, Julien Vullet , André Viergutz
Technical Planning
Planungsbüro Seeger, Dipl.-Ing. Björn Seeger
Script and Audio Direction
SchillerWendt GbR, Christian Schiller and Marianne Wendt with TAMSCHICK MEDIA+SPACE GmbH
Sound Design and Composition
Not A Machine GbR with TAMSCHICK MEDIA+SPACE GmbH
Audio System
usomo by FRAMED immersive projects GmbH & Co. KG
Light Planning
lichttransfer, Katrin Söncksen with TAMSCHICK MEDIA+SPACE GmbH
Media Technology
MATEC GmbH
Projector Enclosures
Tempest
Fittings
Design: Karin Knott
Realization: Stahlbau Altdöbern GmbH
Special Structures
Archimedes Exhibitions GmbH
Borodesign
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
Follow METAMAN:
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...
Video by Constantine Nisidis
WEB: https://nisidis.com
FB: https://www.facebook.com/constantine.nisidis
IG: https://www.instagram.com/cnisidis
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.
Refik Anadol
Latent Being
Kraftwerk Berlin
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
23.11.2019
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.
Software: vvvv
Enel Green Power, 2019
Taccani Hydroelectric Station, Trezzo sull'Adda (Mi)
Interaction and Exhibition design by Dotdotdot
with Andrej Boleslavsky, Toby Knyvett, Lucio La Pietra, Sacrèm Studio
Storytelling by Storyfactory
Video by Malaka
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.
Credits
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)
More info
www.volna-media.com/projects/empyrean
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