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credits Jan Barth, Roman Grasy
PenCon stands for "pen constructor" and is an alternative way to use a
CAD application. We've tried to revive the feeling of drawing while
using CAD software.
credits students: Julia Stäbler Fabian Kreuzer Markus Lorenz Schilling academics: Prof. Hans Krämer Prof. Steffen Süpple
"Watchful" deals with the question how a wristwatch can facilitate one's everyday life.
credits Students Jan Barth, Roman Grasy Support Prof. Hans Krämer Prof. Steffen Süpple
Data or data-streams are not tangible for us at all. We just see graphical abstractions of ones and zeros, visualized as folders, files or loading bars on our screens. Also the capacity or the used space on our hard- or flash drives is just visualized digital. We never know for sure, how much memory is used on the data storage, we carry around with us.
We have seen the opportunity to intensify the existing abstraction of real objects, through the haptic channel. This way, we are able to create new metaphors and make technology feel more human.
Using as title a Ludwig Wittgenstein formula, this composition deals with references, meanings and similarities. Is there something that is completely identical to another? How far you can make copies without changing the original? Do the copies themselves change the meaning of the original? Questioning tautological concepts, the performance aims to show in sound and image, this relationship. The work is performed using video-mapping techniques, creating illusions of three-dimensional depth to the viewer. On two symmetrical screens, shapes and objects are opposed, seeking to analyze, through images and sounds, the relations of equality, reality, their significant and meaning.
The composition is divided into five parts, each one dealing with a theme in some way related to the work title. In the first part, the images speak of identity. Something or someone can be exactly like another? what characterizes the identity? Why do people constantly seek an identification with a group, trying to fit into labels that would ensure an identity "itself." The second part deals with the relationship between signifier and signified. Testing the limits of language, a poem is spoken beginning with phrases that have meanings and logic and, over time, deconstructions in the syntax and the creation of neologisms lead to a search for the ineffable, the whole that is beyond language. The next part subject is the illusion of the senses. Optical illusions suggest that what we see is not always the truth, if it really exists. In the fourth part, are treated opposites (x equal to not x). With minimal use of colors, graphics will fight for a space on the screen. The final part is about the limit of use of the words. There are no words sufficient to noun everything that exists, so gaps are formed. In an attempt to create a utopian spectrum that could name everything, words and phrases are broken down, leaving its original form and seek to belong to a continuous thread that connects all that exists.
more info: http://hol.1mpar.com
credits timelapse/(Mnemosyne) - world premiere Choreography, Concept and Staging David Dawson Music Scanner Set Design Eno Henze Costume Design Yumiko Takeshima Light Design Bert Dalhuysen
In the meantime, this has happened. Here some stage images:
(Het Nationale Ballet, Amsterdam. Photography Eno Henze)
Music is originally built for a 6-channels setup.
Premiered at TecArtEco Festival, Lugano (Switzerland), May 2011.
credits thanks to vvvv-kinect-openi sceleton patches!!! and biggest thanks to vvvv!
- check the video of performance
Sometimes it seems as if I were looking at myself from the outside. As if the imaginary camera eye moved away from first person view to third person view. I think it is an error in perception. Brain creates reality in itself after all and senses are only reference points for its creation. But I know what a feeling it is. It is as to look at the whole chaos of life from from above and to feel the line around which new events spring up. It is a united line which is the median of everything that happens.
In my work I'm looking for a composition in visual and audio chaos which which is unified by one line. I am accepting chaos and falling into it while still trying to have control over what I am doing. It is as lucid dreaming - lucid or dreaming awake is dreaming while being aware of dreaming. Operating the installation is like searching for the house in which I am - I will never find it but I can feel it.
The interface works through kinect - a device for the game console xbox 360, and the visual coding software vvvv. The piece can be comprehended as a musical instrument which is an innovative combination of object control and work with the body. This is the first version that will evolve into a more complex performance.
The work originated from the impulse at kinect workshop in progressbar and it was displayed as an output of this workshop at the festival Multiplace 2011 in Bratislava. The pieces at the festival work as remakes and my installation works with the folloiwing: "Wojciech Bruszewski - The Music of BEhaviours" a "David Rokeby (1982) - Very Nervous System (1986-1990)"
link for this work in my portfolio: http://vitazek.com/?portfolio=lucid
credits An ongoing collaboration between Abstract Birds and Quayola
Partitura is a custom software to generate realtime graphics aimed at visualising sound. The term “Partitura” (score) implies a connection with music, and this metaphor is the main focus of the project. Partitura aims to create a new system for translating sound into visual forms. Inspired by the studies of artists such as Kandinsky, Paul Klee, Oscar Fischinger and Norman McLaren, the images generated by Partitura are based on a precise and coherent system of relationships between various types of geometries. The main characteristic of this system is its horizontal linear structure, like that of a musical score. It is along this linear environment that the different classes of abstract elements are created and evolve over time according to the sound. Partitura creates endless ever-evolving abstract landscapes that can respond to musical structures, audio analysis and manual gestural inputs. It is an instrument that visualises sound with both the freedom of spontaneous personal interpretation/improvisation and at the same time maintaining the automations and triggers of mathematical precision.
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Partitura defines a coherent language of its own for the creation of new contemporary abstractions. It is within this system that Partitura creates worlds that expand from a single dot to multiple galaxies, from minimalism to complexity, from rigid to elastic, from solid to liquid, from angular to smoothness, from tentative to boldness, from calm to agitation, from slow to fast, from desaturated to saturation, from dark to lightness, from predictable to unpredictability. Literally ‘everything’ and its opposite… just like a musical flow.
http://www.abstractbirds.com/partitura/
http://vimeo.com/abstractbirds/partitura001
http://www.flickr.com/photos/abstractbirds/sets/72157626655734158/
credits www.soundframe.at www.indat.at
anamorphic mapping object by unlicht (unheilbar & lichterloh)
After "anna.null" has remained a concept in our drawers, we followed an invitation by the sound:frame festival 2011 to realize "anna.eins", as part of the festival's exhibition.
"anna.eins" is all about deconstructing space, challenging perception, demanding truth.
While the spectator is forced to wander around to find this single perspective, where all the distorted parts unite to form a recognizable object, fragile becomes heavy, small becomes big and confusion seems to disappear....so, how about truth?
www.lichterloh.tv
www.unheilbar.at
credits Alessandro Perini; Stefan Östersjö
Alessandro Perini
"La escritura del dios" (2010)
for electric/MIDI guitar, live electronics and interactive video
Stefan Östersjö, guitar
December 4th, 2010
Inter Arts Center, Malmö (Sweden)
The reference is to one of Jorge Luis Borges’ short stories, included in El Aleph. In Borges’ text, an Aztec priest is imprisoned by a spanish conquistador. The priest/magician tries to decipher the spots on the fur of a jaguar in order to find a magic formula that would set him free.
In this piece, the magic formula is constituted by two scales (derived from the tuning of an Aztec flute) used to build the entire musical plot. This formula is then hidden and filtered in different ways, following the processes occurring on the visual level. The interactive video system, reacting to the guitar’s audio and MIDI signal, plays with a granular background of sand (dreamt by the priest in the short story), a fragmented image of the jaguar and a set of symbols taken from the codex Fejérváry-Mayer, an Aztec mauscript containing a sacred calendar.
Webpage of the project with full video:http://tinyurl.com/3eus4kp
Author's webpage:http://www.alessandroperini.com
IAC/Malmö webpage:http://iac.lu.se
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