1. abacusParts • early experiments

    09:52

    from danielle wilde / Added

    an investigation of the introduction of digital space into a performative context (NYC, 1997-99) Conceived, produced, and artistic directed by Romy Achituv and Danielle Wilde. with: Bosmat Alon, Alison Bradley, Robert Catalano, Matt Dacy, 
Christine Doempke, Charlotte Griffin, Yasmeen Godder, Orit Kruglanski, Merrianne Moore, Sara Shira, Wei Dong, Bruno Vianna and others. video includes: face clamps, scanning, aquarium, reflections on the body and flies

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    • romy achituv & danielle wilde • train story

      08:29

      from danielle wilde / Added

      Romy Achituv and Danielle Wilde (conception, creation and performance) the story relates a personal experience on the New York Subway D train, travelling from Manhattan to Brooklyn. In performance, what you see in the video is created live on stage, captured real-time from above, and rear-projected onto a video screen that floats, suspended in space, above and behind the performers.

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      • abacusParts • flies

        05:05

        from danielle wilde / Added

        Flies is an example of a "2D choreography" which, in performance, is presented onstage, captured in real-time and simultaneously projected.
The image above presents to a low-res quicktime of flies. developed within the context of abacusParts
 concept, realisation and artistic direction: Romy Achituv and Danielle Wilde
 with: Yasmeen Godder and Charlotte Griffin.

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        • Text Rain

          02:43

          from Camille Utterback / Added

          754 Plays / / 0 Comments

          Text Rain is a playful interactive installation that blurs the boundary between the familiar and the magical. Participants in the Text Rain installation use the familiar instrument of their bodies, to do what seems magical - to lift and play with falling letters that do not really exist. In the Text Rain installation participants stand or move in front of a large projection screen. On the screen they see a mirrored video projection of themselves in black and white, combined with a color animation of falling text. Like rain or snow, the text appears to land on participants' heads and arms. The text responds to the participants' motions and can be caught, lifted, and then let fall again. The falling text will land on anything darker than a certain threshold, and "fall" whenever that obstacle is removed.

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          • Encountering 'Text Rain'

            02:42

            from Douglas Imbrogno / Added

            120 Plays / / 0 Comments

            An encounter one day in July 2013 with the video installation 'Text Rain' at the 21c Museum Hotel in Louisville, Ky. This engrossing 1999 video installation piece using projection software is a work by Camille Utterback and Romy Achituv, currently installed in the elevator lobby of the 21c Museum Hotel in downtown Louisville, Ky. The alphabet cascade of letters cleverly form lines from a poem by Evan Zimroth and the letters drop onto whatever human shape is picked up by a camera in the center of the piece. In the words of the installation wall plaque: "'... Reading the phrases in Text Rain becomes a physical as well as a cerebral endeavor." Definitely a destination piece for anyone intrigued by the the possibilities of the intersection between art, technology and coolness. CAMILLE UTTERBACK website:http://camilleutterback.com/ ROMY ACHITUV website: http://www.gavaligai.com/main/home.html 21c MUSEUM HOTEL: http://www.21cmuseumhotels.com/louisville/ THE SOUNDTRACK is titled "Hyperdrive" by The Flow: http://soundcloud.com/the-flow THE VIDEO is a production of TheWebTheater.com: http://thewebtheater.com

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            • abacusParts: boxes

              02:35

              from danielle wilde / Added

              By equating memory with breath and the body as container of identity the boxes embody fundamental aspects of our body-selves as identical, portable, technologically augmented objects. Each stand-alone box contains a fragment of an interview with an Alzheimer’s patient, losing their memory, forgetting what they’ve forgotten. “When you get sick you go where? You go, oh, oh, oh…” “I can’t get my clothes all hung up…” “I knew there was something wrong with me…” “I kept losing my job and I’d go out and get another one…” Fragments of identity embodied in language. Fragments of language embodied in plastic boxes that glow with the voices as they discuss their confusion. Each box contains an electronic circuit, a sound chip, the ability to play and record, and a light calibrated to the volume so they seem to speak or breath with a life of their own. The identity of the voice is thus embodied in a generic, cubic chamber that glows with personality and light. Each box sits on a speaker, providing its own portable amplification chamber. This allows the performers to create different spatial juxtapositions between the voices, the sounds, by simply crossing the stage, and weaving the identical looking people-boxes in and out of each other to create a rich tapestry of embodied voices. At a certain point, shifting from one automatic process to another, the memories that replace each other are themselves replaced with the performers’ breath. The performers literally record their breathing on top of, replacing, the recorded voice, and leave the disembodied breaths to flicker in the space. Breathing, thus is used to signify parameters of the self and we ask what is ultimately left of a person, once memory has been stripped away. The boxes were originally created for the performance, Counting Laps and were later repurposed by Wilde for a performance designed for Spring Street Studios, Soho, NYC. concept, realisation, artistic direction: Romy Achituv and Danielle Wilde 
circuit design: Bruno Vianna
 electronics debugger extraordinaire: Orit Kruglanski Counting Laps performances with Christine Doempke and Merrianne Moore

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              • abacusParts: Reflections On The Body

                01:03

                from danielle wilde / Added

                a single roll of film is threaded through three different projectors. in front of each projector, a woman sits, naked, and uses her body to capture the moving image. each woman has a camera which films the image she is creating on her "bodyscreen", a monitor to control and reflect upon what she is creating and a large screen on which is projected the film moving over her moving form. The three women with their equipment sit side by side in the dark. The resulting images, three iterations stemming from the same source, invite us to consider and reflect upon our assumptions about and relationship to the human body.

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                • danielle wilde & romy achituv: compendium

                  01:02

                  from danielle wilde / Added

                  
a collaboration with Romy Achituv The aim was to create a playful interactive installation which inspires reflection upon the nature of non-verbal communication. Based on the structure of a traditional slide-puzzle, the Installation consists of a suspended screen divided into a grid of twelve rectangles. Eleven rectangles display black and white video close-ups (head and shoulder shots) of different subjects, whilst the twelfth rectangle is blank space. The subjects displayed on the screen were taped performing a theatre exercise in which they were required to respond to a series of prescribed instructions. The exercise directs the performers through a sequence which requires them to switch back and forth between a forward-facing neutral face, and a set of expressions which they adopt and then “pass on to” the person seated beside them. The sequence progresses through seven expressions, building up from a cold look to fully engaged laughter. The interaction in compendium is affected by stroking the faces of the video characters. When the position of the chosen character is next to the vacant space, the chosen video will slide to its new position. While the video is moving to its new location the remaining video clips are paused. As a result, with each change in the spatial relationship between the characters on the screen a temporal change is also affected. Compendium invites reflection upon the nature of non-verbal communication, as nuances of expression and emotion are affected and passed on from one protagonist to another. The changing relationships between the various characters suggest the unpredictability of determining the cause of each affected expression.

Compendium was designed specifically for a museum or gallery context. It has also been suggested that the formality of the simply framed screen and its grid-like structure would be ideal for an architectural environment.

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                  • abacusParts: scanning (performance)

                    00:48

                    from danielle wilde / Added

                    using a modified camera, a woman scans her face and body
 in an attempt to explore her relationship to who she is,
how she perceives herself and how she feels she is perceived juxtaposed and interwoven, a young girl plays with draedels in an underwater world,
her language restricted to the syntax of the lingo programming language circa 1999 created for Counting Laps, within the context of abacusParts conception, realisation and artistic direction: Danielle Wilde & Romy Achituv with Christine Doempke (draedel girl), and Wei Dong 


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                    • abacusParts: Face Clamps

                      00:37

                      from danielle wilde / Added

                      Experiments with worn structures
which measure the opening and closing of the mouth We move the mouth to speak, yet do we speak when moving the mouth? FaceClamps physically extrude the face to magnify and measure the subtle gesticulations of our mouth along two axes, transforming these movements into rich textural soundscapes that offer an alternative to verbal communication. As the mouth moves, the sonic output starts and restarts, shifts register, falters, hesitates and starts again. Language breaks down, loops and becomes abstract textures interwoven with algorithmically controlled sounds. Seemingly unpredictable, the evolving soundscape prompts the performers to extend and exaggerate their mouth movements in an attempt to gain control. Frustration and determination are at times etched in their distorted faces as misunderstandings seem inevitable as interpretation of the sonic output is completely open to subjective response and there seems very little basis for common ground. FaceClamps effectively act as a kind of translation-pantograph, translating and exaggerating from movement to sound in real-time. Mechanically magnifying the normally subtle movements of the mouth increases both visual and mechanical resolution, and the need for control leads to an exaggeration of the wearers’ use of their jaws and mouths. FaceClamps were created in response to the conviction that language is an inadequate tool for communication. Many people struggle with language, and while it’s common knowledge that body language is a highly expressive component of communication, formalised understandings and interpretations of body language seem somehow stilted and sterile, lacking in emotive texture. Using the horizontal and vertical axes of the mouth to trigger and control sound in real-time is, arguably, arbitrary, yet the mouth is an intimate element of verbal communication. The rich sonic textures that result with the use of faceClamps reflect the underlying communicative struggle, and are suggestive of the rich complexity of the communication process. The sonic output of provides a stark contrast to traditional forms of body language. The faceClamps are difficult to wear, just as it is sometimes difficult to communicate succinctly. They thus embody the experience of verbal communication in both functionality and aesthetic. Concept, realisation and artistic direction: Danielle Wilde and Romy Achituv
 Performance: Yasmeen Godder and Danielle Wilde
 Sound Design: Robert Catalano 
Video: Romy Achituv


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