1. Project by Daniel Franke & Cedric Kiefer

    project documentation :
    onformative.com/work/unnamed-soundsculpture/

    produced by:
    onformative.com
    chopchop.cc

    Documentation:
    vimeo.com/38850289

    Dancer:
    Laura Keil

    The basic idea of the project is built upon the consideration of creating
    a moving sculpture from the recorded motion data of a real person. For
    our work we asked a dancer to visualize a musical piece (Kreukeltape by
    Machinefabriek) as closely as possible by movements of her body. She was
    recorded by three depth cameras (Kinect), in which the intersection of the
    images was later put together to a three-dimensional volume (3d point cloud),
    so we were able to use the collected data throughout the further process.
    The three-dimensional image allowed us a completely free handling of the
    digital camera, without limitations of the perspective. The camera also reacts
    to the sound and supports the physical imitation of the musical piece by the
    performer. She moves to a noise field, where a simple modification of the
    random seed can consistently create new versions of the video, each offering
    a different composition of the recorded performance. The multi-dimensionality
    of the sound sculpture is already contained in every movement of the dancer,
    as the camera footage allows any imaginable perspective.

    The body – constant and indefinite at the same time – “bursts” the space
    already with its mere physicality, creating a first distinction between the self
    and its environment. Only the body movements create a reference to the
    otherwise invisible space, much like the dots bounce on the ground to give it
    a physical dimension. Thus, the sound-dance constellation in the video does
    not only simulate a purely virtual space. The complex dynamics of the body
    movements is also strongly self-referential. With the complex quasi-static,
    inconsistent forms the body is “painting”, a new reality space emerges whose
    simulated aesthetics goes far beyond numerical codes.

    Similar to painting, a single point appears to be still very abstract, but the
    more points are connected to each other, the more complex and concrete
    the image seems. The more perfect and complex the “alternative worlds” we
    project (Vilém Flusser) and the closer together their point elements, the more
    tangible they become. A digital body, consisting of 22 000 points, thus seems
    so real that it comes to life again.

    nominated for the for the MuVi Award:
    kurzfilmtage.de/en/competitions/muvi-award/selection.html

    # vimeo.com/38874664 Uploaded 100K Plays / / 45 Comments Watch in Couch Mode
  2. More info: csismn.com/SYN-Phon

    Graphical notation and composition by Candas Sisman
    Barabás Lőrinc: Trumpet
    Ölveti Mátyás: Cello
    Candas Sisman: Electronics and Objects

    Budapest Art Factory (BAF) is pleased to present to you SYN-Phon; sound performance based on graphical notation by Candaş Şişman featuring Barabás Lőrinc & Ölveti Mátyás. Candaş Şişman resided at BAF for the month of June as part of its cross-cultural fertilization residency program. SYN-Phon will be exhibited to act, as a visual linguistic delivery through a cogitation segment followed by the sound performance on June 29th.

    csismn.com
    budapestartfactory.com
    barabaslorinc.com
    accordquartet.hu

    Coming about to understand the human nature of comprehending linguistics is that of a complex take –on. The constituent elements of language, in general content, bring forward the theory of other minds sharing, with intentioned communication.

    Thought varies with the use and absence of language that comes to be found in line with the development of thinking and impulses from our daily surrounding. Eventually language creates our point of view just as much as our ideas and perception of matters, individualistically.

    Art plays a crucial role in demolishing the boarders of our comprehension our mindset is framed into by literate language. Human language serves as a rather conservative form of communication when comparison to musical language; where the freedom of space employs as a resort for that broad horizon of that, that in search of cutting-edge form of broadcast.

    Candas’s trials of combing various forms don’t necessarily imply the mere creation of a pioneering flash but rather the use of the endless possibilities in associating the known and unknown. Through the unknown, we come about with a new way of thinking that tries to substitute and make space for a new tool of self-expression. Conclusively the graphical notation gives liberate opportunity in creating one’s personal language that holds its basis on feeling the visual and sound in parallel.

    Phonation, in accordance to Candas is the presence of sound language in SYN- Phon where the structure is supported by the synthesis itself. Music in its myriad forms extends to exploiting a communicative human language, thereby making the conceptual idea much more of significant importance than the actual tool. For Candas the presence of music in positively charged negatives spaces is a key element for substitution of the unknown seeking to be expressed. By the happening of SYN-Phon the line of musician will be crossed into a rather freely inflicted composer. Lőrinc and Mátyás as the musical inputs , on trumpet and cello respectively, of the performance will attain free expression
    rightfully to the impulses in line of creating a new language.

    SYN-Phon sound performance will demonstrate an articulation based on Candas’s intimate collective findings of Budapest during the month of June. Buda and Pest in the separate geographical allocation hold different quintessence natures, in addition to the anecdote of recent flooding events of Duna the performance is meant to reach out to the audience as a sensual expressive language. The sound performance will include sounds, constructed and picked up in Budapest recorded by Candas himself.
    The whole bulk graphical notation will be available in print form to be part of the introductory assimilation.

    # vimeo.com/74431122 Uploaded 95.3K Plays / / 39 Comments Watch in Couch Mode
  3. Un rapide montage des 5 jours du labo#4 qui s'est déroulé du 6 au 10 octobre 2009 dans l'agglomération Grenobloise, am-cb.net/projets/labo-4 , dans le cadre des Rencontres I.

    Pour rappeler le principe :
    • 4 personnes qui ne se connaissent pas, d'horizons artistiques hétéroclites.
    • une thématique qui traverse la semaine : l'imaginaire
    • toutes les 48h, entr'ouverture au public pour faire une restitution des matières travaillées pendant les 2 derniers jours (et uniquement celles-ci).

    Merci aux 3 complices qui ont participés
    - Célia Gondol - danseuse
    - Laurent Buisson - musicien
    - Jean Cyril Vadi - auteur et metteur en scène

    et aux deux lieux qui nous ont accueilli :
    - Le Pacifique, Centre de Développement Chorégraphique
    - Hexagone, Scène Nationale de Meylan

    ---------

    In order to make some test with eMotion on stage, I organized a «Labo»
    the basic principles :
    •4 peoples that don’t know each others, from different artistic fields.
    •one thematic for the whole week : the drop/falling
    •each 2 days : public opening, not for a show but to share simply all the idea we had good or not finished or not.

    Thanks a lot to the 3 artists who worked hard during these 6 intense days:
    - Célia Gondol - danser
    - Laurent Buisson - musician
    - Jean Cyril Vadi - author

    I was working with juggling and eMotion.

    # vimeo.com/7042571 Uploaded 2,744 Plays / / 2 Comments Watch in Couch Mode
  4. More information here: anti-utopias.com/kurt-hentschlager-and-ulf-langheinrich-granular-synthesis-modell-5/

    “From a few expressions on the face of the performer Akemi Takeya to a frenzied exploration of the alter ego, any known context of meaning ends in the dissolved movements, is stalled in denaturalized redundancy, in machine pain. The semantic void is too loud to be amenable to meditative reception. The frontal images, the rhythmic structures generate contradictory emotions and great strain. Entertainment is offered and almost violently denied. At the highest level of energy, enjoyment reaches the limit.”

    Sample session performed by Akemi Takeya. Edited on various AVID Suites in England and Austria between 1994-96. Produced by: Mike Stubbs, at HTBA (Hull Time Based Arts) in Hull England. Co-produced by PYRAMEDIA Vienna.

    © Kurt Hentschläger and Ulf Langheinrich / Granular Synthesis. Used here by kind permission from the artists. All rights reserved.

    # vimeo.com/43744967 Uploaded 3,280 Plays / / 5 Comments Watch in Couch Mode
  5. In the panoramic video installation ‘Decidophobia’, the viewer is invited to enter a world of boundless choice. Stepping inside a darkened rotunda, the spectator is surrounded by a perfect labyrinth. While watching the circular projection screen no orientation seems feasible, paths appear and disappear again, vanish completely and new alternatives open up. A Babel-like chatter from all directions in eight different languages enhances the confusion. The soundtrack underlines the visual experience: passers-by express their confusion emitting questions like, where they actually happen to be, where they should go and where they came along. For the audience focusing on one particular voice can be, even in a familiar language, strenuous, which generates the feeling of a missed conversation, a missed opportunity.

    # vimeo.com/37656419 Uploaded 63 Plays / / 0 Comments Watch in Couch Mode

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