LIVING ROOM is a room in motion, evoked not just by the dancers but also by an almost organically living video scenography. The floor gives in, the floor disappears – the space begins to breathe…. Creating a meeting between the human body and a motion sensitive scenography, LIVING ROOM questions who is the puppet and who is the puppeteer – who controls who? LIVING ROOM is nominated to Best Dance Performance of the year at the Danish Performing Arts Awards 2012. (Reumert Awards)
Dancers: Nelson Smith, Siri Wolthoorn, Rumiko Otsuka, Jonas Örknér Choreographer: Tina Tarpgaard Video scenography: Ole Kristensen og Jonas Jongejan Composer: Pelle Skovmand Lighting design: Frederik Heitman Assistant and much more: Jonas Corneliussen Costume design: Inbal Lieblich
Premièred March 12th 2012 At Store Carl, Dansehallerne, Pasteursvej 20, Copenhagen V, Denmark
Hailed by The Australian as the countrys best modern dance company, choreographer Gideon Obarzaneks Chunky Move dazzles audiences with its use of site-specific installations and interactive sound and light technologies. Obarzanek’s avant-garde performances explore the tensions between the rational world we live in and richness of our imagination.
Johannes Birringer is a German-born performance and media choreographer. He currently resides in Houston (Texas) and London, where he has been working in theatre, dance, performance art and multimedia collaborations. Johannes Birringer is artistic director of AlienNation Co., a Houston-based multimedia ensemble that has collaborated on various site-specific and cross-cultural performance and installation projects since 1993.
After directing international workshops on dance and technology in England, Germany, and the US., he was appointed head of the new dance and technology program at The Ohio State University (1999-2003). Since then, Johannes Birringer has worked as curator, conference organiser workshop director and consultant. He has published and edited several journals and his books include Theatre, Theory, Postmodernism (1991), Media and Performance: along the border (1998); Performance on the Edge: Transformations of Culture (2000 and 2005), and Performance, Technology, and Science (forthcoming, 2008).
In 2005 he co-edited Tanz im Kopf/Dance and Cognition, an anthology of new research in dance and science; he is now writing, with Angeles Romero, a critical manual on video and theatre, and a new book on interactive dreaming. He is currently director of the DAP-Lab and Acting Director of the newly created Centre for Contemporary and Digital Performance at Brunel University, where he is a lecturer.
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 Machinenfabriek) 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 “paintingâ€, a new reality space emerges whose simulated aesthetics goes far beyond numerical codes.
FIDELITY is an interactive-video-dance performance.
GAP gallery. Barcelona, May, 2011
choreography: Natalia Brownlie
live visuals: Rodrigo Carvalho
sound design: Miguel Neto [*original sound track : eDit_ants]
live camera: Paulo Pinto
Live visuals with VDMX and QuartzComposer (using rutt etra (by v002.info, and badtv by memo.tv)
PointCloud silluete (at 3:40) with Kinect and 1024KinectFun patch by 1024 architecture (1024d.wordpress.com/).
See the full performance here :: www.vimeo.com/26575684
Realtime sound visualisation made with custom software “Partitura”
Sound by Telefon Tel Aviv
an ongoing collaboration between Abstract Birds and Quayola
Partitura is a custom software built in www.vvvv.org 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.
