Modules
Modules is a VR art experience, where architecture, sculpture, film, and music blend together to immerse viewers into Zhestkov’s world. A total work of art, it is a world that questions the established definitions of our reality. In digital space, we can abandon the logic of reality and are freed from its boundaries. New worlds with total freedom are possible, worlds only limited by our creativity and the potential of art.
EGO
FILE 2024 | Installations
International Electronic Language Festival
The mirror stage in psychology explains how the Ego forms through objectification, where one’s visual appearance comes into conflict with emotional experience, a concept called ‘alienation‘ by psychoanalyst Jacques Lacan. The interactive installation EGO reenacts and reverses this process by distorting the mirror image based on the user’s movements, highlighting the tension between the real and the symbolic, the Ego and the It, subject and object.
Bio
Klaus Obermaier is an interdisciplinary artist, director and composer who creates innovative works in the performing arts, music and installations using new media. Stefano D’Alessio researches social issues induced by the internet and explores how the web and its derivatives influence human behavior and the body. Martina Menegon creates intricate assemblages of physical and virtual elements, exploring the contemporary self and its hybrid corporeality.
Speculative Evolution, Prototype 1
FILE 2024 | Installations
International Electronic Language Festival
Speculative experiment on a future ecosystem under strict control. The narrative takes place in a simulation, 30 years in the future, where artificial intelligence and synthetic biology collaborate to optimize an environment for cultivated species. An AI-powered simulator helps visitors generate new species to balance the ecosystem. Inspiration comes from the book Under the White Sky by Elizabeth Kolbert and artists’ stories about life on a damaged planet.
Bio
Marc Lee is a Swiss artist focused on real-time rendered audiovisual installations, AR, VR and mobile applications, critically exploring creative, cultural, social, ecological, political and speculative themes. His work has been exhibited in important museums and new media art spaces. Shervin Saremi is an Iranian musician and audio engineer specializing in sonic computing, procedural sound design and production. Currently researching immersive audio at UdK Berlin.
The Forgettable Art Machine
FILE 2024 | Installations
International Electronic Language Festival
The Forgettable Art Machine is an artificial intelligence-driven video installation. When facing the panel, the public has their image captured, starting a cycle of analysis, creation and destruction. From this data, a composite emerges, slowly transforming the visitors’ image into a generative visualization. Once the cycle is complete, the composition is deleted, waiting for a new audience to be captured.
Bio
Matthias Oostrik works at the intersection of digital art, installation art, cinema and architecture. His works establish unpredictable relationships between people and their surroundings. Using digital technology, his installations allow visitors to reshape their environment and their relationships with each other. Oostrik collaborates with renowned professionals and, above all, with his audience, who often become an integral part of his work.
Credits
Co-production: Zester
IA Music: Than van Nispen
Space Odyssey 2002
FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Valentin Rye – A Space Odyssey 2002 – Denmark
This video offers a surrealist take on futuristic sci-fi concepts from the 60s and 70s. Imagine a future colonization of Mars where interior design is given an avant-garde twist. It was created by brainstorming visual ideas, generating countless images, refining the best ones and assembling them into clips. After careful selection, these clips have been organized into a cohesive timeline, accompanied by atmospheric music to enhance the overall experience.
Bio
Valentin Rye is a self-taught machine whisperer based in Copenhagen, deeply passionate about art, composition and the possibilities of technology. He has been involved in AI and neural network image manipulation since starting DeepDream in 2015. While his IT work lacks creativity, he indulges in digital arts during his free time, exploring graphics, web design, video, animation and experimentation with images.
HYSTERESIS
FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Robert Seidel – HYSTERESIS – Germany
HYSTERESIS intimately weaves a transformative fabric between Robert Seidel’s projections of abstract drawings and queer performer Tsuki’s vigorous choreography. Using machine learning to mediate these delayed re-presentations, the film intentionally corrupts AI strategies to reveal a frenetic, delicate and extravagant visual language that portrays hysteria and hysteresis in this historical moment.
Bio
Robert Seidel is interested in exploring abstract beauty through cinematic techniques and insights from science and technology. His projections, installations and award-winning experimental films have been presented at numerous international festivals, art venues and museums, highlighting his innovative approach to visual art.
Credits
Film: Robert Seidel
Music: Oval
Performer: Tsuki
Graphics: Bureau Now
5.1 Mixing: David Kamp
Support: Miriam Eichner, Carolin Israel, Falk Müller, Paul Seidel
Financing: German Federal Film Board
Stealth Technology of Ancient, Cosmic Pantheons
FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – Stealth Technology of Ancient, Cosmic Pantheons – Austria
An abstract painting in motion, with colors and shapes exploding and transforming to the rhythm of the music. The dynamic element is not trapped in a static image, but can unfold in time and space.
Bio
Using Stable Diffusion, a visual synthesizer, the artist turns fantasies into videos using just a PC, similar to the invention of printing 600 years ago. Exploring the interplay between software algorithms that create visual worlds and the artist’s mind guiding this process is incredibly exciting. Unlike traditional cinema, there is no ‘reality’ or humans involved, making it a satisfying medium for creating visual art.
Credits
Visuals: Michael Sadowski
Music: Stealth Technology of Ancient, Cosmic Pantheons by The Intangible
Distortions of The Past
FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – Distortions of The Past – Austria
Fractal elements that resemble cosmic structures evoke the illusion of traveling through a fractal universe. Rules, in the form of prompts, and chance interact with each other to create a visual fantasy.
Bio
Using Stable Diffusion, a visual synthesizer, the artist turns fantasies into videos using just a PC, similar to the invention of printing 600 years ago. Exploring the interplay between software algorithms that create visual worlds and the artist’s mind guiding this process is incredibly exciting. Unlike traditional cinema, there is no ‘reality’ or humans involved, making it a satisfying medium for creating visual art.
Credits
Visuals: Michael Sadowski
Music: Distortions of the Past by Dreamstate Logic
Useless Hands
FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Infratonal – Useless Hands – France
When our hands become useless, what will we choose to do with them? We can use AI to visualize the unthinkable, the strangely familiar yet indescribable forms and structures. Generative AI could be used as an amplifier of our ability to explore abstraction and surrealism rather than a simple mirror of our usual perceptions.
Bio
Infratonal is an artistic project led by Louk Amidou, a Paris-based multidisciplinary artist who works at the intersection of digital arts, electronic music and interaction design. He uses algorithms to create hybrid visual and sound pieces which aim to be performed by the human gesture as intangible instruments. He questions the artwork’s nature at the age of AI and the relationship between the artist and the algorithm.
Journey of Life
FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Dallaserra Maxime – Journey of Life – France
Journey Of Life was triggered by the death of the artist’s grandmother. There is a message of resignation and optimism in the face of adversity in this work. However, he decided to portray the life of a young man in a futuristic city. The video is rich in details. The strength of artificial intelligence lies in its ability to allow this profusion of images, which would otherwise require the artist an incomparable amount of time to produce.
Bio
Maxime Dallaserra is an electronic music composer who always wanted to produce a comprehensive audiovisual work. In addition to his music creation activities, he managed to create live shows with video projections, accompanied by a team. At the same time, he began broadcasting his creations. With the arrival of artificial intelligence, he found ways to enhance and realize his artistic vision, leading to the creation of Journey of Life .
Squid
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Verbo Pluriel (aka volt46) & XWave – Calamar – United States and France
The Calamar music video is comprised of AI-generated clips that are sequenced and synchronized to create a hypnotic, ever-changing landscape.
Bio
Verbo Pluriel is an electronic music producer who has been active in the NFT scene since 2020 under the name volt46. X-Wave is also an NFT producer that trains its own AI models to generate collections. Although they never met in person, their participation in the web 3.0 art collective Based Ghouls led to their collaboration.
Credits
Music: Calamar (Kraken Mix) by Verbo Pluriel
Music Video: volt46
AI Video Generation: XWave
Magic Drops
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – Magic Drops – Austria
Moving abstract structures and grimacing masks, colors that change and pulse to the rhythm of the music create a psychedelic experience that embodies the spirit of Techno.
Bio
Using Stable Diffusion, a visual synthesizer, the artist turns fantasies into videos using just a PC, similar to the invention of printing 600 years ago. Exploring the interplay between software algorithms that create visual worlds and the artist’s mind guiding this process is incredibly exciting. Unlike traditional cinema, there is no ‘reality’ or humans involved, making it a satisfying medium for creating visual art.
Credits
Music: Chris Robert
In Love
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – In Love – Austria
Fractal structures move to the sound of progressive house as the virtual camera navigates through this fractal world. To intensify the psychedelic quality, a second layer contrasts with the movement, resulting in a joyful madness of colors.
Bio
Using Stable Diffusion, a visual synthesizer, the artist turns fantasies into videos using just a PC, similar to the invention of printing 600 years ago. Exploring the interplay between software algorithms that create visual worlds and the artist’s mind guiding this process is incredibly exciting. Unlike traditional cinema, there is no ‘reality’ or humans involved, making it a satisfying medium for creating visual art.
Credits
Music: Y do I
Brain Entity
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Luigi Novellino (aka PintoCreation) – Brain Entity – Italy
In a laboratory, a brain-like organism grows rapidly, integrating with technology and evolving into a giant entity that manipulates objects with its mind. He hypnotizes the city, absorbing energy and creating patterns. Efforts to stop him fail, signaling a battle to understand existence. This symbolizes a new era of coexistence, urging us to embrace interconnectivity and navigate a more integrated world.
Bio
Fascinated by the limitless domain of AI, Luigi Novellino adopts the title syntographer, a term that resonates deeply within the community. The artist often asks himself: “am I an artist?” Art, in his view, defies rigid definitions or limits; it represents a fluid expression of creativity that transcends labels. The artist’s ultimate goal is to awaken something in the viewer, provoking thoughts and evoking emotions.
Credits
Music: Odyssey by John Tasoulas
Blob Alien Mouth
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Luigi Novellino (aka PintoCreation) – Blob Alien Mouth – Italy
The journey begins with Deforum, using the Automatic1111 interface to create basic images with the StableDiffusion XL, EndjourneyXL, and Lora XLFullArt templates. The video undergoes a transformation using the Absolute Reality model and Lora Aurora style, guided by the IPAdapter node and refined by QrCode Controlnet.
Bio
Fascinated by the limitless domain of AI, Luigi Novellino adopts the title syntographer, a term that resonates deeply within the community. The artist often asks himself: “am I an artist?” Art, in his view, defies rigid definitions or limits; it represents a fluid expression of creativity that transcends labels. The artist’s ultimate goal is to awaken something in the viewer, provoking thoughts and evoking emotions.
Credits
Music: Oleh Boretskyi
Wasteland
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Wasteland – Spain
Wasteland takes you on a journey across a vast desolate landscapelandscape that transforms and evolves with the musical wavesmusical waves, featuring a post-apocalyptic theme.
Bio
Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI Film Festival Montpellier 2023.
Credits
AI-generated music made with Suno.ai
Subway Chase
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Subway Chase – Spain
Subway Chase is a high-speed underground race, a visual glitch that dissolves and transforms with the musical waves.
Bio
Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI Film Festival Montpellier 2023.
Credits
Music: Subway Chase by Karl Casey
Relaxation
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Relaxation – Spain
Relaxation is an animated painting that transports you to a surreal natural landscape, hypnotically inviting mental relaxation.
Bio
Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI Film Festival Montpellier 2023.
Credits
Music: Relaxation by NPM
Enter the World
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Enter the World – Spain
Enter the World is a visual experience with bright, vibrant colors in a retro sci-fi anime style, which transforms and evolves with the rhythm of the music.
Bio
Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI Film Festival Montpellier 2023.
Credits
Music: Enter the World by NPM
Eldritch
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Eldritch – Spain
Eldritch immerses you in a disturbing hallucination through the darkest recesses of the human mind; a psychedelic and demonic audiovisual experiment.
Bio
Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI Film Festival Montpellier 2023.
Credits
AI-generated music made with Suno.ai
Athena
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Iskarioto Dystopian AI Films – Athena – Spain
Athena is a captivating animation that immerses you in a psychedelic and nostalgic journey, evoking the retro aesthetic of 80s anime with its vibrant visual style. A world full of bright colors, geometric shapes and surreal landscapes that explores the corners of the human mind, providing a unique visual experience.
Bio
Iskarioto Dystopian AI Films is an emerging Spanish artist, empowered with cutting-edge AI tools, a fusion of human creativity with machine potential. He is known as a visual alchemist, pixel manipulator, and graphic, dark, dystopian storyteller. Since its premiere in 2022, it has been shown in art galleries around the world, having won the Artistic Award at the AI Film Festival Montpellier 2023.
Credits
Music: Athena by Karl Casey
Transparency
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Dennis Schöneberg – Transparenza – Germany
Music controls camera settings, the weight of prompts, and the creativity of the AI. The objective of the project is to create a symbiosis between music and images, in which both elements complement and enhance each other. By directly linking musical parameters to AI creative processes, a unique audiovisual experience is created.
Bio
Dennis Schöneberg, German AI artist, data science student and developer of open source AI models, integrates his passion for electronic music into his creative endeavors. Merging art with technology, he explores the synergy between creativity and artificial intelligence.
Credits
Music: Transparenza by Michael Mayer & Reinhard Voigt
Russian Roulette
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Dennis Schöneberg – Russian Roulette – Germany
An incessant bass drum drives the journey through an eccentric world populated by fruity alien creatures in a cheerful and colorful environment.
Bio
Dennis Schöneberg, German AI artist, data science student and developer of open source AI models, integrates his passion for electronic music into his creative endeavors. Merging art with technology, he explores the synergy between creativity and artificial intelligence.
Credits
Music: Believe by Russian Roulette
N-DRA
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Dennis Schöneberg – N-DRA – Germany
Created during the pandemic, N-DRA is a video that explores the nostalgia of pre-pandemic times. Through a dreamlike and psychedelic journey through the artist’s memories, it reflects feelings of loneliness, isolation and the desire for connection.
Bio
Dennis Schöneberg, German AI artist, data science student and developer of open source AI models, integrates his passion for electronic music into his creative endeavors. Merging art with technology, he explores the synergy between creativity and artificial intelligence.
Credits
Music: N-DRA by Ricardo Villalobos
Bodydub
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Dennis Schöneberg – Bodydub – Germany
This video experiment combines music properties with AI generation settings to create a unique audiovisual experience. The synthesizer works as a control instrument for movement in the 3D space of the video.
Bio
Dennis Schöneberg, German AI artist, data science student and developer of open source AI models, integrates his passion for electronic music into his creative endeavors. Merging art with technology, he explores the synergy between creativity and artificial intelligence.
Credits
Music: Bodydub (Bangkok Impact Remix) by Unit4
Sounding Qubits
FILE 2024 | Quantico
International Electronic Language Festival
Eduardo Reck Miranda – Sounding Qubits – Brazil
Although he has learned classical musical instruments since childhood, Eduardo Miranda’s favorite tool for composing is the computer. The researcher has been delving into artificial intelligence and innovative computing methods for compositing for some time, as they offer fresh insights and ideas beyond his own.
A quantum computer deals with information encoded as qubits. A qubit is to a quantum computer what a bit is to a digital one: a basic unit of information. In hardware, qubits exist in the subatomic world. They are subject to the laws of quantum mechanics.
Quantum computers are like super-powered versions of classical digital computers. While a digital computer processes data in a linear, step-by-step fashion, a quantum computer can explore many possibilities at once.
Operating a quantum computer requires different ways of thinking about encoding and processing information. This is where composers can benefit greatly. This technology is destined to facilitate the development of unprecedented ways of creating music.
Bio
Composer who works at the intersection of music, science and new technologies. His background as an artificial intelligence scientist and classical composer with early involvement in avant-garde pop music informs his distinctive music. He has composed for BBC Radio 3, BBC Concert Orchestra, BBC Singers and Scottish Chamber Orchestra. He is a professor at the University of Plymouth and a research associate at Quantinuum, where he explores music composition with quantum computers.
Turandot
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Robert Wilson and Puccini
This new encounter between his powerful visual universe and Puccini’s evocative music was bound to be an outstanding event. Carried out by a brilliant cast of singers, dominated by Irene Theorin as Turandot, Gregory Kunde as Calaf and Yolanda Auyanet as Liù, this magnificent production is conducted by the Teatro Real’s associate musical director Nicola Luisotti – and has been met with universal acclaim.
САША ФРОЛОВА
AQUAAEROBIKA
Aquaaerobika is a project synthesizing art-performance and electronic music. Electro-pop, 8bit, disco-house music and futuristic inflatable costumes from latex are mixed in a vivid spectacular pop-art show. Dancers in avant-garde Bauhaus-style costumes with huge inflatable decorations and objects look rather like a live sculptures and turn the whole show in one moving sculpture. Aquaaerobika’s author is Moscow based artist – Sasha Frolova.
Henryk Górecki
Concerto for Harpsichord and String Orchestra Op. 40
Harpsichord: elisabeth chojnacka
Less than nine minutes long, the bipartite Concerto for Harpsichord (or Piano) and String Orchestra, which the composer sometimes called a “prank”, is a veritable volcano that carries the listener away from the very first bars with its immense energy. Its repetitive, motoric nature and rhythmic vigour suit the specific, slightly clattery sound of the harpsichord which is usually somewhat amplified, complemented by the chordal texture of the strings. In both parts, the mood of the piece clearly draws on the highlander music of the southern Podhale region, of which Górecki was a great admirer. In the context of his monumental sacred music from the same period, this Concerto is like the artist’s brief “respite”. It reflects the whirl and “profane” energy of a folk dance.
Elżbieta Chojnacka, to whom the piece was dedicated, has always stressed that every performance of the Concerto, which she has played throughout the world, ends with an encore. The piece meets with such acclaim from the audience, and is one of the most striking – and most joyful – compositions in the composer’s output. “A spectacular plaything”, as Teresa Malecka has described the piece.
Vicious Circle
Come molti della mia generazione, sono cresciuto succhiando un tubo a raggi catodici e facendo il bagno nelle onde radio. Tutto questo è rappresentato all’interno del mio lavoro, in un collage di movimento, luce e suono. Attualmente con il mio lavoro sto esplorando modi per dissolvere i confini tra cinematografia e scultura. Le mie recenti ricerche su questo tema hanno coinvolto l’uso di computer combinato con elementi meccanici per creare installazioni simili a mandala. Queste installazioni sono il mio mezzo e le uso per creare animazioni effimere. Questa effimera coreografia di movimento è il punto focale del mio lavoro. Credo che questo fascino per le immagini in movimento e la trasformazione degli oggetti derivi dalla mia giovinezza, dove i primi computer domestici degli anni ’80 mi hanno dato uno sguardo nel meraviglioso mondo della matematica applicata. Su questi computer è stato possibile con codici semplici generare fantastici schemi e suoni astratti e quell’incontro ha distrutto per sempre il confine nella mia mente tra astratto e reale. Anche la danza gioca un ruolo significativo nel mio lavoro; Sono stato attratto dalla musica elettronica. L’electro con il suo suono sintetizzato mi ha introdotto alla break-dance e la mia anima è stata catturata dalla bellezza del movimento fisico coreografato.
Lesson Nº 1 + The Ascension
Glenn Branca has always been a musician positioned halfway between the role of avant-garde composer and that of a rock musician. A pupil and disciple of the masters of American minimalism such as La Monte Young, Terry Riley, Philip Glass and Steve Reich, he has always had to fight against prejudice and fierce criticism. His position was certainly uncomfortable, too academic for rock fans and too “politically incorrect” for academics. In fact, Branca was trying to unhinge all the limits imposed by the rigid schemes of the avant-garde, aware of the fact that those who want to be truly avant-garde should have no limits. John Cage was also able to criticize him, even calling him a fascist ( Luciano Berio also did so for all minimalists) for the excessive rigidity of his compositions, even though he recognized his innovative power. After having created his best known album, The Ascension (1981), a true monument of maximalism played with a classical rock formation (guitars, bass and drums), he tries to approach a different format, the Symphony, as always halfway between rock and academia. Branca will like the experiment and will re-propose it several times in the following decades, to date there are sixteen symphonies (not all recordings are available). Here is how young Branca’s ensemble appeared to the American composer John Adams in one of his first live performances of the First Symphony: “Branca’s event that I listened to at the Japan Center Theater in San Francisco in 1981 was one of his symphonies for guitar . The group didn’t look very different from thousands of other independent or alternative rock bands of the time: guys in jeans and worn t-shirts busy with cables while maintaining that typical distracted expression of rock musicians.
Jo Goes Hunting – Run Away
Amsterdam material designer Shai Langen made sculptural headpieces and covered models in hand-painted patterns for Jo Goes Hunting’s Run Away music video.Langen was approached by the Dutch artist’s manager with a brief for “something less conventional”, and was given complete artistic freedom in his approach.The video opens with a close up of a gleaming paint-covered black and white surface, which is gradually shown to be the form of a person.
Soul chain
“La pièce qui semble inspirée d’un numéro de music-hall ou de cabaret qu’elle pervertit aussitôt ne cherche pas l’élégance, ne tire pas vers la séduction aguicheuse et facile. Le geste est moins poli. Il déjoue les attentes et se moque des apparences. Le groupe transpire en permanence d’un irrépressible désir de résistance et de transgression, d’autant d’états, de sentiments intérieurs que Sharon Eyel et ses danseurs cherchent à extraire, à faire s’extirper et se libérer des corps qui exultent dans l’urgence.” Christophe Candoni
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Salt Womb
“Laut Programm bewegt sich die Ballett-Compagnie in „Salt Womb“ als Ganzes wie eine Maschine. Und wirklich: im 1. Bild dieses Stückes mit dem enigmatischen Titel stehen die Tänzer und Tänzerinnen des Basler Balletts in einem großen Halbkreis, der zu Ende gedacht wie ein Zylinder wirkt, in dessen Mitte sich ein riesiger Kolben auf und ab bewegt. Die Körper der Tänzer:innen, die sich breitbeinig stehend immer wieder auf und ab bewegen, wirken wie gefangen in einem nicht enden wollenden Kraftakt: die minutenlange, fast stoische Wiederholung einer einzigen Bewegung zu hämmernden Technobeats hat tatsächlich etwas Inhumanes… Nach und nach formieren sie sich zu einer pulsierenden Gruppe in Dauerbewegung, zu einem unheimlich wirkenden Superorganismus, aus dem sich einzelne Tänzer:innen in kurzen Solopassagen herauslösen, aber immer wieder vom Sog des Gruppenpulses aufgesogen werden.” Renate Killmann
As We Are Blind
As We Are Blind calcule et interprète en temps réel ces données physiologiques sous la forme d’une production musicale et photographique unique. Le spectateur pose la main sur un capteur mesurant son activité électrodermale, une action permettant de dresser sa cartographie émotionnelle. Les valeurs recueillies, qui représentent des variations propres à chaque individu, sont d’abord converties sous la forme d’une image révélant son champ électromagnétique. Puis, ces données physiologiques sont analysées par un programme informatique capable, en suivant des règles de composition préétablies, de les transcoder en partition musicale.
Moses und Aron
Oper in drei Akten Arnold Schoenberg
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Jean-Marie Straub
homage
R.I.P
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Moses und Aron, known in English as Moses and Aaron, is a 1975 film by the French filmmaking duo of Jean-Marie Straub and Danièle Huillet based on the unfinished opera of the same title by c. During its 1975 run at US festivals, it was also known as Aaron and Moses, and was frequently reviewed as such.
It is one of three films based on Schoenberg works Straub and Huillet directed, the other two being Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene , a short film made directly before Moses und Aron, and, over two decades later, an adaptation of the one-act comic opera Von heute auf morgen. The film retains the unfinished nature of the original opera, with the third act consisting of a single shot with no music as Moses delivers a monologue based on Schoenberg’s notes.The film was shot on location in Italy and Egypt. It utilized the same team of cinematographers as Straub and Huillet’s Chronicle of Anna Magdalena Bach. The soundtrack and cast of the film is the same as the 1974 recording conducted by Michael Gielen (Philips 6700 084).The original German version of the film was dedicated to Holger Meins, a former cinematography student who joined the Red Army Faction in the early 1970s and died on hunger strike in prison. This dedication was censored by German broadcasters for the film’s first transmission in 1975. The English subtitles of Schoenberg’s dense German libretto were prepared by assistant Gregory Woods, who is credited on the DVD.The film was shown at the 1975 Cannes Film Festival, but was not entered into the main competition.
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cinema full
Chimes
Chimes is an interactive, audio-reactive experience that translates the sound of a room into digital wind, setting in motion an exploration of space, music and time. The installation invites the viewer to surrender to the interplay of spatial sound, touch, air, movement and noise and to discover ever new facets in a constantly changing environment.
reactable
file festival
The ReacTable is a collaborative electronic music instrument with a tabletop tangible multi-touch interface. Several simultaneous performers share complete control over the instrument by moving and rotating physical objects on a luminous round table surface. By moving and relating these objects, representing components of a classic modular synthesizer, users can create complex and dynamic sonic topologies, with generators, filters and modulators, in a kind of tangible modular synthesizer or graspable flow-controlled programming language.
Re)Evolution
With the machine programed to draw, the robot becomes a medium for interaction and for “symbiosis” with the artist, creating a kind of “hybrid body” of man and machine, whose nervous system and brain waves administer “software commands” to the robot during the drawing performance. A key actor in the exhibition will be the new model of the KUKA KR 210 robot, that has a multi-functioning performative role: from drawing, experimental dance, music – through the production of industrial sound, and a six channel video projection that documents Ilić’s projects.
COW
Ekman talents extend to the lighting and stage design and his eye for structuring an environment is unerring. There is no set as such, excepting the plaster cow which dangles overhead, but the stage surface has its share of movement as little island-blocks rise up and pits sink down. The extreme tilting of the stage at one point causes unfortunate Bauch to roll, cow-like, almost into the pit. COW has its iconic Ekman moment in the scene that opens on a stage full of swirling dancers in white skirts set in a magical silvery mist. Mikael Karlsson, whose music partners the piece provides a subtle and evocative soundscape. He offers a hint of percussive rhythm picked up by the dancers who launch into an ecstatic dance: a stage full of whirling dervishes, until they collapse exhausted.
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Ekmans Talente erstrecken sich auf die Beleuchtung und das Bühnenbild, und sein Auge für die Strukturierung einer Umgebung ist unfehlbar. Es gibt kein Set als solches, außer der Gipskuh, die über ihnen baumelt, aber die Bühnenoberfläche hat ihren Anteil an Bewegung, wenn kleine Inselblöcke aufsteigen und Gruben sinken. Das extreme Kippen der Bühne an einer Stelle führt dazu, dass der unglückliche Bauch kuhartig fast in die Grube rollt. COW hat seinen legendären Ekman-Moment in der Szene, die auf einer Bühne voller wirbelnder Tänzer in weißen Röcken in einem magischen silbernen Nebel beginnt. Mikael Karlsson, dessen Musikpartner das Stück ist, bietet eine subtile und eindrucksvolle Klanglandschaft. Er bietet einen Hauch von perkussivem Rhythmus, der von den Tänzern aufgenommen wurde, die einen ekstatischen Tanz beginnen: eine Bühne voller wirbelnder Derwische, bis sie erschöpft zusammenbrechen.
Future Dance of Nostalgia
Future Dance of Nostalgia is a dancing game which invites audience to perform the choreography that extracts and abstracts the movements found in the pre-industrial, heavy physical labour, and work songs. Motion tracking technology allows the body movements to be quantified, measured, and evaluated. Historical archives of work songs provide the inspiration for the music that renders the old tales and melodies into clubbing beats that lead the dance.
بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
БОБ УИЛСОН
Arvo Pärt
Adam’s Passion
Estonian Arvo Pärt is one of the three most performed contemporary composers worldwide. His music has been described as contemplative, sacred, and timeless. “Time for us is the time of our own lives. It is temporary. What is timeless is the time of eternal life. Like the sun, we cannot look at these two directly, but my intuition tells me that the human soul is connected to both of them—time and eternity,” says Pärt. Much like Robert Wilson’s own universe, where time and space are the basic architecture of everything, it is as if these two artists have been waiting to collaborate with one another! ADAM’S PASSION will be a journey into the worlds of sound, light, visual art and performance. It will celebrate Arvo Pärt’s 80th birthday—all in a spectacular venue, the Noblessner Foundry, a vast, old industrial building by Tallinn’s harbo
Noumenon
A truly universal artist, the American Alwin Nikolais (1910-1993) devoted his life to a radical form of staged art he called “dance theater.” Inspired (perhaps unconsciously) by the experiments of Bauhaus members such as Oskar Schlemmer and László Moholy-Nagy in the 1920s, Nikolais devised a style of abstract dance that encompassed costumes, stage sets, choreography, lighting, and music, all under his control. Also in 1963, Nikolais met analog synthesizer pioneer Robert Moog, who was at the time just starting his business in New York. He was fascinated by the sounds of Moog’s machines, and with the money provided by a a Guggenheim Fellowship, Nikolais bought the first ever commercially produced Moog synthesizer. It was the primary sound-source for all of Nikolais’ scores from 1963 to 1975. The instrument is now housed at the Stearns Collection of Musical Instruments at the University of Michigan in Ann Arbor.
Serendiptichord
The result of a cross-disciplinary investigation spanning fashion, technology, music and dance, the Serendiptichord is a wearable musical instrument that invites the user (or movician) to explore a soundscape through touch and movement. This curious device is housed in a bespoke box and viewed as part of a performance. Unpacked and explored on and around the body, the Serendiptichord only reveals its full potential through the intrepid curiosity of its wearer. Adhering to the body like an extended limb, this instrument is best described as choreophonic prosthetic. Referencing the architectural silhouette of a musical instrument and the soft fabrication of fashion and upholstery, it is designed to entice the movician to explore its surface through touch, physical manipulation and expressive movement. Although this acoustic device can be mastered alone, it also holds subtle openings for group interaction.
بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
SHAKESPEAR`S SONETTES
Staging Shakespeare, not dramatic but lyrical: that was the intention of the American director Bob Wilson in Sonnets de Shakespeares (Sonnets de Shakespeare), a show on display at the Berliner Ensemble. To that end, Wilson is associated with American-Canadian composer and musician Rufus Wainwright. The result is a variety night, with reference to all genres of entertainment, from the commedia dell’arte to television sketches, passing through the cabaret. If in the Elizabethan era female roles were played by men, Bob Wilson did the same, creating this reverse practice: actresses play male roles. This inversion – Queen Elizabeth 1st, on her throne, declaiming a sonnet with a deep voice and Shakespeare himself, as a young man and an elder, in female voices – further intensifies the farcical tone of the show. So much so that even the sporadic number of transvestite actor Georgette Dee, microphone in hand, does not disagree much of the Shakespearean surroundings.
ベルナール・パルメジャーニ
La Creation du Monde
This is a sprawling, ambitious painting in sound modeled on the birth of the universe. Moving from roiling, gaseous clouds of hiss and static through sharp peels of detailed, unrestrained texture, this is acousmatic music at its very finest, literally creating a universe of sound out of thin air.
Lied ballet
“Lied, a word of German origin and gender neutral, which represents classical music sung about strophic poem, and Ballet. Lieder’s romantic themes are transformed into movement, creating choreographic writing that begins with mime and ends with abstraction. In the end, everything comes together in a great chorus challenging genres and categories, fundamentally expressing the artist’s confidence in the dancing body”. Marcia Peltier
Floraison
N’exigeant aucune compétence musicale ou technique, l’application Bloom égalitaire et conviviale a permis à toute personne de tout âge de créer de la musique, simplement en touchant l’écran. Partie instrument, partie composition et partie illustration, les commandes innovantes de Bloom ont permis aux utilisateurs de créer des motifs élaborés et des mélodies uniques en touchant simplement l’écran. Un lecteur de musique générative a pris le relais lorsque Bloom est resté inactif, créant une sélection infinie de compositions et les visualisations qui les accompagnent. Cette version utilise la réalité mixte avec HoloLens.
Escape to virtuality
Con el objetivo de sentirme libre de la objetivación, estaba tratando de escapar a la realidad digital para alienar el cuerpo de la mujer constituida durante la exposición APXIV-24 que participó en la Bienal de Arte Joven de Moscú. En colaboración con Yanzi. Montaje de video por Lika Gomiashvili. Música de Olga Klimovitskaya.
Kuniko Kato
KUNIKO’s much-anticipated third studio recording features the works of Iannis Xenakis, whose work has had a huge impact within the world of music, and in particular on percussion repertoire.
