Somatic Echo
“Somatic Echo” is an experimental sound art and research project that utilizes bone conducted sound as a method to investigate human audition and create an unusual and mesmerizing aesthetic of the body as a medium of sound. The installation uses a reclining chair and a sound mask to play an 8-channel sound composition through 8 transducers placed on the user’s head: 6 channels in the face and 2 in the back of the head. The transducers transmit sound through the bone structure of the skull directly to the listener’s inner ear, bypassing the outer ears, which normally are the gateway for auditory signals. The listeners experience the soundscape through both their auditory and tactile senses perceiving a sonic image shaped by the sound traveling through the head structure and through vibrations applied to the skin. This set up lets us experience sound through our body and our body through sound.

netBody: Cuerpo aumentado y cuerpo virtual II
En “netBody: Augmented Body and Virtual Body II” conectamos el mundo real con la realidad online de Second Life a nivel físico: los movimientos corporales de una persona en el mundo real controlan un avatar en Second Life, mientras que los movimientos de un avatar controlar a una persona para liderar. Un avatar de Second Life se convierte en un medio de conectar físicamente al individuo con la sociedad. Esto podría permitir que personas de todo el mundo con el hardware adecuado se comuniquen entre sí a través de Internet. Jugamos con nuestra percepción del cuerpo de un individuo como su identidad.

ИВОНН ТЕЙН
DIE MASKERADE DES REALEN
The work “The Masquerade of the Real“ deals with theperception of the human body in the digital age. As a two-dimensional image the body loses its organic function and becomes a empty covering.

A Dream in Green
Seduction has begun in secrecy. A green clay body-mask beauty routine becomes a science-fiction metamorphosis.

MENSKE

Even the standing room only tickets have sold out, and the raging mass of disappointed kids looks like they may start a riot: the atmosphere before Ultima Vez’s performance is akin to a rock concert. Choreographer superstar Wim Vandekeybus’s company has toured the world with their trademark vocabulary of acrobatic, extreme, often violent movement, soaked in multimedia and energetic music. Menske (meaning approximately ‘little human’), their latest work, has all the typical flaws and qualities of classic Vandekeybus. On the conservative end of political intervention, Menske is an explosive concoction of brash statements about the state of the world today, a sequence of rapidly revolving scenes of conflicting logic: intimist, blockbuster, desperate, hysterical. The broad impression is not so much of a sociological portrait, but of a very personal anguish being exorcised right in front of us, as if Vandekeybus is constantly switching format in search of eloquence. Visually, it is stunning, filmic: a slum society falling apart through guerrilla warfare, in which girls handily assume the role of living, moving weapons. A woman descends into madness in an oneiric hospital, led by a costumed and masked group sharpening knives in rhythmic unison. A traumatised figure wanders the city ruins dictating a lamenting letter to invisible ‘Pablo.’ Men hoist a woman on a pole her whole body flapping like a flag. “It’s too much!” intrudes a stage hand, “Too much smoke, too much noise, too much everything!” And the scene responsively changes to a quiet soliloquy. At which point, however, does pure mimesis become complicit with the physical and psychological violence it strives to condemn? Unable to find its way out of visual shock, Menske never resolves into anything more than a loud admission of powerlessness.