维克托里娜米勒
‘I’m interested in creating moments of sensitivity, moments when our defenses are down and we are open to new things. moments of powerful concentration. … I create zones, put forward pictures, show processes that touch the viewer, that invoke associations on various levels, transport people into a different state, so that things hidden may become visible, accessible, opening up possibilities – to demonstrate something that is not said and cannot be said, but that is’.

On Your Wavelength (Canary Wharf)
“The installation acts a feedback loop. It actively rewards concentration, visitors feel a sense of achievement at casting away their inhibitions and achieving clarity”.
Marcus Lyall

Terretektorh
Terretektorh shows more concern for harmonic organization than the earlier, iconoclastic Pithoprakta, with its scatterings of knocking sounds and massed effects. Still, the concentration is decidedly on texture and movement, with narrow lines being bundled with a number of others in the same register to create a rawer sonic intensity that still has some basis in melody. Xenakis concentrates on the high and low registers, as did Varèse before him, and adds some unusual sound effects into the mix as well.

In Terretektorh and Persephassa, Xenakis creates the impression of movement by transferring musical material between groups of musicians using techniques developed from musique concrète. These works are further innovative because of the unique seating arrangements in which the space for the performers and audience are superimposed.
In this thesis,  demonstrating Xenakis’s early approach to spatial composition. The thesis builds on the work of other scholars and provides more insight as to how these fascinating pieces work.

gookeyes
Timothy graduated, with high honors, from Wesleyan University, having majored in Neuroscience and Behavior, Studio Art (with a concentration in drawing), and Biology (Developmental). Originally intending on attending medical school after graduation in hopes of becoming a physician, Timothy quickly dropped this ambition upon realizing his true passions, which lay in art. However, the impression from years of scientific training is clearly visible in the way he approaches his artwork.

Dark Matters
Kidd Pivot Frankfurt RM

Le spectacle « Dark Matters » de Crystal Pite qui aura lieu au Toboggan les 15 16 et 17 mars intègre elle-même la marionnétique ou l’art de manier la marionnette. Plus précisément, pour son spectacle la technique reprise par la compagnie Kidd Pivot est le Bunraku.

On vous parle chinois ? Japonais en fait plus précisément ! Cet art bien singulier a fait son apparition au XVIIeme siècle dans la région d’Osaka. Avec le nô, le kabuki et le kyôgen, c’est une des quatre formes du théâtre classique nippon. Il est issu de l’assemblage de deux traditions : le Johruri, qui est l’art de raconter des histoires traditionnelles sur un fond musical, et la marionnette, présente depuis le XIème siècle au Japon.

Pour se pratiquer, le Bunraku utilise des marionnettes de taille presque humaine. Plusieurs hommes sont nécessaires pour manipuler une marionnette de ce type. Pour lui donner vie, ils actionnent ce qu’on appelle des contrôles ou baguettes sur ses différentes parties du corps. C’est un travail qui nécessite beaucoup de concentration et d’exercice car si l’accord entre les montreurs n’est pas bien orchestré, le jeu de la marionnette ne sera pas fluide.

Vivisector

o what extent does the quality of movement of the virtual world influence real sequences of human movement? Will the real world of the 21st century assume via nanotechnology attributes of the virtual world? Are there still significant differences between a body that is made of synthetic material and warmed artificially and the deep glow of trillions of living cells? VIVISECTOR is an examination of the different speeds of people/nature and technology/information society and of their acceleration; an experiment to overcome the space-time continuum in the real world. It breaks the linearity of movement and in doing so shows the absurdity of momentum. Based on the video-technological concept of the moving body-projection that made D.A.V.E. an international hit, VIVISECTOR now goes one step further: the exclusive concentration on video light and video projection produces a new stage aesthetic in which light, body, video and acoustic space form an unprecedented unity.

steven reich
Piano Phase

Not having two pianos at his disposal, Reich experimented by first recording a piano part on tape, and then trying to play mostly in sync with the recording, albeit with slight shifts, or phases, with occasional re-alignments of the twelve successive notes against each other. Reich found the experience satisfying, showing that a musician can phase with concentration.

Forms
Forms è una collaborazione tra gli artisti visivi di Memo Akten e Quayola, una serie di studi sul movimento umano, e i suoi riverberi attraverso lo spazio e il tempo. Si ispira alle opere di Eadweard Muybridge, Harold Edgerton, Étienne-Jules Marey così come analogamente si ispirano ad opere moderniste cubiste come quelle di Marcel Duchamp “Nude Descending a Staircase No.2″. Piuttosto che concentrarsi su traiettorie osservabili, esplora le tecniche di estrapolazione per scolpire forme astratte, visualizzando le relazioni invisibili, la potenza, l’equilibrio, la grazia e i conflitti tra il corpo ei suoi dintorni. Il progetto analizza gli atleti e di come questi spingono i loro corpi per le loro capacità estreme, con i loro movimenti plasmati da un processo evolutivo per le prestazioni vincenti.

transmutation
In the weird and wonderful world of humanoidquantum mechanics, dimensional transmutation describes a phenomena which changes the state of a parameter by adding dimensions to its dimensionless condition. This experimental film applies this principle to visualize the complex interactions between atmosphere and climate. It utilizes a six-dimensional framework, comprised of regular space-time augmented with climate data collected between 1993 and 2011. Changes in global tropospheric temperature, mean sea level, and atmospherical co2 concentration are mapped onto the color palette, shape, and stereoscopic depth of a video clip, depicting a low-lying shoreline in Indonesia, threatened by rising sea levels. The film begins ‘flat’, but over time, with increasing co2 concentration in the atmosphere, its stereoscopic depth expands, and the landscape opens up to the observer, while temperature and sea-level changes modify color and shape.