Daan Brinkmann & Nenad Popov

Cellwise is a generative projection specifically designed for the city hall of The Hague. During the festival the city hall becomes the new habitat of a kind of ‘visual lifeform. From the façade’s neatly arranged grid of white tiles, structures of a more entropic nature emerge. Shapes start growing, bursting, dripping, crawling and creeping. Cellwise is exploring the city hall’s sterile architecture, while at the same time challenging it to look for its visual counterpoints.

Erwin Redl

Matrix Paris
Matrix Paris is a fully immersive and experiential light installation. The visitors walk into a maze of LED lights distributed over two floors. The colors of the lights slowly change between red and blue. These colors delineate the visible color spectrum as well as the spectrum of our human emotion with red as the most sensual color and blue as the cool, rational counterpoint. The corporeal intensity of the immersive aesthetic experience combined with the underlying technological aspects of a highly sophisticated binary logic blurs the border between the virtual and the real.

Myriam Bleau

Soft Revolvers is a music performance for 4 spinning tops built with clear acrylic by the artist. Each spinning top, 10’ in diameter, is associated with an ‘instrument’ or part in an electronic music composition. The tops are equipped with gyroscopes and accelerometers that communicate wirelessly with a computer where the motion data collected (speed,unsteadiness at the end of a spin, acceleration spikes in case of collisions) informs musical algorithms designed in Pure Data. LEDs placed inside the tops illuminate the body of the objects in a precise counterpoint to the music.


Return to the Real
‘Return to the Real’ is Aitken’s device to make us think about our devices, the experiential subletting to Instagram, the squeal and squawk of social media. ‘It’s a counterpoint to that world of de-materiality and speed,’ he says, ‘and about seeking something which is unique or being in a place which is physical and tactile or a moment which is unrepeatable.’

Laurie Spiegel

the expanding universe
The Expanding Universe is the classic 1980 debut album by composer and computer music pioneer Laurie Spiegel. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover’s notes), all built of electronic sounds. These works, often grouped with those of Terry Riley, Phil Glass, Steve Reich, differ in their much shorter, clear forms. Composed and realized between 1974 and 1977 on the GROOVE system developed by Max Mathews and F.R. Moore at Bell Laboratories, the pieces on this album were far ahead of their time both in musical content and in how they were made.

Robert Henke

a complete new version, the result of performing Lumière for more than one year, condensed into a more sophisticated, more complex, more fragile, more massive synaesthetic experience! photos and more info online in early February.Based on self written software, this work on the edge of concert and site specific installation finds previously unseen beauty and minimalistic elegance in a commonly underrated medium. High power lasers draw complex morphing shapes and connect points in space. Lumière combines precise geometric figures with floating organic structures, presenting the archaic sign language of an alien culture communicating via emerging and disappearing traces of extremely bright light.Percussive and textural sonic events provide a counterpoint to the visual rhythm, resulting in a multi sensorial experience which at times is fragile and quiet, at others massive and overwhelming. Each Lumière performance is a unique and site specific real time exploration of synchronicity and divergence, of light and darkness at the limits of perception.

William Forsythe

ויליאם פורסיית
윌리엄 포사이드
Swinging Pendulum

Suspended from automated grids, more than 400 pendulums are activated to initiate a sweeping 15 part counterpoint of tempi, spacial juxtaposition and gradients of centrifugal force which offers the spectator a constantly morphing labyrinth of significant complexity. The spectators
are free to attempt a navigation this statistically unpredictable environment, but are requested to avoid coming in contact with any of the swinging pendulums. This task, which automatically initiates and alerts the spectators innate predictive faculties, produces a lively choreography of manifold and intricate avoidance strategies.


סטיב רייך
스티브 라이히
Стив Райх
Vermont Counterpoint
Vermont Counterpoint (1982) a été commandé par le flûtiste Ransom Wilson et est dédié à Betty Freeman. Il est composé pour trois flûtes alto, trois flûtes, trois piccolos et une partie solo, tous préenregistrés sur bande, plus une partie solo en direct. Le soliste en direct joue de la flûte alto, de la flûte et du piccolo et participe au contrepoint en cours ainsi qu’à des mélodies plus étendues. La pièce pourrait être interprétée par onze flûtistes, mais elle est principalement destinée à un solo avec bande. La durée est d’environ dix minutes. Dans ce laps de temps relativement court, quatre sections dans quatre touches différentes, avec la troisième dans un tempo plus lent, sont présentées. Les techniques de composition utilisées consistent principalement à construire des canons entre de courts motifs mélodiques répétitifs en substituant des notes à des silences, puis en jouant des mélodies qui résultent de leur combinaison. Ces mélodies ou motifs mélodiques qui en résultent deviennent alors la base de la section suivante au fur et à mesure que les autres parties environnantes de la bande contrapuntique disparaissent. Bien que les techniques utilisées en incluent plusieurs que j’ai découvertes dès 1967, la vitesse de changement relativement rapide (il y a rarement plus de trois répétitions d’une mesure), la modulation métrique dans et hors d’un tempo plus lent, et des changements de clé relativement rapides peuvent bien créer une impression plus concentrée et concise.

Steve Reich