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

CBM 8032 AV
The CBM 8032 AV project is an exploration of the beauty of simple graphics and sound, using computers from the early 1980’s. This work is about the ambivalence between a contemporary aesthetic and the usage of obsolete and limited technology from 40 years ago. Everything presented within the project could have been done already in the 1980, but it needed the cultural backdrop of today to come up with the artistic ideas driving it.

Pianographique
Pianographique is a series of collaborations of real time visual artist Cori O’Lan and Maki Namekawa. The visualisations are not videos that are more or less synchronous to the music and it is also not the musician’s playing to prefabricated material, they are jointly created together in the moment of the performance. As with most of Cori O’Lan’s visualizations, all graphic elements are derived directly from the acoustic material, i.e. the sound of the music. For this purpose, the piano is picked up with microphones and these signals are then transformed by the computer into a multitude of information about frequency, pitch, volume, dynamics, etc… This information, in turn, is used to control the graphics computer, create graphical elements or modify them in many ways. Since these processes take place in real time, there is a direct and expressive connection between the music and visual interpretation. The visualization is actually not “created” by the computer but much more by the music itself – the computer is rather the instrument, the brush operated, played by the music.