ネスト
ホメロスのオデッセイに大まかに基づいたマシュマロレーザーフィーストの照明設備は、礼拝堂のかすんでいる内部ドーム内の主要なパフォーマンススペースを照らしました。アジャイルボディが多くの照明付きの塔や表面を通り抜けるときに、グリッドのような突起が可動構造（建築設計事務所Studio Weaveによって設計された）と交差しました。この最初の行為は、上の左右のバルコニーから観客に見られました。 2番目の行為であるコンクリートの地下室にあるロープで裏打ちされた階段の下り飛行は、三角形のネオン管と開いたドアから染み出した不気味な輝きだけで照らされ、より方向感覚を失いました。カナダの作曲家クリストファー・マヨと電子音楽の作曲家/パフォーマーのアンナ・メレディスによる、より速くてパーカッシブなスコアに合わせたダンスのスタイルは、聴衆に立ち向かい、ダンサー（一部はストリートウェアを着ていた）と境界なしで上演されました。視聴者。
night lights
In this installation YesYesNo teamed up with The Church, Inside Out Productions and Electric Canvas to turn the Auckland Ferry Building into an interactive playground. Our job was to create an installation that would go beyond merely projection on buildings and allow viewers to become performers, by taking their body movements and amplifying them 5 stories tall.
We used 3 different types of interaction – body interaction on the two stages, hand interaction above a light table, and phone interaction with the tracking of waving phones. There were 6 scenes, cycled every hour for the public.
Illuminated Fog
Device for viewing the complex motions and patterns in fog.
A mesmerizing and gently turbulent movement of fog is revealed in stark visual contrast to a plain black background. The structure and motion of the fog make visible the complex interactions of ambient air currents and viewer movement.
Full Body Games
file festival
Full Body Games is an interactive installation that allows users to engage in an unencumbered, full body gaming experience. The Full Body Games system projects the user’s silhouette in front of them in relation to simple graphic game objects with which they can interact. The user can select from four different games: Color Shooter, Two Touch, Duck and Jump, and Sorter. All games were designed to be quick, simple, intuitive and encourage dramatic movement.
Spine
Spine is an interactive installation based on twenty glowing cubes and an atmospheric sound composition. Each cube is moved precisely in fluid motions by two computer-controlled motors. The movements of the cubes as well as the sound composition react to nearby visitors by working together as one coherent expression in dialogue with the surroundings – a fifty meter long spine floating in space continually displaying new movements, light scenes and sounds. Spine is moody: sometimes shy and avoidant at other times more curious and almost aggressive.
Брайан Ино
브라이언 이노
ブライアン·イーノ
בריאן אינו
براين إينو
Брайан Ино
baby’s on fire
As a composer, producer, keyboardist, singer and multi-media visual artist, Eno is responsible less for a new sound and look in pop than for an entirely new way of thinking about music — as an atmosphere, rather than a statement, an experiment in sound, rather than a virtuosic expression. Combining the cerebral qualities of European high culture with the technological outlook of a futurist, he also has been responsible for an aesthetic movement that incorporates both Western and Third World sounds.
Desire of Codes
This interactive installation in three configurations to expand.
Ninety structures resembling tentacles with built-in small surveillance cameras are placed across a white wall［Ninety Wriggling Wall Units, while six robotic search arms equipped with video cameras and laser projectors are suspended from the ceiling [Six Multi-perspective Search Arms]. Each device senses observe and follow as mosquito movements the positions and movements of visitors, and turns toward detected persons in order to observe their actions. In addition 4.7m round-shaped projection screen that looks like an insect’ s compound eye which installed in the back of the exhibition space［Compound Eye Detector Screen］.
Silo 468 Light Art Helsinki
INTERACTIVE LIGHT ART FOR URBAN REDEVELOPMENT SILO 468 HELSINKI Disused oil silo has been converted into mesmerizing light art piece and a public space with the aid of swarm intelligence and interactive lighting. The project is a conversion of oil silo into light art piece and a public space designed by Madrid based Lighting Design Collective (LDC). It sits by the sea facing central Helsinki, Finland. Prevailing winds well known to residents are strongly present. The natural light, wind and the movement of light on the water formed the principles for the lighting concept. Walls are perforated with 2012 holes referring to the Helsinki World Design Capital 2012 year. The lighting signifies the start of a major urban redevelopment for the City of Helsinki. It functions to draw focus to unknown district and creates a landmark and a marketing device for the City. Maybe most importantly through the use of natural and artificial light it created a unique civic space for the citizens to use. Furthermore, it set a precedent for a new district for 11000 people to become the “district of light”. During the first years the silo is mainly viewed from distance when the area starts to get build. 1280 LED domes in 2700K white are fitted inside the silo behind the cut-outs and visible from several kilometres away. LDC developed a bespoke software using swarm intelligence and nature simulating algorithms that refresh responding to parameters such as wind speed, direction, temperature, clear night and snow. System dials out every 5 minutes for new data. The patterns are fluid, natural in feel and never repeat. They are slow but speed up in relation to the wind speeds creating constantly changing mural of light. At midnight the exterior turns deep red for 1 hour. The colour refers to the former use of the silo as a container of energy. At 02:30 when the last ferry goes past to Suomenlinna lights go off. The interior gains importance as the area gets populated. Inside is painted deep red. Daylight seeps through the pattern derived from original rust patterns on the walls. North facing wall has no perforations. 450 steel mirrors moved by winds are fitted behind the holes. With sunlight the silo appears to glimmer and sparkle like surface of water.The warm white LED grid reflects light indirectly via the red walls into the space. The moving patterns read as halos racing across the walls. The Silo is a civic space for the citizens of Helsinki. Floor was added and rigging infrastructure, power, water and emergency & cleaning lighting. Light intervention has created a new space for people.
Nabaz’mob
100 Nabaztag smart rabbits play together an opera specially composed by Antoine Schmitt and Jean-Jacques Birgé.
Evoking John Cage, Steve Reich, Conlon Nancarrow and György Ligeti, this musical and choreographic score in three movements, transmitted via wi-fi, plays on the tension between the orchestral ensemble and the individual voices to create a strong and involved showpiece. This opera questions the issues of working together, organization, decision and control, which are increasingly central and difficult in our contemporary world.
Schmitt and Birgé have chosen to twist the industrial object into an artwork in which the choreography of the ears, the play of light and the hundred small loudspeakers hidden in the stomachs of each rabbit create a composition with three voices built on time delay and repetition, programming and disrespect for rules.
Тило Франк
the phonenix is closer than it appears
Thilo Frank (* 1978) lives and works in Berlin. His installations, sculptures and photo series lead the viewer into situations creating interactive physical dialogues. Physical phenomena and environments of our daily life are interpreted in a new context emphasizing our perception of light, space and motion in a poetic and playful way.
His works ask of a visitor to question one‘s relation to action in space and the consequences of one‘s action – an intimate experience.
The viewer functions as a coproducer of the work, perceiving his or her relational aspect as a instrument of measurement. The cognitive aspect in its work is enacted by the viewer, who through his physical reaction to the work, reflects himself to it. Through his physical interaction – the viewer completes the work.
Through the use of everyday technologies Thilo Frank explores the conventions of sight and movement and their visualization. Examination produces a type of measuring standard through which even seemingly random events are viewed equally. Through his works, an attempt is made to illustrate the optical coefficient and with this to analyse the space.
Darren Slater (DSM)
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – INTERATOR
Electronic Language International Festival
Trip Portal – United Kingdom
Portal Trip is a captivating fusion of original music and Darren Slater’s AI-generated animations, transporting viewers on a surreal journey through ever-shifting dimensions. As abstract portals open and dissolve into fluid landscapes, the hypnotic visuals synchronize with Darren’s immersive soundscapes, creating an audiovisual experience that feels like entering another reality. A mesmerizing blend of movement and sound, this video invites viewers to lose themselves in its dreamlike, otherworldly depths.
BIO
Darren Slater is a musician and amateur visual artist based in the UK. He composes cinematic soundtracks in ambient and techno-house styles with sci-fi inspiration, using attribute-free loops and sound effects. He uses Krea AI Animator to bring AI-generated images to life, creating immersive experiences. He also works as a traditional artist, painting fantasy worlds with brushes and pigments.
John Otero
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – WORKSHOP
Electronic Language International Festival
Digital Origami: Exploring Procedural Animation – Brazil
This workshop introduces procedural animation, a technique that uses mathematical parameters to create automated movements. Using the free version of Houdini software, participants will learn how to digitally assemble and animate origami, exploring the software’s features to simulate movements and behaviors. The creative possibilities of this approach will also be discussed, highlighting applications in animation, generative design, and visual effects.
BIO
João Otero is a visual artist, illustrator, animator, teacher, and visual arts graduate student at ECA-USP. He is a member of the Realidades research and outreach group. He holds a scholarship from the CAPES Teaching Initiation Program in the arts field; he also received a PUB scientific initiation scholarship, researching digital techniques applied to comic book production.
Brit Bunkley
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Video Art
Electronic Language International Festival
Natural Intelligence – Nova Zelândia
Natural Intelligence is “intelligence created by nature, natural evolutionary mechanisms” as opposed to artificial intelligence. With it, “there is a dynamic movement of natural intelligence that evolves from vague, fuzzy, and unconscious states to more concrete and conscious states, and thus realizing the essence of perception” (Perlovsky and Kozma, 2007). It is beautiful and deeply flawed, but it levels out in the end.
BIO
Bunkley has exhibited at the Museum of New Zealand Te Papa. He participated in the Visions in the Nunnery at the Nunnery/Bows art gallery in London in 2022 and in 2024 at Rencontres Berlin, Haus der Kulturen der Welt, Berlin, and he exhibited in Artweek Gyumri, Armenia. He was the award winner for Best Art | Experimental video/film at the New York City Independent Film Festival 2024 in NYC.
Fran Orallo
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Video Art
Electronic Language International Festival
sorrow – Spain
The work consists of a video glitch that shows a distorted body making dramatic movements. The project questions the idea of identity and identification with one’s own body, showing a disjuncture when it comes to representation. The work is a metaphor that represents the violence exerted on a dissident body. The video is collected within the field of self-portrait since the body rep resented is the artist’s own body.
BIO
Fran Orallo lives and works in Glasgow, Scotland. He studied art at UPV, Valencia, Spain, and New Media Art at City of Glasgow College, Scotland. His work focus es on experimentation with the field of video and animation. He has exhibited his work both in Spain and abroad, participating in biennials, collective exhibitions, and festivals in more than 40 countries.
Cornelis Clement
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Shorts Films AI
Electronic Language International Festival
AI Created a Sci-Fi World You Won’t Believe! – Germany
AI Created a Sci-Fi World You Won’t Believe! is a science fiction universe generated by artificial intelligence. Custom-created images for this world were brought to life with motion and an original soundtrack, resulting in an immersive experience. The work invites the audi ence to explore breathtaking alien landscapes, futuristic cities, and cosmic phenomena reminiscent of Dune and No Man’s Sky. This AI-generated video transports viewers into a realm of visual marvels and hypnotic atmospheres.
BIO
Cornelis is a Berlin-based artist specializing in AI-generated art. He views technology as the dawn of a new era in artistic creation and seeks to be an active part of this movement. His work aims to push creative boundaries, offering audiences new ways to experience imagined worlds.
Machine Hallucinations — Sphere
The artwork presents a series of AI Data Sculptures that incorporates vivid pigments, shapes, and patterns, aiming to create a collective, meditative, and multisensory experience. This immersive experience simulates the rhythms of various environments and invites the visitors to imagine alternative realities constructed by invisible data movements around them.
Machine Hallucination: The Sphere features dynamic visualizations of data that are based on vast archives containing visual imageries of space and nature while celebrating the unique architecture of The Sphere. For this project, Anadol and his team used these themed datasets as the building blocks for the three distinct chapters of the artwork and trained a unique AI model with subsets of the collected image archives. After the training, when idle and unsupervised, the “machine mind” generates new aesthetic visuals and color combinations through unique lines drawn by algorithmic connections.
Embodied Simulation
‘Embodied Simulation’ is a multiscreen video and sound installation that aims to provoke and nurture strong connections to the global ecosystems of which we are a part. The work combines artificial intelligence with dance and research from neuroscience to create an immersive, embodied experience, extending the viewer’s bodily perception beyond the skin, and into the environment.
The cognitive phenomenon of embodied simulation (an evolved and refined version of ‘mirror neurons’ theory) refers to the way we feel and embody the movement of others, as if they are happening in our own bodies. The brain of an observer unconsciously mirrors the movements of others, all the way through to the planning and simulating execution of the movements in their own body. This can even be seen in situations such as embodying and ‘feeling’ the movement of fabric blowing in the wind. As Vittorio Gallese writes, “By means of a shared neural state realized in two different bodies that nevertheless obey to the same functional rules, the ‘objectual other’ becomes ‘another self’.”
The Sea
FILE 2024 | Installations
International Electronic Language Festival
The Sea is an extraction of a complex natural phenomenon, resulting in an artificial emulation that develops a life form of its own. Just like the sea with its endless waves, this artificial system follows the impact of an immersive state, leading to a unique vision of an artificial generator. Despite appearing chaotic, it is capable of generating associations ranging from the movement of waves to science fiction scenarios.
Bio
Paul Gründorfer develops process-related systems and explores variable or unstable conditions in the occurrence of sound when exposed to amplification, feedback, and multiple signal streams. His works focus on processes that evolve in a social space. Leo Peschta is an artist and researcher. During his studies, he worked in various fields of media arts, including sound, installations and software, developing over the years a special interest in robotics and machinery.
Credits
Austrian Embassy
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.
Audio Responsive Treehouse
FILE 2024 | Architectural Synthetics
International Electronic Language Festival
Hassan Ragab – Audio Responsive Treehouse – United States
This work, created using generative artificial intelligence tools, is part of a broader exploration into discovering architectural forms through the intersection of different media. Potential shapes are generated based on the rhythms and timbres of the Shockone vs. Shockone song Run. The Bloody Beetroots. Factors such as camera movement and dynamics between the interior and exterior of the treehouse contribute to the creative process.
Bio
Hassan Ragab is an interdisciplinary media artist, architect and designer whose work focuses on the synergy between art, architecture, technology and humanity. He uses generative artificial intelligence to create a new visual language, and his work is exhibited globally. Additionally, Hassan writes about the integration of new media into art and design and has been recognized in numerous publications and news outlets.
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
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
Echo Lens
Emerald Lake, Canada
Hybrid, Vincent Leroy’s work oscillates between the real and the virtual, the natural and the artificial, drawing its inspiration from both nature, which often sites his work, and from the digital world. Whether its kinetic sculptures, immersive installations or monumental works, movement is almost always Vincent Leroy’s raw material. The kind of movement that inspires life, amazement, and a permanently shifting viewpoint.
2526
Polymorphic Robotic Garments
2526 refers to the number of hours invested in the creation of the two polymorphic robotic garments, from ideation to the finish, from the first line of drawing to the last stitch. The two polymorphic outfits of the 2 5 2 6 project are very real: woven, hand-screened, and consolidated materials have been specially designed to create these clothes. They are not virtual at all. However, they simulate the effects of virtual clothing: a surreal undulation generates a play of volume and transparency; their polymorphic movement, as well as their reflectivity, are results of an entirely new flexible material that combines glass, precious metals and silicone.
COIL
The COIL installation is a space for reflection and a feeling of connection between people. COIL resembles a teleport and with this meaning it carries the phenomenon of teleportation. It is something impossible, but the consequences of escaping into it are instantaneous movement and farewell to eternal time. Any venue with art or raves is already an attempt to escape. So COIL pulls the viewer out of chronos and opens access to the eternal.
saccade
OUCHHH STUDIO
Neuroscientific-Installation
We are invited to São Paulo for our vertical light and sound installation which will transform the facade of São Paulo’s one of the most important architecture which is Fiesp Led Building.
We started this project with the idea that Neuroscience and simultaneous movement of both eyes between two or more phases of fixation in the same direction algorithms, and we transform the high-resolution led screen into a media canvas which transformed into living architecture.
FILE SAO PAULO 2017
THE BREATHING CLOUD
“The Breathing Cloud” is a monumental floating organism. The work transforms a space by its motion, light, and rhythmic breathing. With this light art the phrase “let a room come to life” gets a new meaning. The clouds skin looks fragile and soft, and the movements are rhythmic, yet random, so the whole room feels like a living being. The technology is designed so that the strong LED modules and the mechanism support the pervasive breathing. It gets physically bigger and smaller and embraces with its bright light space.
アンヌ·テレサ·ドゥ·ケースマイケル
АННЫ ТЕРЕЗЫ ДЕ КЕЕРСМАКЕР
Quatuor N°4
The movement vocabulary of “Quartet No. 4” (originally part of a longer evening, “Bartok/Annotations”) is simple, with elaborations on walking and turning movements that incorporate everyday motion (smoothing hair, opening out the hands, a quick unpolished handstand) and folk dance-like skipping, hopping and heel-clicking jumps.
Sun and Moon Room
Sun and Moon Room in the Art Museum of Nature and Human Non-Homogeneity, located in Bungotakada City, Oita, houses one of the interactive art installations designed to extend one’s physicality in contact with the nature. The concept of this work is a room where visitors can play with sunlight. As visitors walk through the room, small apertures on the ceiling automatically open and close, following their movements. The aperture system is designed to envelop the visitors’ bodies in light and to change the shape of the light cast at their feet, mimicking the waxing and waning of the moon. Visitors’ movements are detected by sensors, which trigger to open only the apertures located in the direction of the sun. The room is controlled to create an interior condition that represents the weather of the moment using a program for analyzing live data released by the Japan Meteorological Agency.
Gaitkeeper
“Just be yourself, and nobody else”. Our motions, as distinctive as our faces, will soon be captured and interned. Gaitkeeper is a biometric control suite designed to counter the challenge of ‘Locomotive Camouflage’. LoCam, which combines the physical control of dance with the unpredictability of performance art, is rapidly being adopted by civic insurgents. Gaitkeeper units, based on the off-the-shelf Kiva chassis, are now being deployed as standard counter measures.
The work fulfills Huang’s childhood dream of having a robot dance partner and required development from scratch. After learning the mechanics of the industrial KUKA robot, he conceptualized the movements and programmed the machine to create the partner he wanted. He says of the experience, “Dancing face to face with a robot is like looking at my own face in a mirror… I think I have found the key to spin human emotions into robots.” It was developed into a full-length piece with two additional dancers as part of 3-Legged Dog Art & Technology Center‘s Artist Residency program and their 3LD/3D+ program.
A Pigeon Sat on a Branch Reflecting on Existence
A sense of depression is reflected in his reluctance to use close-ups or camera movement, yet Andersson has quite an eye for beautiful set-ups even within the restrictions he’s given himself. His sense of humor is deadpan and misanthropic yet humanist. Andersson’s dour wit isn’t far from Louie. A Pigeon Sat On a Branch Reflecting On Existence expects the worst from the human race but holds out a slim hope for the best.
Atomos
Atomos grows out of the smallest unit of matter. Bodies, movement, film, sound and light are atomised into miniature shards of intense sensation.Ten incredible dancers perform the unique style of Wayne McGregor – sculptural, rigorous, jarring and hauntingly beautiful. McGregor is accompanied by a team of sensational artists including longtime collaborators lighting designer Lucy Carter and filmmaker Ravi Deepres, and neo-classical ambient composers A Winged Victory For The Sullen.
Principles of Motion
For Principles of Motion, UVA uses a rotating LED disc to create an abstract rotating and shifting kinematic landscape that plays with the viewer’s perception of movement and reflects the phenomenon of persistence of vision (sparkler’s trail effect / pov display). By varying the luminosity of the LED, the kinetic landscape moves and gives the viewer a sense of space and time. While observing the abstract rotating patterns and rhythms, the optic nerve of the recipient replicates the effect of an afterimage on the eye.
Pan, Tilt and Zoom
Three motorized CCTV dome cameras are installed on the gallery floor. The built-in auto-tracking function makes the cameras follow any motion in the room. While moving its lens the center of the weight of the device shifts and the whole camera starts to roll on the floor. As a result the software is confronted with even more motion which needs to be tracked. From time to time the cameras bump into each other or start to follow and trigger each other movements.
IN
In IN (2003) an actress remains motionless for an hour in a display window filled with water. The distortion to her senses caused by the environment she is in makes her go into a trance. The sounds of her breathing and movement are amplified by microphones.
infinite posture dataset
She moves by endlessly morphing to the rhythm of the device – strapped in the frame of the screen – following or giving instructions; part human, part machine. The design of the device is inspired by a gadget to cheat the step-counter on your smartphone. Technology tricked by technology. Her movements, caught within a motion capture like tight suit deconstructing her body parts, talk of complex and conflicting emotions, but her face, from which we usually read how someone is feeling, is hidden. But is the machine that is observing her deconstructed and re-sequenced postures actually capable of recognizing what the body is communicating? Are we?
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.
Biomimicry
For the ‘Biomimicry’ film, Iris van Herpen and Dutch National Ballet explore the symbiotic relationship between the metamorphic force in which fashion and dance interlace. The film, directed by Ryan McDaniels, sees the mesmeric dancer JingJing Mao undulating into liquescent shapes and transcending into graceful figures that reflect her myriad of movements. The concept of the creation stems from the notion of biomimicry — the design and production of materials and systems that are modelled on biological processes. In line with Iris van Herpen’s continuous pursuit to materialise the invisible forces that structure the world, the film focusses on the bond between humanity and nature.
Symbiosis
In the installation area, the human body is augmented with video projected virtual images. Viewer and technology enter a symbiotic relationship and as a result, bring to life wonderful biomorphic creatures. They change constantly – reacting to your every movement and turning into new and unique forms each time. The installation was inspired by the symmetry of living organisms, the structure of exotic insects, and reflections on extraterrestrial life forms.
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.
19Returning the Gaze
‘Returning the Gaze’ is an cyber-physical robotic installation by Behnaz Farahi supported by Universal Robots for ANNAKIKI’s Milan Fashion Week. ‘Returning the Gaze’ is an exploration of this scenario. In the center, a female model wears a spacesuit-like outfit and a headpiece fitted with two tiny cameras. The cameras track and capture the movements of the model’s eyes, and enlarging and displaying them on four monitors mounted moving around on robotic arms glaring back at the observers. The gaze of the model is thereby directed back at the viewer, extended and enhanced through cyborgian technologies.
Breathing
File Festival
Breathing is a work of art based on a hybrid creature made of a living organism and an artificial system. The creature responds to its environment through movement, light and the noise of its mechanical parts. Breathing is the best way to interact with the creature.
This work is the result of an investigation of plants as sensitive agents for the creation of art. The intention was to explore new forms of artistic experience through the dialogue of natural and artificial processes. Breathing is a pre-requisite for life, and is the path that links the observer to the creature.Breathing is a small step towards new art forms in which subtle processes of organic and non-organic life may reveal invisible patterns that interconnect us.Breathing is a work of art driven by biological impulse. Its beauty is neither found isolated on the plant nor in the robotic system itself. It emerges at the very moment in which the observer approaches the creature and their energies are exchanged through the whole system. It is in that moment of joy and fascination, in which we find ourselves in a very strange dialogue, that a life metaphor is created.Breathing is the celebration of that moment.
أوسكار شليمر
奥斯卡·施莱默
אוסקר שלמר
オスカー·シュレンマー
오스카 슐 렘머
Оскар Шлеммер
Triadic Ballet
1-Margarete Hastings, Franz Schömbs, Georg Verden
1970
2-Super 16mm colour film, directed by Helmut Ammann.
Oskar Schlemmer saw the human body as a new artistic medium. He saw ballet and pantomimes as being free from the historical baggage of theater and opera and, therefore, capable of presenting his ideas of choreographed geometry, the man as a dancer, transformed by his costumes, moving in space. He saw the puppet and puppet movement as superior to that of the human, as this emphasized that the average of all art is artificial. This device could be expressed through stylized movements and the abstraction of the human body. Schlemmer saw the modern world being guided by two main currents, the mechanized (man as a machine and body as a mechanism) and the primordial impulse (the depths of creative urgency). He claimed that choreographed geometry offered a synthesis; the Dionysian and emotional origins of dance become rigid and Apollonian in its final form.
3-Bayerisches Junior Ballet München
高谷史郎
史郎の高谷
La chambre claire
La Chambre Claire (or Camera Lucida) is a show built up from precise, symmetrical movements, inviting spectators to embark on a thought-provoking journey into their most intimate and personal territory. In this, his first solo work as creative artist and director, Shiro Takatani pays homage to the French writer Roland Barthes and his essay on photography, La chambre claire (1980). The result is a performance that blends theatre, the art of movement and installation to compose a great fresco full of subtle, elegant minimalist images that advance towards an aesthetic climax. Reflecting on photography and memory, the production invites us to embark upon an intimate, solitary journey to look inside ourselves and formulate a personal interpretation of what we see.
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La Chambre Claire (oder Camera Lucida) ist eine Show, die aus präzisen, symmetrischen Bewegungen aufgebaut ist und die Zuschauer zu einer zum Nachdenken anregenden Reise in ihr intimstes und persönlichstes Gebiet einlädt. In seiner ersten Soloarbeit als kreativer Künstler und Regisseur huldigt Shiro Takatani dem französischen Schriftsteller Roland Barthes und seinem Aufsatz über Fotografie, La chambre claire (1980). Das Ergebnis ist eine Performance, die Theater, Bewegungskunst und Installation miteinander verbindet, um ein großartiges Fresko voller subtiler, eleganter minimalistischer Bilder zu komponieren, die sich einem ästhetischen Höhepunkt nähern. Die Produktion reflektiert Fotografie und Erinnerung und lädt uns ein, eine intime, einsame Reise zu unternehmen, um in uns selbst zu schauen und eine persönliche Interpretation dessen zu formulieren, was wir sehen.
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La Chambre Claire（またはCamera Lucida）は、正確で対称的な動きから構築されたショーであり、観客を招待して、最も親密で個人的な領域への示唆に富む旅に出ます。この中で、クリエイティブアーティスト兼ディレクターとしての彼の最初のソロ作品である高谷史郎は、フランスの作家ロラン・バルトと彼の写真に関するエッセイ、ラ・シャンブル・クレア（1980）に敬意を表しています。その結果、劇場、動きの芸術、インスタレーションを融合させて、美的クライマックスに向けて前進する繊細でエレガントなミニマリストのイメージに満ちた素晴らしいフレスコ画を構成するパフォーマンスが生まれました。写真と記憶を反映して、この作品は私たちを親密で孤独な旅に乗り出し、自分自身の内部を見て、私たちが見ているものの個人的な解釈を定式化するように誘います。
parallaxis
In a new moving-image work by Melbourne-based artist and architect Matthew Bird, two bodies move across the land, working with large cylindrical instruments. We witness them map and survey a terrain analogous to universal physical and psychological locations, each revolution marking a paradoxical attempt to pin an earthly position through perpetual movement. Playing on the human need to understand our relationship to the people and places around us, Parallaxis considers the potential for architectural processes and measurements to act as a foundation for structures of understanding.
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.
Internet of Everything: All Connections
‘Internet of Everything: All Connections’ is a piece of work that connects human, animals, plants, bacteria, environment, compound and equipment using the Internet. It consists of seven parts. One part affects the other by sequence. It doesn’t have a starting point or an ending point in this connection – because they are an interlocking loop structure. The weak bio-electricity of the human body is passed to the bacteria, Proteus. The bacteria starts to vibrate due to the electrical stimulation. Its motion is captured by the microscope and input to Max in real time. Data arising from the change in value in the bacteria movement controls the next part.
