克劳斯奥伯迈尔

Apparition

source: exileat

Since more than two decades media-artist, director/choreographer and composer Klaus Obermaier creates innovative works in the field of performing arts, music, theatre and new media, highly acclaimed by critics and audience.

His performances and installations are shown at festivals and theaters throughout Europe, Asia, North and South America and Australia.
He worked with dancers of the Nederlands Dans Theater, Chris Haring, Robert Tannion (DV8), Desireé Kongerød (S.O.A.P. Dance Theatre Frankfurt) …
He composed for ensembles like Kronos Quartet, German Chamber Philharmonics, Art Ensemble of Chicago, Balanescu Quartet, among others.

Since 2006 he is visiting professor at the University IUAV of Venice teaching ‘directing and new media’. Also since 2006 he is member of the jury of the international choreography competition ‘no ballet’ in Ludwigshafen/Rhein, Germany. In 2005 and 2008 he taught as an adjunct professor for composition at the Webster University Vienna. Since 2010 he holds courses for choreography and new media at the Accademia Nazionale di Danza di Roma and the University IUAV of Venice.

He gives lectures at international universities and institutions.
.
.
.
.
.
.
.
.
source: exileat

Seit mehr als zwei Jahrzehnten kreiert der Medienkünstler, Regisseur/Choreograf und Komponist Klaus Obermaier innovative und von Kritikern wie Publikum gefeierte Arbeiten im Bereich Tanz, Musik, Theater und Neue Medien.

Seine intermedialen Performances und Installationen werden von Festivals und Theatern in Europa, Asien, Nord- und Südamerika und Australien eingeladen.
Er arbeitete mit Tänzern des Nederlands Dans Theaters, Chris Haring, Robert Tannion (DV8), Desireé Kongerød (S.O.A.P. Dance Theatre Frankfurt). Er komponierte für Ensembles wie Kronos Quartet, Art Ensemble of Chicago, Deutsche Kammerphilharmonie, Balanescu Quartet, u. a.

Seit 2006 ist er Gastprofessor an der Universität IUAV in Venedig und unterrichtet Regie und Neue Medien. Ebenfalls seit 2006 ist er Jury-Mitglied des Internationalen Choreographie-Wettbewerbs ‘no ballet’ in Ludwigshafen/Rhein, Deutschland. 2005 und 2008 unterrichtete er als Adjunct Professor Komposition an der Webster University Wien. Seit 2010 leitet er Kurse für Choreografie und Neue Medien an der Accademia Nazionale di Danza di Roma und der Universität IUAV in Venedig.

Er hält Vorträge an internationalen Universitäten und Institutionen.
.
.
.
.
.
.
.
.
.
source: openartblog

Klaus Obermaier is a media-artist, director, choreographer and composer since two decades. He creates innovative works in the area of performing arts, music, theatre and new media, highly acclaimed by critics and audience. He is well known by dance/media works D.A.V.E. and VIVISECTOR.

His performances are shown at major festivals and theaters throughout Europe, Asia, North and South America and Australia. He worked with dancers of the Nederlands Dans Theater, Chris Haring, Robert Tannion (DV8), Desireé Kongerød (S.O.A.P. Dance Theatre Frankfurt),… He composed for ensembles like Kronos Quartet, German Chamber Philharmonics, Art Ensemble of Chicago, Balanescu Quartet, among others.

Two dancers, a strand of light behind them, an intense white strand of light, cutting across the rear wall, seem to be in response to the dancers, or is it that the dancers are responding to the light? This mesmerising brilliant strand is superseded by lines of light streaming down, vertically, contrasted by horizontal lines projected onto the bodies of the two dancers. Is it the screen or is it the performers leading the action? It could never tell and the question became redundant in this ‘interactive dance and technology work’, created under the artistic direction of Austrian cross-media artist Klaus Obermaier.

One dancer implodes into a shadow, and then dances in silhouette against the screen of white lights. The dancers move with and against the fluctuating vertical lines and densities of black… all is relevant, involved and evolving. To each movement waves of points expand on the surface of the bodies, drawing an organic back and forth on the skin, as if each molecule set in motion by choreography had been transformed into photon. Apparition, much more physical than one could expect: the computers do not crush the choreographies but raise them when they weaken. Technology became the ‘third partner‘ in Apparition along with the two dancers, stretching the realm of the possible.

A few commented that Klaus Obermaier’s last project VIVISECTOR was intriguing and conceptually exciting, but did not contain enough substance to be sustainable as an hour-long piece of entertainment. That was two years before this work, and things move fast through wires. Apparition premiere was received enthusiastically, inciting prolonged rapturous applause. As the house lights came up a little boy who had been sitting behind me announced rather mournfully, eyes still transfixed on the stage, “All finished now”. I think he spoke for everyone.
.
.
.
.
.
.
.
source: escapeintolife

Conceived and directed by Vienna-based cross-media artist Klaus Obermaier in collaboration with the Ars Electronica Futurelab, Apparition is a unique dance and media work that fully confronts the aesthetic potential and consequences of integrating interactive technologies with live performance on the stage.

Working closely with Obermaier there was an international team, including London-based dance artists Robert Tannion and Desireé Kongerød and interaction designers and programmers Christopher Lindinger and Peter Brandl (from the Ars Electronica Futurelab). Development of the system for motion tracking and analysis was provided by Hirokazu Kato from Japan.
.
.
.
.
.
.
.
source: billettportalen

I mer enn to tiår har mediaartisten, regissøren, koreografen og komponisten skapt kritikerroste innovative verk i området scenekunst, musikk, teater og nye medier. Flere av hans produksjoner er å regne som kultklassikere, og lørdag 19. januar 2013 vises danseforestilling Apparition i Stavanger konserthus.

Obermaier er en foregangsmann når det gjelder å ta moderne teknologi i bruk innen scenekunst, og lager forestillinger av høy klasse. Med Apparition får dansepublikum for første gang en anledning til å se et verk av Obermaier her i regionen.

Obermaiers intermedia forestillinger og kunstverk vises på festivaler og teatre i Europa, Asia, Nord-og Sør-Amerika og Australia, og Obermaier er mannen bak kultproduksjoner som DAVE og Vivisector, og han har blant annet jobbet med dansere fra Nederlands Dans Theater, Chris Haring, Robert Tannion (DV8), Desiree Kongerød (SOAP Dance Theatre Frankfurt).

Som komponist har han skrevet musikk for meget anerkjente ensembler som Kronos Quartet, German Chamber Philharmonics, Art Ensemble of Chicago, Balanescu Quartet.
Siden 2006 har Klaus Obermaier også vært gjesteprofessor ved University IUAV of Venice hvor han underviser i regi og nye medier. Han er også vært jurymedlem i den internasjonale koreografi-konkurransen “no ballet” i Ludwigshafen / Rhein, Tyskland. I 2005 og 2008 underviste han som professor i komposisjon ved Webster University Vienna. I 2010 og 2011 holdt han kurs i koreografi og nye medier ved Accademia Nazionale di Danza di Roma. Han holder foredrag på internasjonale universiteter og institusjoner.

OM APPARITION

En interaktiv dans- og mediaperformance skapt og regissert av Klaus Obermaier, i samarbeid med Ars Electronica Futurelab og danserne Desirée Kongerød og Rob Tannion.

I danseforestillingen Apparition bruker Obermaier moderne teknologi som en visuell medspiller, på scenen.
Hvilken koreografi oppstår når programvaren er din partner?
Når det virtuelle og det faktiske bildet har samme fysikk?
Der alt som beveger seg på scenen er både interaktivt og uavhengig?
Og enhver form kan forvandles til en kinetisk projeksjon?

Apparition tar med disse spørsmålene som utgangspunkt den interaktive forestillingen til et annet nivå gjennom etableringen av et unikt scenebilde ved å integrere live performance, lyd, projeksjon og et interaktivt system som består av bilder i sanntid og visuelle datagenererte uttrykk. Dansernes bevegelser omdannes til visuell projeksjon og optiske mønstre i store format som fremstår uendelige. Vekselvis brukes dansernes egne kropper som fysiske, bevegelige lerret.
.
.
.
.
.
.
.
source: nait5wordpress

Conceived and directed by Vienna-based cross-media artist Klaus Obermaier in collaboration with the Ars Electronica Futurelab, APPARITION is a unique dance and media work that fully confronts the aesthetic potential and consequences of integrating interactive technologies with live performance on the stage. Working closely with Obermaier is an international team including London-based dance artists Robert Tannion and Desireé Kongerød and interaction designers and programmers Christopher Lindinger and Peter Brandl (from the Ars Electronica Futurelab). Development of the system for motion tracking and analysis was provided by Hirokazu Kato from Japan.

Background

New technologies whether mechanical, chemical or electronic have always made their way into the performing arts; and in the mid 20th century artists began to explore the integration of media technologies with live performance. Two who are most often cited from this period are Czech scenographer Josef Svoboda whose understanding for the kinetic properties of space resulted in inspirational combinations of film and live performance on stage; and renowned American choreographer Alwin Nikolais whose use of multimedia on stage challenged the dancers to explore the space and movement in new ways. These two artists established precedents for the integration of media and live performance on stage that can be traced through the increasingly diversified work of a range of theater and dance makers including: Robert Lepage (Canada), Wooster Group (USA), William Forsythe (Germany), Marcel.li Antonio Roca (Spain), Dumb Type (Japan), Hotel Proforma (Denmark), Blast Theory and Station House Opera (United Kingdom).

This helps to provide the context for a series of stage works devised by APPARITION director Klaus Obermaier beginning with the production of D.A.V.E. (1998-2000). Devised in collaboration with dance artist Chris Haring, D.A.V.E. was a solo dance theater work using a unique approach to moving body projections that fused body and image into a consistent narrative. Following the success of D.A.V.E. (having performed to date eighty shows in eighteen countries), Obermaier and Haring embarked on the creation of another media and dance performance work, VIVISECTOR (2002), that placed four dancers on the stage and used a reduced technique of body projection to explore the limitations of perception.

Neither of these works used interactive technologies, but relied on a creative and precise combination of set choreography, staging and recorded video. Having experience with interactive artworks since 1991, Obermaier decided to further develop the aesthetics of body projection by making a piece that would use interactive technologies to release the performer from the determination of set choreography and would use digital media performance software to generate the video and sound content in real-time. Discussions with engineers and designers at the Ars Electronica Futurelab about building the interactive and real time generation system, and involvement in the organisation of the DAMPF_lab (a European joint performing arts/ technologies research project) stimulated the initiation of the APPARITION project.

Making APPARITION

The creation of a performance work for the stage involves a complex interplay between many factors including the performers’ physicality and the dynamics of emergent choreographic forms. To closely reflect this, the real-time system for generating visuals developed for APPARITION is built on top of computational processes that model and simulate real-world physics. The inherent kinetic properties of these simulations inspired our view that the overall interactive system is much more than simply an extension of the performer, but is a potential performing partner. The independent behavior of the physical models for example is not ‘controllable’ by the performer, but can be influenced by his or her movement. This interplay between dancer and system and how one begins to understand the properties of the other has been crucial to the conceptual and aesthetic development of the work; helping give shape to the choreography and underpinning its dramaturgy.

The camera based motion tracking system developed for APPARITION uses complex computer vision algorithms to extract the performer’s moving outline/ shape from the background to provide constantly updating information for a body projection as well as qualitative calculations of certain motion dynamics, e.g. speed, direction, intensity and volume. The information derived from these calculations is assigned dynamically to the real-time generation of visuals that are projected either directly back onto the body and/ or as large-scale background projection. The precise synchronisation of projections on the background and the bodies result in the materialization of an overall immersive kinetic space / a virtual architecture that can be simultaneously fluid and rigid, that can expand and contract, ripple, bend and distort in response to or an influence upon the movement of the performers.

These two main areas of research, the system as performance partner and the immersive kinetic space, have provided a framework for developing material that closely links the interactive system, real-time generated visuals and performance. There is no assumed hierarchy of systems and choices have been made that maximize associative and metaphorical linkages across computational, emotional and corporeal processes. This work is fundamentally unlike an interactive installation with its focus on the engagement of every day users and participants. APPARITION stresses resonances between virtuoso performer and sophisticated computation and media processes and contributes specifically to the evolving aesthetic in the genre of interactive stage performance.
.
.
.
.
.
.
.
source: moneyjoins

【부산=뉴시스】허상천 기자 = 지난 3일 막 오른 제10회 부산국제연극제가 11일과 12일 이틀간 폐막작 ‘유령’을 선보이고 막 내린다.

폐막작 ‘유령(Apparition)’은 올해 부산국제연극제의 콘셉트인 ‘Digilog, 디지털과 아날로그의 만남’에 걸맞는 작품으로 뛰어난 기술이 돋보이는 작품이다.

디지털 퍼포먼스로 유명한 미디어 아티스트 Klaus Obermaier(클라우스 오베르마이어)의 대표작으로, 신체의 움직임에 따라 반응하는 비디오 매핑과 디지털 기술을 결합해 화려한 시각적 이미지를 선보일 예정이다.

특히 이 작품은 미래 공연 예술의 화두가 될 ‘융합’을 만나볼 수 있을 것으로 기대를 모으고 있다.

공연에 사용된 ‘모션 트래킹 시스템(동작 추적 시스템)’은 오스트리아, 스페인, 일본, 덴마크, 영국, 뉴질랜드, 중국, 미국 등 초국적 기술 및 예술 전문가들이 모여 무려 10여년에 걸쳐 연구했을 정도로 최신 기술이 집약된 프로젝트이다.

2004년 첫 선을 보인 이 프로젝트 작품은 약 10년간 수정 보완을 더하며 영국, 독일, 싱가포르, 홍콩, 스페인, 프랑스, 타이완, 멕시코, 노르웨이 등 전 세계에서 수 십 차례 공연을 가졌다.

지난해는 영국 브라이튼 페스티벌에서 최우수 예술상인 Argus Angel Award를 수상했다.

이로써 세계의 언론으로부터 ‘꼭 다시 봐야 할 작품’ ‘눈을 뗄 수 없고 열광 할 수밖에 없는 작품’이라는 찬사를 받은 ‘유령(Apprition)’은 폐막식이 열리는 12일 공연은 물론이고 11일 공연도 매진될 것으로 전망된다.

폐막작 ‘유령’은 11일과 12일 오후6시 부산문화회관 중극장에서 펼쳐진다.
.
.
.
.
.
.
.
source: eumednet

Durante casi dos décadas, el artista de medios digitales, director y compositor Klaus Obermaier crea innovadoras obras en el campo de la danza, la música y el teatro aclamadas por los críticos y el público. Sus actuaciones son mostradas en los festivales y en teatros más importantes de toda Europa, Asia, América del Norte y del Sur y Australia. Ha compuesto para conjuntos como Kronos Quartet, German Chamber Philharmonics, Art Ensemble de Chicago y Balanescu Quartet entre otros. Sus numerosas obras también incluyen proyectos como instalaciones interactivas, videoarte, proyectos de Internet, música por ordenador y obras radiofónicas, así como grandes eventos multimedia al aire libre para decenas de miles de personas. Desde 2006 es profesor visitante en la Universidad IUAV de Venice donde imparte “Nuevos medios en representaciones teatrales”, así mismo, es invitado como conferenciante en universidades e instituciones internacionales.

Apparition es una obra de danza creada en colaboración con Ars Electronica Futurelab 18. En esta pieza, el artista se enfrenta al potencial estético y las consecuencias de la integración de las tecnologías interactivas con una presentación en vivo en el escenario. En estrecha colaboración con Obermaier, el equipo internacional implicado incluye a los bailarines Robert Tannion, Kongerød Desireé y diseñadores de interacción y programadores Christopher Lindinger y Peter Brandl (de Futurelab Ars Electronica). El desarrollo del sistema para el seguimiento del movimiento y su análisis fue creado por Hirokazu Kato de Japón 19.
.
.
.
.
.
.
.
.
source: traxit

L’artista spiega così la differenza di complessità di programmazione tra i vari spettacoli:

Se parliamo di programmazione, il primo problema che si incontra è legato ai limiti del software, per ovviare a questo inconveniente, ne utilizzo diversi. Ne è un esempio Dave, completamente realizzato da me in Mac con diversi tipi di programmi: editing, video cutting, compositing, 3D programme, e sempre learning by doing.
In progetti come Apparition, in Le Sacre du Printemps, in cui il livello di interattività è maggiore, collaboro con un programmatore. Da un lato programmare significa avere molta libertà, ma a me non interessa veramente programmare, bensì capire cosa posso ottenere con questi programmi.

Qual è il rapporto tra performer e tecnologia?

In Dave e in Vivisector i performer sono costretti a reagire in relazione al video, essendo le parti programmate in stretta relazione con la forma dei loro corpi; per questo la progettazione del software deve seguire dei parametri molto precisi. La transizione tra i due status, tra immagine e corpo, è fondamentale: una segue l’altra armonicamente, anche se il limite è dato dall’impossibilità di improvvisazione da parte del danzatore. Il movimento del corpo reale diventa un attimo dopo una proiezione video, e ci si interroga se siamo di fronte al corpo reale o al corpo virtuale! Vivisector è basato sul concept video-tecnologico della proiezione sul corpo in movimento come D.A.V.E., ma va oltre: la differenza sta nella proiezione video come unica fonte di luce, senza l’utilizzo di altre luci teatrali. Il corpo appare così molto strano, provoca un sentimento molto speciale: questa combinazione di immagine video, corpo, spazio acustico produce inoltre un effetto scenico di grande unità. Un altro tipo di luce utilizzata è quella del flash, completamente programmabile, e in queste parti dello spettacolo il performer è più libero. In Apparition la tecnologia è completamente interattiva, le immagini e i suoni sono generati real time: il motion detection permette di percepire gli spostamenti dei danzatori i quali non essendo più vincolati alla posizione del proiettore, sono liberi di improvvisare. Lo scopo era quello di creare un sistema interattivo che fosse qualcosa di più di una semplice estensione del performer, addirittura un suo partner. Tre sono i parametri fondamentali nell’interazione dei danzatori: la vicinanza, la velocità e l’ampiezza del movimento.

Per Le Sacre du Printemps lo spazio è concepito come immersivo grazie agli occhialetti polarizzati indossati dal pubblico: immagini stereoscopiche sono generate real time da telecamere stereo poste sul palco e un complesso sistema computerizzato permette di trasferire il corpo della danzatrice Julia Mach all’interno di uno spazio virtuale tridimensionale: “Il corpo umano è ancora una volta un’interfaccia tra realtà e virtualità”.
Grazie a 32 microfoni, inoltre, l’intera orchestra è integrata nel processo interattivo perché sia i motivi musicali sia le voci individuali e gli strumenti influenzano la forma, il movimento e la complessità sia delle proiezioni 3D dello spazio virtuale sia quelle della danzatrice: “La musica non è più solo un punto di partenza ma anche un completamento stesso della coreografia”.
Come si realizza il giusto equilibrio tra libertà creativa del danzatore e programmazione?

All’interno della libertà creativa bisogna anteporre una struttura di base, che si modifica durante il lavoro; il sistema digitale diventa il terzo elemento della performance e ha gli stessi limiti e le stesse potenzialità di una drammaturgia teatrale o di una coreografia. Il primo pensiero è comunque quello di lavorare nel modo più semplice, ed è proprio quando non pensi di creare qualcosa di nuovo, che crei invece elementi innovativi!