Archive for the “WERK” category
Soular
by depart on April 9, 2010
juicy truth like sealing wax from a candy candle
squeezed from the lemon demon
Altar Ego
by depart on April 9, 2010
Altar Ego by Depart – mixed media installation
V_port / Museumsquartier Q21,
28.03 – 30.04.2010
Thanks
Andreas Waldschütz & Thomas Rath (photography and video support), Patrick Glatthaar (hair), Steffi Lamm (makeup), Happy Lab
Forceps of Perception
by depart on Oktober 5, 2009
Chasten dragons and
Dragoon chance
Immobilise phantoms with a hug
Like beauty’s lies in the beholder’s eyes
Premembered clippings of notion pictures
Clinging to the never mind
Little red barrette
We wonder
How the memory of now
Will turn out.
Borrowed Blooms
by depart on September 25, 2009
when night falls like a feather in a vacuum tube
covert carrier crows embark on missions,
collecting clues that stick together
like birds of borrowed plumes,
the secretions of agents.
filling ravenous caverns
I am sitting in a Room
by depart on September 25, 2008
“I Am Sitting In A Room”:
respiratoratorium room ringing resonant ruckus
performance for one performer, two loudspeakers, two microphones, on-body-projection and delicate sound balancing
duration: ca. 45 min.
original composition by Alvin Lucier (1970)
who’s talking when and where, hip or square, what moves the air ?
In the second incantation of the Reverb.On Series in 2008, DEPART and Richard Eigner devoted themselves to the piece „I Am Sitting In A Room“ by Alvin Lucier. This idiosyncratic electroacoustic composition summons a physical component of compact spaces, their inherent resonance.
A short text, which is selfreferential and recursive both on the room situation and itself, is spoken into a microphone, recorded and fed back into the room very closemouthed in a kind of acoustical mantra until the rooms own resonant frequency is overdubbing the initial signal beyond recognition.
Richard Eigner and Gregor Ladenhauf were responsible for the acoustic implementation of this concept that was first realised in 1969 by American composer Alvin Lucier (*1931).
Together with his DEPARTner Leonhard Lass, who is responsible for the visual translation of the piece, performer Gregor Ladenhauf adds to the piece as voice and screen at the same time. A speaker transforming into a projection screen of his own voice, gradually disappearing like this voice during the course of the composition.
original text:
„I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed.
What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have. ” (Lucier 1970)
“Using the ideas of Alvin Lucier’s piece “I Am Sitting In A Room”, Richard Eigner & DEPART unlocked the secret sounds of Schmiede Hallein’s fabulous spaces.”
,,Every room has its own melody, hiding there until it is made audible.”
„I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed.
What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have. ” (Lucier 1970)
Shown: September 22, 2008 at Schmiede Hallein, Salzburg, Austria
sound installation and soundboard control: Richard Eigner
video projection, programming, setdesign: Leonhard Lass
sound installation and performance: Gregor Ladenhauf
Rain Are In Clouds
by depart on Juni 12, 2008
“Rain Are In Clouds”:
wirr singing and dancing in the brain
10 track A/V album for sound and realtime 3D proce55ing
tbr 2009
where we come from there is always music in the eye
“while I think,
you make my heart sync.”
The videos on this album are a combination of eletronic sound and abstract 3D shapes generated in realtime via the software processing (www.processing.org).
The musical data is processed and transformed into shapes and movements, providing the viewer with the artists vision of what sound could look like if it was not merely air that is moving around us.
The basic idea for each of the provided videos was to create “narratives” that would, albeit rather constructed and abstract, create an organic feel and a little bit of a story.
Parts of the sound or also the musical composition are taken into account as “actors” on the visual stage. Playing and interacting with each other, they not only accompany but impersonate the sounds.
What makes DEPART special is the combination of a visual and a sound artist working together really closely. In this way, not only the visual artist is creating a world of graphics but both are trying hard to create a uniform and consistent sound/image language. The term “audiovisual sculpture” could also be applied to DEPART’s output, since the outcome is more a setting where things change on a more rhythmical and stationary scale rather than linear storytelling.
Haemlin Hoop
Pynnochyos Pyrhhusmite
Umps Unzin
UMPS UNZIN Vimeo
PYNNOCHYO’S PIRAMYDE Vimeo
HAEMLIN HOOP Vimeo
Yarrow
by depart on Juni 10, 2008
















YArrow is based on the I Ching (the book of changes)
Our reintroprateration relies on the inherent symbolistic systematics and the interrelation of its de-parts.
the receiver defines the message.
so we trancelaid it all out anew for you towards what we read into it.
We focruised around the lushwhack of a 4096-fold world &
beat to the marrow of the yarrow stroke of luck.
biased on this fundament we dewalloped 64 plowattic stories,
fraudiovisusual zenarios, sidlent medidata on the dowser of babel,
a cosmogenetic c0de to joy.
Hexacrammed i-jingles of the blue dragon scry the moon baby
on trigramcycles preprevented by particle systems.
forebodementia.
the red lots and lashes show the modus mutandi
from a start-us-quote to the potendial I-CHANGE-6789.
So, profate and forscythe !“
Yarrow Online
Spy Collectives Iminami
by depart on Januar 3, 2008
Iminami (by the Spycollective) is a multiroom performance installation.
Drained brains swash in narrative tsunamis exhaling from the metamyth of the White Woman.
Audience-swarms with spread waterwings on the tideway from mother to smother get carried away by drowned voices.
This is fishy, oh buoy.
Supported by Steim (Amsterdam), SARC (belfast) and ARGE Nonntal (Salzburg)
Gespraum
by depart on November 3, 2007
“Gespraum”:
pathos of the inanimate in spatium mutans
installation piece (loop: video, sound)
duration: ca. 45 min.
broom, sweep sweep sweep the room.
rumbling & tumbling biedermeier blowup.
Passers-by look through a window into a (projected) rooom, which is undergoing a constant change. It shows an unstable situation that is seemingly stripped bare of temporality and causality. Furniture, books and other objects are in a tilted state or thrown in the air by unnamed forces, suddenly frozen still. Chairs bursting into flames, salt trickling from the ceiling, black beads bubbling up from an orifice in the parquet…
The constellation of objects in the projected room is changing constantly in such a manner that only the outer frame of the room (walls, doors, windows) is keeping still. A moving picture where often the speed of mutation is barely noticeable. Due to the style of production the video has a kind of slightly unreal quality, a doll’s house aesthetics maybe. There is no real reference of size and so an interpretation of the video as a documentary of real events is also constantly in doubt.
A room as an output of the subconscious. The “Gespraum”, a psychoanalytic talk of a room with itself. No tangible story, no plot can be really exemplified here, only suspected and interpreted. There are no actors, so the objects are consequently becoming independent. For want of any human presence, quite literally, “things are in a state of flux”.There is also a scent of the uncanny, the make-believe suspension of gravity, the anxiety and deadlock of romanticism and slightly unreal shadowplay reminding of the vampire genre. The viewer is throwing the voyeuristic glance into a chamber that is free of all subjects and allowed to be the actor itself.
Vexations
by depart on September 7, 2007
“Vexations”:
on & on & on, till the beak of yawn
play a loophole into your headpeace
performance for two piano players, projected video and stream of consciousness writing.
original composition (1893) by Erik Satie. duration ca. 1200 min.
our resume: Vexations is a challenge, a practical joke and a timemachine.
eriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatie
“Je m’appelle Erik Satie comme tout le monde.”
we perform satie.
wir verformen satie.
we do it for us.
wir tun es für uns.
we do it for you.
wir tun es für euch.
we do it because it is not important to be done.
wir tun es weil es nicht wichtig ist dass es getan wird.
we do it because we would like to do it.
wir tun es weil wir es gerne tun möchten.
we are two people playing piano and one computing and showing the difference.
wir sind zwei, die klavier spielen und einer, der die differenz berechnet und zeigt.
we will play it note for note.
wir werden es note für note spielen.
you will hear it note for note.
ihr werdet es note für note hören.
afterwards nothing will be the same.
danach wird das nichts sein wie es war.
Short piano piece to be repeated 840 times. Performed at Schmiede Hallein 2007, first incantation of the Reverb.On Series featuring Dorian Concept.














































