Archive for the “Performance” category
Δ Aurigæ
by leo on Januar 9, 2012
Delta Aurigae is an installation which deals with the periodic coalescence of opposite aggregate states, based on and structured by the rhythm of a double star system like the constellation Auriga.
A world populated by meanders and monoliths, meteors and menhirs that draws inspiration from ancient astrology which was using rock formations and natural objects to decipher the universe and measure it’s cycles.
Delta Aurigae is a hybrid between installation and performance, a stage with a life of its own. In idle mode it shows a slow and majestic flow like a glacier, where fringes blur and relations vanish.
A monolith itself, Delta Aurigae is a 4.5m high triangle with a real-time projection.
Made with VVVV & Reaktor.
o-O-orbiting the delta skelta
In merry barycenter go-rounds.
Let’s build a whole city of glass houses, only a stone’s throw away
To regard the light night sky, dive drown
Dissolving vis-à-vis-viva equators
In our monolitheral observatory.
We will, we will…
Thanks to: sound:frame, Michael Grossauer & polypod, woei, joreg & vvvv, leo & ben (Bildwerk), Pomme, Gerald Moser, Romana Kleewein
Doldrums
by depart on September 25, 2010
photos by ela grieshaber & andreas waldschütz
concept, direction: depart (gregor ladenhauf, leonhard lass)
producer: schmiede / rüdiger wassibauer
production assistant & general handywork: daniela schindler
stage & lighting: jakob guggenberger (pro show)
make-up: steffi lamm
hair: cori pondorfer
photo & video documentation: andreas waldschütz & thomas rath
band: tom brüssel, christian schratt, jake, alex, florian leeb
thanks: andi hansel
I am sitting in a Room
by depart on September 25, 2008
(photos by cornelia auinger)
“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
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)
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.
My Myo Mayhem
by depart on Juni 12, 2007
“My Myo Mayhem”:
a platonian cave canem kafkaesque coffin break kammerspiel
performance installation piece for three performers, myoelectrical stimulation, a chicken called Tesla, video & sound.
duration of one cycle ca. 15 minutes
imperial chickensouperpowers for the white room-o-botter
what happens: groups of 10 people are lead into an anteroom where they are ordered to sit and wait. a strange person behind a counter is giving out questionaries and calling people to the desk in random order. this character is mutating over the duration of the whole piece from casual guy to kafkaesque clerk to lunatic to chicken. every 5 minutes one person is admitted to an adjoining room where an attendant is showing them about. a puppet emperor and his rural adventures are presented on screens while a glimpse into an overhead orifice provides an inverse cage perspective on the confetti chicken. the gloomy atmosphere of the first two rooms is followed by an eery transition to the center stage. There, the “emperor” is performing his private little hatching dance, controlled and hardsynced to the installation soundtrack by a mystical myoelectrical device dangling around his neck. after this shocking galvanic experience, the lounge room is a chill out, big brother-like situation with a cctv tablecloth, walls with eyes and gin & tonic served by lovely ladies. the audience members meet again and, while discussing their own experiences, are able to watch others still on the tour and enjoy the joint joyful noises unto the creator from all the performance rooms.
First installment shown at Amsterdam Hogeschool, Amsterdam, Netherlands
Final version first shown at ARGEkultur, Salzburg, Austria
Further installments with slight variations:
Staatsschauspiel Dresden, Dresden/Germany
Cabaret Voltaire, Zurich/Switzerland
Performers: Georg Hobmeier, Gregor Ladenhauf
Concept: DEPART and Senselabor
Video, Sound, Programming, Production Design: DEPART
Des Gesprächfightfadens
by depart on Juni 16, 2005
“Des Gesprächsfightfadens”:
word of the wings stutters & flutters
a language re-de-re-construction performance for two performers, video backdrop, disillustrative commentary and sound
duration: ca. 45 min.
DEPART’s germanguage desastroy, a veritabledance lingo-limbo. Dramatized worldplayhem.
A staged piece with toadloads of glimmericks fallinglong upwards from heaven’t scene and hertz beforeplay.
In DEPART’s “Des Gesprächsfightfadens” there is no dramatic plot per se as in conventional theater, but there are recurring themes and ideas, more like in a musical composition. This work relies heavily on DEPART’s belief in the controlled overflow of sensoric input. The audience is supplied with a sheer mass of wordplay in order to provoke a struggle for perception and conscious processing of input. The more you struggle to get everything, the less interesting the piece will be. But if you are able to relax and let your thoughts wander freely, as in a kind of mediational state of mind, you might be able to grab one meaning here, or one there but go along with the flow of the piece easily. The goal of this endeavour is to create a certain state of consciousness where the seemingly superfluous and absurd action supporting the piece becomes a sort of focus of attention itself. Then it starts being a kind of kinetic sculpture of its own, providing DEPART’s beloved “impressures”, moments of pure experience, where an absurd constellation of actions and objects suddenly is not regarded as artificial anymore but experienced like a mountain, a lake, or a leaf. Totally self-evident and understood. To achieve this kind of complexity, DEPART were refining and distilling very thoroughly, even pedantic, to make sure there is still enough funk left in this painstakingly constructed language puzzle.
Unfortunately or thankfully, this piece is virtually impossible to translate into other languages.
Commissioned by ARGEkultur Salzburg, Land & Stadt Salzburg.
Shown December 15th and 16th, 2005 at ARGEkultur, Salzburg, Austria
Performers: Georg Hobmeier, Gregor Ladenhauf
Video: Leonhard Lass
Sound: Gregor Ladenhauf
Parts of this piece are also in effect in disguise as an installation called “GESPRAUM”, shown at paraflows07 exhibition, Vienna, Austria
We Only Do (I-III)
by depart on Juni 12, 2005
“We only do…”:
freemote controlemodeled headphonetic puppeteering
interactive-stage dance performance for three dancers, computer-generated choreography, motiontracking, sound & video
duration: ca. 45 min.
eyeconed woeshoeshine, choreogenetics and stagedicing, 3Dancers on their way to form
This project saw an evolutionary development from early incarnations as a piece for two dancers with a rather mechanical and robot-like form to a very open and flowing structured piece in the final performance. Central to the piece is the idea of a kinetic system that is addressed by a generative process, which is making decisions according to a set of rules defined beforehand by the choreographer. The stage itself is a blank space monitored by a motiontracking system. The movement of the dancers is translated into sound and video via the motiontracking system EyeCon and tools like PureData, Reaktor and Max/MSP. The dancers would receive command structures like spatial coordinates and specific motion quality or modes of conduct via wireless headphones. Early stages of the piece were not completely determined but still very arbitrary in their decision-making, the later versions already had elaborate regulatory behaviour based on marcov-chain logical structures. When the system was thus established, there were also attempts to introduce some viral behaviour to the system in order to reestablish a more unpredictable outcome. This piece was first commissioned by the TransMedia-Akademie Hellerau and further developed with funding at the Dance Unlimited Master Program of the Theaterschool Amsterdam.
Idea, Production: Georg Hobmeier
Pure Data, Reaktor, Max/MSP: DEPART
Dancers:
(Amsterdam Version) Nina Fajdiga, Vlasta Veselko, Jadi Carboni/Urshka Vohar
(Dresden Version) Anja Epperlein, Mandy Partsch
Support: Dance Unlimited, AFK, Alex Schaub
Thanks to Thomas Dumke, Bram Vreeswijk for their inspirational contribution
Shows 2004-2007 at:
Festspielhaus Hellerau, Dresden, Germany
ICA, London, Great Britain
Melkweg, Amsterdam, Netherlands
ARGEkultur, Salzburg, Austria
Petard
by depart on Juli 7, 2004
“PETARD”:
our synapsisyntactical dewelloperawe
live A/V performance for synced fragmented audio & video, mostly improvised live
duration: variable
DEPART used patched reaktors and gems to craft and drill shimmering synthaestheoretic momentals in reeltime and space out. Twitching sound fragments and video snippets like twisted twins, DEPART’s first realtime audiovisual performance was a demanding but mandatory experience. intriguing combinations of flip-floppy hazardous movements in frequency and perspective, audiences were shocked and awed by the sheer force of what Kandinsky only could paint about in still images: audiovisual sculptures, proliferated, processed and projected in realtime.
PETARD was an alias used from 2003-2008.
Various live performances including:
Microsope Sessions , Dresden, Germany
Basics Festival 2004, Salzburg, Austria
Animac Festival 2004, Lleida, Spain
Cimatics Festival 2004, Bruxelles, Belgium