Posts Tagged “interactive”
by depart on Juni 10, 2008
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.
the red lots and lashes show the modus mutandi
from a start-us-quote to the potendial I-CHANGE-6789.
So, profate and forscythe !“
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
(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
by depart on Juli 3, 2004
“Being Odysseus” – sirens in software, cyclops in code
Mellow-dram-o-rama for one performer and interactive motion-tracking stage with reactive audio/video, ca. 60 minutes
Odysseus, archetypical browser of land and sea, the i-am-a-wanderer galore, on his deathbedrock, performing the proverbial journey through important memories of his life, captain mnemo’s technological multimediary. Circe, Polyphem, Hades and a peculiar german scholar join in on the cruise of bruises. A reinterpretation of events based on ideas of Homer and Dante.
The interactive stage was built using EyeCon, a frame-grabbing motion-tracking software and DEPART’s weapons of choice at that time, NI Reaktor and PureData. The performer was able to roam freely, activating and influencing parts and aspects of the video and soundtrack. Specific zones of action were propelling the story and also changing the stage setup automatically.
“Being Odysseus” was DEPART’s first endeavour into realtime motion-tracking, realized in collaboration with Senselabor.
Commissioned by Trans-Media-Akademie Hellerau, shown at CynetArt Festival 2004, Dresden, Germany
Performer: Georg Hobmeier
Video: Leonhard Lass
Sound: Gregor Ladenhauf
by depart on Juni 12, 2004