Spell Bound
magic trickles of particle tracks in string figure figments and idle threads’ spell bondage
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Speculative Renaissance Draft
This is a first test of 3d-printing algorithmic shapes made with processing, flocking around a bird. I used the fluidforms library for STL output and meshlab for tidiness. Printed at the wonderful HappyLab in Vienna. @flickr
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Forceps of Perception
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.
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Chukwa’s Approach
On the back of Chukwa, Bright like a mountain dew-tune and crystalline airs. We seek shell and shelter in subsurface saltlake sittings, The one-drone rondo-0-o. We rest against the interwalls of zero cavity‘s brainbows, Celebrating Achilles’ de-feet. Stir montane waters in the syncoronation of prime times, Immersed rim ram short circuit oscillations, In echological mining claims, Drilling me softly with a chord. What happens quiet shelldome if ever. …turtles all the way down Chukwa I (The Mountain) on Vimeo Chukwa III (The Final Encounter) on Vimeo (photo by Cornelia Auinger) Chukwa’s Orchestra: Anlanger Petra Bacher Clemens Brachtel Benedikt Bruckmayr Didi Eigner Richard Estrela Paul Farangis Firozian Fraunberger Stefan Grandits Sebastian Grüner Markus Hochleitner Gudrun Hovdkinn Elise Johnson Oliver Kargl Sebastian Karlstetter Simon Kickinger Max Kindlinger Florian Kinschel Anna Klinger Hanna Ladenhauf Gregor Lass Elisabeth Lass Leonhard Lercher Daniel Mayr Timna Mone Miriam Movahedi Paul Nassall Angela Pfaffenberger Florian Preuschel Julian Pusa Saila Radauer Clemens Rauch Roman Rösch Paul Rosner Willibald Saudek David Sauer Birgit Schabmayr Bernhard Schauberger Anna Schlegel Martin Senz Gerhard Steiner Johann Strobl Doris Tischler Sarah Wedel Marco Zauner Paul Zeitlhofer Peter Zopf Robert Krisch Gabriele (Projectmanagement) Wassibauer Rüdiger (Schmiede Support) Lali the turtle Thank you very much.
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Borrowed Blooms
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
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Chukwa’s Approach
Reverb.On 3: Chukwa’s Approach Thursday. 24.09.09, 17.00h / 17.30h / 18.00h, Salzwelten Salzburg/Hallein Depart and Stefan Fraunberger present a new Performance in the series REVERB.ON in cooperation with Schmiede and Salzwelten Salzburg: Chukwa’s Approach. Inspired by concepts of Minimal Music and especially by the work of La Monte Young (“The Tortoise, His Dreams And Journeys”) an orchestra of 53 people is going to play a single chord throughout the whole performance. Situated about 100 meters below ground on a lake within a salt-mine the musicians and the audience are invited to experience the vibrancy of a mountain. Due to limited space we ask you to register in advance (Gabriele Krisch, 0699 10716582, chukwa@depart.at) More Information: www.salzwelten.at | www.schmiede.ca This Performance is supported by Land Salzburg / Podium09. German: Das Künstlerduo Depart (Leonhard Lass, Gregor Ladenhauf) hat 2007 im Rahmen der Schmiede die Reihe Reverb.On ins Leben gerufen. Mit dieser Performance-/Konzertreihe widmet sich Depart zeitgenössischen und ungewöhnlichen Konzepten und Kompositionen. Diese werden in ihrer musikalischen Form nahe am Original präsentiert, aber um aktuelle visuelle und performative Aspekte ergänzt. Ganz bewusst liegt hier der Fokus auf Kompositionen die bereits den Charakter von „performed installations“ in sich tragen.
2009 haben sich Depart von […]
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I am sitting in a Room
(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 […]
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I am sitting in a Room
Depart & Richard Eigner perform Alvin Lucier’s I am sitting in a room. Mo 22.09.2008, 21h @ Schmiede Hallein (Alte Saline, Pernerinsel Hallein) „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 will unlock the secret sounds of Schmiede Hallein’s fabulous spaces. ,,Every room has its own melody, hiding there until it is made audible.” Schmiede 2008 Richard Eigner
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Rain Are In Clouds
“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 […]
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Yarrow
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
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Spy Collectives Iminami
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) Iminami Trailer
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Gespraum
“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 […]
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Vexations
“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 […]
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My Myo Mayhem
“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 […]
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Des Gesprächfightfadens
“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 […]
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We Only Do (I-III)
“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 […]
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Petard
“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 de-bug review evading
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Being Odysseus
“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
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Impressure Series
playground eclectics the impressure series was a first attempt to bring together graphic design, sound design and poetry. passing ideas to-and-fro in long messenger hours (you should see those chat protocols) DEPART were tossing out pieces that would be somehow defining their future output. like in a lot of DEPART works, wordplay is a crucial element here and is used to make the mind wander and take the reader adrift, flashy animation and fluffy sounds take it all ashore… 2000 onwards headspace odysseys, sandboxfresh playdoobedoo. DEPART was moved and influenced by rural scapes and urban shapes, streetart and landart growing together. leo was moved from berlin to barcelona, gregor was moved from lehen to itzling and back every day.
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