Glyph is a projection sculpture with references to ritual monuments such as obelisks or stelas. It deals with cyclic change and constantly regenerates itself. An alphabet based on fundamental geometric shapes (rectangle, circle and triangle) acts as an communication device as well as a pure aesthetic element. All texts displayed are permanently evolving and restructured based on linguistic rules. The installation runs in realtime – the video shows a random segment recorded at schmiede 2011. Made with processing & reaktor supported by Subnet AiR, Schmiede, Polypod, Waldschuetz Photography , Show2Go, Holzcraft I glyph cleavage like man-high menhirs one line unbroken heading for a fold in the ministry of mist a high official locks the primary gate seals it thoroughly with wax as he does every evening thinking about molten rocks and flocks therof fold what you have at hand if nothing for a fold creates a separation that is an union that is a divide that is a joint for nothing is ever so insisting as an unbridged gap At the atoms’ of words nightly fission demounted scriptures let letters be and build. A Kohen’s head leaking kowtow prostration high I rise downlift in steadfast decline loose faith and lost […]
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(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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“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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