The Pygmalion multimedia performance was created by Sila Sveta for the second round of America’s Got Talent TV show and premiered on NBC Channel on July 29, 2016.
Producers: Alexey Rozov, Denis Astakhov, Andrey Kostyuk
Art Director: Ilya Balakin
Creative Director: Alexander Us
Project Manager: Sveta Yermolayeva
Production Director: Vadim Vinogorov
Technical Production: Mursal Mamedov, Maxim Tulin
Supervisor: Vladimir Mischenko
Concept Artists: Tatiana Kazakova, Polina Sukhanova, Ekaterina Konovalova
CG Artists: Vitaly Babich, Oleg Barankin, Zoya Kharakoz, Philat Matveev, Alexander Varlamov, Alexey Mamontov, Pavel Paratov
Choreographer: Oleg Glushkov
Performers: Arielle Libertore, Derek Tabada
Music and Sound Design: Monoleak
Special Thanks to: Fremantle Media, Nigel Caaro
SILA SVETA: The Pygmalion multimedia performance was created by Sila Sveta for the second round of America’s Got Talent TV show and premiered on NBC Channel on July 29, 2016.
Producers: Alexey Rozov, Denis Astakhov, Andrey Kostyuk
Art Director: Ilya Balakin
Creative Director: Alexander Us
Project Manager: Sveta Yermolayeva
Production Director: Vadim Vinogorov
Technical Production: Mursal Mamedov, Maxim Tulin
Supervisor: Vladimir Mischenko
Concept Artists: Tatiana Kazakova, Polina Sukhanova, Ekaterina Konovalova
CG Artists: Vitaly Babich, Oleg Barankin, Zoya Kharakoz, Philat Matveev, Alexander Varlamov, Alexey Mamontov, Pavel Paratov
Choreographer: Oleg Glushkov
Performers: Arielle Libertore, Derek Tabada
Music and Sound Design: Monoleak
Special Thanks to: Fremantle Media, Nigel Caaro
‘Levitation’ is a collaborative performance by Sila Sveta and Anna Abalikhina shown on the TV show ‘Big Ballet’. All visuals were rendered in real time without any post production.
For us it was an opportunity to experiment with no limitations and test technologies developed in-house by the studio itself. We produced special graphics and used an unconventional shooting angle to create an illusion of the dancer levitating in air. To create a smooth viewing experience, the project team led by Sila Sveta’s Art Director Arthur Kondrashenkov needed to define the best location for the camera, as well as the most suitable choreography and graphic imagery because the graphics and dance moves were designed simultaneously.
Another key feature of the project was the graphic imagery itself, which was rendered in real time during the performance, adapting to the moves of the dancer and the camera without any post-production. This was the first and a unique opportunity for the team to implement a tracking system based on the Unity Development software. Levitation is a distinctive project demonstrating unprecedented technological solutions, which can be further developed for art installations and commercial projects.
Arthur Kondrashenkov comments: “Levitation is a unique non-commercial experiment with a large team involved, including staff of the TV channel, the choreographer and the filming crew. From the very beginning they gave Sila Sveta complete artistic freedom. This was a great experience of working with complex tracking software and generative content”.
Yago de Quay is featured using RealSense cameras and Curie-enabled wristbands that track hand gestures and location and use that data to control music and visuals. A project that took 3 months of working with the Intel to develop unique wristbands, gesture algorithms, radio transmission, music, visuals and dance.
Team:
Peter Sistrom – Visual Artist
Yago de Quay – Performer
Zackery Wilson – Composer
Reema Bounajem – Dancer/Choreographer
Shoko Fujita – Dancer
Adam Nurre – Drummer
Mitchell Vandenburg – Bassist
Kelsey Vidic: Costume Designer
Many thank to the Name the Machine’s Evan Pierre, Chris Legaspi and Fred Carlton; Intel’s Lakshman Krishnamurthy, Stephen Xing, Manan Goel, Saurin Shah, Narayan Sundararajan, Tal Ein-Gar; not to mention Shantel Martin and Matt Pinner.
The performer (vocalist) wear various technologies that allows the broadcast of his brain and body bio-signals through wi-fi connection. An electroencephalogram by Emotiv reads his brain waves to enable deliberate mental tasks and facial expressions to manipulate visual and musical parameters. A gyroscope sensor on his upper chest, attached to the under shirt, reports body orientation. A windows 8.1 tablet on his chest, attached to his hoodie, collects all this data, process it, and then broadcasts it over a network so that other computers can use the data as input for their audio and visual creative output in real time.
Using elements of the Pope’s poem the immortal soldier Athanatoi (Greek –“without death”) sings on “bright love,” weaving a voice of hope through the first tableau. Then Athanatoi falls into deep séance, conjuring thoughts of the afterlife and immortality.
Poet: Stephanie Pope
Spoken word: by LaQuetta Carpenter
Choreographer: Yacov Sharir
Composer/Sound Design: Bruce Pennycook
Visuals: Joao Beira, Rodrigo Carvalho
Costume Design: Kelsey Vidic
Vocalist: Yago De Quay
Dancers: Emily Snouffer, Becca Bagley, Gianina Casale, Summer Fiaschetti, Katie McCarn and Allyson Morales
Rodrigo Carvalho [VISIOPHONE], is a Designer & Interactive New Media artist from Porto/Portugal. His work on live visuals, coding and interactive art involves a range of different outputs, from screen digital work, interactive installations, audiovisual live acts, or interactive visuals for stage performance.
His research is focused in the real-time relations between sound, image and movement in audiovisual interactive spaces.
Anna Monteverdi: Can you describe in brief your experience in the sector of interactivity and performance/installations? Why did you start in this field?
Rodrigo Carvalho: I started on this field around 2008/2009 after a Master Degree in Digital Arts, at U. Pompeu Fabra Barcelona. Since then, I have been exploring real-time audiovisuals and interactivity for performance and installations.
My education is on Graphic Design. But after some time working as graphic designer I felt a bit bored, and that I needed something more. Around 2006/2007 I attended to OFFF Festival, and I watched a couple of presentations that changed everything, and led me to think “This is what I want to do”. With no special order the presentation where: Robert Hodgin showing his work with particles; Casey Reas talk about Processing; AV performance by Golan Levin and Zach Lieberman; Raster Noton Live AV showcase).
After some digging I discovered the Master on Digital Arts at U.Pompeu Fabra, and I moved to Barcelona in 2008.
Anna Monteverdi Can you tell something about the relationship between music interaction and performance either in your specific works et in others’?
Rodrigo Carvalho This is an interesting topic, as I am currently writing a thesis for my PhD about the relations between Sound, Visuals and Movement in realtime systems. Where I try to catalogue and systematize all the possible relations between these three domains.
My focus is on the processes of transformations and interactions that occur across the domains (movement into sound, sound into visualizations, movement into visualizations, etc.) in each different system. Each of these domains can be either an input and/or an output of data on the system, and different articulations between the three can be explored, determining how the data flows trough the system, the type of interaction and the expressivity of the artwork. Some examples of interactions between Sound/Visuals/Movement:
With Oui (2015), where a device on stage (an undercover wiimote, sending rotation and accelerometer data) is used to send inputs to sound, and then visuals react to sound. (Movement to Sound. Sound to Visual) http://visiophone-lab.com/wp/?portfolio=with-oui-2015
(in project from others)
Manual Input Sessions (Lieberman and Levin 2004) hand gestures create visual shapes, that are then translated into sound. (Movement to Visual. Visuals to Sound) http://www.flong.com/projects/mis/
Clouds Piano (Bowen 2014). Pictures from clouds in the sky are mapped to Piano keys. In real-time a camera captures sky pictures, and a robotic device presses the corresponding keys on the piano. (From Visual to Movement, to Sound). http://www.dwbowen.com/cloud-piano/
Soft Revolvers (Bleau 2014). Motion data from spinning tops is used to generate Sound. LED lights’ color an intensity react to sound. (From Movement to Sound. from Sound to Visual) http://www.myriambleau.com/soft_revolvers.html
I came from a visual background (graphic design and visual arts),so in my work my mainly focus is on the visual output. I don’t make music (and I don’t dance either!), so I often collaborate with others for the sounds and movement inputs.
Anna Monteverdi. You have a very interesting blog SVM in which you show the experimentation in the field of interactivity and performance/installations: which are your idea about this giant panorama of digital art?
Rodrigo Carvalho: SVM blog started as a notebook for my PhD research where in each post I collect projects with similar relations. It works as an informal list of projects with the main goal of compiling and organizing interactive audiovisual projects. It is divided in six main categories, grouping projects with similar characteristics and technologies, in which the main focus is on the transmutability of digital data and the input/output relations between Sound, Movement and Visual domain on interactive systems.
The main categories are: (1) Motion Sculptures where motion is transformed into visual shapes and forms; (2) Sound Sculptures where sound is mapped into three dimensional physical shapes; (3) Graphic Sound Visualizers where sound is visualized graphically; (4) Shaping Sound where sound is generated from shapes and graphical features; (5) Movement Sonification where sound is generated from movement and (6) Kinetic Structures where movement is generated, setting in motion digitally controlled mechanisms and performing robotic agents.
Later on, other categories were added by collecting not only cases related to transformations of data but also by covering topics that in some way are connected or overlapped with audiovisual interactive systems:Early Computer Graphics for pioneers on computer art; Color Organs for visual music and color organs; Sensitive Interfaces for experimental interfaces for audiovisual creation and Immersive Audiovisual Environments for responsive and immersive spaces. The goal was to merge under the same categories projects that share similar interactions between Sound, Visual and Movement domains.
Anna Monteverdi Can you tell something in specifi about your astonish embody project A WEARABLE ELECTRONIC DRESS ” in which the interaction happens through a costume?
Rodrigo Carvalho “WARNING: A WEARABLE ELECTRONIC DRESS PROTOTYPE” was an explorative project made by me and Kristen Weller (Costume Designer).The goal was to explore wearable interactive technologies to be used on stage performances. The output was a costume prototype that could act as an extension of the performer’s body and as an expressive tool. The costume was composed by a shape shifter collar, controlled by servo motors that react to a proximity sensor, and an interface painted on the costume’s fabric that allow the interaction in real-time with sound.
The costume’s fabric had six black areas painted with conductive paint (http://www.bareconductive.com). These areas work as an interface made of capacitive sensors, where the human body capacitance is used as input. When the performer touches this conductive areas, an Arduino detects the variations on the capacitive sensor’s values, which are then translated into MIDI messages and sent to Ableton Live, where a setup previously prepared triggers notes, controls audio channels volumes and modulate filters over a background soundtrack.
The collar had on the inside four servo motors attached to the collar’s articulations. The rotation of the four Servo’s arms, controlled by an Arduino, defined the shape of the collar. An ultrasonic sensor, placed on the performer’ costume was used as input to interact with the collar, when a determined proximity is detected, the servos start react by moving and/or their motion pattern, modifying this way the collar’s shape.
Anna Monteverdi Lev Manovich speaks about the new software culture: can you describe from your point of view what it means?
Rodrigo Carvalho Yes, software is everywhere, shaping our daily lives, and influencing every decision we make. (a little off topic but very interesting about this topic is the talk, “How algorithms shape our world” by Kevin Slavin https://www.ted.com/talks/kevin_slavin_how_algorithms_shape_our_world)
In my work I am more interested not in the software available, but in creation of my own tools. That was what attracted me the most when I discover the world of Processing, Max, Openframeworks, Arduino and etc.
I was no more limited to the functions and parameters designed by the creators of a specific software or hardware, and for each project I was able to create a specific tool for that specific project.
Anna Monteverdi. As interactive designer for installation and performance, which are the best and update solutions for the stage today in terms of technics and do you think that Kinect is the best and practice solution for interaction performance/dance?
Rodrigo Carvalho: I guess that solutions for interaction on performance and dance varies depending on situation. One of the options is using motion tracking with cameras. For motion camera we have different possibilities with different price ranges. Kinect is the easy and cheap solution, but it has a problem related to the tracking area that is a bit small. (around 4 meters wide, maximum). I have used Kinect on different projects like Breakdown (http://visiophone-lab.com/wp/?portfolio=breakdown) or Dancing with Swarming Particles. (http://visiophone-lab.com/wp/?portfolio=dancing-swarming-particles).
Apart from Kinect there are other 3D camera alternatives with similar functionalities like the Asus Xtion,IntelRealSense, the recent Orbbec, or the Leap Motion (only to track hands and gestures). A good option to work with this type of cameras and easily extract and broadcast motion data is the NI-MATE software (https://ni-mate.com/).
Besides the 3D cameras there are also the infra-red ones(like it was done in most cases before the Kinect era). This will allow to track a much bigger area, but is it much more difficult to set up, and to perform skeleton tracking).
Apart from the motion tracking there are also other strategies like using sensors on the performers body. There are a huge list of sensors which we can use on the performers body to interact, like orientation, flex, force, heart rate, or muscle sensors, among many others. A good example is the work of Marco Donnarumma (http://marcodonnarumma.com/works/#performance) with biophysical sensors.
Another strategy is the use of “normal” devices (consumers electronics devices like smartphones, gaming controller or others). Smartphones can be very useful in many situations, they are powerful devices with many integrated technologies (like orientation sensors, GPS, bluetooth and wifi communication,etc).
As an example on “Ad Mortuos” we used an iPhone on the performers’ body. the iPhone was broadcasting the data from the gyroscope and accelerometer and we used it to interact with the visuals and sound. In a way that when visuals were following the angle of the performers’ body orientation. (http://visiophone-lab.com/wp/?portfolio=ad-mortuos)
Another example was “With Oui” (http://visiophone-lab.com/wp/?portfolio=with-oui-2015) where we used a Nintendo Wiimote attached to the ceiling on the middle of the stage. The dancers were manipulating the device during the performance, and it was broadcasting orientation data that interacted with the real-time sound and visuals.
Other options available are as example the “Curie-enabled wristbands” from Intel (https://www.youtube.com/watch?v=AN4XHaBBVww), or Brain Interfaces like the one used on “Biomediation” by Joao Beira and Yago de Quay (https://vimeo.com/90687541).
Related to software/hardware, usually my weapons of choice are Processing (for visuals and processing data), Quartz Composer (for visuals), MAX (mostly for processing data, and to make the bridge between different softwares and devices), and Arduino to built interfaces. But I really believe that this is a personal choice, and there are many more good options. Like Touchdesigner, Openframeworks, Cinder, and many more.
Also softwares coming from the VJ world can be very useful and are becoming more and more flexible. As an example VDMX(the one I use), Resolume, Madmapper, among many others.
To learn more about the use of technology on stage performance I really recommend to watch:
– Klaus Obermaier talk on Resonate 2013 (https://vimeo.com/73663471)
– Kirk Woolford talk on Corporeal Computing Conference 2013 (https://vimeo.com/77526865)
– Frieder Weiss on Scope Session 2012 (https://vimeo.com/52208994)
– Mark Coniglio, Phoenix Leicester 2016 (https://vimeo.com/157646215)
Some further readings
– Scott deLahunta’s thesis “Shifting Interfaces: art research at the intersections of live performance and technology” (http://www.sdela.dds.nl/)
– Mark Dowie’ thesis “CHOREOGRAPHING THE EXTENDED AGENT:performance graphics for dance theater”
(http://www.media.mit.edu/cogmac/prosem2007/downie_proposal.pdf)
Anna Monteverdi Are you experienced in videomapping? Which are you idea about this form of arts even applied to the theatre not only for urban context?
Rodrigo Carvalho I did some explorations with videomapping, but I don’t have much experience on that particular field. But I think that it has a huge potential in the designing of the theatrical space and in the creation of illusions and immersivity.
It is a very strong tool to merge the virtual with physical world, construct new narratives and explore audience’s perception and states of consciousness. Some examples of video-mapping for stage performance/theaters:
Anna Monteverdi: Which are your favorite artists/project in the field of interaction?
Rodrigo Carvalho: I will divide this answer in 3 different topics.
1 – Historical artists
Manfred Morh (http://www.emohr.com/ww4_out.html) Larry Cuba (https://www.youtube.com/watch?v=HcvN1dt0yJo) Rutt Etra by Steve Rutt & Bill Etra (https://youtu.be/De4DWMyQBfU) Myron Krueger (https://www.youtube.com/watch?v=dmmxVA5xhuo) David Rokeby (http://www.davidrokeby.com/vns.html)
2 – The ones that influence me the most when I started to get interested in field, and that pushed me to learn and explore more.
Robert Hodgin (http://roberthodgin.com/) Memo Akten (http://memo.tv/) Zach Lieberman (http://thesystemis.com/) Golan Levin (http://www.flong.com/) John Maeda (http://www.maedastudio.com/) Klaus Obermier’s Appariotion (http://www.exile.at/apparition/video.html) United Visual Artist (https://uva.co.uk/) Universal Everything (http://universaleverything.com/) Kyle Mcdonald (http://kylemcdonald.net/) AntiVJ (http://antivj.com/) 1024architecture (http://www.1024architecture.net/)
3 – Recent favorite projects
“Onion Skin”, Olivier Ratsi (http://www.ratsi.com/works/echolyse/onion-skin/) “Reading My body”, VTOL (http://vtol.cc/filter/works/reading-my-body)
“Wave is my Nature”, VTOL (http://vtol.cc/filter/works/wave-is-my-nature) “Luxate” Joao Beira (https://vimeo.com/147072640) “Drones vs BodyTracking experiments”, Daito Manabe/Rhizomatiks(https://www.youtube.com/watch?v=SPcZmDTW8KU) “Pathfinder”, Christian Mio Loclair, (http://waltzbinaire.com/work/pathfinder/) “Drawing Operations”, Sougwen Chung (http://sougwen.com/Drawing-Operations-D-O-U-G)
Kvant Laser show “The Prolight+Sound 2014, 56 KVANT lasers were used:
41 x ATOM 800
9 x SPECTRUM 20
3 x SPECTRUM 5000
2 x ATOM 1500XT
1 x ATOM 6000
Laser show by DR Enchant Intesity
http://www.e-intensity.com/
Draw in lights is a unique contemporary project connectiong fine art | electronic music | lights | lasers. After many years of travelling around Europe and the rest the the world, Martin Gabco, Luka Brase, Bohus Aliensky Levcik and Peter Krchnavy decided to bring something new to the audience and create this project. Art of Luka is not anymore just in 2D perspective. With exceptional laser programming of Martin the work became 3D and even more. Bohus as a sound composer and Peter as cinematographer creating also new layers of all projects.
This laser show was produced by KVANT crew for Prolight+Sound 2015 that took place in Frankfurt, Germany. 50 KVANT laser systems were set in circular configuration to perform many new and innovative laser effects. In conjunction with other visual media and strong dance performance this show proved to be one of the best in the hall – that’s what we heard from majority of visitors anyway.
All this was achieved without any audience scanning so this show was 100% safe.
Aula Ottagonale delle Terme di Diocleziano – Palazzo Altemps
Da sempre impegnato nella sperimentazione delle nuove tecnologiche applicate alla rappresentazione scenica, Giorgio Barberio Corsetti torna a Romaeuropa Festival con il ritratto di un’Europa sospesa tra i fasti della sua storia e le odierne trasformazioni economiche, culturali e sociali.
Se il suo spettacolo, Il ratto di Europa, può funzionare come una macchina del tempo è grazie alla rete GARR, la rete nazionale a banda ultralarga dedicata all’università e alla ricerca fondata con il Patrocinio del MIUR – Ministero dell’Istruzione, dell’Università e della Ricerca, che interconnette alla velocità della luce centinaia di luoghi della scienza e della cultura. A questa rete in fibra ottica, che si avvale dei più avanzati strumenti tecnologici, Barberio Corsetti affida il compito di collegare virtualmente siti d’eccezione in una sperimentazione che permette di frammentare lo spazio scenico e riunificare luoghi distanti in un’unica rappresentazione digitalmente aumentata. Aula Ottagona delle Terme di Diocleziano e Palazzo Altemps ospitano il pubblico e dialogano tra loro attraverso due grandi schermi video. Qui vive Europa, interpretata da Maddalena Crippa, intenta a smistare i collegamenti in diretta e in differita con il Colosseo, Crypta Balbi e Laboratori INFN di Frascati, luoghi a loro volta abitati da altrettanti personaggi simbolici.
Il tempo, spiega il regista: «Abita l’anello di DAPHNE (Double Annular PH Factory for Nice Experiments), l’acceleratore di particelle, e dalla vertigine della materia in movimento collega la ricerca più avanzata con le origini dell’universo, usando il linguaggio scientifico ma anche il linguaggio mitico nella successione delle ere in creazione e distruzione».
Attraverso testi di Seneca, Bhagavadgita e Alex Barchiesi, oltre che suoi testi originali, Barberio Corsetti ci racconta il presente delle migrazioni, delle banche, dei mercati collassati, dell’arte ai tempi dell’IS, dell’Io ai tempi di internet. Quando la possibilità di essere ‘sempre e ovunque’ e la schizofrenica elaborazione di masse d’informazioni annulla il mondo e la sua storia in un eterno presente.
Durata 105′
In collegamento in diretta o differita da Colosseo, Crypta Balbi, INFN – Laboratori Nazionali di Frascati
Uno spettacolo di Giorgio Barberio Corsetti che ne cura l’ideazione e la regia
Testi Seneca, Bhagavadg?t?, Alex Barchiesi, Giorgio Barberio Corsetti
Con Maddalena Crippa, Valeria Almerighi, Gabriele Benedetti, Gabriele Portoghese
Immagini, Video Igor Renzetti
Aiuto regia Ugo Bentivegna
Musiche Gianfranco Tedeschi, Fabrizio Spera
Tecnologie di rete distr-active (distibuted and interactive) Consortium GARR Produzione Fattore K.
Coproduzione Romaeuropa Festival, Consortium GARR, Polifemo
Anatta is a dance performance that blends interactive technology and performative art in such a way that neither element dictates how the other proceeds. Via laser-tracking, the mostly monochrome projections on the installation space’s walls and floor react to the movements of dancer Joanna Gruberska (PL) and vice-versa. The result is reciprocal interplay among the human body, the projection and the performance space, whereby the boundary between action and reaction becomes blurred.
This blog intends to work as notebook for the research by Rodrigo Carvalho on synergies between Sound-Visuals-Movement, audiovisual interactive systems, augmented realities, graphic representations of sound and movement in real time, hypersensory immersive media and synaesthesia states.
“WITH OUI” is an audiovisual dance performance presented at the Ears, Eyes and Feet event in the B. Iden Payne Theater, May 2015, UT Austin Texas.
The narrative of the piece develops around human communication and mutually supportive relationships. A bright object in the middle of the stage acts as source of knowledge and connecting link between the dancers. This object contains inside a motion sensor (a Wiimote controller) and is used in specific moments by the dancers as a performative object to manipulate audio.
AudioReactive visuals were developed in Processing using the Plethora library for the flocking implementation. Boids behaviour’s parameters (cohesion, separation, alignment) are audio reactive. Audio analyze and other parameters controls are done live in a VDMX projec and sent by OSC. Processing code at Github here.
FULL CREDITS:
“With Oui” – May 2015 | B. Iden Payne Theater, UT Austin – Texas. Choreography: Billie Secular, Ladonna Matchett; Sound: Eli Fieldsteel; Live Visuals: Rodrigo Carvalho; Lighting Designer: Ya-Tai Chung; Dancers: Zach Khoo, Kelsey Oliver, Gianina Casale, Nick Kao, D’Lonte Lawson, and Sam O.
Rodrigo Carvalho [VISIOPHONE] is a Designer & Interactive New Media artist from Porto/Portugal. His work on live visuals, coding and interactive art involves a range of different outputs, from screen digital work, interactive installations, audiovisual live acts, or interactive visuals for stage performance.
His research is focused in the real-time relations between sound, image and movement in audiovisual interactive spaces.
Four servos were mounted in the costume’s collar, and they react to proximity (through an ultrasonic sensor). When a determined proximity is detected, the servos start moving and/or changing their motion pattern, modifying the collar’s shape.
The collar, inspired by both the Australian frill-necked lizard, and the fashionable Elizabethan “whisk” collar, intends to act as extension of the performer’s body, and as an expressive reactive tool.
The body of the costume was painted with a series of six black stripes of conductive paint and as an interface to send MIDI signals and manipulate the music output.
Concept and prototype development: Kristen Weller and Rodrigo Carvalho;
NONOTAK studio is the collaboration between the illustrator Noemi Schipfer and the architect musician Takami Nakamoto. Commissioned by the Architect Bigoni-Mortemard to create a mural in the lobby of a public housing building in Paris, NONOTAK was created in late 2011.
In early 2013, they start to work on light and sound installations, creating an ethereal, immersive and dreamlike environment meant to envelope the viewer, capitalizing on Takami Nakamoto’s approach of space & sound, and Noemi Schipfer’s experience in kinetic visual. They presented their first audiovisual installation at the Mapping Festival in may 2013. In summer 2013, NONOTAK come up with a performance, LATE SPECULATION, where they are the creators and contents of the project.
NONOTAK have been commissioned by the Mapping Festival ( GENEVA ), EM15 ELEKTRA / MUTEK ( MONTREAL ), la Nuit Blanche ( PARIS ), Roppongi Art night ( TOKYO ), Axcess Art Gallery ( NEW YORK ), Stereolux ( NANTES ), Playgrounds Festival ( TILBURG ), Mirage Festival ( LYON ), Vision’R, Insanitus Festival ( LITHUANIA ), FUZ Festival ( PARIS ), Lunchmeat Festival (PRAHA ), KIKK Festival ( BELGIUM ), Nokia by Lumia ( ISTANBUL ). Their work have been exhibited at institutions and galleries including Tokyo Grant Hyatt Hotel, l’Opéra de Lyon, Batiment d’Art Contemporain de Genève, Theater de NWE Vorst, La Fabrique, Pavillon Carré de Baudouin, Le Générateur.
DESCRIPTION
Messa di Voce is an audiovisual performance in which the speech, shouts and songs produced by two abstract vocalists are radically augmented in real-time by custom interactive visualization software. The performance touches on themes of abstract communication, synaesthetic relationships, cartoon language, and writing and scoring systems, within the context of a sophisticated, playful, and virtuosic audiovisual narrative.
The software transforms every vocal nuance into correspondingly complex, subtly differentiated and highly expressive graphics. These visuals not only depict the singers’ voices, but also serve as controls for their acoustic playback. While the voice-generated graphics thus become an instrument which the singers can perform, body-based manipulations of these graphics additionally replay the sounds of the singers’ voices — thus creating a cycle of interaction that fully integrates the performers into an ambience consisting of sound, virtual objects and real-time processing.
Messa di Voce lies at an intersection of human and technological performance extremes, melding the unpredictable spontaneity and extended vocal techniques of two master composer-improvisers with the latest in computer vision and speech analysis technologies. Utterly wordless, yet profoundly verbal, Messa di Voce is designed to provoke questions about the meaning and effects of speech sounds, speech acts, and the immersive environment of language.
Tetro+A is an arts and culture production unit that develops original artistic projects for worldwide distribution.
Tetro+A is an arts and culture production unit that develops original artistic projects for worldwide distribution.
A for Artists: our talented artists, drawn from exhilarating and amazing realms of artistic endeavour, come from all corners of the planet to share with us the alchemy behind their artistic creation and the poetry of their artistic knowledge. These exceptional artists have surprises in store.
Design / Digital art / Plastic arts / Dance / Music / Lighting / Photography / Video
+A is the “Teatro” that adds luster to creativity by inviting artists to create and disseminate art projects. A lab that generates partnerships in every contemporary art discipline to produce interdisciplinary encounters in a variety of formats: conferences, performances, installations, videos, exhibitions and more.
Tetro+A actively brings together artists, audiences and businesses. It targets creatives from around the world, programmers (for festivals or institutions, event organisers, etc.) in France and worldwide, and businesses that wish to lend support for one of our productions.
http://www.tetro.fr/en/tetro-live
Tetro+A provides support to innovative creatives in producing and disseminating their art projects. Learn more about them.
• CHRISTOPHER BAUDER • WHITEVOID
Christopher Bauder is director of the WhiteVoid studio in Berlin. He is active where art, design and technology meet, creating interactive installations for museums, festivals and other cultural events.His projects focus on the translation of bits and bytes into objects and environments and vice versa. Space, object, sound and interaction are the key elements of his work.
• JORAN BRIAND •
In order to understand the work of an architect, or a designer, to perceive truly the direction of his line, we have to consider his counterpoint, his perspective line. For Joran Briand, it’s the ocean. If he is now known for his urban inclusions –he has conceived the huge concrete nets on both the Mucem and the Jean-Bouin stadium for Rudy Ricciotti, in collaboration with Etienne Vallet – this young designer, keeps looking for the sea, open waters, the constant flow of waves unfolding.
• MIGUEL CHEVALIER •
Born in 1959 in Mexico City. Resides in Paris, France since 1985. Since 1978, Chevalier has focused exclusively on computers as an artistic means of expression. He quickly secured a spot on the international scene as a pioneer of virtual and digital art. Miguel Chevalier continues to be a trailblazer, and has proven himself to be one of the most significant artists on the contemporary scene.
• BENOÎT CHALLAND •
Ben is a creative image maker focused on 3D illustration, design and art direction. His work encompasses a large range of 3D field creation, design, CGI retouch and digital art. Native of a village in southern France, he made his senior studies in Lyon, then moved to Paris. He begins as digital art director within a small agency. He will evolve into agencies such as Publicis, We Are Anonymous and Serialcut Madrid. After several years working in web and animation, he devoted himself entirely to still image today, to satisfy his taste for detail and composition. Search ideas, be in a creative and dynamic sphere, still lean is what he loves. It’s his work environment. He worked for Adobe, IBM, JP Gaultier, Nespresso, Nissan and agencies such as BETC, Grey, Havas WW, Hello Monday, PsyOp L.A, TBWA. His work has been featured into magazine like Wired, Fast Company, The Sunday Times, Vogue, Page and online presse like Fubiz, LeMonde.fr, It’s nice that, Form fifty five, FastCo design, Phaidon…
• USMAN HAQUE • UMBRELLIUM
Umbrellium is a collective of architects, designers and creative technicians who specialize in producing participatory urban spectacles.
• VINCENT LEROY •
Born in 1968, Vincent Leroy is active on the contemporary art scene, designing works in motion that combine technology and poetry.
• PITAYA •
PITAYA is a creative studio founded by David Lesort and Arnaud Giroud. After a technical training cursus, respectively in metalworking and woodworking, the duo met during their industrial design’s study. They quickly abandon the rigid side of their initial training for a more artistic vision, and specialized in the light field.
In 2006, The studio from Lyon participated at his first event and creates thirty light chandeliers that have been installed in the public space during the Festival of Lights in Lyon.
Therefore, PITAYA has created new light projects and exhibit them in these new urban festivals, like if it was big open air galleries. Year after year, while it participates to these artistic events, the studio has gained visibility and experience.
• ROMAIN TARDY •
Romain Tardy is a visual artist who currently focuses primarily on digital art. His installations, which often use the technique known as videomapping, are designed to be experienced in situ, using light as a means of enlarging existing architecture or structures of his own creation.
• PIERRE & JOËL RODIÈRE • TRAFIK
Trafik is a French creative studio, founded by Pierre & Joël Rodière, that specializes in graphic and multimedia development. It explores the shared ground between visual and graphic art creations, and interactive artistic experiences. This strategy, which draws on various aspects of digital culture such as user-friendliness, community, exchange and participation, enables the studio to create uninhibited, playful and unique projects.
Aesthetics of Interaction in Digital Art By Katja Kwastek
Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms. Addressing both the theoretician and the practitioner, Kwastek provides an introduction to the history and the terminology of interactive art, a theory of the aesthetics of interaction, and exemplary case studies of interactive media art.
Kwastek lays the historical and theoretical groundwork and then develops an aesthetics of interaction, discussing such aspects as real space and data space, temporal structures, instrumental and phenomenal perspectives, and the relationship between materiality and interpretability. Finally, she applies her theory to specific works of interactive media art, including narratives in virtual and real space, interactive installations, and performance—with case studies of works by Olia Lialina, Susanne Berkenheger, Stefan Schemat, Teri Rueb, Lynn Hershman, Agnes Hegedüs, Tmema, David Rokeby, Sonia Cillari, and Blast Theory.
Un pianoforte a coda, una partitura originale, e centinaia di farfalle-origami in volo sopra il pianoforte. Quando lo strumento viene suonato, le farfalle si muovono. Lo stile canonico dei brani è volto alla ricerca di uno spazio e di un tempo per la percezione musicale dei leggeri movimenti degli origami: una sorta di incantamento delle farfalle, dell’ascoltatore e dell’esecutore stesso. Il movimento delle farfalle non corrisponde solo alla nota eseguita, ma anche all’intenzione, all’intensità e alla dinamica dell’esecuzione: le coreografie cambiano in base all’interpretazione del brano e dialogano con le luci e con una ambientazione video – anch’essa sensibile all’esecuzione musicale – che completa l’allestimento.
Butterflies è un’installazione concerto di Yae in cui a ogni nota corrisponde il movimento di una o più farfalle. Le farfalle saranno formate da origami di carta creati appositamente per l’evento e che, una volta terminata la performance, potranno essere regalate al pubblico. L’allestimento è completato da una scenografia video disegnata dalla musica, cioè sensibile all’esecuzione pianistica e interattiva. Pianoforte Lorena Portalupi.
L’allestimento è realizzato da Ulisse Garnerone, Orf Quarenghi e Cristina Storti Gajani, con uno speciale pianoforte di Bosoni Pianoforti.
3D embodied Mixed Reality Immersive Design: A Study in Interactive Dance
3D [Embodied] is a mixed reality performance involving a virtual world as a platform to explore 3D immersive spatial virtual and physical displays. Combining real time geometry perspective transformation of the peripheral projected space and skeleton tracking from the dance performer, 3D [Embodied] experiences spatial augmented reality. Both video and audio rendering are generated in real time.
Choreography by Yacov Sharir, sound design by Bruce Pennycook and technical support by Sebastian Kox (oneseconds.com), Yago de Quay and Marta Ferraz. Austin, 2013.
Nomination for Best Video Design 2013 by the Austin Critics Table Awards.
3D explores the idea of virtual reality applied to physical space, spatial augmented reality, establishing a real time dialogue between 3D geometry and perspective grids calculations with body movement. Dance and interactive media establish a unique environment of virtual and physical immersion.
Breakdown is an interactive audiovisual dance performance presented at the Ears Eyes and Feet event in the B. Iden Payne Theater, May 2014, UT Austin Texas.
Breakdown explores a 2 dimensional simulated world in which its physical rules are constantly being changed and manipulated by an external entity. An inhabitant of this world is in constant motion to adapt to its characteristics. He interacts with the physical rules and develops a dialogue with the entity who controls the forces. Eventually the inhabitant ends up breaking the world’s rules and release himself into a new world, a new dimension.
The dancers’s movements and gestures are captured by two Kinect cameras on stage, creating an interactive dialog with the music and visuals.
Rodrigo Carvalho: Interactive Visuals (visiophone-lab.com)
Yago de Quay: Dance, Voice, and Music Composition (yagodequay.com)
Sunny Shen: Dance and Choreography
Po-Yang Sung: Lighting
Meg Seidel: Videographer
:: digital performance interactive arts
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