performance

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Apparition, 2004, Interactive Dance

Artists Name: 
Klaus Obermaier

An interactive dance and media performance conceived and directed by Klaus Obermaier, in collaboration with the Ars Electronica Futurelab, featuring Desirée Kongerød and Matthew Smith.

APPARITION takes interactive performance to another level through the creation of a unique stage work integrating live performance, sound, projection and an interactive system comprising real-time image generation and computer vision.

Embodiment & Architecture III: Rehearsal

Monika rehearsing with the 'Bounding Box' graphics.

Up to now the project has been speculative; having only produced mockups in the studio we still weren't 100% sure that it would work in the theatre. So the time had come to bite the bullet and rent a venue where we could put all the theory into practice, and see the fruits of our labours. Besides, the project has really come to an impasse as far a developing it any further in the studio is concerned, due to such factors as:

Embodiment & Architecture II: Costume & Lighting

It's been a while since I've had a chance to look at this project. Web design contracts seem to have taken over my life in recent weeks. However I've managed to put a couple of web projects to bed—for the time being—thereby freeing up some time for me to work on my art projects again.

The next stage in this project has thrown up two new problems for us: 

Embodiment & Architecture

With this in mind I would like to propose the term Haptic Visuality as an expression associated with the experience of sensuous memorizing within visual representation. Laura U. Marks coined the term Haptic Visuality in relation to intercultural cinema. However, I would like to repropose the term to indicate an exploration into redefining notions of the perceptible in digitally enabled built space. This extends the argument on representational expressions towards an understanding of the embodied experience responsive environments convey for a technocratic and increasingly transnational, cybernetic world view.
 
Via a series of experiments and live, choreographed tests coupled with abstract audio-visual expressions this project aims to explore this said reading of Haptic Visuality. In the spirit of Obermaier and Oberzanek, the project will aim to depict both subjects and objects as animate beings, mutating in and out of organic form, into unfamiliar, sensual and uncanny entities, and to abstractly evoke themes concerning biopolitics and the complexities of human intersubjectivity.
 
The approach of motion-tracking a live performer with digital technologies makes it possible for technology and the body, space and non-space to generate light, video, sound and movement in real time in response to their movement; thus architecture and the self connect and respond to one another in real time. In Apparition, Avant-Gardist, Obermaier, utilises motion-tracking, interactive video technologies and electronic sensing techniques, to create a responsive, audio-visual landscape that is generated, in real time, in response to the dancers' movement; thus, the body’s gestures are extended by and in turn manipulate the video world that surrounds it. But more significantly yet is the statement that, "the inherent kinetic properties of these simulations inspired our view that the overall interactive system is much more than simply an extension of the performer, [it] is a potential performing partner" (deLahunta, 2004). It is my assertion that this element of Obermaier's reserach, and the success of elevating the computer to performance partner , was a fundamental departure from all previous aesthetic endeavours in live performance. The objective of this project, and my own work, is to continue to investigate the interplay between subject and computer system, where system becomes a symbiotic performance partner in an exploration of immersive, kinetic space.
 
The goal is not to develop a new narrative art form, or to celebrate technology. Instead I am seeking to extend traditional perceptions of behaviour and architecture, and to support the use of interactive media in live, artistic expression. I am investigating expressive techniques through collaborative workshops, and in doing so I am attempting to help extend boundaries, by posing questions about virtual and corporeal architecture.
 
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References: 
 
1. Scott deLahunta, “Klaus Obermaier :: Apparition — Project,” 2005, http://www.exile.at/apparition/project.html.
 
2. Gideon Oberzanek, “Mortal Engine — Current Productions,” Chunky Move, 2008, http://www.chunkymove.com/Our-Works/Current-Productions/Mortal-Engine.aspx.
 
3. Lucy Bullivant, Responsive Environments: Architecture, Art and Design (Harry N. Abrams, 2006).
 
4. Inge Ploum, “Understanding Embodiment in the Age of Virtuality | Inge Ploum’s Research Blog,” Blog, New Media and Digital Culture Research Blog, 2009, http://ijploum.wordpress.com/2009/02/17/understanding-embodiment-in-the-age-of-virtuality/.
 
5. Laura U. Marks, Touch: Sensuous Theory and Multisensory Media (University of Minnesota Press, 2002).
 
 

Calle O'Reilly

Five percussionists, a bass player and two vocalists will perform the Afro-Cuban song “Compa Galletano” over a Guaguancó rumba rhythm. Two digital media artists and one programmer will use electronic sensors and motion-tracking techniques to drive a live video performance which will take the audience on a unique journey to the roots of Afro-Cuban music.

The performance will be the opening event of the Project Brand New 3-Day celebration of new and innovative work in the performing arts. It will take place at 8.00pm on Thursday 29 April.

Calle O'Reilly

This intriguing project was sprung on me a mere 4 weeks ago. The concept was the brainchild of my friend and colleague Joe Lakes—with whom I have studied and worked closely on several projects. It was submitted to Project Brand New and was accepted. The performance will take place on Thursday 29 April at the Project Arts Centre, in Dublin.

Concept:

My brief for the project is to come up with some reactive visuals that will compliment the performance, which evoke the intensely rhythmic spirit of Afro-Cubano music. It is for this reason that I decided the best approach to the problem would be to directly tap into the biorhythmic patterns generated by the percussionists themselves, and then to creatively visualise this kinesthetic data. It was decided that the best way to channel this data created by the musicians was to place piezoelectric sensors on the instruments themselves. Therefore each time the drum is struck some digital data is created which I can then use to generate live graphics in synchrony with the performers' percussive gesticulations. My colleague and friend Colin O'Sullivan was instrumental in coding, developing and refining the visualisations for this project. 

There is a detailed explanation—on my blog—of the process through which I underwent to create these electronic circuits and get the technology working with the visuals. 

FROM DRUMS TO LIGHT: GRADUATE SHOW & EXHIBITION 2010

It seems that anything interesting happening in the Dublin media art scene, this week, is falling on the same evening—Thursday 29 April. The M.Phil in Music Media Technologies is hosting their graduate performance in the Samuel Beckett Theatre in TCD. I'd love to attend this one as it sounds uncannily similar to my own performance taking place in the Project Arts Centre on the same evening... at the same time. Still, at least I'll get a chance to go to the exhibition which goes on for three days. See below for details.

Carnival of Light

The objective of this project is to create a unique and original piece between the circus performers of PassePartout Circus and myself. The project will involve a 20—30 minute audio-visual performance encompassing the skills of juggling, contact juggling, poi, staff, acrobatics and dance. These skills will be used to create visual shapes. Acrobatics and dance will enhance the oeuvre and give the composition movement.

 

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References: 

 deLahunta, Scott. 2005. “Klaus Obermaier :: Apparition — Project.” http://www.exile.at/apparition/project.html.

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