Performance – Radical Atoms

Roboaction(s) A1 K1

Vanessa Graf — Tue, 09 Aug 2016 11:34:05 +0000

Dragan Ilić

Roboaction(s)A1 K1 is a post-media art practice that combines drawing, movement, sound and video. In his project, Dragan Ilić executes a ten-minute performance/gestural action with an advanced robot, Kuka K210+DI, which allows his body to rotate at a speed of up to two to three meters per second. He achieves dramatic expression and numerous movements along a vertical and horizontal axis. Using a specially created tool made up of pencils or brushes, he executes his dynamic, monumental drawings on paper (or canvas). This in turn enables audio and video recordings of his art actions, which represent the means of his artistic post-production.

The idea behind the performance is based on a futuristic quest to achieve interaction between the body and the machine, the creation of multi-functional mobility and the realization of a hybrid body or android. This particular art action is based on his decades-long interest in the movement of elementary particles and their mechanical and magnetic rotations.

Courtesy of the artist and GV Art London

Ars Electronica Opening

Vanessa Graf — Fri, 05 Aug 2016 11:01:49 +0000

“Numbered, Weighed and Found Wanting”—Ars Electronica opens with a performance by sound artist FM Einheit (DE) that reinterprets the ancient biblical warning: Mene, Mene, Tekel, upharsin.
Artists collective Silk Fluegge (AT) will be the first act on the Main Stage with MYGRATION—beget, a dance performance about origins, identity and belonging. In Roboaction(s) A1 K1, Dragan Ilić (RS/US) has himself strapped to a robotic arm and then creates graphic compositions via the robot’s movements. Practices of Everyday Life | Cooking by Navid Navab (CA) is a synaesthetic audiovisual performance about a cook in a specially prepared kitchen setup. Playing the Kankisenthizer, an instrument that uses fans to generate both sounds and light, Ei Wada (JP) demonstrates the possibilities of unconventional musical production. The festivities will also include an unconventional performance/intervention by XBlade Allstarts get Radical, one of the world’s most successful drone racer teams. These tiny airborne hotrods achieve speeds in excess of 100 km/h. Exploded View (DE/MX) complements the musical portion of the evening with a sound somewhere between Krautrock, Dub and political discourse. Then, Planningtorock (UK) uses Pop and dance music as interference receiver. In the wee hours, Dasha Rush (RU) and Russian video artist Stanislav Glazow aka Licht Pfad (RU) collaborate in a performance entitled ANTARCTIC TAKT.

21:00 – 21:30 FM Einheit (DE), Mene, Mene, Tekel, upharsin
POSTCITY, Spiral Falls

21:40 – 22:00 SILK Fluegge (AT), MYGRATION—beget
POSTCITY, Ground Floor

22:00 – 22:10 Dragan Ilić (RS/US), Roboaction(s) A1 K1
POSTCITY, Ground Floor

22:10 – 23:00 Navid Navab (CA), Practices of Everyday Life | Cooking
POSTCITY, Ground Floor

23:05 – 23:20 Ei Wada (JP), The Kankisenthizer – Exhaust Fancillator
POSTCITY, Ground Floor

23:25 – 23:35 XBlade Allstarts get Radical
POSTCITY, Ground Floor

23:40 – 00:10 Exploded View (DE/MX)
POSTCITY, Ground Floor

00:15 – 01:00 Planningtorock (UK)
POSTCITY, Ground Floor

01:05 – 02:00 Dasha Rush (RU), ANTARCTIC TAKT
POSTCITY, Ground Floor
02:00 – 03:00 Olof Dreijer (SE), DJ Set

Practices of Everyday Life | Cooking Culinary concert for chef and enchanted kitchenette

katjani — Wed, 03 Aug 2016 09:43:30 +0000

A culinary concert orchestrated around a chef, an enchanted kitchenette and sonified ingredients. As the chef prepares a meal, sections emerge from culinary tasks to form multisensory tableaus. Each tableau is a unique gestural sound composition undertaking phenomenological reconsideration of notions such as instrument, performer, computation, and the musical event as a whole. Interactive instruments carefully embedded into the scenography symbolically charge everyday actions and objects in ways that combine the composer’s design with the performer’s contingent nuance. Within the enchanted kitchenette, gestures mimicking sonic affordances and audiovisual events shaped under gestural contours feed back one into the other, breaking dualities such as analog-digital, performer-performed, instrument-score, or intention-noise. The act of performing music then emerges freely from open engagement with matter, borrowing elements from “play”, day to day living, and the movement arts.

Artistic direction, concept, composition, interactive scenography, sound: Navid Navab
Interactive visual design, real-time video: Jerome Delapierre
Mise en scène: Michael Montanaro
Performance: Tony Chong

Topological Media Lab research collaboration—2012-2013
Matralab residency—2014
Co-production: Navid Navab and Montreal/New Musics Festival (MNM)—2015
Support: Canada Arts Council, Conseil des arts et des lettres du Québec

Solo Date

Vanessa Graf — Wed, 03 Aug 2016 09:02:02 +0000

At the earliest stage of its creation, Solo Date asks: how do you live without someone you love? This solo performance is set in the near future and explores the interaction between human beings and artificial intelligence. Unlike most cross-sector collaboration, where technology is merely applied for aesthetic purposes, Solo Date makes technology an active character and an integral component of this work.

Throughout history, people have turned to science when religion fails to offer answers, and vice-versa. Solo Date raises philosophical questions about human emotion, existence and solitude. As we move towards the era of AI, Solo Date raises important issues that redefine the relationship between human and machine. Like a guinea pig under observation, the performer is enclosed in a modern, transparent, LED-lit cube centered on a proscenium stage, which is enveloped in black scrims. The audience will be taken on a journey in search of a past romance through ancient eastern ritual and artificial intelligence.

Credits

Director / text / performer: Pao-Chang Tsai; Music/sound director: Blaire Ko; Visual designer: Ethan Wang; Set designer: Yu-Han Huang; Light designer: Li-Ting Wei; Master electrician: Yi-Chin Chang; Costume designer: Yi-Zong Zhang; Stage manager: Chia-Nung Li; Producer: Po-Shen Lu; Production manager: Shu-Wen Yang; Executive producer: Chia-Chien Lin; Crew: Chih-I Chang, Tsung-Chi Chiang, Tzu-Hsien Wu

Solo Date is supported by Ministry of Culture Taiwan, Quanta Arts Foundation and QA Ring.

Deep Space 8K: See what you made me do

katjani — Mon, 01 Aug 2016 14:06:47 +0000

“Stimulus-hunger has the same relationship to survival of the human organism as food-hunger”

Eric Berne, Games People Play

See what you made me do is a generative performance for two characters, playing and interacting according to roles and rules of power present in social intercourse. According to archetypes of behavior, our attitudes and actions are determined within a dramaturgical thread and intertwined with an immersive visual and sonic interpretation.

On the stage, the body and voice of the performers are tracked and processed in real time by generative algorithm software and reflected through abstractions, counter-forms and monochromatic scenes that represent the collisions created by the characters involved.

See what you made me do is a performance and a game involving chance, improvisation and choice as elements that determine the course of its narrative, while playing with the possibilities of control.

Credits: Interaction design concept: Viktor Delev; performance concept: Dagmar Dachauer, Didi Bruckmayr

Neighbor

Vanessa Graf — Mon, 01 Aug 2016 13:43:11 +0000

Naotaka Fujii + GRINDER-MAN + evala

How do we build a social relationship with others? How will technology interfere with the building process? The immersive art performance Neighbor visualizes the subjective process and will predict the future pattern of social bonding.

Two participants wearing HMD and headphones stand facing each other at the center of the stage. Over a period of six minutes they see live images or a recorded past, or mixture of the two, which blurs the self/other boundary. They are instructed use their hands in order to interact with the other participant and create a new relationship. The two performers interact with the participants in real and virtual space. The participants’ views are displayed on the screen. As witnesses, audiences can observe the participants’ subjective experience and feelings through the stage and screen.

Neighbor allows participants and audiences to share the same subjective process from different perspectives, which will stimulate and enhance interpersonal relations.

Executive producer: Naotaka Fujii
Producer / director / visuals creator: Hitoshi Taguchi (GRINDER-MAN)
Choreographer: Makiko Izu (GRINDER-MAN)
Composer / sound designer: evala
Programmer: Takamitsu Hamajo
Dancer : Samuel Delvaux, Sonia Borkowicz
Project manager: Satoru Oyamada
Equipment support: Bose

Supported by Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture) and the Agency for Cultural Affairs of the Government of Japan in the 2016 fiscal year.

MYGRATION—beget

Vanessa Graf — Mon, 01 Aug 2016 12:14:09 +0000

Migration as a form of multiple affiliation to and identification with life cannot be reduced to a transcultural identity problem. Rather, in a virtual age there is an emergence of complex (dis)information networks, which extend from the virtual into real space and vice versa. The performance piece MYGRATION—beget involves a corporeal dispute on this topic: the body and the soul, which remains in generations throughout its existence and which influences, departs from and invests itself into people’s identities and which repeatedly pours itself into new forms. beget is the first part of the MYGRATION series by SILK Fluegge, which examines the heritage and the aim of places to compress information that needs to be organized in order to create a feeling of security. The fanned out construct of the heritage of four personalities is condensed into a performance using parachute silk to build a pictorial form of the haptic perception of the here and now, which creates a tension between blind flight and down-to-earthness. The venue is a railway station platform: the arrivals and departures; the lingering in the waiting room. It is the snapshot of a thousand possible strings converging by chance that creates a person, their reactions, decisions and the ways in which they act.

Note: Due to nudity the performance MIGRATION-beget Silk Fluegge may offend cultural views.

Concept and choreography: Silke Grabinger; Production management and choreographic assistant: Olga Swietlicka; Dramaturgical advisor: Angela Vadori; Light design/ video projection: Peter Thalhamer; Costumes: Bianca Fladerer; Video: Magdalena Schlesinger

Dance and performance: Veronika Cimborova, Gergely Dudas, Boglarka Heim, Matej Kubuš

This SILK Fluegge production is supported by Linz Kultur, the province of Upper Austria and the Federal Chancellery/Arts. With the kind cooperation of Tabakfabrik Linz.

POSTCITY Nightline

Vanessa Graf — Mon, 01 Aug 2016 11:25:50 +0000

Among music-loving night owls, Nightline is an annual highlight of the Ars Electronica Festival program. This time around, the accent is on the staging and the programming. Nightline begins on Friday with a sound performance by Evelina Domnitch (BY), Dmitry Gelfand (RU) and Paul Prudence: Force Field harnesses sonic pressure to make water droplets float. The audiovisual project Elemaun (IR) opens the Main Stage with a hybrid of noise and sound design based on regional Iranian music. PRINT A DRINK by Benjamin Greimel (AT) serves up a new 3-D printing process in which geometric forms can be compressed into drinkable cocktails. Electronic music pioneers Funkstörung (DE) will then take the spotlight with Lightstorm, a rotating construction of LED elements; together, they produce an extraordinary audiovisual experience. Jerobeam Fenderson (AT) will then utilize sound waves to draw images on an oscilloscope in an attempt to intimately interrelate video and audio output. Bernhard Rasinger combines a modular synthesizer with state-of-the-art laser technology to create an audiovisual symbiosis. Whether in a guttural tone or soprano register, Aisha Devi’s contorted pop mantras direct us on our search for the invisible through a tense, visceral musical landscape that’s often gnarled, industrial and danceable to boot. The AV SET by Vessel (UK) will be presented collaboratively with filmmaker Pedro Maia (P), who’ll use film footage by Harry Wright, among others, to embed Vessel’s music in a visual universe. Pulsinger & Irl is made up of Austrian producer and Techno pioneer Patrick Pulsinger (AT) and Bavarian producer and sound engineer Sam Irl (DE); they’ll deliver an energetic live set on the Main Stage. Beginning at 23:00, intense live acts perform on the Salon Stage hosted by Salon 2000: Der Warst, Phillipi Quehenberger (AT), Vetter_Huber (AT) and Dj Bernhard Tobola (AT) from Tingel Tangel Wien.

Nightline

20:00 – 20:30 Evelina Domnitch (BY), Dmitry Gelfand (RU), Paul Prudence: Force Field, Salon Stage
20:35 – 21:00 Elemaun (IR): De., Main Stage / Train Hall
21:00 – 0:00 Benjamin Greimel (AT): Print a Drink, Main Stage / Train Hall
21:00 – 21:10 Dragan Ilic (RS/US): Roboaction (s) A1 K1, Ground Floor
21:15 – 21:45 Kunstuniversität Linz (AT), Michael Fakesch (DE) and Chris De Luca (DE): Funkstörung & Lightstorm, Main Stage / Train Hall
22:00 – 23:00 Jerobeam Fenderson (AT) / BR Laser Special Double Set, Main Stage / Train Hall
23:00 – 0:00 Aisha Devi (CH/TI/NP), Main Stage / Train Hall
0:00 – 1:00 Vessel (UK) & Pedro Maia (PT), Main Stage / Train Hall
1:00 – 2:00 Pulsinger & Irl (AT/DE), Main Stage / Train Hall

Salon Stage at 23:00
23:00 – 0:00 Der Warst (DE), Salon Stage
0:00 – 1:00 Philipp Quehenberger (AT), Salon Stage
1:00 – 2:00 Vetter_Huber (AT), Salon Stage
2:00 – 4:00 Bernhard Tobola (AT), Salon Stage

Deep Space 8K: The Conduit

katjani — Mon, 01 Aug 2016 11:12:59 +0000

The Conduit is part performance, part interactive installation that investigates social engagement and the consequences of speculative technological and political frameworks. Participants will negotiate an eight-bit simulation of the future and its effects on our everyday social interactions.The Society for Cultural Optimism poses questions about the way new media, interactive devices and rule-sets, both technical and social, offer insights into a different everyday, and how through playful engagement and theatrical and participatory performances, one can establish a fictional reality that bridges the physical and the virtual.

Access restrictions: Minimum age 18 years. Max. 40 participants, Max. 15 viewers.
Registration required by email to center@aec.at or directly at the infodesk of the Ars Electronica Center.

Credits: Team Linz: Friedrich Kirschner, Monica Rikic, Maike Drexler, Clara Fritsche, Thea Emilia Girtler; Team Brisbane: Friedrich Kirschner, Christiane Hütter, Lena Fay, Stefano Trambusti, Katharina Halus, Stellan Grung, Daniil Shchapov. The Conduit was developed as part of the TRANSMIT³ residency at QUT the Cube for Queensland University of Technology in cooperation with Ars Electronica.