MULTIPLACE FESTIVAL // 2 – 8 May 2011
culture and creativity after the digital

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This site is under constant construction.
Authors are welcome to update their proposals.
Multiplace festival program will be distributed in late April 2011.

Submissions: emiter_franczak / hallogenerator / Ezkapizm / Parallel Video--Remaking A Slice of Parallel Cinema / Performance Roulette / The Road Home / FATIGUE FRACTURE II / multimedia head / Barcode dj's / Le Marriage / Invisible Cities / Le Rêve de Newton / Basen / AR Buddha / objective reality / Ass / Dark Star / ELectric SHeep REvisited / BAUHAUS NR.2 / greyfield / 52 09 NB / 42:43 asi / Tape II av / Školská 28 ScreenLab Open call / [F]Art / L.M.G. / Papergame / Code [ ] Play / Socka vs. Moloch / Blau Peru / Drawing machine - Stroj 02 / (Re)Make Bosnian-Herzegovinian new media art pioneers? / When I don't say / Hurikan BM516 / Amatérské rádio-workshop / Organism 000046 / event horizon / not decided yet / RE-PAIK / Eric & Mary Ross -Ultimedia Concept / Meduse / „Studio mladé písně“ / LIVE FROM THE SURFACE OF THE MOON / Magnetic Mind / Chasing Waves Installation / Stage Presence / Zen for CRT / Standa Filip Memorial - Standuino - open source hardware platform workshop / Cosmic eye / Photosonic player / Mom's Radio / Partitura / kanukanakina / ARTINFO / Multiplace remake
 
ludomir franczak
emiter_franczak is a project mixing live video, performance and audio. up
till now we prepared 6 different projects. in our work we utilize analogue
equipment, but also use digital stoff. the two projects which are based on
REMAKES are: emiter_franczak vs. concrete poetry., where we try to give a
new shape to the concrete poetry; and a last project based on "story without
words" originaly made and published by frans masereel - one of most
important avangard artists of the last century. it is our slute to the
important art moments, but also an attempt to remake the old story in a new
style with nowadays visual, and audio means.

The project, initialized in march 2007, was shown in the most important
contemporary art galleries (CSW Laznia in Gdansk, Contemporary Art Museum in
Lodz, Arsenal in Poznan, Kronika in Bytom, Entropia in Wroclaw, MAK- Vienna,
National Museum in Szczecin, etc.), art palces (Plan B in Warsaw,
Philharmonic Hall in Lodz, CRK in Wroclaw), and festivals (netmage08 in
Bologna, mikro_makro, musica transsonica, szum03, opener2008, CoCArt). the
web of the project is:

http://emiterfranczak.blogspot.com/
 
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Jakub Pišek
Hallogenerator je multimediálna elektroperformance, nesúca sa v duchu starých šlágrov odetých do zvuku éry 8-bitových počítačov. Vykresluje kontrast medzi digitálnym svetom strojov a biomorfným svetom ludí, kde obe strany sem-tam zlyhávajú a zároveň skórujú v temnej atmosfére nepredvídatelných súvislostí. Utopický príbeh starého a neštastne zaľúbeného robota rozpovie kubriel. Špeciálne pripravený autorský software generujúci zvuk i obraz v reálnom čase beží výhradne na slobodnom software

www.direkt.sk/hallogenerator
projektor, audio, kable, stol, stojan na mikrofon..
toto neviem, co je
 
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Francis Hunger
Ezkapizm draws on the ideas of Alexander Svyatogor, Konstantin Ziolkovski and Nikolai Feodorov, in short the biokosmist-immortalist utopias of the early 20th century in post-revolutionary Russia and actualizes them to todays conditions. The resulting installation consists of a wooden tower with flags, a video of a person reading a manifesto and a projection with a 3-D animation of space ships leaving Earth.
3-D Animation
- rear screen construction, from rear projection foil and black painted wood.
- hd video projector
- hd video player (either mp4 player or some computer)


Tower
it is feasible to construct the tower at the actual venue, which is cheaper than transporting the existing materials.
- wood and construction materials for the tower
- a neon light bulb
- power cables, connectors
- black color
- a person helping for 8hrs


Manifesto
- Video Monitor, if possible Hantarex or similar SD (not a flat screen)
- DVD Player
- Sound equipment
doc
 
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Jonathan Johnson
The films that emerged out of post-Soviet Russia had an intensity, energy and craziness that captured the essence of an era. I intend to harness some of this unique dynamism through a small series of short, one-minute videos. It is possible that these videos could address current political turmoil as witnessed through the multitude of convergence media. I am currently the only "author" but am interested in collaborating with other media artists in a Exquisite Corpse-style video piece. We could accomplish this collaboration through online file sending services or through regular post. I will create the final DVD/digital file and send it to the festival for exhibition. Please contact me via email with your interest and questions.
DVD player and monitor/tv or computer. This project can be played from either dvd or digital movie file. Very little will be required logistically and all costs (production, shipping etc.) will be paid by the artist.
no
doc
 
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Central Canadian Center for Performance: Miss Lyndsay Ladobruk + jaymez
In a country as wide and spread out as Canada, covering 9.9 million square kilometers, we at The Central Canadian Center for Performance believe that these distances can’t stop creation and collaboration.

The Central Canadian Center for Performance is calling for performance artist from across Canada and around the world to join us in an un-jurried international performance festival: Performance Roulette. In this event performers can perform from the comfort of their own home, in front of a web cam in a ChatRoulette style environment. You will become part of a network of other performers and audiences.

If desirable performers can email us their names ( submission@cccponline.net ) and we will compile of a list of confirmed participants on our website and promotional material so that audiences can look for their favorite performers. After that it is simple: log on at www.cccponline.net on March 18 at 7pm Central Standard Time and perform or just watch. On Performance Roulette anything goes.

We will also have a public space available in the center of Canada (Winnipeg), for participants to come out to and participate within a more social context. This also allows anyone who may be less tech savy, or lacking the necessary hardware, knowledge or bandwidth to participate. The event will take place at AceArtInc., 288 McDermot

http://www.cccponline.net
http://bit.ly/performanceroulette
https://www.facebook.com/event.php?eid=165831523456885&ref=ts
Computer, internet connection, webcam, microphone

doc
 
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Xinh-Xo Nguyen
I would like to perform one of my electro-acoustic works that features the performance of Vietnam traditional 16 strings zither and live-electronics. The following links are the video of my performance (5 minutes version) and the recording (8 minutes version) of the piece. The sound source is the zither and all the electronics is done by real-time signal processing in Max/MSP.

Video: http://www.youtube.com/watch?v=ZbNNjkMqoBM
Audio: http://soundcloud.com/xinhxo/the-road-home

I would like to perform this piece with the 12 minutes version if that possible. This piece can be performed with 4 audio channels (preferred) or stereo.
Following equipments needed for the performance:

- 4 DI boxes
- 4 cables for connecting from the audio interface's 1/4" outputs to the DIs
- 1 microphone stand
- 1 small table for the laptop

 
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Beate Hecher/Markus Keim
The project description you can find in the further material.
The technical requirements you can find in the further material.
Some of the technical equipment we can provide. We need from you 3 DVD player and 1 beamer. We can provide the other necessary technical equipment for our installation.
doc, doc, doc
 
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osvaldo cibils
multimedia head. video live performance. first version. selfportrait action-home with objects. objects: human head (osvaldo cibils) - USB key (74 files: 34 drawings, 12 photos, 1 video and 27 noise sounds) - cassette (music by POLE) - cellular phone (15 contacts) - philosophical book (Systématique ouverte by Kostas Axelos) - photo camera - mathematical calculator - cd Rom (one arquitectural project by Fiorella Alberti) - adhesive tape. Duration: 5 minutes. osvaldo cibils. march 2010.

multimedia head on vimeo = http://vimeo.com/10259474
osvaldo cibils website = http://osvaldocibils.com
inernet conecction or file on DVD
x

 
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Jakub Pišek, Beáta Kolbašovská, Erik Bartoš
Multimediálna performancia narúšajúca arytmické stereotypné pískanie ohlasujúce registráciu predaja tovaru v hypermarketoch. Čítačky čiarových kódov sa premenia na experimentálny hudobný nástroj spúšťajúci audio/video sample z filmov, volne asosiované ku konkrétnemu tovaru.
http://www.youtube.com/watch?v=1glvOP4aFU8
3 kusy čítačiek čiarových kódov
audio/video aparatúra

Brno/Praha
 
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Art Clay
Le Mariage, Art Clay

A composition for two Swiss music boxes for two performers inspired by “La Mariee mise a nu par ses celibataires meme” from Marcel Duchamp. The piece was composed in a similar manner to that of Duchamp’s, i.e. mechanically. Instead of building a mechanical apparatus similar to that employed by Duchamp, a computer program to do a somewhat similar task, but more involved and varied task. The program basically selects tones from a given collection and range and writes them out into a readable score. After several runs and versions of the program, I decided to stick with a variation in which some of the balls (tones) remained in the wagons (phrases) as they were pushed through (determined) for a second, third or even fourth time. In comparison to the machine used by Duchamp, this process gives the music for which it is used to compose, a sense of progression, or harmonic development. The procedure to create the work „Le Marriage“ was carried out twice, in order to provide music for each of the two music boxes. The score was then transcribed onto two six meter long punch cards so that it could be played with the music boxes by two performers. The space between the tone(s) on the punch cards is even and the rhythm is determined then only by the speed at which the cranks of the music boxes are turned. The synchronization between the two voices creates shifting rhythmic patterns which modulate slowly over time. The type of music box that was decided upon sets the work of from the Duchamp model. They are limited to diatonic tones (the white keys of the piano) so all selected tones are kept within a diatonic range. However complexity is achieved, because the tone material overlaps, giving strange reversed patterned echoes of harmony throughout the piece. In end effect, the perfomers not only mirror the musical aspects of the work, but bring the piece it into the realm of performance- or music theater as they create a ever growing paper sculpture between them.


One Table
Two Chairs
One Spotlight

Gallery Space or Museum Space
     
doc
 
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Fabio Paolizzo & Riccardo La Barbera
Invisible Cities (Paolizzo, 2010) is a remake of Città Invisibili (La Barbera, 2007), which was freely inspired by the homonymous work of Italo Calvino.
Both of them are short movies that fit under the umbrella of “remix cinema” and de-contextualize paintings by Bosch, Escher, Canaletto, Tristram and Gilbert & George, relating these to moving images from early cinema.
La Barbera composed and performed the soundtrack of Città Invisibili using a mechanically prepared piano. The music of Invisible Cities is produced with experimental techniques. Paolizzo used VIVO (Video Interactive VST Orchestra), an interactive software musical instrument, to translate the motion of the images into electronic elaborations on the original soundtrack.

Link of the project: http://fabiopaolizzo.com/invisiblecities.html
More information about VIVO: http://fabiopaolizzo.com/software



DVD Player
Video Projector
2 x Speakers

 
doc, doc
 
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Juan delGado
An atmospheric three-screens projection focusing on
concepts of remembrance, sport and landscape.
Le Rêve de Newton, filmed on location in the nature reserve of the Grain Tower, Northward Hill, Cliffe
Pools... in what Charles Dickens described as a "dark flat wilderness intersected with mounds and gates,
with scattered cattle feeding on it", is delGado's poetic reflection on ageing, vulnerability and the
changing landscape as well as an exploration of the politics of sport and the body.
Working alongside with the writer Pauline St Marie, he has produced a piece in which text & image
collaborate to create a narrative dialogue concerning energy & power; health & longevity; disability &
ability; death & decay. We see nature, wildlife and old buildings, places abandoned that have fallen into
disrepair.
The artist described the work as a 'journey into a landscape that emanates with the mystery of a story to
be unfolded'. In the work the gleam of the lights from a smoky factory punctuate the imminence of dawn;
the delicacy of the grass swaying in the wind and the haunting presence of the Grain Tower, the rhythmic
seagulls' flight mesmerize us alongside with the words of a senior cyclist who wanders around the woods
and seems to come to what will be his final race.
The installation creates an impressionistic, yet contemplative and hypnotic insight. Like many of the
artist's works, it rejects conventional narrative film language in favor of an evocative perception of the
human experience of growing old. The audience is encouraged to explore the juxtaposition of one screen
to another screen, to question commonly held preconceptions about sport & fitness.
www.juandelgado.net
3 DVDs same brand
3 Beamers same brand
Plinths or Support System
No
       
doc
 
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Jonas Gruska
Poem based on live feed of information from "inhuman", given input combined with possibility of partial or complete interaction with separate words.

Every time, the website - poem is loaded, new data - informations are downloaded from the predefined website (in this case is the top feed of "Gazeta Wyborcza"). It is possible to change the address and use practically any RSS feed from any website. By moving your mouse cursor you can discover and change the content and layout of the poem - but only in the borders of the data. But, if you want to change specific word to something else, you can use "Tab" key to locate it and just simply rewrite it. As you play with words, they become shorter and shorter as they end up completely unreadable. Their information is devaluated. After new refresh / reload, their length is normal again.

Why?
Interaction with reality, reproduction, recycling and reconstruction of information, paraphrase of the informational flow - devaluation. Discovering of the new dimensions of the presence, chewed and processed trough the media/medium.


http://mrkva.ovecka.be/index.php?/text/basen-10/

SLOVENSKA VERZIA: http://zvukolom.org/ola/basen/sk/
Computer able to run modern web browser, screen, connection to the internet, mouse & keyboard
 
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Gabriel Menotti
This is a remake of Nam June Paik’s seminal installation ‘TV Buddha.’ In the original piece, a statue of Buddha gazes its own image, captured by closed circuit camera and shown in a TV monitor. In this Augmented Reality version, the statue is replaced by an augmented reality fiducial, and the TV is substituted by a computer with integrated webcam. The image of the fiducial is rendered on the computer screen as a 3D model of Paik’s Buddha. Thus, the piece foregrounds the computer black box incorporated into the closed circuit of video. Even though it employs open tools and systems in its making, the pieces doesn’t present any obvious form of interactivity, stressing its closure as an artwork.
Technical requirements: computer with webcam (preferably integrated into the monitor). Software employed: Blender (for 3D modelling); PD with ARToolKit library.
No.
 
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serhiy savchenko
Serhiy Savchenko
Media Project
Integrated Realities

Man perceives the world through intellectual and sensory circuits. Static image seen -the amount of refined visual experience
Camera captures the reality of objectivity, documenting the process of mechanical motion and then final.
The project offers a combination of these two kinds of perception, integrating opposing measures of fixation-to-digital video (Night view from the window of the train) and monochrome relief (a static image of the city), to which it projected.

foam,wood,glue,projektor, audio, cable

doc
 
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Beatles

The following concise, informative description was taken from http://en.wikipedia.org:

Flip the Frog was Metro-Goldwyn-Mayer's first sound cartoon. It is about a happy-go-lucky, needy frog, named Flip the Frog.

This cartoon was created by Ub Iwerks in 1930. He had drawn a frog and his girlfriend in "Night'", one of the last Silly Symphonies short films he drew while working for Walt Disney.

After leaving Disney, Ub Iwerks began the Flip cartoon series with the help of Pat Powers. The first cartoon that Ub Iwerks made for the series was called Fiddlesticks (released on August 16, 1930), and it was also the first color sound cartoon ever made. Fiddlesticks was made in two-color Technicolor. The rest of the Flip series were made in black and white, except for Techno-Cracked (1933).

The following concise, informative description was taken from http://en.wikipedia.org:

Flip the Frog was Metro-Goldwyn-Mayer's first sound cartoon. It is about a happy-go-lucky, needy frog, named Flip the Frog.

This cartoon was created by Ub Iwerks in 1930. He had drawn a frog and his girlfriend in "Night'", one of the last Silly Symphonies short films he drew while working for Walt Disney.

After leaving Disney, Ub Iwerks began the Flip cartoon series with the help of Pat Powers. The first cartoon that Ub Iwerks made for the series was called Fiddlesticks (released on August 16, 1930), and it was also the first color sound cartoon ever made. Fiddlesticks was made in two-color Technicolor. The rest of the Flip series were made in black and white, except for Techno-Cracked (1933).
 
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Mylicon/En
http://www.vimeo.com/5237279

DARK STAR is a Mylicon/En project dedicated to the directorial debut of John Carpenter.

One single location, crazy special effect and 4 actors for a peculiar travel into deep space and a reflection on the relation between man and thecnologies.

Mylicon/en likes to play on the same coordinates: deep space and concrete landscape depicted by "hand made" effects.

Mylicon/en's DARK STAR is a live performance in wich we there is a very strong dialogue between the digital sounds, captured and realaborated live by laptop and sampler, and the live video is created with no video mixer, no laptop, no digital filter.

As usual we created visual track during a live performance using just a videocamera connected directly with the video projector.

Performers should stay close the projection screen, the best is that we stay under the projection screen.
The videocamera should be connected directly to the video projector through an rca/bnc cable or a SuperVideo cable, so we need a video cable from the video projector to the performers tables.
Required:
- video projector and screen
- 2 audio monitors and audio mixer minimum 8 channel with fader
- loud speakers
- 1 Tv color (from 17 to 22 Inch) possibly connected to a digital/analog network channels.
- 1 dvd player with remote controller
- 1 tripod for camera
- 3 tables
- a chair or stool
- 1 table lamp
- cables and sockets (120W)
- audio cables and video cables
 
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Paolo Podrescu, dr. Podinski, XLterrestrials
ELectric SHeep REvisited

An expanded cinema presentation + performance based on the uncanny + elevated relevance of sci-fi visionary PK Dick today ! Like an anatomical theater we perform a public autopsy of the mass media assembly lines which produced the Replicant + Avatar consumers, from Hollywood to Web 2.0, in order to demonstrate that it's not too late to pull back from the brink of an entirely toxic upstreamed culture.

...

In 1982, Ridley Scott embarked upon mining one of the 20th centuries most prophetic and prolific writers of sci-fi (and social fiction) in order to create an entertainment industry product. Admittedly without having read the novel, this shooting star of Hollywood proceeded to transform Philip K. Dick's "Do Androids Dream of Electric Sheep" into a cult classic of the silver screen, now regarded as one of the best sci-fi films ever made.

Nearly 3 decades later, a masterfully-crafted Blade Runner still looks slick, but it's the unabridged scenarios of Electric Sheep that provide shocking relevance to the grim "Tyrellian" realities we stare upon helplessly as Japan teeters on the edge of a harrowing nuclear precipice.

Do Androids Dream Of Electric Sheep (1968) was primarily about ecological devastation ( EARTH AS A RADIOACTIVE WASTELAND ), our relationship to other creatures and what it means to be human. And he saw quite clearly how badly we were f*cking it all up !

The Hollywood version gave us ueber-sexy replicants, a Joe-cop in a love tryst w/ an android (chuckle), flying cars (chuckle), the Voight Kampf test ( used for tracking down fleeing colonial slaves/refugees ? not funny !)... and perhaps a subtle hype for the unsustainable technological hyperdrive ! Not at all unlike the society which Japan, until just last week was striving towards.

PKD via the Hollywood Machine has really only provided us the tip of an iceberg, from a duly paranoid and overworked mind, all those riveting + profound tales of corporate world misanthropy, equal to anything Orwell or Huxley forecasted or forewarned.

...

Just this month Gary Westfahl reviewed a newly released Hollywood plundering of Dick's genius - “ The Adjustment Burea (from a 1954 short story), and he writes:

"If professors of film studies want to enlighten their students about what Hollywood wants to be, and what Hollywood really is, I can imagine no better lesson than to have them read stories and novels by Philip K. Dick, THEN having them watch the films that they inspired."

The schism between great works of art and cultural commodities is in some ways not unlike the widening cracks between our challenged material realities and the social fictions of governments + corporate enterprises. The crucial mirrors to reflect and understand... and to act... are constantly being siphoned, pawned off , shattered.

And just this month we hear industry reports of a company scheming either a sequel or prequel to Blade Runner. Before we again get viciously short-changed of PKD's profound and dire warnings in regard to corporate engineered dystopias and deception, the XLterrestrials return to the source to present Electric Sheep Revisited.

...

For the last 4 yeas, our media research lab has been exploring a kind of remaking of cinema itself called Citizen Kino, a method to assess the dangers of getting taken in by further media hijackers, to intervene, and to re-imagine more viable mediums for overcoming and out-manuevering the deteriorating signals. An interactive, participatory and guided descent into where the medium went terribly wrong. And an attempt to come out the other side, becoming an open forum for devising an ongoing self-defense praxis and public escape hatch.
A cinema environment
A4, Szimpla? in Budapest, etc.
 
 
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The Two Gullivers (Flutura & Besnik Haxhillari)
Pour Bauhaus Nr. 2 nous allons construire une maison dans un énorme tonneau. Il s’agit d’un roue de 4m-5m le diamètre. Dans cette roue serons fixées tout le mobilier d’une maison. La performance consiste dans une sorte de pseudo théâtre qui se joue dans les différentes pièces de la maison. Pour aller à la chambre à coucher il faut que la roue tourne et si on veut aller sur la table du dessin, il faut que la roue soit retournée jusqu’à ce que la table arrive à la position verticale. Nous allons y vivre les jours de l’événement, en partie avec nos trois enfants.
Nous avons deux versions possibles. La première version (fig.1) consiste en l’utilisation de vrais meubles montée sur la rue qui est un squelette métallique et des planches de bois. La deuxième version est de construire tout l’objet, l’installation en métal et en pièces démontables.
Un minimum de 15 m serait nécessaire pour utiliser toutes les «pièces» intérieure de la roue dans un va-et-vient. L’espace pour cette Installation/performance serais à l’intérieure ou à l’extérieure dans la cours.
 
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michael trommer
Greyfield land is a term used in the United States and Canada to describe economically obsolescent, outdated, failing, moribund and/or underutilized real estate assets or land. The term was coined in the early 2000s as a way to describe the sea of empty asphalt that often accompanied these sites, which may also be referred to as "dead malls" or "ghostboxes".

'Greyfields' is a live improvised a/v performance which investigates the audio-visual characteristics of the landscape created by our globalized economy and attempts to map the psychogeography of consumption. It focuses on empty, abandoned or unused locations, and incorporates material sourced from the locales in which the performances take place.

http://michaeltrommer.blogspot.com/2010/03/greyfields-td-path.html

http://michaeltrommer.bandcamp.com/track/greyfields-live-excerpt?permalink

http://www.vimeo.com/20410730

http://michaeltrommer.blogspot.com/2011/03/field-recording-afternoon-in-torontos.html
video projector + screen

mixer/PA sustem
 
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Medea73/Kunstenarologies
52 `09 NB : installation and performance based in the observation of time.
“There exists a thing that is very mysterious, but also an everyday normality. Everyone takes part in it, and everybody knows it, but very few stop to think about it. Almost everyone limits themselves to taking it as it comes, without asking questions. How we spend our time?
Language used in the installation: Dutch/English.
LANGUAGE: combine the sound and video installation with movement.
STRUCTURE
Open with a time installation survey; follow by the performance, which is divided into 10 moments inspired by the utopian enthusiasm that followed the French Revolution. In their need for change, the French people, from 1793 to 1795, measured time in decimal units, using a clock of 10 equal hours for each cycle of day and night, with 100 minutes to an hour, and 100 seconds to a minute.

Each moment look deeper into the ideas explored in the previous section, examing both the spectator and the performer’s efforts to classify and measure time, and to construct tools and concepts in order simplify that task - the planetary fundamentals of day and night, the rhtythms of time dictated by the sun and its temporal rhythms, the measurement of nightime hours, canonical hours, and time as a value - with the aim of devising a single, universal system of time management.


VIDEO EQUIPEMENT

1 DVD-
2 VIDEO PROJECTORS
1 VIDEO CAMERA MEDEA-73
1 LAPTOP COMPUTER MEDEA-73

SPACE
6 METRES PER 6 METRES EMPTY. WITH A WALL ,OR SCREEM GOES FROM THE FLOOR TO THE CEILINE, WHITE FLOOR, 1 CHAIR, 2 tABLES, 2 LAMPS OR PC FOR THE TABLES.


NO
 
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Martin Blažíček / Kateřina Zochová (cz)
Improvisation on the edge of sound, silence, image and darkness. Joint project of Kateřina Zochová (Audiofenky, Something in Small Boxes, The Boy and the Beam) and Martin Blažíček (Mikroloops). The opening anticipation is a waiting game, the playing is a dialogue, one follows the other. The base features of a three-minute fragment of Super8 film. Key images bordering on a static image, an illusion of movement and an expressive stroboscopic effect gradually emerge from it, improvisationn lies in the waiting and discovery of the unexpected.
video projector (RCA-in), stereo sound system (2xmono jack-in), table, two chairs, audience seated
no

 
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Martin Blažíček (cz) / Andras Blazsek (hu)
Audiovizual performance, live improvised drone image/sound structure based on Revox tape-recorder installation. Tape recorder as a central point of the installation is used as a source material for both audio and video live composition. Tt. 20min. See video at http://www.youtube.com/watch?v=cdHNDnRcZgU
Video projector RCA-in, stereo sound system, one spotlight, table
 
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Školská 28 Gallery Prague
Školská 28 Gallery Prague offers to host one MTP2011 project within regular ScreenLab program series. http://skolska28.cz/page.php?set_lang=en&page=1
 
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Christian Streinz
Climate change is at strong presence in the media landscape. There are numerous approaches to prevent the impending disaster and anyone can contribute. Help to transform all forms of air pollution into art.

What you can do with [F]Art.

- Visualize the invisible.

- Aestheticize your environment.

- Respond constructively to the pollution and sensitize your
Environment in regard to ecological issues.



Artist Statement

The intention of the project is the analysis of social responses to precarious situations and the medial reflection of these issues. The mass media produce neglect. An intensive examination of issues is not required or doesn't generate a positive share. Political discourses are stimulated only ephemeral to encourage short-term communication. Then they turn to new subjects in order not to lose their entertainment value. [F]art is designed as a mobile device to exactly counteract this effect. The recipient decides completely self-sufficient when and where he uses this device. Next the use of this object produces attention and therefore there is an option to enter into a dialogue with each other. Another important aspect is the extension of individual perception to a new level which affects the movement within the environment.



How does it work:

A gas sensor detects air contaminants and depending on the intensity of the measured values the graphical representation and the auditory representation of the emissions changes. The inputs and outputs are controlled by a microcontroller and the algorithm generates graphics and sounds.


Video: http://www.youtube.com/user/codedart#p/a/u/0/GdKPJcRnYOM

Website: http://codedart.de
None.
[F]Art is a independent operating mobile device.
Maybe some 9V battery's.
No.
 
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LOLAB
Resume

L.M.G. is a work in progress on the crossing of experimental sound creation, of sound spatialization, of interactive installation and of participative performance. The project adapts itself to different topics with a specific creation for each place of showing.


Process

1st stage : field recordings according to the topic of the REMAKE.

2nd stage : making of a sound composition meant to be played by the public within the interactive installation : L.M.G.

3rd stage : recruitment of a six persons “rock band” among the public. Practice sessions to learn how to use the installation.

4th stage : collective performance. The installation produces a spatialized dynamic sound creation. The “rock band” from the public remakes the composition proposed by the artist. It has the choice to reproduce or to subvert it.

links (video and sounds) :
http://www.lolab.org/spip.php?rubrique113
Technological Requirement

6 stereo speakers (PS 15 or PS 10)
3 amps
6 stands
speakons
doc
 
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Christian Streinz
Papergame is a new computer game experience with anachronistic hardware. This game uses a dot matrix
printer as graphical output, that means the algorithm draws the game scenario directly onto the paper. The
developer selected the scrolling game genre to show the users the real process of one of the important
game genres.
The developer intention on these project is to transform the game structure from the digital environment into the physical world. Instead of creating an illusionistic scene, papergame shows the technical reality frame by frame or even page by page.
The low velocity of the gameplay encourages the user to reflect the game concepts and the inherently
structures.

Video: http://www.youtube.com/user/codedart#p/u/4/9LKS1DTU2XI

Website: http://www.codedart.de/index.php/installations

-Windows PC with the possibility to connect a dot matrix printer over a parallel wire.
-A bunch of continuous paper Din A4.

The other stuff will be provided by myself.
No.
 
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Christian Streinz
The focus of the project is the importance of games in the context of digital media. The interface is a combination of a sculptural, kinetic object and a working device (barcode scanner).
The user controls the game by this construction and must try to classify the various control options in order to operate successfully with his avatar. The objects within the game are represented by sprites which appear to be very abstract due to the binary representation of the texture. The intention of this work is to visualize the non-transparent basal structures of computer games.
The code or rather the tool constructing the contents and interaction itself becomes subject of the project. This way the recipient is to be stimulated with a critical reflection. A look below the surface and the associated Imagination opens the possibility to analyze the complex structures. The graphics are abstracted this far that only partial or fragmentary associations are possible. Since there are no narrative elements and apparently no coherence between the different tasks, the game seems disillusioning. The individual wants to have a clear task and make decisions, this is thwarted by messy-looking design and arbitrary changing control options. Regulations respectively a concept can be forced upon the user by the visual stimulation very easily.


Video: http://www.youtube.com/user/codedart#p/u/2/4bMJ_amnXss

Website: http://www.codedart.de/index.php/installations

Only a windows or linux based PC and a monitor or rather a projector.

No.
 
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Vojtěch Petřík
A flash game protest against expansion of urban automobilism. The game has own story about conspiracy of car and oil industry, their lobbying, their brainwashing commercial tactics, their financial crisis, wars,…
www.evil-error.net
Computer, LCD display, keyboard, stereo speakers
 
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Alexandra Moralesová, George Bagdasarov
"Photography is truth. The cinema is truth twenty-four times per second." J-L. Godard


1970, Blau Peru is an attempt to "develop a film picture", to wake up a potential story, and to initiate research. We work found footage material. To invoke the moving picture an 8mm film viewer is used. To spread the picture on screen there is a video transfer and due to that kind of digital remediation the material comes to transubstantiation and turns into a "spectre". Those spectres are then forced to dance with prepared gramophone and so transfigure one of thousand possible stories that found footage material can

Stereo PA, Video-Beamer with RCA input.
PRague or Bratislava (may be?)

 
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Václav Peloušek
The remake project Drawing machine gives tribute to one of the pioneers of Czech kinetic trash sculptures - Václav Jíra. Jíra started making drawing machines and kinetic sound and light sculptures in early 1960s when influenced by New Realism, but worked in the Czech-region with strong DIY tradition. Trash yard was the source of material and inspiration for Jíras sculptures and paintings. Since the look of common trash shifted from analogue mechanic devices(cars, washing machines) to digital devices nowadays (printers, computers), reusing them for artistic purposes logically implies the digital dimension which enables to react to the institutional framework of the new media networked festival.
In my remake project the drawing machine placed in the gallery space will drawing patterns which will react to data that would be transmitted through the Multiplace website. That shift of focus from reflection of physicality of painterly gesture to reflection of context in which art is exhibited is logically caused by the change of artistic paradigm.

non-internet version of the machine: (the new version is going to be placed verticaly)
http://soil.ffa.vutbr.cz/~xvpelousek/index.php/cs/machine-01

Václav Jíra:
http://lh4.ggpht.com/_MGXiwwKrCMY/S20QPnzYiYI/AAAAAAAAAT0/fr6xSMyC6cI/100_1103.JPG?imgmax=640

http://lh3.ggpht.com/_MGXiwwKrCMY/S20QR9EW-gI/AAAAAAAAAUA/lZCTWimM3Dk/100_1105.JPG?imgmax=640

http://lh5.ggpht.com/_MGXiwwKrCMY/S20QUArPQfI/AAAAAAAAAUI/VeJlKKOX_4M/100_1107.JPG?imgmax=640

http://lh4.ggpht.com/_MGXiwwKrCMY/S2BXsDTLiWI/AAAAAAAAADA/sQPnpC_C2gs/_MG_1569.jpg?imgmax=640


computer with internet connection
Galerie Architektury
 
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Tač.ka
Remake or artefactual reinterpretation of the well known works of the new media pioneers well presents nowadays an inertial principle, repeated so often that it seems it lost its “semantic power” through repeating. It is difficult to say that such a remake, dislocated from the historical, causal context of the original, can have a little more than "an aura of historical quotation", set in the new environment and working conditions.

When there is discussion on new media pioneers' works, in particular on those who, for some reason, were not actualized in the literature or distribution, (but who are acting as an important testimony of the new-media activities of middle-European demography), they acquire a whole new connotation and dynamic literary aspects, sociocentric enthusiasm and mapping processes, but also the confirmation as regional new-media pioneers.

However, the question is, what kind of connotation has a remake of the groundbreaking, new media works in the state structure where no such pioneering activities ever happened before? Not during the expected time frame nor through the works of enthusiasts who remained in the shadow of other art-theoretical tendencies? Presence of new media art, as an established and clear artistic strategy in Bosnia and Herzegovina can be sensed only after the 2000, and such practices are designated as carriers of the contemporary local artistic activism and not as a historical- contextual particularity. In which way can we transpose the pioneers of the new-media art in the context of Bosnia and Herzegovina? What if Remaking requires Making?

These are the problems that the net art work "(Re) Write Bosnian -Herzegovinian net.art"(http://yourworldoftext.com/rewritebhnetart) actually deals with it. An empty, in all directions observable discursive space of Bosnian-Herzegovinian net.art is the Bosnian-Herzegovinian net.art itself and any intervention on its surface means in the same time the Writing of the Bosnian-Herzegovinian net.art. Since the page allows rewriting of the already existing syntax or ASCII drawings one can speak of a simultaneous writing but also of remaking of Bosnian net-art.

"This is not a remake / There are no Bosnian-Herzegovinian new-media art pioneers", is an (anti)notification that indicates the difficulty the principles of remake will meet when in the contact with the non-existence of a reference paradigm within a particular cultural-political space. It is a statement, auto-recognition that triggers avalanche of questions and dilemmas related to contemporary Bosnian-Herzegovinian “new media” cultural identity and its determination. This work relies on previous e-mail action of Tač.ka: No-exhibition / No opening.
http://lutacka.com/htm/projects_no_exhibition_eng.html

(Re) Write Bosnian -Herzegovinian net.art / http://yourworldoftext.com/rewritebhnetart
...
This is not a remake / There are no Bosnian-Herzegovinian new-media art pioneers:
Print, 70x100cm


 
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Ondřej Merta, Václav Peloušek
We want to make actual remake of Wojciech Bruszewski work “When I Say” (1972) in which he made interactive light bulb (the only source of light) that responded to the level of his speach when he performed a lecture. The loud sound meant light and silence meant darkness. Our intention is to remake this situation in reverse (sound-darkness, silence-light) for some of the lectures that will be held as part of Multiplace festival. In this reversion is important shift of meaning-from technologically analogous system with religious connotations to more mistake-like disturbing system which separates the words from any visual connection.

http://www.voytek.pl/azarowka.htm
light bulbs as the only source of light during a lecture (besides projector)
Galerie Architektury of might be created for more venues
 
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Ondřej Merta, Václav Peloušek
Hurikán BM516 is collaborative audiovisual project of Ondřej Merta and Václav Peloušek reflecting low-tech approach to make videosignals-connecting found old professional video-equipment (Merta) vs. microchip based synthesizer approach (Peloušek) to make live experiments.

By their performance they remake the principles practised in the Kitchen studio where Woody Vasulka brought with him the experience of Czech DIY and transposed it in the context of early electronic art. Although their approach was that they were making experiments, they were often visited in their studio to show up their results. We actually work in similar way and by bringing our experiments to public we try to make the same shift.

Merta recontextualizes thrown-away video technology in a chain of unique devices which are not connected in the proper way they used to be connected to pick-up their unique abilities to go beyond their purpose. This principle was used by Vasulkas where challenging the technology was crucial topic. Merta shifts this approach into postdigital paradigm by implying strong effect of videoglitch.

Peloušek uses his own DIY videosynthesizer which is based on obsolete open-source microchips and circuit-bent TV. His custom interface enables him to create the visuals intuitively straight away by gestures. Peloušek reminds his father who also used to build videogenerators and other audiovisual devices, because of the strong trend in DIY electronics influenced by magazine Amaterské Rádio.

Sound part of their performance is also made live using custom build devices and old computers.

The equipment they use:
Václav Peloušek: Hurikán I (videosynthesizer)
Hurikán TV (circuit-bent TV with generators-influenced by Paiks design of Wobbulator TV synthesizer)
Hurikán II (sequencer and synthesizer)
Hurikán III (drum synthesizer)
Hurikán IV (lofi sampler)
Ondřej Merta Tesla BM516 (videogenerator)
Sony SEG 2550 (videomix)
videorecorder (2x)
live cam (2x)
Atari ST


https://picasaweb.google.com/116503543813673129433/HurikanBM516#

http://vimeo.com/20282268
http://vimeo.com/21264458
http://vimeo.com/17620233
http://vimeo.com/11743802
2 projectors, many AC plugs, sound mixer (cca 8 channels), amplifier
Brno of any other
 
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Václav Peloušek, Ondřej Merta, Ondřej Homola
We want to organize workshop where the participants would be able to build simple sound synthesizer from the magazine Amaterské rádio. We would provide the lecture about basics of hobbyist electronics skill which are enough to build such devices. If we are successful with building, the end of the workshop is automatically turned into sound-testing environment. By remaking these old designs of devices we want to emphasize the strong tradition of anonymous experimental “soundart” pioneers in the tradition of Czech DIY. Todays DIY scene has shifted onto the Internet surface, where the same principles from Amaterské rádio are reinvented again with much wider so called open-source success. We also want to give tribute to one of the pioneers that influenced us most-Stanislav Filip who gave us some know-how and who was always developing his own innovative sound and other devices. To rise him as an icon, every participant of the workshop could gain T-shirt with silk-screened portrait of Stanislav Filip.
cheap soldering irons,
Brno
 
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Tatjana Vukelic, Marko Cokulov, Marko Tomovic
Organism 000046 is audio visual installation and performance, inspired by Eduardo Kac’s bio art work “Specimen of Secrecy about Marvelous Discoveries”. That Kac’s work is comprised of what he call "biotopes", i.e., living pieces that change during the exhibition in response to internal metabolism and environmental conditions.
We tried to simulate his work so that we made computer program that presents his “biotopes” with sound and video, converting his bio art in to our software art and performance.

Our simulation begins with a/v performance where we give “life” to our Organism 000046 by changing inlet parameters of program, and so, changing the sound and video. Each of us controls some parameters of audio and video directly in program but also takes some parameters of other 2 of us, and combines them with his own, resulting circular data exchange, which affect a/v that way. For example, one of us is mixing some video, second make that pitch of a sound depends on the amount of light in video and third make that contrast in video depends on sound pitch. That is circle among us that represent circular processes in real organisms (birth, life, death and birth again).

After birth of Organism 000046, he continue to “live” on his own, so that program change a/v in time with his algorithms. That is “internal metabolism”. In addition, Organism is responding on environmental influences so that he collect data taken by the web cameras and microphones distributed all over the venue (camera capture people at venue, microphones capture sounds that people produce and that is “environmental conditions”) . Program edit collected environmental data, according to his algorithm, and mix it with “internal metabolism” producing unique “life” of Organism 000046, which passes trough stadiums in life (youth, maturity, old age...), expressing different kind of feelings.

In the end, Organism 000046 “dies”, so that is programmed to shut down it self. The point is that nobody knows exactly when is that going to happened like in life of any real organism. We just know that death is going to happened in last couple of days of installation because algorithm of the program is going to be like that.


***** Organism 000046 is designed to be "70 years lasting" in some specific venue, like average human life ( not only couple of days ), but there is no technical conditions yet for something like that.

3 computers, 1 projector, 3 web cameras, 3 microphones, stereo sound system
 
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ondrej merta
Installation event horizon is influenced by Nam June Paik's closed circuit video installation "TV Buddha" by its visual aspects, but Buddha is replaced by another television as a commentary to todays adoration of television object. The installation is also closely related with early 90's videoworks of polish artist Jozef Robakowski, who created closed circuit for generating live videos by everyday objects.
Event horizont is closed circuit video installation, traps inside all the visual information that even crosses the system. The picture captured by a camera from space between the camera and the first television is not stored in any memory but streamed through internet into the second television that is captured by another camera that streams its output into the first television. Every picture that passes the gate of this installation is becoming part of the loop. Ideologically the loop is endless and theoretically all the information should be still present. The curved surface of the televisions sets a little amount of distortion to the system and makes the picture to fall apart after some time. This situation strongly represents what in theoretical physics is called Informational Paradox on Event Horizon and refers to Susskind-Hawking battle in which they had struggle if the information that reaches the horizon might disappear of is stored on the horizon. In this installation the answer to this question is also not obvious. Unstabillity of quantum space is represented by unstable data flow in which the delay of internet stream is constantly changing.
Jozef Robakowski created installations of his so called "machines", which generated realtime abstract videos, that were also closed in the space of a gallery and were interactive with this space. This redefinition of space is the key link of reading the remake context.
My "machine" should be located in Brno, but 2 channel video stream should be presented in other "multiplace connected" cities.

http://en.wikipedia.org/wiki/Susskind-Hawking_battle#Black_hole_war
http://www.robakowski.net/portfolio_ang.html
intel minimac 2pcs, pal video camera 2pcs, fast upload internet connection, crt tv 2pcs, videorecorder 2pcs, tripod 2pcs,
computers with two monitor outputs, internet connection and two monitors or projectors for each instalation in other connected cities.
"machine" located in brno, 2 channel instalation of streamed signal in connected cities.
 
 
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klára doležálková
video/film installation == horizon and landscape == remake of a Hringurinn movie by Fridrik Thor Fridriksson == iceland == 3 channel projection == white clean gallery space == could be small == dostředivý a odstředivý moment Ostrova, uprostřed moře, a jeho permanentní horizont
3 beamers, 3 white walls in a gallery, 3 dvd players
wherever
 
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David Strang
I propose a workshop for REMAKE to create a working physical audio network from recycled materials.
The workshop is inspired by Nam June Paik's cassette tape work “Random Access” where Paik assembled sections of audio cassette tape pinned to a wall and allowed visitors access to the audio with playheads from cassette machines to scrub across the tape and hear the content. The aim is to create moving audio networks throughout a space that users can tap into and contribute to. Multiple networks can be set up from very small to large scale depending on the materials gathered for the workshop. The networks will enable users to explore time and space in a material way. Speed of communication across such a network depends on how physically close to each other users are.
The way the workshop will run is over a certain number of days (up to 5) the participants will gather old, discarded cassette tape and tape players/walkman/old answering machines. This will enable us to build a local network with original, local materials. The tape can be left with the original content on it or recorded with new material (such as a message). The network will be designed to be an open one where people can listen at any point along the tape by using hacked playheads as well as physically breaking the network to insert new material. Once the material is gathered then constructing the network will begin – choosing a site, deciding on the size etc...
The aim is that a group of people who previously did not know one and other will create a fully functioning sound-art installation. The skill levels can be from beginner to experienced – all are welcome. As well as being introduced to hacking tape machines and tape there should be time to introduce arduino as a possible controller for the network speed if needed.
The final work can be left installed in the space as a memorial to the cassette tape.
Proposed timeline for workshop:
Day 1 – introduction to workshop, Paik, network communication, working with audio tape, hacking.
Day 2 – collect materials. Day 3 – collect materials and begin network construction and arduino. Day 4 – network construction.
Day 5 – installation completed. (this is a flexible timeline depending on number of participants so could easily be less days).
recycled tape and tape players.
one room big enough for a small group of people to be messy in.
soldering irons
projector
 
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Eric & Mary Ross
Hello


I'd like to present the Eric and Mary Ross Ultimedia Concept, a performance with video and live music (including the Theremin) as part of your programming for 2011.

This combination of electronic arts, video and music, especially with the Theremin, would be attractive for your audiences and could fit well with your program. Eric will be on tour so travel is easy. More information on websites below. The Rosses would also be available for a lecture demo workshop. I can provide complete information, on your request. Do you have a place for us this year ? Perhaps you can let me know on this proposal as soon as possible?Thank you.



Julie Pinnsonault

Ty'ava Productions NY

Telephone: 607-722-1457



www.ericross.info

www.maryross.info



BombMagazine Interview 3/11

http://bombsite.com/issues/1000/articles/4865




Spring Tour 2011

May 24. Zurich, CH. Videoex Festival . Concert with Bruno Spoerri-laptop and video by Mary Ross.
May26. Bremen, GR. Solo concert -video by Mary Ross
May 27. Hamburg, GR. Elbjazz Fest. on SMS Stubnitz. Solo concert, video by Mary Ross
May 29. Luneburg, Germany. Electronic Music Festival. Solo Concert with Video by Mary Ross

BIOGRAPHIES

ERIC ROSS has excited audiences with his fiery virtuosity and innovative work" - Washington Post. He's presented concerts of his original works at Lincoln Center, NYC; Kennedy Center, Newport, North Sea, Berlin and Montreux Jazz Festivals, Guggenheim-Bilbao, Copenhagen, Prague New Music Festivals among others worldwide. He performs on guitar, keyboards and is a Master of the Theremin, one of the earliest electronic instruments. For over twenty years he's led his ensemble that's featured jazz giants, John Abercrombie, Larry Coryell,Andrew Cyrille, Oliver Lake, Leroy Jenkins, New Music Virtuosos Youseff Yancy, Lydia Kavina, Robert Dick, and others. The New York Times calls his music "a unique blend of classical, jazz, serial and avant-garde."

Eric Ross began playing the Theremin in 1975, and has performed on radio, film and TV. He's written an Overture for 14 Theremins playing simultaneously, and gave the world premiere of Percy Grainger's Free MusicNo.1 in New York City in 1997. Since 1976, with his wife, Mary Ross, he's presented multimedia performances with video, music, dance, film and computer art. He's also played with blues legends Champion Jack Dupree,Lonnie Brooks, Sonny Terry and Brownie McGhee. Last year, was guest artist on the No.1 Best-Selling CD album in Japan, Aqi Fzono's"Cosmology. He was a friend of theremin virtuoso ,Clara Rockmore, and electronics pioneer, Robert Moog. In 1991, he met and played for the inventor of the instrument, Professor Lev Termen. He's drawn inspiration from them to continue developing the Theremin as a voice in his own compositions.

MARY ROSS is a fine art photographer and visual artist. Since, 1976, she's used video and computers to produce still images on film. As one of the first fine art photographers to do so, her images provide some of the earliest examples of how photography, video and computer technology converged and eventually evolved in digital photography.

For over 35 years, Her video and computer generated still photographs and video art have been featured in hundreds of multimedia performances she's produced in collaboration with composer/performer Eric Ross, various musicians and dancers. She has exhibited extensively at galleries and museums in the United States, Europe, Israel and Japan. Her photographs are in the permanent collections of the Kunsthaus, Zurich; International Polaroid Collection; Herbert Johnson Museum of Art at Cornell University; King's Library, Copenhagen, Bibliothèque Nationale; Paris and the Lincoln Center Library Dance Collection in New York City .



.





video projector
PA System
Backline
 
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Jiří Suchánek
The Meduse is experimental electronic musical instrument functionally distantly inspired by the Lev S. Theremin´s (no contact) instrument Theremin. According to actual software possiblities the inputs from sensors are filtered into the musical scales, so its more easy to play from sketch (compared to theremin - imagine tuned theremin). Meduse offers also sample and rhytm based sound material. The light interior of the Meduse sphere is synced to the sounds in differnet ways. Meduse is divided into 10 zones - each zone has specific sound that could be transformed by 5 IR sensors. Each sensor changes multiple sonic parametres. The input data are routed to several destinations which is not known for the visitors. There begins the game to discover how does it work, and what the touch ( and distance) are affecting.
Meduse interface is prepared for interaction of 2-5 people so the (non)verbal comunication is the key for (mis)understanding.
The design and shape of the Meduse is also free reminiscence of CML in the czech cult sci-fi The Visitors.
Meduse is the result of the long (hardware+software) research and basicly is the part of the Sonicave installation(where there are 10 speakers - this fact can be easilly reduced).
For the Multiplace festival I can set up Medusa installation in "quadro" surround sound. And also I can offer 20-30min musical performance with Medusa.
www.sonicave.com
www.jiri-suchanek.net
http://www.vimeo.com/20733188
Ideal: semi dark + sound (semi) isolated room, size from 4x4m, 4 pedestals for (hi-fi) speakers, 220V, near place where some my techical stuff can be hidden.
All technical stuff I will bring mine. (PC,sound card, amplifier, 4 speakers + meduse)
 
 
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Pavla Kačírková, Martin E. Kyšperský
„Studio mladé písně“

Televizní pořad odehrávající se 3. června 1963.
Performance spojující živou videoprojekci, hudbu a mluvené slovo. Do studia mladé písně chodí spousta dopisů. Dva moderátoři je čtou a odpovídají na ně. Zároveň se pořadem prolínají nejnovější písně – hity přicházejícího léta.
Naším cílem bylo připomenout práci průkopníků televizní zábavy z šedesátých let, nejvíce režiséra zábavných pořadů Jána Roháče. Paradoxně vlastně nedoceněného průkopníka. Videoprojekce jsou jednak z dobových materiálů, ale zároveň nově natočených a sloných písní využívající tehdejší dobové trikové efekty a vytvářející onu tipickou „klipovou“ náladu 60. let.
Všechno se děje (opět ve srovnání s dnešní klipovou kulturou) nesnesitelně pomalu. Většina pozornosti leží na charismatu umělce. Mezi pouštěnými klipy moderátor čte vždy jeden z dopisů, které přišli do studia.
Protože nám však nejde o nějakou konkrétní studii doby, nebo co nejvěrnější napodobení věcí, které známe z archivních materiálů, odehrává se velká část celkového dojmu jednou nohou v surrealismu. To znamená, že dopisy jsou sice upřímné, ale chvílemi vůbec nedávají smysl, písně jsou vlídný naivní pop, avšak v něčem vespod jakoby dezorientované, filmové materiály mají lehoučce zneklidňující nádech, živé moderování ztrácí nit. Pořad, který v sobě nese atmosféru, příjemného a přitom v něčem odcizeného snu.

http://www.kacirkova.cz/cz/projekce/
www.kapelakvety.cz
http://www.projekce.mysteria.cz/index01.html

* zvukař
* odposlech
* mikrofon na combo
* tři vstupy do linky
* projektor
* projekční plátno
* 6 zásuvek do el.
* 1 stůl - 2 židle
* 2 x malinový pohár, (maliny, oplatky, šlehačka)

 
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Karla Kracht, Ilia Mayer

Sinopsis
LIVE FROM THE SURFACE OF THE MOON
An Audiovisual Journey through Space and Time

A Mix of Video Footage, Live Animation and electronic Sound Landscapes takes the viewer on a  humorously bizarre and surrealistic journey about new and old theories of our the Moon's mysteries. A small animation set, inhabited by "lunatics", is the main scene of this audiovisual performance.

Electronic sounds accompany the actions and build up slowly to proper sonic landscapes

A live video broadcast from the surface of the moon....

MUSIC  Ilia Mayer
MOVING IMAGE  Karla Kracht

SOUND PREVIEW http://soundcloud.com/iliamayer/orgueil
VIDEO PREVIEW http://vimeo.com/17505276
POSTER http://www.flickr.com/photos/karlakracht/5558494425/
DOSSIER http://issuu.com/karlakr8/docs/live_moon


DESCRIPTION
The sounds are a mix of distorted spoken material, extraterrestrial sounds, NASA material and proper electronic composition by Ilia. He performs live with a drum machine, creating dark and spooky sonic landscapes. The video is a mix of real time camera* and prefabricated stop motion animation with the same material.


*Small painted figures move in 3 different a handmade animation sets of the moon's surface, it's interior and it's dark side. The light design changes with the music's dramaturgy and special sound effects accompany the action "on stage".


PREVIOUS PRESENTATIONS
2011
NIU - Barcelona - Spain

2010
MISCELANEA - Barcelona - Spain
HAFEN2 - Offenbach - Germany
E-WERK - Erlangen - Germany

ARTIST'S BACKGROUND
see dossier: http://issuu.com/karlakr8/docs/live_moon

TECH SPEC
LIVE FROM THE SURFACE OF THE MOON

SOUND
1 small DJ Sound Table
1 pair of active speakers or speakers with amplifier
Cables to connect the elements
Subwoofer

VIDEO
1 LCD Projector to project on the ceiling. 3500 Lumens min. 5000 max
// OR: 1 LCD Projectors & 1 mirror to project on the ceiling
1 portable projector (2000 Lumens) for the "behind the scenes" projection
1 firewirewire video camera with cables for the "behind the scenes" projection
1 video mixer
cables to connect the projectors with the mixer
cables to connect the mixer with the computers
PLUGS TO CONNECT THE DEVICES

SPACE (PERFORMERS)
low table of min 3,5 m width and 1m depth (we kneel and crawl on the floor). Pallettes would be excellent.
fully plugged for the equipment
1 small table for the animation accessoires
a rehearsal space on the day of the gig (approx 3h)

SPACE (AUDIENCE)
Carpets or cushions for the audience to lie on Big pillows low light


SPACE (PROJECTION)
The ceiling has to be projectable (white without elements that would disturb projected image or a ceiling screen has to be set up) ideally the speakers are hung from the ceiling, direction to the audience.

The projection-audience space will be adapted to the space. In exceptional circumstances, where the ceiling projection and ceiling speakers are impossible to realize, the projection can be altered to wall/ floor or screen projection.

Preferrably blank walls/ceilings, no screens.

A small second screen needs to be installed, visibly to the audience. Ideally on the table cloth of the performance table. Here the live camera that shows the "behind the scenes" will be projected in specific moments of the show.

MATERIAL THE ARTISTS WILL BRING
3 Laptop Computers
1 Sound Card
1 MIDI controller
1 VideoCamera with cables
live animation set including full and half moon.

DURATION
40 minutes


SETUP FOTOS AND SKETCH
http://www.flickr.com/photos/karlakracht/5559074220/
http://www.flickr.com/photos/karlakracht/5558546249/
_____________________________________________________________________________________________________________________________________________________________________________________________

KARLA KRACHT & ILIA MAYER | + 34 690005864 | KARLA@KARLAKRACHT.COM
 
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Jiří Suchánek
Magnetic Mind is interactive installation and can be understood as a remake of the project "Protrude,Flow" of Sachiko Kodama+Minako Takeno which is the part of permanent collection of ArsElectronica.
The idea of the project is to create playful surface with loads of small metal balls that will be moved by the magnetic fields driven by visitors. There will be 4 electromagnets under the surface. The force of the fields will be driven by 4 simple industrial knobs that visitors can touch and use.
The interaction of forces will create actuall magnetic constellation that will be visualized by point (metal balls) structures. The installation is my reaction on intense feeling and experience that mind and thinking is somehow "magnetically" connected to the on-comming reality.
220V, space at least 3x3m
 
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Ocusonic
Chasing Waves Installation is an audio visual installation based on recordings made in the Experimental Television Studio with 80’s technology.
Simple tones, buzzes and glitches were made visual using voltage controlled video synthesis and commited to miniDV.
These recordings are then made three dimensional by projecting them onto 10 surfaces of 4 rectinlinear forms. When a number of these recordings are played simultaneously, complete with audio, new rhythmic and harmonic, audio visual complexities emerge.

A proprietary program written in Max/Msp randomly chooses files from a library with over 50 video clips, mixing different files together or several instances of the same file in new combinations.
Each clip is approx 20mins in length, totaling 15hours of raw material. Combinations can be from 1 moving file with the others static, or at a frame rate as slow as 2fps, to 4 identical files offset in time or 4 individual files.

http://www.vimeo.com/20537454
password : Electronic_Language

www.ocusonic.com

1 projector
1 mac computer with Max5 Runtime.
Stereo sound sytem with sub.
4 rectilinear forms

 
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Joshua Cajinarobleto
"Stage Presence" is a performance piece that is connected to a larger body of work entitled "Five Stages." The piece consists of an audio based performance utilizing a multi-channel sound system and a custom Max/MSP patch to manipulate both live and pre-recorded sound. In its current form, the performance is enacted on a specially constructed multi-tiered stage that emphasizes not only the presence of the performer (myself) in relation to the viewer, but the stage itself as well. Both structure and body become a force for the audience to reconcile as I improvise a poem based on a prepared text addressing stage presence. Taking cues from works like Steve Reich's "Come Out" and Vito Acconci's "Seedbed," sound becomes physical through the manipulation of pitch, repetition, timbre, noise, feedback, and amplitude via the computer interface installed within the structure. The piece intends to highlight and question the various hierarchical relationships between the viewer, artist/performer, and stage by generating a mixture of reactions ranging from admiration, awe, desire, and disgust.

I would like to propose "Stage Presence" for the Multiplace Festival as a sound installation or online performance. Because an emphasis is placed on the physical experience of sound, I believe the piece can work in either format provided that an adequate sound system is used for the show. It is my hope that the physical absence and/or virtual presence of the artist will further expand the discussion surrounding the exchange between the three groups and invite the viewer to contemplate their own subjective relationship to the artwork and artist.

Video documentation of the performance can be seen here:

(In the studio) http://digitalmedia.arts.ufl.edu/~joshc/Stage_Presence/FiveStages_StagePresence_web.mov

(Live performance documentation from the MFA 1 Exhibition, presented at the University Gallery at the University of Florida)
http://digitalmedia.arts.ufl.edu/~joshc/Stage_Presence/FiveStages_StagePresence_Live_web.mov
Based on venue and logistical possibility, Stage Presence can be presented as a sound installation or online performance. Either will require a 5.1 sound system for audio output. In the case of an online performance, internet connection and a display (monitor or projection) will need to be installed in the venue.
N/A
 
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Pavel Richtr
This installation is a remake of Nam June Paik´s Zen for TV (1963). The horrizontal stripe on CRT monitor brings new view, which could be perceived by shaking your head up and down.
plug (220V), PC
Galerie Architektury
 
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Václav Peloušek, Ondřej Merta, Ondřej Homola
Stanislav Filip is very important figure and master of DIY “bastl” electronics, music instruments and other experimental devices. He as part of the older generation was able to construct many interesting devices back in times when open-source hardware platform Arduino and new generation of DIY didn’t exist. Since the introduction and wide spreading of Arduino principles Filips mastery in strange world of electronics haven’t lost anything from its grace, but the knowledge of electronics became much easier to handle for wider spectrum of people. Standuino is new modification of Arduino that we will design and assemble with participants in series of ongoing workshops which will also function as memorial to remember him.
The first batch of 100 Standuino boards (with portrait and signature) is going to ensure us that at least 80 beginners will be using it. The design of the board will include prototyping area which will make much easier to connect basic sensors and interface.
Participants of the workshop will be able to gain a T-shirt with motiv of Standuino.

Arduino clones:
http://arduino.cc/playground/Main/SimilarBoards
Financial support for the first batch of boards, basic workshop requirment
brno
 
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Jiří Suchánek
Cosmic eye is minimalistic interactive light object. (20x20cm). Interaction is using modified principle of theremin.
Inside synthetic dark blue resin are placed several lights that blink in pre-defined sequence. This sequence are modified by presence of people-objects. This concept is continuing of my "basic-interactive" systems: simple input - simple output. The work is study of light, rhythm and one-input interaction.The eye theme is more symbolic (than shape realistic) : how is changing our seeing with the presence of other people? How the shared collective watching of things differs compared to personal and solitary insight? The background main topic of the work is the view - exploring of the mechanism of seeing. The work is "remake" or free interpretation of the non-art, quantum physic fundamental work: Niels Bohr´s and Werner Heisenberg´s Copenhagen interpretation.
220V, semi dark place

 
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Balázs Kovács
This installation remakes the idea of photosonic discs by Jacques Dudon (for examples see the superb summary by Derek Holzer, http://www.umatic.nl/tonewheels_historical.html). The difference is that my player plays anything which is graphical in 2d: normal vinyls (a bit useless), vinyl covers etc.

The work is also rework of a previous installation called "Vinylsleeveplayer", presented 2009 in Pécs.

220v, stand for a camera
Brno if possible

 
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Students of the Electronic Music and Media Arts Programme, University of Pécs
This is a refurbished old radio, which plays sound files allowing small modifications and distortions conducting by the potmeters included.

220V
Brno

 
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Jan Nálepa
Partitura je audiovizuální performance, která pracuje nebo spíše recykluje díla autorů zabývajících se grafickými, hudebními i textovými kompozicemi (např. Milan Adamčiak, Milan Grygar, Zdeněk Sýkora, Zdeněk Pešánek, Karel Malich, Jiří Valoch, atd.). Vybrána budou především díla, která fungují jako notový záznam nebo díla, která s tímto záměrem sice nebyla vytvořena, ale mají podobný charakter (autoři zatím nejsou zcela vybráni, konečný výběr bude sestaven až po konzultaci s teoretikem a kunsthistorikem Jiřím Valochem ). Vybrané práce budou digitalizovány a převáděny na zvuk podobně jako hudebník čte a přehrává notový záznam, stejně tak bude počítač číst a přehrávat grafiky na zvuk.
Jde o zhudebnění nebo o zhmotnění děl, která byla k tomu určena, ale nejde jen o jejich převedení na zvuk, důležitá je i hierarchie a vztahy, v jakých budou díla řazena a jak spolu budou komunikovat v prostoru. A podstatné je také, že se spojí v jeden celek, který nebude pevně daný, ale bude relativně náhodný. Tento charakter předem nedefinované a částečně náhodné hudební a vizuální kompozice je inspirován principy a tématy, kterými se tito autoři zabývali. Ukázku tohoto převodu obrazu na zvuk naleznete zde:

http://www.youtube.com/watch?v=JTsTBlA_syQ

Výstupem této generované zvukové kompozice je v první řadě prostorová instalace složená z audio-vizuálních projekcí, na kterých se za sebou střídají jednotlivé grafiky a jejich zvuková reinterpretace (viz. video výše). Tato instalace má dvojí způsob využití. Prvním způsobem je akce, při níž bude buď jedna nebo spíše více osob komponovat naživo skladbu z prací starších autorů a ze svých děl. Osoby vyzvané ke spolupráci budou umělci z mého okolí zabývající se taktéž audio-vizuálními kompozicemi. Tato akce má charakter koncertového vystoupení, je také podobná DJ-ským a Vj-ským performancím.
Po skončení této akce bude dílo žít svým vlastním životem a to proto, že program, jenž bude tuto kompozici generovat, bude volně přístupný na internetu a tím pádem si pak každý bude moci nahrávat svá vlastní obrazová data a podílet se tak na této audio-vizuální skladbě. Tím, že to je online aplikace, tak není nutné, aby výtvarníci podílející se na této performanci byli přítomni na místě konání akce. Tato kolektivnost, která není fyzická, ale virtuální, dává dílu další rozměr nepředvídatelnosti a náhodnosti.
Prostorovost celkové instalace je zajištěna tím, že aplikace má možnost vytvářet několik vrstev (linií) audio-vizuálních kompozic paralelně, což umožňuje instalování většího množství projekcí libovolně umístěných. Každá projekce pak funguje jako jeden článek orchestru a dohromady pak tvoří orchestr, který je rozptýlený v prostoru a divák následně svým pohybem odkrývá jednotlivé pasáže.
Výsledná interaktivní videa mohou být promítána v různých prostorech jako jsou galerie, divadla a jiné interiéry nebo i v různých exteriérech.

Převod obrazu na zvuk funguje tak, že světlé pixely jsou zvuk a tmavé jsou ticho, a jejich frekvence se odvíjí od vertikální polohy v obraze. Horizontální souřadnice je časová osa, takže obrázek je něco jako MIDI záznam zvuku. Je tedy možné měnit i charakter zvuku, který je generován.
Fungování aplikace online má za následek možnost participace více lidí najednou na různých místech a má za výsledek real-time projekci s generovanou skladbou, která teoreticky nekončí. V případě potřeby užívání softwaru pouze jedné osobě nebo úzké skupině lidí, jde povolit vstup pouze jim, což je případ, jenž nejspíš nastane při performativním vystoupení. Podrobnější informace o fungování a možnostech aplikace naleznete zde:
http://www2.iim.cz/wiki/index.php/Generovaná_kompozice


internet conection
3 - 10 projectors
3 -10 computers computers with sound and with internet conection
 
 
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miguel pipa
kanukanakina, Miguel Pipa musical project, developed from
musical instruments built on the logic of circuit-bending and other
created from reused materials or resulting from
interpretations of everyday objects, in a merger with
conventional electronic instruments creating different landscapes
melodic and experimental sound.

http://miguelpipafilipe.wordpress.com/kanukanakina/
regular P.A 220wts
no

doc
 
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maja štefančíková, XY
ARTINFO je projekt ktorý reaguje na komentované výstavy, prípadne sprievodné komentované projekty k výstavám (Po sametu), pričom samotné komentovanie realizuje formou krátkych video komentárov natočených na konkrétnych výstavách v roku 2010 (napr. aj v Dome umenia Brno a na výstave Changing channels - Mumok). Komentáre vznikali na mieste a neboli vopred pripravované. Video zároveň pracuje s formou komentára ako takou (používa spravodajský štýl, športový komentár...), funguje zároveň ako artinfo - pozvánka na výstavu a je výsledkom spolupráce dvoch autorov. Info rovinu podporuje inštalácia na nástenke (vo výreze infiltrovaný mini DV player).
video (57 min.), video inštalácia (nástenka), mini DV player
brno, bratislava
   
 
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Zora Off
The original casette motif was our school concert's logo on the flyers in 2011. January.


you can watch it on our homepage:
http://art.pte.hu/211orchestra/?p=271〈=hu
online

 
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