Dieser Videoabend zeigt das Videoprogramm der neuen Programmsektion PANORAMA_CYNETART. Diese Auswahl zeigt die besten Video- und Filmarbeiten aus dem Internationalen CYNETART Wettbewerb 2012.

CYNETARTs PANORAMA beinhaltet ein abwechslungsreiches Programm. Wie in Videogames navigieren wir in 3D Animationen durch brennende Häuser, zerbombten Gebäuden hin zu noch unbekannten Zielen. Erzählt werden Geschichten von Stadt und Land, die Beziehungen und Kommunikation zwischen Tier und Mensch zeigen. Eindrucksvolle Spiele mit Räumen speichern Erinnerungen und deren Emotionen evozierende Qualitäten. Experimentelle Arbeiten über Wahrnehmung, geschichtete ästhetische Erfahrungen von Empfindungen und Entfaltungen des menschlichen Körpers in Bewegung.

Location: Motorenhalle, Wachsbleichstraße 4

Dieser Videoabend wird präsentiert im Rahmen des Projektes "Multiple Öffentlichkeiten".

Programm

Haikus for Karaoke | Roberto Santaguida | Kanada | 00:04:23
The Difference Machine | Yasuhiro Otani | Japan | 2012 | 00:14:10
Self-Destruction for Enternity | Wei-Ming Ho | Taiwan | 2011 | 00:06:26
Emergence | Jayson Haebich | Australien | 2011 | 00:02:23
Empty Rooms | Claudia Larcher | Austria | 2011 | 00:10:27
The Tosso Variations | Gabriel Shalom | Deutschland | 2012 | 00:24:01
beside the liquid mirror [ casting a shadow is worth it ] | Daniela Fromberg & Stefan Roigk | Deutschland | 2011 | 00:09:00
Qualia | Ofer Smilansky und Karyn Benquet | Niederlande | 2011 | 00:11:00
Sequence Error | George Drivas | Greece | 2011 | 00:11:00
Phone Tapping | Heewon Lee | Korea/France | 2009 | 00:10:20



































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Haikus for Karaoke
Roberto Santaguida | Kanada | 00:04:23

Eine traumhafte Montage von Found Footage Material aus Karaoke Videos.

The Difference Machine
Yasuhiro Otani | Japan | 2012 | 00:14:10

The project focused "Taking the difference". Something new, it is only on the difference between two things. Find something new, Born something new, as feeling never tasted.

Self- Destruction for Enternity
Wei-Ming Ho | Taiwan | 2011 | 00:06:26

Brennende Häuser, zerbombte Gebäude, Leere in den Straßen: Diese Anblicke kennt man in der letzten Zeit leider wieder zu oft aus den täglichen Nachrichten. Der Endzeitfilm Self-Destruction for Eternity stammt aus Taiwan, zwischen Vision und einfacher Feststellung einer beobachtbaren Bilderästhetik im Shootergame. Die Welt liegt brach und in Flammen. Keine heroischen Taten, keine Feinde mehr, die „gekillt“ werden müssen, kein Schatz oder geheime Information, die noch gefunden werden muss, um Punkte zu sammeln. Der leere Blick in eine zerstörte Welt. Ein intelligentes Machinima, das die Spiel-immanenten Ästhetiken umcodiert.

Emergence
Jayson Haebich | Australien | 2011 | 00:02:23

This piece was generated using iterative rules that work at the binary level of graphics. The piece starts with a simple red screen and end up as complex mesmerising audio visual patterns.
This generative audio visual piece is based on the concept of emergence, a mathematical term used to describe the creation of complex behaviour from simple rules whereby randomness results in complex and attractive orderly structures. Emergence is often used to describe natural processes such as the behaviour of insects, weather patterns, the formation of cliffs and mountains and other complex phenomena.
Using the emergence principle a custom written piece of software was developed that generates complex, mesmerizing visual and audio patterns. Starting from a plain red image it quickly evolves into a complex array of lines and shapes. These patterns are created by using a set of simple rules which are reapplied to the image and sound numerous times per second. During each of these iterations every pixel in the image is analysized and compared with its neighbours and the numerical value representing its colour is changed by applying basic mathematical computing functions such bit shifting, addition and subtraction. This would usually be expected to produce random, chaotic results with minimal aesthetic value. But instead visually appealing patterns that continually evolve and grow are produced with the program never reproducing the same image twice.
Furthermore sound is generated from the visual data by taking the bit values representing the images pixels and loading them into an audio buffer to create a waveform that is played through the speakers resulting in a droning, squealing, beeping soundscape. Created using Processing this audio generation is done using the Minim library and its AudioSignal class, with the images pixel manipulations done using the pixels[] array.

Empty Rooms
Claudia Larcher | Austria | 2011 | 00:10:27

In einer streng horizontalen Bewegung ertastet die Kamera eine weiß getünchte Wand. Minutenlang zwingt sie das Auge, die poröse Oberfläche zu verfolgen, bevor sie eine Kante ins Bild rückt, eine Öffnung, eine Türklinke. Kreischender Noise-Sound setzt ein. Die Kamera wandert weiter, sie erfasst einen endlos erscheinenden Gang, durchbrochen von unzähligen Notausgangsleuchten. Eine Türzarge. Eine horizontale Fensteröffnung gibt den Blick auf ein Gerüst frei. An dieser Stelle entfernt sich das Video von der teilnahmslosen Schilderung des von Gegenständen und Menschen befreiten Realraums. Der Raum beginnt sich zu verschieben, einzelne architektonische Elemente sich zu vervielfachen und kaleidoskopartig aufzusplittern. Kanten werden zu Linien, der Raum zu einem flackernden, abstrakten Bild. Parallel zu dazu läuft ein Soundstück, das die Leere und Teilnahmslosigkeit der Bilder mit Evokationen von Gegenständen, Situationen und Vorgängen erfüllt: Man glaubt etwa, das Quietschen einer Lokomotive zu hören, erinnert sich an bestimmte Ereignisse aus der eigenen Vergangenheit. (INES GEBETSROITHER)

The Tosso Variations
Gabriel Shalom | Deutschland | 2012 | 00:24:01

The Tosso Variations is a videomusical suite in five movements based on recordings of several free improvisations by Shingo Inao. Shingo plays his Tosso, a six-stringed sensor instrument of his own design. Each improvisation is performed with Shingo dressed in a different outfit. This series of pullovers are from The Story of Oswald 1848 – a collection created by fashion designer Nicole Roscher for her label Von Bardonitz.

beside the liquid mirror [ casting a shadow is worth it ]
Daniela Fromberg & Stefan Roigk | Deutschland | 2011 | 00:09:00

beside the liquid mirror [ casting a shadow is worth it ]" was filmed at the artist residency Hotel Pupik in Scheifling, Austria. It is based on the projected images and soundscape of the video-soundinstallation "liquid mirror casting [ by a charred palace ]" and was inspired by Max Ernstʻs Collage "das schlafzimmer des meisters".
The nine-minute “video loop beside the liquid mirror [casting a shadow is worth it]” shows with a fixed camera position a dark, fragmented architecture, on which was projected a video of almost moveless nighttime stills. By the searching light movements and sudden light changes of this video material a scene full spatial illusions and dream-like visions gets displayed out of the nowhere, to disappear in the next moment. The video projection splits apart on a stagelike situation of bulky furniture and construction materials, so that the spatial scales of objects and projection dissolve almost beyond recognition. In this scene, reminiscent of Schwitters' Merz building or deconstructivist architecture, the two artists handle mysteriously with everyday objects such as balloons, boxing gloves and wings and move apparently through doors where there are none.
Picture and sound level are composed parallel and their equal treatment stands in the tradition of visual music. The sound characteristics of the musique concrete soundtrack consists mainly of balloon sounds that are interwoven with indoor recordings, vocal fragments and concrete sounds. It creates an obscure swirrling universe by collaging interior field-recordings with vocal fragments and concrete sounds.

Qualia
Ofer Smilansky und Karyn Benquet | Niederlande | 2011 | 00:11:00

Qualia
2011 | DanceFilm | HD (16:9) | 11 minutes
Choreography: Karyn Benquet
Dancers: Jorge Nozal, Kévin Quinaou, Karyn Benquet
AudioVisual: Ofer Smilansky
Qualia is an experimental work around perception, an aesthetic experience which unfolds layers of sensations attached to the shape and movement of the human body. Distortions, time manipulations, obscurities and exposures suggest the subjective effects related to the perception of images and sounds.
The artistic approach is based on a thorough research on the interactions of the dancers, the camera, the lights and the scenography while leaving space for intuition. The digital work on images and sounds lifts the concept of dance to an augmented dimension where new potentialities are emerging.

Thanks and Comments:
We are greatful to all of you who have help us to realize our inspiration:
From the Technical Department and Costume Atelier of NDT, the Switch Team, the Receptionists & Facilities department of the Lucent, Linda De Boer, Jorge Nozal, Kevin Quinaou, Patricia Ribbas, Blandine & Adam Smilansky, Lucas & Valentina, Stijn Belle.
includes samples from Danski‘s “Genom”

Sequence Error
George Drivas | Greece | 2011 | 00:11:00

“Sequence Error” is inspired by the well known Karl Marx quote, “History repeats itself first as tragedy and than as farce”, and re-uses parts of two famous speeches of the 20th century delivered by Che Guevara (1963) and George Marshal (1947). In a contemporary corporate environment and on the occasion of a sudden system crisis, two leaders of two different groups (workers vs. executives) deliver some parts of the two aforementioned speeches.

Phone Tapping
Heewon Lee | France | 2009

The film is built up from that single, imperceptible instant that signals the shift from day to night, a fleeting moment in which what was, is no more, where things might acquire fresh significance. Voices guide us through the city, while the camera seems to be searching for a specific plot of land, for the coincidence between narrative and image. The topography of the site continues to advance, while in parallel there emerges a second topography – mental this time, until, perhaps, they meet, somewhere here, in a new psychical space. using the city of seoul, personal stories that are being told. our role is to follow it and select a locus of interpretation: truth, (urban) folktale.

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Videoabend PANORAMA_CYNETART ist eine Kooperationsveranstaltung zwischen Motorenhalle. Projektzentrum für zeitgenössische Kunst - Riesa Efau und CYNETART Festival.