presented projects:
Performance »Seine hohle Form…«
Palindrome Intermedia Performance Group
The words “seine hohle Form” are a fragment from the poem “Gesichter” by Rainer Maria Rilke. As a starting point for this interactive work, the title words serve as an emblem for the interesting challenge of creating a musical work that only exists when a dancer moves, and a dance in which movement must be approached as both functional, music- creating gesture as well as expressive or decorative elements. The collaboration between the music (Butch Rovan) and the dance (Robert Wechsler and Helena Zwiauer) on this piece was complete; that is, the movement and sound were not designed separately, but interactively.
The choreography is affected by the live generation of sound through the use of sensors and real-time synthesis, just as the resulting music is in turn shaped by these movements. There are no musical cues for the dancers, since without their movements the music is either nonexistent, or at other times, missing key elements. This method of working forced not only an inherent degree of improvisation upon the group, but also prompted a sharing of artistic roles in the working process: dancer became musician, composer became choreographer… ” - B.Rovan
“This began as a the story of a brother and sister who are bonded not only by love, but by common experiences — war stories if you will.
The two characters are like mirror images of one another - only it is a mirror which speaks back. The space the interactive space in which we move, is like a third character. It too has a personality because it never sounds the same way twice.” -R.Wechsler
Interactive audiovisual environment »µZiclotron«
by Bertrand Merlier, performed by Udo Zickwolf
Professor Turnasound from Lyon2 University (France) has been studying for several years the consequences of the collision of µSon [ MuSon / MuSound ] particles on the human body. He just discovered a revolutionary process allowing to observe the energy liberated during the collision: the vanishing µSon particles would give rise to sound waves of µZic [ MuZic ] type!
The µZiclotron [ MuZiclotron ] is a really new particle accelerator:
it allows to give prominence to the sound constitution of the corpuscular waves when submitted to a µSon particles bombardment.
Professor Turnasound is looking for volunteers agreeing to lend their body to the Science with the aim to confirm his theories.
As Professor Turnasound: Bertrand Merlier (France), composer.
As research assistant and “guinea pig”: Hélène Planel
A new production from the µZic Research Laboratory: Thélème Contemporain - France
Eyecon software (© Frieder Weiss) analyses the visitors movements owing to a camera hung under the roof (see picture below) MuZiclotron software (developed by Bertrand Merlier) controls the sound and visual projections. A hit between a µSound (sound particle materialized by a colored spot) and a visitor trigs a sound. The visitors movements in the game area controls several sound
parameters: height, panoramic, filtering, modulations…
Several visitors walking up and down in the game area is source of sound complexity: rythms and polyphony.
The sound exploration is regularly renewed thanks to several dozens of sound families: from “jardin zen” to “techno rythms”, as well as subaquatic landscapes…
Performance »Die letzte Reise«
Senselabor (Georg Hobmeier, Gregor Ladenhauf, Margarita Stavraki, Leo Lass)
Interactive Environment »Les pieds sur terre«
by Jean-Marc Duchenne, performed by Udo Zickwolf
Les pieds sur terre est un curieux jardin qui se transforme au gré des pas des visiteurs. Les images projetées au sol et les sons qui entourent les promeneurs incitent à se laisser immerger dans le dispositif et à tenter de découvrir ce qui s’y cache ou ce qui s’y produit. La plupart des apparitions visuelles et des transformations sont liées à des actions précises comme la rencontre avec un objet visuel, l’évolution de l’intensité d’un son, etc.
Sound and interactive installation Sammelkorn
in framework of CYNETart_03transit, 12th October 2003:
Sound and interactive installation Sammelkorn by tenteki
Sound in interactive sound installations is subject to changes caused by the visitor. What exactly happens if, next to composer and sound designer, people who have been so far mostly uninvolved are included in the weaving of a complex soundscape? What impact does the interaction have on the sound?
