Charlemagne Palestine !! an extraordinary person - an experience you´ll never forget ! Not only his performance at the Französischer Dom is remarkable - we managed to get an interview before his gig. he is an epiphany himself ! of course we can´t transport the full experience of an organ which is resonating with the audience and the dom ! but check the video to get at least a taste….
Charlemagne Palestine Französischer Dom Spectral ContinuumSpectral Continuum Berlin 2010 by Charlemagne Palestine
by February 10th, 2010F.A.T. Lab tracks Google Streetview car in Berlin
by February 7th, 2010OH SNAP!! Google had one of their Streeview camera cars parked in front of the Haus der Kulturen der Welt right here in Berlin. We put a GPS tracking device it and are following it right now!!!! Check this awesome large map we threw together (updates every 2 min) and follow what we see at @fffffat (twitter) (this will be EPIC!!!!)
in pictures, video, english, text, performance || party and transmediale 2010.
0 Comments
transmediale 2010 opened
by February 4th, 2010The transmediale 2010 opened it’s doors yesterday, with a Yvette Matterns laser performance “From One to Many” and Charlemagne Palestine’s sound performance. The program looks promising and we already met a lot of great people - so we’re looking forward to a lot of interesting stuff! Here’s a little impression of the opening performance (the snow storm worked great with the laser show, but it made the microphone give up…):
Berlin Charlemagne From One to Many hkw laser Palestine transmediale 2010 Yvette Matterns
in video, english, text, performance || party and transmediale 2010.
2 Comments
Signs+Signals Full Length Concert
by September 30th, 2009Signs and Signals Appendix
THX to the very charming and synergetic art-gang”freyluft” (monika freyer und philipp luftensteiner) we can proudly present: “Signs and Signals” the directors cut! It’s a recording of the whole performance, taken from the vis-á-vis Danube bank.
1. The Building:
The Ars Electronica Center (AEC) is a center for the electronic arts, run by Ars Electronica and situated in Linz, Austria. It’s located at the northern side of the Danube, on the right side of the Nibelungenbrücke (witch has a pretty interesszing history itself). The building is also known as the “Museum of the Future“. The museum has six floors filled with creative work from hi-tech laboratories all over the world.
2. The “new” Building:
The new building includes a multi-level structure adjacent to the existing facility and then wrapping the entire ensemble in a glass shell, the AEC’s spectacular 5,100-m2 LED façade. The result is a holistic entity, which can be used like a gigantic kind of screen.
3. The Event:
Matthias Schoenauer and Sebastian Schlachter from Austrian radio station fm4 produced “Signs and Signals. Together with the artgroup “freyluft” they developed the concept of a audio/ visual performance including the technical possibilities of this special environment.
It was extraordinary !!! But see for yourself and enjoy!
Other artists included are: Vocalist Mani Obeya, skin-conductor-violinist Ulla Rauter, Patrick Pulsinger and Richard Eigner.
For more information about the backstage situation and interviews look at my post: Façade-Play and Body-Sound.
Façade-Play and Body-Sound
by September 12th, 2009“Signs and Signals” @ Ars Electronica Festival 09Last weekend, at the FM4 co-hosted multimedia performance “Signs and Signals”, artist duo freyluft visualized sounds on the surface of the Ars Electronica Center (AEC).
“Any heavy-handed block can be transformed to a magical zone with an illuminated façade”, wrote Gerlinde Lang on the FM4 Website. Now, for sure, the new Ars Electronica Center (AEC) at its location on the banks of the Danube in Linz, does not qualify as a “heavy-handed block”, a magical zone it became nonetheless. This happened courtesy of artist duo freyluft, who, last weekend in cooperation with FM4, made 40.000 LEDs dance on the façade of the AEC, in their performance “Signs and Signals”.
The sounds involved were provided by DJs and live-musicians, but, notably, also by media artist Ulla Rauter, who utilized her own body as an instrument. With an electric violin bow she stroked her right forearm, while her hand was fitted with electric contacts. “The skin serves as a conductor. When the violin bow touches the skin, the circuit is closed”, says Rauter: “It is a sort of biofeedback.”
Text: Patrick Dax, ORF Futurezone Translation: Oliver Stummer
Open Calls: Piksel Fest & transmediale10
by May 4th, 2009
The guys of Pikselfest in Norway are now accepting proposals in the categories installation, a/v performance, presentations and workshops. As ever - ” Projects realised using Max/Msp/Jitter, Flash/Shockwave, Final Cut or any other proprietary software does NOT qualify, and should not be submitted!”
Next years transmediale also published the call for entries.
I couldn’t find something like a theme or a subject - the next step after getting rid of the categories a few years ago? Would make sense imho, artistic production usually doesn’t care too much about festival themes anyway..
Berlin call floss norway open piksel transmediale10
in lectures, workshop, exhibition, artists, pictures, deutsch, text and performance || party.
0 Comments
transmediale09 “Deep North” rundown
by March 11th, 2009i finally managed to finish the summary of this years transmediale - it’s a tough job to create a span of all the topics the transmediale is covering, but i think it’s gives a rough idea, but see yourself:
transmediale09Interview with Rudolfo Quintas
by February 5th, 2009light, sweet, cold, dark, crude
by February 2nd, 2009Ælabs - LSCDC Performance at Transmediale 2009, 30.1.
Interview with Gisèle Trudel and Stèphane Claude
AElabs California change ecology ecomachine environments future Gisèle Trudel processed Stèphane Claude subjectivity transmediale09 urgency waste waterSonolevitation - Evelina Domnitch and Dmitry Gelfand with TeZ
by February 1st, 2009“The Earth is the cradle of humanity, however, it is impossible to spend one’s entire life in a cradle.” This quote from Constantin Eduardovich Tsiolkovsky, a Russian rocket engineer, is the starting point for Evelina Domnitch and Dmitry Gelfand’s speculative performance on the suspension of gravity. The reduction of gravitational effects may evoke emancipatory associations, yet such conditions predominate in our universe. In a spacecraft, among the most efficient ways to transport nearly all gases, liquids, and powders, is by means of a phenomenon known as acoustic levitation. In Domnitch and Gelfand’s ‘Sonolevitation‘, slivers of gold are acoustically suspended by a standing wave. A microphone monitors the slivers’ modulation of the levitatory wave: the slightest change in the sliver’s position has highly audible consequences. Sonolevitation is the first in a series of projects by the artists which explore microgravitational, near-vacuous environments. The capacity to create artworks in such spaces, permits the actuation of altogether unforeseen optical and acoustic processes. Especially for this performance, the artists have joined forces with TeZ, who creates a live quadraphonic setting of Sonolevitation. (transmediale.de)
Dmitry Gelfand Evelina Domnitch sonolevitation TeZ transmediale09
Recent Comments