ray vibration 

is a realtime audio-visual performance by Tina Tonagel, Christian Faubel and Ralf Schreiber. Three overhead projectors, three screens and three sound systems.

Three overhead projectors, three screens and three sound systems. Different electro-kinetic devices, machines and instruments are placed on the projectors. They produce movement and sound. The small sounds of what happens on the projectors are filtered, distorted and amplified. At the same time a triptych in cinemascope format displays magnified, filtered, distorted images of what happens on the screens/fresnel lenses of the projectors.

 

This  is an ongoing realtime process and something magic happens – a synaestetic process is triggered – images and sound go together, everything is transparent and happens in the here and now. What you see and hear is a live experiment and improvisation.

 

Christian Faubel works with different types of autonomous robots for example a number of simple suneaters that move on the screen and hitting each other, and with solar analog walking robots suspended on the screen creating rhythms and beats.

Ralf Schreiber uses solar autonomous robots, solar synths, motors , visual disc sequencers and their arrangement and interactions on the screen.

Because of their autonomous nature these instruments are not playable in controlled way. This requires to instead play with the instabilities of the different systems and to improvise to get to a sync of the three stage glasses.

In contrast Tina Tonagel works with a set of rotating, self-invented instruments that mostly resemble string instruments. Because she can play them by hitting and scratching she can mediate between the more autonomous sets.

 

Source: ray vibration

 

 

 

ray vibration, robots, real time, handmade, overhead

Reading

The Art of Projectionism (2007) by Frederick Baker (in German) sets out the principles behind his use of projectors in the film making process. He defines a projectionist school of filmmaking and media art. In this publication he also presented Ambient film, a surround experience that can be shown in specially developed cinemas. (Wikipedia)

See this Sound (2009) by Liz Kotz (Author), Cosima Rainer (Editor), Stella Rollig (Editor), Dieter Daniels (Editor), Manuela Ammer (Editor) compiles a huge number of artists, filmmakers, composers and performers, reaching back into the early twentieth century and into the present to survey overlaps between not only sound and art, sound and film, and the metaphor of cinema as rhythm or symphony. Proceeding chronologically, the book takes the early cinematic eye music of Hans Richter as a starting point, noting parallel works by Walter Ruttmann and Oskar Fischinger; moving into the postwar period, the art/cinema/ music experiments of Peter Kubelka, Valie Export and Michael Snow are discussed, establishing precedents to similar work by Rodney Graham, Carsten Nicolai, Jeremy Deller and many others. (Artbook)

 

SEE ALSO

21–87 (1964) by Arthur Lipsett is an abstract succession of unrelated views of the passing crowd. A commentary on a machine-dominated society, it is often cited as an influence on George Lucas's Star Wars and his conceptualization of 'The Force.' (National Film Board of Canada)

Reza Ali is a designer/ technologist/ hybrid who is interested in everything from design to biology to art. He is interested in human computer interaction (interaction design), architecture/ product design, software, mobile technology/ hacking, generative visuals, algorithmic art, data visualization, audio-visual interactive immersive environments, new media tools for DJs/ VJs/ Performers, Trans-Architecture, photography, graphic design, user interfaces, electronics, 3D animation, modeling, rendering and scripting. (Reza Ali)

complex composition (2010) by Itaru Yasuda is a generative audiovisual concert piece updated every presentation. All sound and graphics are generated in real time by SuperCollider. (SuperCollider Symposium 2010)

Messa di Voce (2003) by Golan Levin, Zachary Lieberman, Jaap Blonk, and Joan La Barbara augments the speech, shouts and songs produced by a pair of vocalists with real-time interactive visualizations. The project touches on themes of abstract communication, synaesthetic relationships, cartoon language, and writing and scoring systems, within the context of a sophisticated, playful, and virtuosic audiovisual narrative. Custom software transforms every vocal nuance into correspondingly complex, subtly differentiated and highly expressive graphics. Messa di Voce lies at an intersection of human and technological performance extremes, melding the unpredictable spontaneity and extended vocal techniques of human improvisers with the latest in computer vision and speech analysis technologies. (Golan Levin)

Christopher Salter (*1967) is a media artist, performance director and composer/ sound designer based in Montreal, Canada and Berlin, Germany. His artistic and research interests revolve around the development and production of real time, computationally-augmented responsive performance environments fusing space, sound, image, architectural material and sensor-based technologies. Chris Salter collaborated with Peter Sellars and William Forsythe and co-founded the collective Sponge, whose works stretched between artistic production, theoretical reflection and scientific research. Chris Salter’s performances, installations, research and publications have been presented at numerous festivals and conferences around the world. (TASML)