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Edwin van der Heide 

(1970) is a Dutch artist and researcher in the field of sound, space and interaction. He extends the terms composition and musical language into spatial, interactive and interdisciplinary directions.

His work comprises installations, performances and environments. The audience is placed in the middle of the work and challenged to actively explore, interact and relate themselves to the work.

 

He has presented his work at renown museums and festivals as SMAK - Ghent, Ars Electronica Festival - Linz, Stedelijk Museum - Amsterdam, V2_'s DEAF - Rotterdam, ICC - Tokyo, NAMOC - Beijing, Transmediale - Berlin, SONAR - Barcelona, Taipei Fine Arts Museum, SFMOMA, FILE - Brazil and SONAMBIENTE - Berlin.

 

Beside’s running his own studio he is part-time assistant professor at Leiden University (LIACS / Media Technology MSc programme) and heading the Spatial Interaction Lab at the ArtScience Interfaculty of the Royal Conservatoire and Arts Academy in The Hague. He was Edgard Varèse guest professor at the Technische Universität Berlin (2009) and won the Witteveen+Bos Art+Technology Award 2009 for his entire body of work.

 

Source: Edwin van der Heide's website

 

 

Edwin van der Heide, sacral, architecture, laser

Reading

META/DATA: A Digital Poetics (2007) by pioneering digital artist Mark Amerika mixes (and remixes) personal memoir, net art theory, fictional narrative, satirical reportage, scholarly history, and network-infused language art. META/DATA is a playful, improvisatory, multitrack digital sampling of Amerika's writing from 1993 to 2005 that tells the early history of a net art world gone wild while simultaneously constructing a parallel poetics of net art that complements Amerika's own artistic practice. (The MIT Press)

Film as Film: Formal Experiment in Film 1910-1975 (1979) is a catalogue of an exhibition held at the Hayward Gallery in London from 3 May until 17 June 1979 on rare, essential and controversial avant-garde film history.

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SEE ALSO

PMP is an audio-visual collective based in Singapore that focuses on the synaesthetic experience where sound and visuals interact in real time, steering away from the notion that audio and visuals are often the by-products of one another. Started in 2009 by Ivan, Felix and Bin, PMP’s music takes the form of minimal electronic music that fuses microsound, glitches and the sound of acoustic instruments. Visually, it is highly distinctive with generative visuals that reacts or controlled in real time. (PMP)

Arabesque (1975) by John Whitney, Sr. Programmed by Larry Cuba. Whitney experimented with the eccentricities of Islamic architecture, which, though ultimately harmonic, contain many characteristic reverse curves in its embellishments. (Animation World Magazine, Dr. William Moritz)

Robert Seidel (*1977) is an experimental filmmaker and projection artist based in Germany. He began studying biology, but went on to gain a media-design diploma from the Bauhaus University Weimar. His films have been shown in art museums as well as at more than 250 festivals (Prix Ars Electronica, onedotzero, Dotmov, etc.), and honoured with prizes such as an Honorary Award at the KunstFilmBiennale and the prize for Best Experimental Film at the Ottawa International Animation Festival. (IdN)

Venetian Snares: Szamar Mada (2005) by David O'Reilly contains a memorable section where sound and image suddenly cut to a silent blue screen with flickering computer code that makes you think that the equipment you're watching it on has just died. That screen then twists and morphs back to the animation to appropriately frazzled sounds. That was the last animated music video O’Reilly made, although his reel reveals a cluster of short films produced since, their marked stylistic difference to each other suggesting his desire to experiment with animation techniques and visual style. (Creative Review)

Richard Wagner: Götterdämmerung (2009) staged by theatrical group La Fura del Baus. Götterdämmerung forms the forth and final part in Wagner's Der Ring des Nibelungen cycle. The impressive surroundings of Valencia's Palau de les Arts Reina Sofia provide a suitable backdrop, as this version of Wagner's piece unfolds. (Amazon)