Frieder Weiss 

(*1960) is an engineer in the arts and expert for realtime computing and interactive computer systems in performance art, living in Nürnberg and Berlin. He is the author of EyeCon and Kalypso, video motion sensing programs.

Frieder Weiss is the author of EyeCon and Kalypso, video motion sensing programs especially designed for use with dance, music and computer art. He works as commisioned developer, artistic colaborator or producer of own works.

With his background in computer science and automation technology he started developing interactive systems in 1993. For many years he was codirector of Palindrome Performance group, developing media performances which toured worldwide and have received numerous awards (Transmediale, Berlin; CynetArt Dresden). The early works were mostly focusing on movement to sound relationships. This was done using either bioelectrical sensor devices (Heartbeat, Muscle Tension, Touching Sensor, Brainwaves) or based on Video Motion Sensing (EyeCon software). Ongoing collaborations with Transmedia Akademie Hellerau and Phase-7 in Berlin.


Inspired by his work with Australian Dancer Emily Fernandez he started focusing on a tight integration of interactive visuals with the body in the Shadows performance and in the installation Schlamp. Frieder developed the video technologies and interactive stage projections for Chunky Move's recent intermedia works Glow and Mortal engine. For his contribution on Glow he was rewarded with a Green room award for Design in Dance. Both Pieces have been touring for many years now, including venues like BAM, New York, The Edinburgh Festival, The Sydney Opera house.
Other collaboration partners have been Leine und Roebana in Amsterdam, Laborgras in Berlin, Helga Pogatschar, Cesc Gelabert in Munich.


Current works are looking at ways to overcome the twodimensionality of video projections. Which led Frieder to an interest in sculptural works, using dance as material for threedimensional images of 'frozen' movement.

Event and clubing versions of the interactive visuals are marketed under the label Hypecycle. Frieder is also continuing his freelance work for the industry, mostly in the field of quality inspection and automation. He has been teaching mediatechnology at the University of Applied Sciences in Nürnberg and the University Centre in Doncaster, UK and at Hochschule für Gestaltung, Karlsruhe


Source: Frieder Weiss



Frieder Weiss, Scan, dance


Expanded Cinema (1970) - In a brilliant and far-ranging study, Gene Youngblood traces the evolution of cinematic language to the end of fiction, drama, and realism. New technological extensions of the medium have become necessary. Thus he concentrates on the advanced image-making technologies of computer films, television experiments, laser movies, and multiple-projection environments. Outstanding works in each field are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists. (John Coulthart)

Sons et Lumières (2004) – A History of Sound in the Art of the 20th Century (in French) by Marcella Lista and Sophie Duplaix published by the Centre Pompidou for the excellent Paris exhibition in September 2004 until January 2005.

Curated by the Pompidou’s Sophie Duplaix with the Louvre’s Marcella Lista, the show required a good three or four hours to absorb, with its bombardment of sensory and intellectual input, including painting, sound sculpture, sound/light automata, film and video, and room-size installations. (Frieze Magazine)



Klaus Obermaier (*1955) is a media-artist, director/ choreographer and composer based in Vienna. His innovative works in the area of performing arts, music, theatre and new media, are highly acclaimed by critics and audience. He worked with dancers of the Nederlands Dans Theater, Chris Haring, Robert Tannion (DV8), Desireé Kongerød (S.O.A.P. Dance Theatre Frankfurt). He composed for ensembles like Kronos Quartet, German Chamber Philharmonics, Art Ensemble of Chicago, Balanescu Quartet, among others. (Klaus Obermaier)

Apparition (2004) is an interactive dance and media performance conceived and directed by Klaus Obermaier, in collaboration with the Ars Electronica Futurelab, featuring Desirée Kongerød and Rob Tannion. Appariation is a unique dance and media work that fully confronts the aesthetic potential and consequences of integrating interactive technologies with live performance on the stage. Working closely with Obermaier is an international team including London-based dance artists Robert Tannion and Desireé Kongerød and interaction designers and programmers Christopher Lindinger and Peter Brandl (from the Ars Electronica Futurelab). Development of the system for motion tracking and analysis was provided by Hirokazu Kato from Japan. (Klaus Obermaier)

Igor Stravinsky: Le Sacre du Printemps (2006) is an interactive stereoscopic project by Klaus Obermaier and Ars Electronica Futurelab, featuring Julia Mach. Premiered by the Bruckner Orchestra Linz, Dennis Russell Davies. In conventional productions of Le Sacre one choreographs and dances to the music. In this case, though, the dynamics and structure of the music interactively transform the virtual presence of the dancer and her avatars and thus produce a sort of 'meta-choreography.' Stereoscopic projections create an immersive environment, which permits the audience to participate substantially more closely on this communication than in traditional theatre settings. (Klaus Obermaier)

double c on overhead (2012) is an audio-visual dance performance by ray vibration opening the friday lights 2012 concert series at Kulturforum in Herz Jesu in Cologne, Germany.

William Forsythe (*1949) is recognized as one of the world's foremost choreographers. His work is acknowledged for reorienting the practice of ballet from its identification with classical repertoire to a dynamic 21st-century art form. William Forsythe's deep interest in the fundamental principles of organisation has led him to produce a wide range of projects including installations, films, and web-based knowledge creation. (The Forsythe Company)