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the concept of … (here and now) 

(2010) 

by Klaus Obermaier consists of seven chapters that reflect and investigate multiple simultaneous perspectives and the resulting ambiguity.

A project by Klaus Obermaier with Accademia Nazionale di Danza di Roma, Università IUAV di Venezia - Faculty of Arts and Design, Figurentheater-Festival Erlangen and Institute for Theater and Media Sciences, Friedrich-Alexander-University Erlangen-Nuernberg.

 

What are the consequences of not only choreographing for the perspective of the audience – which usually is also the view of the choreographer – but also for the completely different perspectives of cameras distributed on stage? (...)

The transmission of body-time into computer-time and its retransfer into the physical space as visual and acoustic components of the digital environment, as well as the superimposition of different variable structures and timings, all this unveils the tension between reality and representation, between live performance and its digital depiction and transformation.

And since all content is created in real-time by the performers, it shows us the fascination but also the limitations of our existence in the inescapable here and now.

 

Source: Klaus Obermaier

 

 

Electronic sounds echo through the salty air on the new graduation works. Two dancers appear on stage in the spotlight, and perform an expressive series of static figures and dynamic movement sequences to the music.

At the same time their bodies are recorded by cameras on stage, their images are modulated in a PC and the result is projected on a giant screen that is attached to the graduation works. Here the bodies mutate to dematerialized graphic structures or condense to abstract landscapes of moving verticals in red and white.

The music changes. After the floating sounds by José M. Sánchez-Verdú bizarre rhythm comes into the game in an original composition by Klaus Obermaier himself. The dancers, dressed in black and white now, transform on the canvas into planar and streaky textures, corporeal, sensuous. A vibrant real-time work of art created for the fascination of the moment. (Isabelle von Neumann-Cosel for the Rhein-Neckar-Zeitung, Germany, 2012)

 

Source: Klaus Obermaier

 

 

the concept of … (here and now), vierecke, dance, Live Visuals

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)

Notations 21 (2009) by Theresa Sauer features illustrated musical scores from more than 100 international composers, all of whom are making amazing breakthroughs in the art of notation. Notations 21 is a celebration of innovations in musical notation, employing an appreciative aesthetic for both the aural and visual beauty of these creations. The musical scores in this edition were created by composers whose creativity could not be confined by the staff and clef of traditional western notation, but whose musical language can communicate with the contemporary audience in a uniquely powerful way. (Notations 21 Project)

Links

 

SEE ALSO

Rhythm 21 (1921) - original title: Rhythmus 21. An early, abstract animation by Hans Richter composed solely of squares and rectangles that change shape. This another attempt by the artist to apply musical principles to screen images. (Glenn Erickson)

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)

Rhythm 23 (1923) - original title: Rhythmus 23. More complex than Rhythm 21, the film is nonetheless a logical extent of Richter's conviction that film is modern art. Again, the orchestration of basic geometric forms according to precise rhythmical patterns is the basis for this second experiment. (time4time)

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 especially designed for use with dance, music and computer art. Frieder Weiss works as commisioned developer, artistic colaborator or producer of own works. (Frieder Weiss)

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)