unnamed soundsculpture 


by Daniel Franke and Cedric Kiefer is built upon the consideration of creating a moving sculpture from the recorded motion data of a real person. It visualizes the musical piece Kreukeltape by Machinenfabriek.

The basic idea of the project is built upon the consideration of creating a moving sculpture from the recorded motion data of a real person. For our work we asked a dancer, Laura Keil, to visualize a musical piece (Kreukeltape by Machinenfabriek) as closely as possible by movements of her body. She was recorded by three depth cameras (Kinect), in which the intersection of the images was later put together to a three-dimensional volume (3d point cloud), so we were able to use the collected data throughout the further process. The three-dimensional image allowed us a completely free handling of the digital camera, without limitations of the perspective. The camera also reacts to the sound and supports the physical imitation of the musical piece by the performer. She moves to a noise field, where a simple modification of the random seed can consistently create new versions of the video, each offering a different composition of the recorded performance. The multi-dimensionality of the sound sculpture is already contained in every movement of the dancer, as the camera footage allows any imaginable perspective.


The body – constant and indefinite at the same time – 'bursts' the spacealready with its mere physicality, creating a first distinction between the selfand its environment. Only the body movements create a reference to the otherwise invisible space, much like the dots bounce on the ground to give ita physical dimension. Thus, the sound-dance constellation in the video doesnot only simulate a purely virtual space. The complex dynamics of the body movements is also strongly self-referential. With the complex quasi-static, inconsistent forms the body is 'painting', a new reality space emerges whose simulated aesthetics goes far beyond numerical codes.


Similar to painting, a single point appears to be still very abstract, but the more points are connected to each other, the more complex and concrete the image seems. The more perfect and complex the 'alternative worlds' we project (Vilém Flusser) and the closer together their point elements, the more tangible they become. A digital body, consisting of 22.000 points, thus seems so real that it comes to life again.


Nominated for the for the MuVi Award.


Source: Daniel Franke



By merging the footage from multiple cameras, the dance takes on an other worldly quality as one body contorts and rises while another slithers and falls in the same space. The empty black background emphasises the fluidity movements of the performance as it spills over the floor and the surrounding areas.

This meeting of technology, performance and art highlights how fast the creative industries are evolving thanks to new mediums. It's also, rather poignantly a testament to the free thinking of those operating in this amalgam of disciplines, to use a device designed to be used for video games, a rival in other words, to draw attention to it.


Source: Digital Theatre



unnamed soundsculpture, kugeln, people, dance, Video Clip


Grid Index (2009) by Carsten Nicolai is the first comprehensive visual lexicon of patterns and grid systems. Based upon years of research, artist and musician Carsten Nicolai has discovered and unlocked the visual code for visual systems into a systematic equation of grids and patterns. The accompanying CD contains all of the grids and patterns featured in the publication from the simplest grids made up entirely of squares to the most complex irregular ones with infinitely unpredictable patterns of growth, as editable vector graphic data files. (Gestalten)

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)



Volkan Ergen is a Turkish drummer, producer and visual artist. He graduated from the Istanbul Technical University's Concervatory Instrument Production Department. As a drummer he accompanied many musicians on numerous albums and worked as a producer. (The Only Constant)

DJ Hell: Teufelswerk Tourvisuals (2008) - In support of DJ Hell's new album Teufelswerk Lichtfront used an impressively huge 3D mask as a projection screen for the visuals. (Vimeo)

Kandinsky (2009) edited by Tracey Bashkof is the first full-scale retrospective of the artist's career to be exhibited in the United States since 1985, when the Guggenheim culminated its trio of groundbreaking exhibitions of the artist's life and work in Munich, Russia, and Paris. This presentation of nearly 100 paintings brings together works from the three institutions that have the greatest concentration of Kandinsky's work in the world, the Solomon R. Guggenheim Museum, New York; Centre Georges Pompidou, Paris; and Städtische Galerie im Lenbachhaus, Munich; as well as significant loans from private and public holdings. (Guggenheim)

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Antonin De Bemels (*1975) discovered video art and experimental cinema at Ecole de Recherche Graphique, from 1993 to 1997. His main areas of interest are movement and the human body, and the dynamic relationship between sounds and images. Since 1997, he has made more than 15 short videos that were screened all around the world. He also creates video backgrounds and soundtracks for contemporary dance pieces, and occasionally performs as a VJ. (Videomedeja)