What is a Lab?

In order to organise our work around specific research problems / experimental setups, we found it useful to set up different labs. Each lab involves a different subset of researchers, and therefore approaches the project’s research questions from a different perspective.

Günther Lab

Wiesenthal Lab

Klietmann Lab


Notations

This part of the website is still under construction. As the project progresses, it will host a cartographic account of the different notations used during the project.


SCORES | Zwischen Dokumentation, Vermittlung und Kreation

Conferences

The activity of the Atlas of Smooth spaces has included the assistance to a number oof conferences and public fori, listed here in reverse chronological order:

Vorstellung des PEEK-Projekts „Atlas of Smooth Spaces“ @ Forschungsforum
Symbiotic Spaces: dialogues between a pianist and a self-playing piano
Collision as method for in-the-moment artistic co-creation
Desire Machine @ Rosenberg Festival
Rosenberg Dance Research Festival
Conference on Dance Research
Workshops and lecture „Etudes d'espace – dialectic attempts of a Eurhythmician and a complexity scientist“
Dance and Theory – Challenges and Tendencies in Teaching Theory in Dance Education. International conference Bratislava
Movement and Computing Conference (MOCO'22)

Performances

Below these lines are the public performances realised during the project, in reverse chronological order.

Six Memos @ Porgy & Bess
Tallis in Wonderland @ Atelierhaus (Akad. Bildende Künste)
Mut, jede Stimme zählt @ Volkstheater
„NOW, as I was about to….“ @ Brückenfestival
/spɜm/ @ Linz
5 Pieces - Dance Cie. Off Verticality @ Brick5
Video presentation „Six Memos for a pianist and a self-playing piano” @ MDW
Desire Machine @ Schmiede Hallein
Sacrum @ Semperdepot
ChoreographiaInterAustriaca and Altenberg Trio @ Minoritenkirche
Conducting Spaces @ Ars Electronica

Publications

Here are some of the text published over the course of the artistic research project Atlas of Smooth Spaces, in reverse chronological order.

Schweizer Rhythmik-Fachzeitschrift: «See my logic»
SCORES | Zwischen Dokumentation, Vermittlung und Kreation
Symbiotic Spaces: dialogues between a pianist and a self-playing piano
Eurhythmics – Movements between composition, notation and sonic realisation
Collision as method for in-the-moment artistic co-creation
Article for "Handbook Music and Motion"
Conference on Dance Research
Dance and Theory – Challenges and Tendencies in Teaching Theory in Dance Education. International conference Bratislava
Article in "Le Rythme": Dialectic Attempts of A Eurhythmician And A Complexity Scientist
Movement and Computing Conference (MOCO'22)

What is a collision?

In this modus, two or more disciplines collide. To illustrate the guiding attitude for this modus, we imagine two islands with different cultures, different habits and different languages (body, sign and spoken languages). They engage in mutual visits to each others islands and try to show them their spaces. How can one create a set-up that extracts the essence of a smooth space phenomenon? What is spatial configuration? An empty room, the open field? Which objects are there? Which instruments should be used to record sounds or track motions? Which performers? 

Collisions

This is a playful and experimental mode, whose output is a kind of Rosetta Stone, on which one spatial phenomenon is distilled in collaboration between two or more disciplines.


Tallis in Wonderland @ Atelierhaus (Akad. Bildende Künste)
„NOW, as I was about to….“ @ Brückenfestival
/spɜm/ @ Linz

Fractal Lab

The Fractal Lab is rooted in the idea of an illusion of “fractal spatial qualities” created by sound oscillations, which are created by decomposing and phase-shifting musical motifs. From simpler studies for piano and recording device with compositions by Émile Jaques-Dalcroze and Klement Slavicky, a case study developed with the self-playing piano system CEUS by Bösendorfer. The study series was structured around six brief case studies. These investigated the concept of spatiality in its different facets and lead into a cycle of short pieces titled ‘six memos for a pianist and a self-playing piano’ after Italo Calvino’s unfinished lecture series ‘Six memos for the new Millenium’.

https://science.kairo.at/physics/fba_mandelbrot/kap5.html

Here is some of the output produced in this Lab:

Six Memos @ Porgy & Bess
Symbiotic Spaces: dialogues between a pianist and a self-playing piano
Six memos for a pianist and a self-playing piano - an artistic investigation of spatial phenomena with the self-playing piano system CEUS by Bösendorfer
TesserAkt library
Article for "Handbook Music and Motion"
Video presentation „Six Memos for a pianist and a self-playing piano” @ MDW

Furthermore in order to pursue this artistic investigation, we also developed a library of MaxForLive devices (TesserAkt) that perform all sorts of operations in the midi realm. These modules can be stuck in any configuration and connect to one another using midi CC messages. This library is open source and freely available for other artist-researchers to use and expand on:


Lab participants

👤 Hanne Pilgrim
👤 Leonhard Horstmeyer
👤 Adrián Artacho

Desire Machine Lab

The Atlas of Smooth Spaces is concerned with the space that is created around performers, shaped through performers and accessed by performers. Following this approach Desire Machine is a proposition of a smooth performative space for movement, sound, and light. The elements are arranged through the logic of assemblage developed by Deleuze and Guattari in A Thousand Plateaus

Among the key methodological questions of the PEEK project is the issue of capture and creation of the smooth spaces by the means of notation: 

“We argue along the lines of Deleuze and Guattari, that capture and creation are related to each other via a duality, which is notation. A notation attempts to capture anything ephemeral, to fix a system out of the many possible ones. A notation confines. However within the confines and limitations of an alphabet, the playful and the intensive (related to intensivity/uncountability) can prosper. Thus notation is itself a form of striation, but at the same time both a method for capture and a method for creation of smooth spaces. This duality is explored in great detail in the work of Deleuze and Guattari: “It does not just go from the smooth to the striated, it reconstitutes smooth space, […] it reimparts smooth in the wake of the striated”. Therefore “it is possible to live smooth even in the cities, to be an urban nomad”. (Deleuze, Guattari 1987, p.482)

Desire Machine follows this proposition by creating an organizational structure that allows unity through multiplicity, the simultaneous capture – creation process. This is achieved through the application of technology as both a smooth and striated form of notation. 


  • Theoretical challenges – Desire Machines – The logic of Assemblage

For Deleuze and Guattari, desire is not to be identified with lack, with the law, or with the signifier, but rather with production, with desiring-production in the social field. For them, the Oedipal myth and its institutionalization in psychoanalysis stand directly in the way of understanding the productive unconscious.

Desiring machines are the site of that production. For Deleuze and Guattari, every machine is a machine connected to another machine. Every machine functions as a break in the flow in relation to the machine to which it is connected, but is at the same time also a flow itself, or the production of a flow.

The concept first appears in  Anti-Oedipus (1977), but in  A Thousand Plateaus (1987), they instead speak of abstract machines and assemblages, At the same time they retain the core idea that desire’s basic function is to assemble and render machinic.

Moving beyond the notion of structure—assemblage operates as a relay concept, “linking the problematic of structure with that of change and far-from-equilibrium systems” (Venn 2006, 107 as cited in de Assis, P., & Giudici, P., 2021).

With its interplay between organization and unpredictability, the assemblage works as a dynamic concept, linking the problematic of structure with that of chance and continuous change.

A logic of assemblage, imperceptibly moving between the poles of content and expression has several consequences: the overcoming of unity in favor of multiplicity, of the essence in favor of the event, of being in favor of becoming, of elusive certainty in favor of informed inconsistency.


Elisabeth Grosz in Volatile Bodies (1994):

“Subject and object are series of flows, energies, movements, strata, segments, organs, and intensities – fragments capable of being linked together or severed in potentially infinite ways other than those which congeal them into identities.

[…] Production consists of those processes which create linkages between fragments, fragments of bodies, and fragments of objects.

[…] It is not that the world is without strata, totally flattened; rather, the hierarchies are not the result of substances and their nature and value but of modes of organization of separate substances. They are composed of lines, of movements, speeds, and intensities, rather than of things and their relations. Assemblages or multiplicities, then, because they are essentially in movement, in action, are always made, not found. They are consequences of a practice…”

Anne Sauvagnargues in Artmachines (2016):

[…] both image and sign are considered as instances of real production […] only in the relation to other signs and images, situated in ‘rhizomes’ and ‘ecologies’ that should be approached through ethology and experimentation rather than through interpretation.

[…] We now think of images as individuations embedded in an ecology of images, always in a state of becoming.

Desire Machine Lab focuses on creating a map of the fragments of an Assemblage in:

* anti-Oedipus, non-representational way

* non-hierarchic way

* in a non arborescent, rhizomatic way

* between the lines of content and expression

* between the image and sign

* between experimental and poetic

References:

de Assis, P., & Giudici, P. (Eds.). (2021). Machinic Assemblages of Desire: Deleuze and Artistic Research 3. Leuven University Press. https://doi.org/10.2307/j.ctv1595mb9

Grosz, E. (1995). Volatile bodies: toward a corporeal feminism. Choice Reviews Online. https://doi.org/10.5860/choice.32-3246

Sauvagnargues, A., Verderber, S., & Holland, E. W. (2016). Artmachines: Deleuze, Guattari, Simondon. Edinburgh University Press. http://www.jstor.org/stable/10.3366/j.ctt1bh2jvt


Here is some of the output produced in this Lab:

DesireMachine
Desire Machine @ Rosenberg Festival
Desire Machine Lab Score
Desire Machine @ Schmiede Hallein

Furthermore in order to pursue this artistic investigation, we also developed a library of MaxForLive devices (DesireMachine) that interface with the DMX lights system This library is open source and freely available for other artist-researchers to use and expand on:


Lab participants

👤 Leonhard Horstmeyer
👤 Maria Shurkhal
👤 Adrián Artacho

Boom Lab

The Boom Lab is a case study in the context of null space research in the discipline of direct sound. Various research processes with the participation of experts from Vienna (Film Academy, Academy of Fine Arts), Berlin (Deutsche Film– und Fernsehakademie Berlin, DFFB and Universität der Künste, UdK) and Potsdam (Filmuniversität Babelsberg Konrad Wolf) followed an experimental and recursive workflow.


Here is some of the output produced in this Lab:

Boom notation workshop
Kick-off Workshop
SmoothOperator

Furthermore in order to pursue this artistic investigation, we also developed a MaxForLive device (SmoothOperator) that eavaluates smoothness in body movement in real time. This repository is open source and freely available for other artist-researchers to use and expand on:


Lab participants

👤 Hanne Pilgrim
👤 Leonhard Horstmeyer
👤 William Edouard Franck
👤 Maria Shurkhal
👤 Adrián Artacho

Choir Lab

In the Choir Lab we discussed the underlying spatial concepts of choral scores from different epochs. The starting point of our discussion was Ligeti’s Lux Aeterna, which we worked on in the context of the participative performance Conducting Spaces at the Ars Electronica Festival in September 2021. The perfomance was directed by Hanne Pilgrim, Johannes Hiemetsberger with “company of music” and Adrian Artacho. This was our departure point for investigations into gestural notations and the emergent spatial effects of Ligetis piece. In the Lux Aeterna score we considered discrete time units to create intensive spatial qualities. We organized a special Lux-Aeterna workshop on the 15th of October 2021 to discuss experimental setups. The next smooth space lab focused on a particular setup, where a group of 16 participants was involved. We explored the 16 voices of the Lux Aeterna piece by a gestural movement improvisation, and captured the respective movements with a MiMU glove using Ableton Live. We also included video capture.

Lux Aeterna Score with personal notes

For more details see “Lux Aeterna Lab”….


Here is some of the output produced in this Lab:

Mut, jede Stimme zählt @ Volkstheater
Conducting Spaces @ Ars Electronica

Lab participants

👤 Hanne Pilgrim
👤 Johannes Hiemetsberger
👤 Adrián Artacho
👤 Sara Glanzer

Gesture Lab

The Gesture Lab is specific attempt to generate a notation from choreomusical gestures. Within the scope of this lab is the implementation of certain quantitative methods, that can be applied to the research of human gestures in a performative context.


Here is some of the output produced in this Lab:

Dore Hoyer Project
SALTA
Movement and Computing Conference (MOCO'22)

Lab participants

👤 Leonhard Horstmeyer
👤 Maria Shurkhal
👤 Damián Federico Cortés Alberti
👤 Adrián Artacho
👤 Sara Glanzer

Movement Choir Lab

In the Movement Choir Lab we compared, discussed and studied different choral scores that contain movement or scenic elements (see reference list below). Among other things, these discussions also served to look at how the different disciplines of choral conducting, eurhythmics and dance are related to each other in these scores.

Scores:

  • Jaques-Dalcroze, Émile (EJD) (1915). Nouvelles Chansons avec gestes op.60. Lausanne: Jobin et Cie.
  • Orff, Carl: Tanzlieder aus dem “Orff-Schulwerk” / Carl Orff, Gunild Keetman (1950–1954): Musik für Kinder. Bände 1–5. Schott Musik International.


Here is some of the output produced in this Lab:

Callisthenic Songs

Lab participants

👤 Hanne Pilgrim
👤 Magdalena Eidenhammer

CHOIR CONDUCTING NULLSPACE

The duality between space and performers is at the heart of this audio-corporeal art. Space becomes the principal mediator of consonance, dissonance and resonance, of reflection and refraction, of emittance and transmittance, of harmony and disharmony, but also of suggesting and accepting, of guiding and following and of conducting and receiving. The space leverages this mediation and becomes saturated by it.

Then the question arises, who is conducting and who is conducted? Who or what is the instrument and what the instrumentation? A choir with all members being placed in isolated cubicles is not quite a choir. As few as two singers can elevate each other into a choir in cooperation with the ambient space. When tapping into the powers of space, singers can reinforce themselves into a homogeneous, space-pervading and elevating phenomenon. Is the reinforcing space then an instrument or a collaborator? Is the reinforcing and transmitting space the active and conducting source? 

CHOIR CONDUCTING study cases:

\ Lux Aeterna

Studies of space from Ligeti’s choir score. Learn More

\ Mapping gestures

Conducting gestures to control audio in real time. Learn more

\ Audience participation

Participative approaches to choir polyphony. Learn more


Here is some of the output originated in this Nullspace:

Tallis in Wonderland @ Atelierhaus (Akad. Bildende Künste)
Mut, jede Stimme zählt @ Volkstheater
Sacrum @ Semperdepot
Conducting Spaces @ Ars Electronica

Choir Conducting Representatives

👤 Johannes Hiemetsberger
👤 Sara Glanzer

DIRECT SOUND NULLSPACE

Every space has a unique sound spectrum associated to it. Just as an instrument has a range, a space of possibilities and of timbre, so does space itself. It is impossible to get a metallic sound out of a wooden instrument and vice versa. What eventually creates the character of sound in an instrument is of course the space, namely the resonance body. So, it is not surprising that each space has its very own character and timbre. Technically the relation between the space and its range of possibilities, its character so to say, is defined by the Fourier transform. The Fourier transform of a space yields all the possible frequencies that one may tap into during a spatial interaction. 

‘Fishing’ practice during a Boom-Lab session at the Filmakademie Wien

Capturing the character of the sound it requires fishing. This is the art of Direct Sound. Fishing for sounds means to tapping into the spatial character. Technically it involves channelling frequencies that are present in space through a recording device, the Boom. In this research project we consider the fishing itself as a performative interaction with space in which both the acoustic free field (direct sound) and the acoustic diffuse fields are accessed through the Boom. Fishing for sounds is then the art of capturing the characters of both the localised and active direct sound vis-a-vis the de-localised and passive, diffuse sound. 

We ask: How to fish for spatial qualities and sound characters? How can we read and interpret the diffuse field? Just like an encrypted memory it contains the archive of sounds in the space and as such we view it as a distilled source of spatial knowledge. Much like a conducting baton, the boom as an instrument has a special role as it translates the space into a signal, and this instrument requires a grammar, a syntax and a notation: A linguistics of the boom. 

DIRECT SOUND study cases:

\ Boom choreography

Artistic experiments in boom movement in collision with other disciplines. Learn More

\ Boom as choreomusical practice

Space experimentations with the boom. Learn more


Here is some of the output originated in this Nullspace:

Tallis in Wonderland @ Atelierhaus (Akad. Bildende Künste)
Boom notation workshop
Kick-off Workshop

Direct Sound Representative

👤 William Edouard Franck

Vorstellung des PEEK-Projekts „Atlas of Smooth Spaces“ @ Forschungsforum

Image by: ABPU

Das Forschungsforum der ABPU findet am 07. November 2023 statt, mit einem Gastbeitrag des FWF. Ab 20 Uhr wird das Tanzteam des Atlas of Smooth Spaces den Fortschritt dieses PEEK-Projekts präsentieren. Mehr Infos hier.


Where: ABPU (Linz)

When: 2023-11-07, 17:30h

Who: Rose Breuss, Mariia Shurkhal, Damián Cortés Alberti, Marcela López, Kai Chun Chuang

Tallis in Wonderland | MEDIA

Here are is the video material we got so far. You can browse it in:

[ Atlas DRIVE / 2023-10-08 Tallis in Wonderland / TiW | Media ]


Video 1: TRAILER.mov (“Shlomowitz Dances” in daylight)

Video 2: Performance_Documentation.mov (ca. 1 hour footage)

SCORES | Zwischen Dokumentation, Vermittlung und Kreation

Scores sind derzeit in aller Munde. Choreografien und Performances basieren auf Scores, generieren und modifizieren sie. Auch die Tanzwissenschaft hat Scores als tanzspezifische Medien entdeckt. Dabei reicht das Verständnis eines Scores von der einzelnen, spontan entstandenen Linie auf einem Blatt Papier über komplexe Konzepte oder schriftliche Bewegungsanweisungen bis hin zu äußerst diffizilen (Zeichen-)Systemen.


by: Miriam Althammer / Anja K. Arend / Anna Wieczorek (Ed.)

Edited by: epodium

Who: Rose Breuss, Maria Shurkhal

Read more “SCORES | Zwischen Dokumentation, Vermittlung und Kreation”

Callisthenic Songs

  • Jaques-Dalcroze, Émile (EJD) (1915). Nouvelles Chansons avec gestes op.60. Lausanne: Jobin et Cie.
  • Orff, Carl: Tanzlieder aus dem “Orff-Schulwerk” / Carl Orff, Gunild Keetman (1950–1954): Musik für Kinder. Bände 1–5. Schott Musik International.

Symbiotic Spaces: dialogues between a pianist and a self-playing piano

Image by: ICDS6

Research paper on sketches from our research process investigating spatial qualities in eurhythmics performance as a specific audio-corporeal practice, within the context of the artistic research project ‘Atlas of Smooth Spaces’.


Where: Carnegie Mellon University, Pittsburgh USA

When: 2023-08-04, 8:30h

Who: Leonhard Horstmeyer, Adrián Artacho, Hanne Pilgrim

Read more “Symbiotic Spaces: dialogues between a pianist and a self-playing piano”

Six memos for a pianist and a self-playing piano – an artistic investigation of spatial phenomena with the self-playing piano system CEUS by Bösendorfer

Adrián Artacho, Leonhard Horstmeyer, Markus Kupferblum, Hanne Pilgrim

Code

Here is the code-based outcome of the project…


DesireMachine
TesserAkt library
SALTA
SmoothOperator

TesserAkt library

Tesser_logo

The TesserAkt library is a collection of MaxForLive devices designed for real-time midi manipulation. These devices were developed in the context of the Fraktale Lab, within the artistic research project Atlas of Smooth Spaces (FWF 640) at the University of Music and Performing Arts Vienna.

Dieses Werk wurde mit freundlicher Unterstützung des österreichischen Bundesministeriums für Kunst, Kultur, öffentlicher Dienst und Sport realisiert.

BMKÖES

www.bmkoes.gv.at

Credits and access

This environement is developed and mantained by Adrian Artacho. The online repository can be found here:

https://bitbucket.org/AdrianArtacho/tesserakt/


Name Description
Tesser_cmd Launches a function based on midi input
tesser_automidi Similar to 'autotune', reshapes a midi input
tesser_block Blocks CC/Midinotes dynamically
tesser_buffer This device allows to save and recall bits of audio
tesser_cc2note Converts a midi inout onto midinotes
tesser_cc2params Maps CC input onto ranges and parameters
tesser_cc2signal Create a signal-structured stream of midi
tesser_chains Renames midinotes based on lists
tesser_clip2cc Translates midinotes to CC values
tesser_clips Launches clips via midinotes or CC
tesser_cue Aural warnings to the performer
tesser_delay Takes a midi input and delays it by an amount of time
tesser_dynamic Manipulate note velocity in different ways
tesser_fade Fades in/out (increases/reduces midi velocities)
tesser_fractal Fractal Video manipulation
tesser_function Manipulates midi input based on a function
tesser_funnel Maps differently sized lists of midi IN/OUT values
tesser_gate Open/Close the midi stream dynamically
tesser_gesture Extract a gesture from a stream of midi values
tesser_inscore Interfaces with INScore (midi input)
tesser_livescore Score display of midi
tesser_mirror Mirrors midi values dynamically based on a 'center'
tesser_mutate Introduces mutation in a given midi sequence
tesser_note2cc Converts midinotes onto CC
tesser_pedal Specific midi keyboard pedal interface
tesser_pgch Generate program change messages based on midi
tesser_ramp Generates ramp of values for a given time
tesser_ranges Allows/Blocks specific midi ranges dynamically
tesser_recall Saves and recalls midi sequences dynamically
tesser_route Routes midi input dynamically
tesser_scale Scales midi input dynamically
tesser_signal2midi Takes in a signal (audio) and converts it to midi
tesser_threshold Allows/Blocks midi input based on threshold values
tesser_videoloop Live capture looping
tesser_visuals Produce visuals (Max/jitter) based on midi

Mut, jede Stimme zählt @ Volkstheater

Image by: Adrián Artacho

Mut – jede stimme zählt is a participative choir performance designed to blur the lines between performers and audience. The piece is written for an 8-part choir (regardless of voice pitch), which should be roughly equal in size and distributed in the areas where the audience is located. The ninth voice is intended for the audience itself, who can also participate via their smartphones.


Where: Volkstheater Wien

When: 2023-05-21, 18h

Who: Johannes Hiemetsberger, Adrián Artacho

Read more “Mut, jede Stimme zählt @ Volkstheater”

„NOW, as I was about to….“ @ Brückenfestival

Image by: Johannes Hiemetsberger

In the performance „NOW, as I was about to….“, 4 dancers, 10 singers, 1 choir conductor, 1 pianistperformer, 1 composerlive-electronicist and 1 complexity scientist*performer create moments of the present. The swinging, falling, tilting, catching, circling, searching, flowing in, around, through and in the NOW manifests itself in audio-corporeal spaces – near and far, dense and porous, interrupted and continuous, eternal and fleeting….


Where: Brückenfestival Wienerwald, Eichgraben (Austria)

When: 2023-05-06, 20h

Who: Rose Breuss, Kai Chun Chuang, Damian Cortés ALberti, Johannes Hiemetsberger, Leonhard Horstmeyer, Marcela López Morales, Mariia Shurkhal, Adrián Artacho, Hanne Pilgrim and Company Of Music

5 Pieces – Dance Cie. Off Verticality @ Brick5

Image by: Brick5

Dance Cie. Off Verticality was founded in 2009 and draws on orphaned yet fascinating archival and notational material from past and present dances to inspire its choreographic movement inventions. Research-oriented working methods situate the ensemble beyond conventional production practices. Damián Cortés Alberti, Rose Breuss, Kai Chun Chuang, Boglárka Heim, Žiga Jereb, Julia Mach, Marcela López Morales, Eszter Petrány and Maria Shurkhal present five excerpts from their dance repertoire. The pianist Johannes Marian enriches the programme. The work of the Dance Cie. Off Verticality is supported by, among others, the Province of Upper Austria, the City of Linz and the FWF-PEEK project Atlas of Smooth Spaces.


Where: Brick5 (ehemalige Turnhalle)

When: 2022-11-01, 19:00h

Who: Rose Breuss, Damián Cortés Alberti, Marcela López Morales, Mariia Shurkhal, Kai Chun Chuang

Rosenberg Dance Research Festival

Image by: Rose Breuss, Damián Cortes Alberti

The festival, which is being held for the first time at the Anton Bruckner Private University, focuses on dancers from an international dance community and their current artistic research projects. Classical discourse and performance formats are expanded by lecture performances and studios that reveal and discuss the theoretical foundations of dance practices. Contemporary dance proves to be a multiply networked, “nomadic” milieu that is paradigmatic for contemporary artistic creation in its historically founded but underestimated internationality.


Where: Volkstheater Wien

When: 2022-10-25, 14h

Who: Marcela López Morales, Mariia Shurkhal, Adrián Artacho, Rose Breuss, Damián Cortés Alberti, Kai Chun Chuang, Leonhard Horstmeyer, Hanne Pilgrim and Adrián Artacho

Video presentation „Six Memos for a pianist and a self-playing piano” @ MDW

Collage from video Stills from Markus Kupferblum

The composition “Six memos for a pianist and a self-playing piano” emerged from a peer-to-peer interaction between Adrián Artacho and Hanne Pilgrim with the self-playing piano “CEUS” by Bösendorfer as case study on the null space of Eurhythmics. Markus Kupferblum developed a cinematic concept for the six co-created compositions by Adrián Artacho and Hanne Pilgrim.


Where: University of Music and Performing Arts Vienna

When: 2022-10-01, 20h

Who: Hanne Pilgrim, Adrián Artacho, Leonhard Horstmeyer

Read more “Video presentation „Six Memos for a pianist and a self-playing piano” @ MDW”

SALTA

SALTA

Salta is a bundle of python scripts conceived to process performance data in ecological conditions.


The characteristics...

Movement and Computing Conference (MOCO’22)

MOCO is an interdisciplinary conference that explores the use of computational technology to support and understand human movement practice (e.g. computational analysis) as well as movement as a means of interacting with computers (e.g. movement interfaces). This requires a wide range of computational tasks including modeling, representation, segmentation, recognition, classification, or generation of movement information but also an interdisciplinary understanding of movement that ranges from biomechanics to embodied cognition and the phenomenology of bodily experience.

The 8th International Conference on Movement and Computing Conference took place 22-24 June 2022 in Chicago, Illinois (USA). Adrián Artacho and Leonhard Horstmeyer presented the SmoothOperator: A Device for characterizing Smoothness in Body Movement.

Who: Adrián Artacho, Leonhard Horstmeyer, Maria Shurkhal

_Calling the Spirit @ Imago Dei

IMAGO DEI – Calling the Spirit – Skrjabin Mysterium

Image by: David Visnic

The mystery as an idea occupied a central position in Alexander Scriabin’s (1872-1915) work and permeated his entire artistic output. The mystery was not to be “theatre”, it was to become reality, real experience, a moment of the act of creation, consisting of the synthesis of three arts: Poetry, music and sculpture (as mime and dance). Therefore, the boundaries between performers and audience fall, all are “initiated”, all become participants in a great evocation.

“Scriabin – We conjure you! Come! Every word, every gesture, every sound is there to summon you, Alexander Nikolayevich Scriabin!”
This call happens with all the senses. The ritual arises in the moment. Where is the I? Where do we find the higher level of consciousness? The sensuality of music is physical. It is movement, touch, a physical aspect of experience. We adopt postures, we develop gestures, we expand space and stretch time.

Being together is in the foreground. Listening, thinking, contemplating makes us participants in the mystery. Through the change of perception we become part of infinity. Where are the abysses of feeling? How is consciousness awakened to higher things? Vers la flamme. Aren’t the puppets already looking at us from the other world?
Art is mystery. The mystery is all of us – in the moment.


Where: IMAGO DEI Festival,

When: 2022-03-19, 18:00h

Who: Rose Breuss, Kai Chun Chuang, Damian Córtes Alberti, Marcela López Morales, Mariia Shurkhal

SmoothOperator

SmoothOp_logo

Dieses Werk wurde mit freundlicher Unterstützung des österreichischen Bundesministeriums für Kunst, Kultur, öffentlicher Dienst und Sport realisiert.

BMKÖES

www.bmkoes.gv.at

Smooth Operator

ALPHA

Alpha is the weighting factor that attenuates the past; a weighting factor for the moving average. The higher the factor is, the more important is the new inputs (akin to shorter window) aka. the more myopic.

Attenuation factor of ALPHA

At every level the alpha is decreased by that factor. (the intended effect is to make the higher orders less wiggly)

LEVELS

The smoothness orders that will be calculated. In the current implementation, its range is 1-9.

Relative Level Scaling Factor

Qualitatively, the higher the orders get, the more restricted is the range. The higher orders, the lower the bandwidth. Every further level, the range is increased by that factor.

Time interval factor

It scale the time interval. It scales the time dimension of the derivatives.

To-Do

  • make generic, not so much based upon MiMU 🙂
  • hide irrelevant UI
  • In M4L mode, lock in with Live's Play/Stop transport

👤 Kai Chun Chuang

Kai Chun Chuang

Kai Chun Chuang is a dancer and choreographer who collaborates with various artists in Europe. In 2014, he won first prize at the National Creative Dance Competition in Taiwan. In 2015, he was a member of the Taiwanese WC Dance Company. In 2016 he went to Europe where he participated in various projects: cho.reo.loop 2.0 Tanz Festival Augsburg, Posthof zeitkultur am hafen Linz, Lange Nacht der Bühnen Linz, Alicante Intricate Trajectories, Theater //an der rott. With his piece [(sw)allow] he took part in the Solo Tanz Theater Festival Stuttgart in 2018.

Fluid Roles
A Performer

_Syntax workshop

Workshop — A Syntax for Smooth Spaces

Photo by: Complexity Science Hub Vienna

How can we construct notational systems of spaces and what do we demand from them? In this workshop, we would like to pursue this question from a performance, as well as a complexity science perspective, and lay emphasis on the experiential dimension rather than the bare physical description. At the same time, we explore various synergies with the work of the CSH. How can we build virtual or artificial spaces? How can virtual spaces help to investigate space experiences? How can notational systems be developed, also beyond a written encoding? In the audio-corporeal arts, space is both shaped by performers as a medium, and shaping the performer as a condition. Despite its important role, notations and means of communicating spaces and their qualities are lacking. The 20th century has seen a range of notational systems for movement and dance, such as the Laban notation. The starting point of this workshop is a brief exposition of the notion of artistic research, followed by theoretical contributions and practical input from performers. The envisioned output is artistic research collaboration between the mdw (University for Music and Performative Art Vienna), the abpu (Anton Brucker Privatuniversität) and the Complexity Science Hub (CSH).

This workshop is in collaboration with the Complexity Science Hub Vienna


Where: Complexity Science Hub Vienna, Josefstaedter Strasse 39, 1080 Vienna.

When: 2021-06-17, 9h