TanzMedienProjekt
by / von Phuong Nguyen, choreography & performance João Pais, musik & sound Christian Graupner, concept & visuals
RISS Performative Installation / Concert
Länge / lenght: 30Meter (EPISODE I : 15Meter )
Dauer / duration: variabel , ca 12 min
Produktionsjahr / production year 2011,
First preview : 26.05. 2011 Schoenefeld Airport
Uraufführung/ premiere 11.06. 2011 Neue Nationalgalerie Berlin (outdoor)
Thanks to Alan Gleeson & Peter Braatz
Updates & documentation : http://riss.humatic.net
Produziert mit Eigenmitteln der Künstler und der freundlichen Unterstützung der Humatic GmbH Berlin
Produced on the artist's resources. Thanks to Humatic GmbH Berlin for friendly support.
Abstract: Stills of a recorded dance performance have been transferd to a 50mm scotch tape and are available on a 'movie-to-touch&pass' with up to 30 meters length. Modern digital technology has been used to create the piece but the result is a reduced bruised and outworn looking analog trace of the generation processes to be used as basic commodity . Consuming the strip might bring forward the communication within the audience. The archaic and asynchronous live soundtrack depicts all states of generating the from performing / recording to postproduction to show / re-re-performance.
Kurzbeschreibung: Die Standbilder einer gefilmtenTanzperformance werden von einem 50mm Klebefilm abgenommen und stehen auf einem bis zu 30 Meter langen Durchreich-Film zur Verfügung. Die Produktion bedient sich modernster digitaler Verfahren aber hinterlässt ein reduziertes, verletzt & gebrochen wirkendes, analoges Ergebnis, eine Spur die als Gebrauchsgegenstand erfahrbar wird. Der gemeinschaftliche Konsum begünstigt die Kommunikation innerhalb des Publikums. In einem assynchronen, archaischen Live-Soundtrack bildet sich die Prozesshaftigkeit aller Stadien des Werks ab. (Aufnahme/ Postproduktion/Aufführung) .
The project could be placed between Improvisation<>Notation<>Composition<>Decomposition<>Performance<> Exhibition <>Re-Performance<> Dokument. Keywords( process related) clue, decalcomania, freeze, pass through, hand over, cast , trace , copy&paste, hand in hand, give & take, original & falsification...
Das Projekt positioniert sich im Spannungsfeld von Improvisation<>Notation<>Komposition<>Dekomposition<>Performance<>Ausstellung <> Re-Performance<> Dokument.....Keywords (Form & Prozess- bezogen) Kleben, Abziehbild, Einfrieren / Freeze, Durchreichen, Weiterreichen, Abdrücken, Abdruck hinterlassen, Spur, Paste & Copy, Hand in Hand, Geben und Nehmen, Original& Fälschung, Abklatsch, Unikat, Schlange, Daumenkino / Handkino, Abrieb.....Keywords ( erweitert) Fallen, Fliegen, Re- Move , Re-Performance, Oberfläche-Unterfläche, Retro, Verletzung, Der Riss, Medienkonservierung.
João Pais : Ein Sonderfall ! : Neue Technologien als Abziehbild: Der Bruch zwischen Entstehungs- und Aufführungsprozess entsteht, da die Produktionsmittel des ersten nur bedingt den zweiten prägen. Die Auflösung der festen Notation und Koordination beider Mittel Bild (hier zum analoge Gegenstand geworden) und Klang (als freie Interpretation des Lese-Versuches ) schafft einen neuen Kontext, der erweiterte Kommunikations- und Interpretationsmöglichkeiten zulässt. Anhand des neuen Vermittlungsprozesses wird das übliche Äquilibrium zwischen Bild (als Master) und Ton (als Slave) auf dem Kopf gestellt : In der Ausführung ist der Ton das dominante Ausdrucksmittel, während das Bild als ein frei nutzbarer Illustrationsgegenstand bedienbar wird.
João Pais :A specific context, new media as a push-film: the gap between creation and performance processes is created as the production millieu of the first only influences the second in part. The dissolution of both fixed notation and coordination between the mediums of image (now turned into an analog object) and sound (as free interpretation of the spectator) draws up a new context, which allows for more complex possibilities of interpretation and communication. Through the new negotiation process the normal balance between picture (as master) and sound (as slave) is turned around: during the performance is sound the dominating expressive medium, als the pictures can be read at a rate adjusted by the user itself.
Dieses Projekt stellt für mich eine neue Herausforderung als Improvisator und Musiker dar : Wie kann man direkt die Aktionen von Zuschauern zu Musik werden lassen. Im Regelfall versucht das Bild die "Steuerungskontrolle" zu übernehmen. Da aber das Bild nicht mehr in einer festen Ordnung vorliegt, sondern als ein beweglicher Selbstbedienungsgegenstand, ist jegliche Art mechanischer Koordination unmöglich. Dazu entfällt nicht nur die quantitative Koordination (das Zeitraster), sondern auch die qualitative (der Inhalt). Was man verliert ist gleichzeitig das, was man gewinnt:. Da traditionelle Koordinationsformen abgeschafft sind, bin ich frei, jegliche Verbindungen selbst zu knüpfen. D.h. Der Klang wird nicht das Bild illustrieren, sondern er wird als unabhängige, bewegliche Ebene in Echtzeit und in einer lockeren Abhängigkeit von den Aktionen der Bildleser bzw. -bediener erzeugt. Das lässt Freiraum für alle Varianten von Koordination, oder sogar für eine Umkehrung der Rollen, die den Klang ermächtigt, die "Lesegeschwindigkeit" des Bildes zu steuern
This project places me a new challenge as an improviser and musician: how is it possible to make music from the actions of the spectators. In a normal case the visual medium takes over the control of the events. But as now it?s not anymore in a fixed order (but just as a moving self-serviced object), making any type of mechanical coordination impossible. That eliminates not only the quantitative coordination (the time-scale), as well as the qualitative one (the content). What one loses is simultaneously what one wins: as the traditional coordination methods are gone, I am free now to create any others I wish. That means, the sound doesn?t illustrate the visual layer, but becomes an independent, moving layer in real time, responding loosely to the reactions of the spectators i.e. users of the video tape. That leaves an open space for all types of coordination, including even a reversal of both roles, allowing the sound to control the ?reading speed? of the visuals.
Kurzbiographien der Kollaborateure/ About the Artiists
Christian Graupner (GER) Humatic, concept & video, co composer
The Berlin-based artist is exploring in his latest work the practices and myths around pop and contemporary music and combines multi channel video &sound with partly machine- partly user-controlled 'humatic' interfaces and mechanisms. His recent sculptural / media work includes gambling machines and asian mojo figures, feedback guitars and beatbox-like vocal- & dance performances. In processing visual and audio material, he not only uses and adapts available computer programs but also uses the developments coded by his project collaborators.
CG's wide ranging earlier works were made up of drawings, paintings and experimental electronic music, mostly published on records, CDs as well as in movies and radio plays under the pseudonym VOOV (Violation of Ordinary Values). With his works such as '2Lives Left' and newest projects 'MindBox' and 'Don't Dance', he is keeping alive his conceptual platform 'Automatic Clubbing'. In 2000 he formed the independent artist group and production company Humatic Ltd. together with Nils Peters who develops software tools for artists working in a variety of media forms. CG has been guest at ZKM Karlsruhe . His work has been shown and performed worldwide
CV: http://www.humatic.de/cv/cg.html
Phuong Nguyen is a dancer and choreographer based in Berlin. After studying dance in Berlin and at the Fonty's Dance Academy in Tilburg (NL), she attended the ' Contemporary Arts Course ' at Deakin University in Melbourne / Australia, where she moved into the fields of performance and media /film.
Phuong Nguyen was collaborating with various musicians in an orchestral context as in Brandenburg/Oranienburg and string quartet at Semper Oper Dresden. She produced several film-, performance- and installation works which has been shown at festivals and in galleries as Videodance Festival Athens, Thessaloniki, 291 Gallery London, pact-zollverein in Essen, Danceflicks – 'Danceflicks' at Dancehouse, Melbourne, 'd.a.m.p.f.' International dance and performance art festival, Cologne, Dance Moments at Bunkier Sztuki, Tanz NRW Festival- Dance Experimental Film and more...
João Pais (PT) dedicates himself to composition, laptop performance ( http://endphase.net ) and to programming, development and teaching with technology as Pure Data. JP is developing the Click Tracker program (http://code.google.com/p/clicktracker ) which is used by composers, conductors and instrumentalists working with modern music.
born 1976 in Lissabon, studied at Conservatory Lissabon , Royal College of Music, London,Conservatory Freiburg , at Mathias Spahlinger , Mesias Maiguashca and Orm Finnendahl 2003 - 2004 he has been tutor at studio for electronic music the Freiburg Conservatory.
Together with Luís Antunes Pena and Diana Ferreira he founded and managed the New Music Festival Jornadas Nova Música in 1997-2001 .
JP join working sessions with Nunes, Sciarrino u.a. in Lissabon, Paris (IRCAM, Academie d' été), Darmstadt (Ferienkurse für Neue Musik) and Szombathely (Bartok Festival) . With Alberto C. Bernal and Johannes Kreidler / Enrique Tomás he runs the Laptop-Trio 'Endphase' (conceptual audio visual elektronic- improvisation). Pais mainly works with Pure Data and is an active developer of it, (jmmmp library & Click Tracker Software, Floss Manual and more.).
NMN
