The Fascinate Showcase : Wednesday 28 August, The Performance Centre, Falmouth University, Tremough Campus, Cornwall. 16.00 till 01.00. Cafe and Bar.
For attendees travelling from Falmouth a free seat is included on a special coach service for the Showcase evening (advanced purchase only – seats strictly limited to advance ticket holders). Coaches will leave The Moor, Falmouth at: 17.00 and 18.00. Coaches return from the Performance Centre to Falmouth, The Moor at: 23.30 and 01.00. PLEASE NOTE: the coach will be parked next to Argos at 16.50 and 17.50, just off the Moor. If you don’t already have a ticket you can purchase one on arrival at the Performance Centre box office. Fascinate Delegates can also use this service.
If you are registered for the Fascinate Conference then your registration includes open admission to all Showcase events, performances and installations.
Performances will run to a yet to be announced schedule for the evening in the Performance Centre from 17.00 to 23.00 followed by live music, DJs and VJs till 01.00. Installations are available to view from 16.00. Fascinate Conference Delegates can check-in at the Performance Centre Reception from 15.00 till 20.00.
‘Scattered Light’ is a realtime audiovisual performance by the electronic musician Elisa Battistutta. Conformed by different songs with a common drive, ‘Scattered Light’ explores the possibilities of music as an ecosystem of melodies, drones, textures, complex rhythmical structures and polyphonic layers emerging and clashing against each other. To realise this project a network system that could translate the audio signals into real-time computer graphics has been implemented. As a result the visual imagery designed and developed by Emmanuel Flores Elias is playing with the music in a symbiosis where the images are creating this continuous mutation and evolution of sounds through the use of auto-generative scattering lights, the shapes and movement of objects and the use of colours.
A brain-controlled performance: A random labyrinth is projected onto the stage, symbolizing the choices of our everyday life. The performer (a Butoh dancer) has to drive an avatar trough the labyrinth using only his brainwaves. The performance aims to expose to the public the difficulty to concentrate and total awareness of the performer. Through out the act, the music is generated by the mental process of the performer depending on the avatar’s positions in the maze. The visuals are derived by the music and are projected onto the performer to close the feedback loop, and to further distract the performer in his struggle.
Entitatively expresses in a narrative way a process of awareness involving the performer and her relation with the external world. There is a linear evolution, as the personal knowledge and perception about the performer’s reality will expand toward the outside. From a very private and intimate world, where she is constricted by a mechanical , geometric space which force her to follow a path, a habit; she will get to a final acknowledgement state, where she is aware that she is not an entity but multiple. The perception of reality is not any more unique, it is a transient, multiple and filtered experience.
Entitatively has born from a concept of Elisa Battistutta, an Italian composer and visual artist based in The Netherlands, in collaboration with Valeria Cosi, an Italian choreographer, dancer and photographer. The two artists are both members of Apes Containers, a group of young international practitioners who all finished their studies in The Netherlands before 2009.
An interactive music and image experience controlled by movement using an optical motion capture system.The performer seeks to play in relationship with audience, experimenting with how they can remain connected between two different spaces. We look to see how this conversation between audience and performer affects the overall sound image experience.
“Live coding is not about tools. Algorithms are thoughts. Chainsaws are tools. That’s why algorithms are sometimes harder to notice than chainsaws.” – from the Draft TOPLAP live coding manifesto.
David Griffiths is an award winning game designer, creative coder and livecoding artist, and part of FoAM – an independent arts and research organisation. With an early education in weaving, bell ringing, 8 bit computers and animation, he worked in the games and film industries for 10 years (Moving Picture Company, Sony Eyetoy R&D) and went on to robotics research for the FP7 EU Lirec project with FoAM. Alongside Aymeric Mansoux and Marloes de Valk he created the satirical Facebook game ‘Naked on Pluto’ which won the Telefonica Vida competition in 2011. With Gabor Papp, he works on luxus – a widely used open source 3D game engine for livecoding worlds into existence, and performs internationally (Sonar Barcelona, STRP Eindhoven, VIVO Mexico City, AltPary Helsinki, Mozilla Festival London) both solo and with ‘slub’, a livecoding algorithmic rave group. He also works with scientists for bioinformatics and citizen science projects.
When, in 2009, I was commissioned to write a piece for electric guitar and delay/looping pedal, I was forced to confront some long held prejudices against the medium. I had become highly critical of works that relied upon looping – the way the loops restrict form and development and often encourage a lazy kind of layering of sound. In an attempt to avoid this, I looked deeply into the untapped potential of the device, working with its more extreme settings, and finding ways of incorporating loops that would be less blatantly repetitive. By adding E-Bow (a hand-held electro-magnetic device for sustaining notes) and re-tuning the guitar microtonally, I gradually unearthed a music that I’d long felt in my bones but never before quite been able to express; an ambient music, one that only hinted at ideas, a music continually in flux.
The work was premiered in Tauranga, New Zealand, on 5th August 2009 and was subsequently toured around both North and South Island. After I began performing the music myself in 2011, a succession of revisions and improvements gradually evolved, the piece finally settling upon its definitive form by the spring of 2012.
The transmission of body-time into computer-time and its retransfer into the physical space as visual component of the digital environment unveil the tension between reality and representation, between live performance and its digital depiction and transformation.
All visual content is modified in real-time by the performer by using 3d tracking and motion analysis, therefore the choreography is not only for the perspective of the audience, but also for the different perspectives of the camera placed on stage.
This performance is based on transforming an 8-piece drum kit into a writing/talking machine. The texts performed by the drummer are based on the Dutch phrase and the legends which accompany military tattoos (skin writing). Part of the performance is improvised, part is scored following the algorithm of an 8-part campanology system.
This work is my insular attempt to deal with several concerns: the semi-chaotic and complex behaviour of the whole system relates to ideas surrounding control and authorship and is a flawed reaction against acoustoatic sound.
“For Instruments” has been presented as an interactive installation, in which the assembled machines perform, and used in many performances with or without additional musicians.
The project forms part of long--term research in digital musical instrument design, sensing, haptics, acoustics, and non--standard digital sound synthesis and processing, and has gone through several iterations. Palpebla Resonoj #1 features a sensor--less version of the instrument, using audio analysis to control and modulate electronic processes purely through the sound generated inside the instrument. The instrument has been created at and with support from the Center for Digital Arts and Experimental Media (DXARTS), University of Washington (Seattle, USA).
Fantasia On A Single Number is composed for a custom--built live--electronics instrument (created in SuperCollider), designed as an open cybernetic system whose raw power the performer guides into states of equilibrium, oscillation, chaotic behavior, noise and silence. It is based on digital feedback, set in motion by the primeval atom of digital technology: a single bit, that draws from the guts of the machine an intense and visceral stream of bursts, rhythms, turbulences, drones and resonances. No other sound sources are used but hands--on, real--time manipulation of the bit’s path within a synthetic space, thus revealing its emergent beauty as it creates and populates a constantly shifting digital universe out of nothing.
In 1980 he founded the record label Sterile Records, releasing the first records by John Balance, Maurizio Bianchi and Lustmord, among many others. In 1987 he formed the equally influential Earthly Delights (record label), specialising in audio works that critically examined the technological landscape and the psychic effect of sound. In the early 90s he performed live soundtracks for the Butoh performances of Poppo & the Go Go Boys. His visual art has been exhibited in the Tate, ICA, and worn by the soccer legend Diego Maradona.
He is also very interested in eroding the concept of individualised artistic personality using digital technologies to enable multiple authorship. This is exemplified in the infinitely remixable sound sample libraries he has released as a sound developer in the commercially released sample libraries for Sony’s ACID Pro.
Lee Nutbean is an interactive artist, researcher and lecturer for I-DAT at Plymouth University. In collaboration with University College Falmouth he is currently completing an applied, practice based research project to explore the potential of smart networked technologies (topically described as the ‘Internet of Things’) to map and evaluate the movement and relationships of people and resources across geographically distributed communities.
Installations will be available to view in the Performance Centre from 17.00 on Wednesday 28 August and many will remain in-situ for the duration of the Fascinate Conference on Thursday 29 / Friday 30.
Quantum Picture #1 is an artwork from a series of interactive Digital Paintings reacting to observation by visitors.
Every observer changes the picture and the sound ambiance further to a point where the original picture and sound are completely lost.
By keeping track of each visitor’s “footprint” on the installation, new pictures are generated and new sound ambiance is created.
The user is physically able to walk inside the structure finding themselves surrounded by 15/20 videos, all of which will have been uploaded in the past 5 to 10min by someone, somewhere, for some reason. The randomness of the selected video is a a true manifestation of YouTube as a living, yet digital, organism. The content of the installation is constantly evolving without any rationale or preconfigured outcome. Most importantly this means that the installation, just like a living being, is free from the shackles of its designer’s control.
The intention of this work is to make visible, through a variety of ludic interventions, some elements of the creative process that are normally submerged within the outcome, and to foreground, and question, the reliability of artwork that purports to have more validity, or claim to ‘truth’, because it involves the use of new technologies. This work will present an alternative view – namely that art/science interfaces, and collaborations between artists and technologists, are occupying a new kind of genre that relies on the unavoidable fictionalisation of visualised data.
Magna Mysteria exists in an anachronistic space which draws on the Victorian era of magic and illusion and combines that with ubiquitous digital technology. It is an immersive, interactive experience which takes the people on a journey, infiltrating their consciousness and teasing them with conflicting stories.
The performance begins with the audience collecting their tarot card from the Fortune Telling Machine, and then unravels. Age-old stories emerge from out of nowhere, mysterious characters tell conflicting tales, and the audience choose who, or what, to believe. It’s not a game, there’s no right or wrong, but there are many paths, and no one experiences Magna Mysteria in the same way.
Magna Mysteria takes place on mobile devices via text messages and phone calls, interactions in hidden locations and online via twitter.
Mercurial Wrestler have presented Magna Mysteria across the country with Without Walls this summer and will be touring internationally next year. At Fascinate, Mercurial Wrestler have installed the Fortune Telling Machine, you will have the opportunity to interact with the machine and then follow the path it takes you on. The full Magna Mysteria piece will not be presented at the conference but you will be able to see a shadow of the experience.
In ‘what remains and is to come’, Katrina Brown & Rosanna Irvine work with the materiality of charcoal, paper, body and breath.A work-like approach, repetitive action, systematic enquiry and a concern with treating materials not as tools for a prior intent but as ‘equals’ in the making process are guiding principles in the project. The live event is a dynamic and performative activation of material processes – leaving behind an installed presence of sound and human scale charcoal prints.
This strand of ‘what remains and is to come’ – in collaboration with Jens Meisner and Centroid3d – is an early investigation into a ‘materiality’ of the motion capture process as we explore a capture of movement in a digital print-making process.
The video installation is made using projections to map the data received from SQM (Sky Quality Meters). These are used to measure the lunar intensity of the night sky. The video installation is set above the viewer and throws light down over them, encouraging the audience to sit back and immerse themselves in the viewing process of what slowly occurs above.
Blank shapes of captivating light slowly shift colour and intensity through the monthly lunar brightness models, mapping the journey of the moon from new to full and back again. In stark contrast to this, a sudden shift to the familiar orange artificial street lighting data takes the viewer abruptly ‘into the light’. Subtle ambient sounds are used to stimulate recognition. The familiar and comforting song of the common blackbird are phased into the artificially lit night, searching to find its rhythm in the artificial landscape.
The installation allows the viewer to take time out and experience a pause, encouraging a slow meditative response. The piece is part of a larger body of work in collaboration with a scientist from the Environment and Sustainability Institute, which aims to finds ways of opening dialogue between the art and science and to elucidate and explore complex environmental challenges.
Explore music through an interactive story wall. Sounds, pictures and ideas are drawn together by interacting with a large projected image, allowing the viewer to be in the hot seat of their journey that Stuart J. Blackmore has staged for them.
Installation of an existing project by Fascinate Digital Arts Grants recipient.
Installation of a new project by Fascinate Digital Arts Grants recipient.
Installation by Fascinate Digital Arts Grants recipient.
Installation by Fascinate Digital Arts Grants recipient.
Installation by Fascinate Digital Arts Grants recipient.
My work explores the poetic threshold between the digital and the physical: points where the incorporeal becomes material and tangible. At the heart of my work is the acknowledgement of a profound shift in material relations, from an industrial to a post-industrial society. I’m interested in how this shift into a digital age of information flow, this move from solid to fluid, affects us materially, perceptually and experientially.
Untitled_Force, a fragment (2012) explores the translation of blood through processes of microscopy and computational modeling, and the material process of nylon 3D print. I use these forms to quietly unravel the logic of science and its quest for certainty and self-replication.
The Atomic Force Microscope is one of the foremost tools for imaging, measuring and manipulating matter at the nanoscale and is used in industry to develop the miniaturization of computer hard-drives. The information is gathered by “feeling” the surface with a ceramic probe, which measures the van der Waals force between molecules, to produce a data file.
I decided to work with the AFM data as I wanted to translate the blood into a hybrid medical-synthetic object; to offer new ways of perceiving the body, its flows and processes. My interest lies in the disruption of scale and form that such computational processes reveal. The 3D print presented here is a tiny fragment of the original data file, magnified 20,000 : 1. The size of the original sample is 50×50µm (micrometres) or 0.05mm square.
To wrap up an evening of performances and installations a reception party in the one of the largest live venues in the west of Cornwall approximately 21.30 till late.
Paul Kelly + Alex Smith
Jasmine Creusson + Emmanuel Flores Elias + Emanuel Andel