“Imaginarium” is a journey through the inner world of memories, images and possibilities. The depicted world of creatures refers to dreams, myths and symbols and lets the audience dive into an exceptional reality in order to connect with their subconscious and inner self. As with previous works, this performance involves a technique of collage, exploring the deeper 3D space in a 2D world. Life is constant dreaming, and so is the “Imaginarium”.
The audiovisual artist Eric Raynaud, aka Fraction, presents “Vector Field”, in which he explores the real-time manipulation of a vectorial stream. The result is an ode to the art of transformation.
Like many contemporary scientists, the artist also proceeds from the idea that time does not exist and is only a human perception of change in transitory states. There is no before, and there will be no after. There is no past. There is no future.
Following this principle, in “Vector Field”, Fraction irradiates a three-dimensional homophonic structure, with deliberate reference to the science of topology and the common representation of sound waves in Western culture as the aesthetic framework for a computer-generated eddy current that embodies an elusive landscape.
Karl Heinz Jeron’s sculptures sing an infinite number of songs generated by artificial intelligence (AI). The AI has been trained with field recordings (NASA space sounds, urban soundscapes and nature sounds).
Jeron’s music-making machines don’t work any differently than any other composer. First, they learn about existing styles and then create similar technical reproductions. The AI recognizes patterns in the structure of a piece – for example, the chords used, the notes of a melody, repetitions or variations. Based on these patterns, the AI recreates the “logic” of a musical genre and finally creates an infinite pool of new compositions, which are based on originals or deliberately differ from them.
Building an identity of the Self seems to be an increasingly complicated process for the contemporary human being. Individuals have always hidden behind layers of masks, characters that force us to close ourselves in conventional forms, and today we are witnessing a real digital materialization of our multiple selves. Masks are a means of defining our identity, but they are also cages from which it is difficult to free ourselves, which hide and cancel our true face.
HD, 7:20 minutes
“When you stare at a screen for long, the screen stares back at you.”
It’s late. You’ve been working on those numbers the whole day. The screen in front of you seems to be vibrating. You close your eyes. The after-image on your retina keeps pulsating in iridescent colors.
Full HD, 07:50 Minutes
The video "Imagine yourself on an island in the middle of the ocean", inspired by virtual landscapes and related to naive clichés from online guided meditations popular on the YouTube channel, presents one of the ways in which we try to achieve a state of internal balance in the era of information overload.
“Reality Distortion Field” turns the bar Ribingurūmu into a walk-in sound installation: tables, chairs, bar counters or everyday objects are wired. Sensors, contact microphones and effect units for changing the sound make it possible to electronically change the everyday noises generated by the visitors. With the support of the Munich artist collective trugschluss the project is constantly evolving.
Want to deform architecture using video mapping?
This workshop will cover the build process, from concept to completion, of a generative video mapping project using the Unity 3D game engine and Resolume Arena. Go from a cellphone picture of the front of some random building into an explosive canvas of video mapping. Destroy what others have built using motion control inputs, midi controllers, or a good old fashioned mouse and keyboard.
Topics to be covered: Live visuals creation in Unity3D and Resolume, Spout for Unity and Resolume, basics of C# programming.
This workshop requires a basic knowledge of 3D modeling and live visuals applications. Working knowledge of Unity 3D and Resolume Arena is helpful, but not required.
Link to demo:
Please register via: email@example.com
Contribution towards costs: 20€ / 15€ reduced
We aim to create an interactive real-time installation using the audience as the main source of light and music. Visitors enter the corridor via an LED portal. They are scanned from different angles while passing through the portal. This information created by the audience is spread along the corridor using generative audio via MAX/MSP and video via TouchDesigner. The installation is interactive, as visitors experience the installation by entering the portal, as well as the visual and audio elements interacting with the geometry of the corridor’s space.
Visuals by Timo Dufner/PPLC
A peculiar and abstract confrontation with the minimalism of the dub, based on the work of the old master King Tubby. Obscure spaces, dusty basses, playful madness. Through sampling technique, field recording and effects, Tubby's themes are brought into a modern, contemporary context in order to fly up, escalate and ultimately evaporate in the next moment.
"The Punishment“ is an installation in which a robot executes a preventive punishment for its possible future disobedience. A reference to Isaac Asimov’s laws of robotics.
Technologies are now merging at high speed, notably robotics and artificial intelligence. It raises a lot of questions about the man-machine relation. Tainted with dark humor, this dystopian anthropomorphization also underlines the fears that robotics engenders. How automated do we want our world, our body to be? What physical, moral and legal framework should we use? What consequences for human life? Isn't it time to reinvent the school? At the turn of the century, questions related to automation are popping up in everyone’s mind. We will have to answers them collectively, if possible.
“Carrying The Cross“ is a durational performance by artist Filipe Vilas-Boas that has been derived from an ongoing body of work investigating global interconnection utopia, spiritual magic and contemporary algorithmic slavery dystopia.
Constructed from timber and nails and measuring 340 x 200 x 50 cm, a giant sculptural “f“ conceived as a commentary on social media, was carried by the artist around Tate Modern ready for crucifixion, marking the pinnacle moment of the performance.
The performative precession was originally conceived as part of “EDEN“, Vilas-Boas’ solo show at Zaratan Arte Contemporânea in Lisbon during July 2019.
The piece aims to stimulate discussion on issues surrounding digital platforms such as privacy, data, surveillance and algorithm biases. “Carrying The Cross“ draws on the emotiveness of hope and oppression within the parameters of digitalisation where technology meets religion.
During the generate! Festival of Electronic Arts, the video documentaries of the performance in Lisbon and London are shown, transported back into public space.
"Membrane AV" is a audiovisual performance with glitch/trip hop music by hungarian experimental duo Malvo.
"Everything in the world is exactly the same"
Vølksamt! has been creating music ranging from historically informed electroacoustic to Punk, from Jazz to Noise and from Free Turkish music to Acapella.
Every Vølksamt! show is completely improvised and we do not mean this lightly.
Expect modular synthesizers, drum machines, frying pans and angle grinders.
“VR WIESN” is a virtual reality adventure. Director Philipp Pamer explores the visual language, the dramaturgy of motivations, the use of orientation points in a 360° sphere and much more. The immersion of the spectator allows to dive into the action on the bustling streets of the biggest folk festival in the world with VR glasses. At the same time, the project is intended to turn the Munich Oktoberfest culture, tradition and zeitgeist into a virtual event, no matter where you are in the world. The actress Christina Schmideder, who can be recognized by her hat with the beautiful feather, is your VR guide Chrissi.
The mythological figure of Medusa unifies diverging characteristics: the beauty and the monster, victim and perpetrator. Different versions of this myth claim parallel validity. Denise Blickhan takes the Medusa thematic into the present time. She combines archetypical imagery with modern social media practices in the depiction of the female. The main thematic of the voluntary submission is enriched with phenomena of polarity like victim-perpetrator connection, structures of power and powerlessness and the piercing presence of todays mantra to optimize your body and mind by all means.
The "MEDUSA" performance cycle is an iridescent musical show, where contrarian emotions are legitimately evoked. Centrally, Denise Blickhan works in her shows with her voice, sound technology, smartphone technology, video projections, singing, music and body. She presents her text with hypergenderstereotyped voice effects. "MEDUSA 8.1 (or sleeping in procrustes bed)" is the first technoperformance of the "MEDUSA" performance cycle.
"untitled a/v" is an audiovisual duo live coding performance centered on a collaborative graphical approach to dynamic wave-terrain synthesis. An inherent coupling between the auditive and visual realm is created by deriving both audio and video from the same underlying algorithmic processes. Both performers individually control two constituent parts of the audio/video synthesis, attaining a particular kind of musical interdependency by tightly interacting with each other through auditive as well as visual feedback.
Liveset by Turbo Sonidero
Visuals by Berenice and Tilly Höntzsch (revised by PPLC): Mexico City Street Life Footage
"A spectre is haunting Europe" – the spectre of digitisation. But contrary to the prevailing opinion, it is not the individuals who are threatened, but the capitalist system – as long as we use the new technical possibilities accordingly.
What happens when we have machines work for us - when we stand up for the right to be lazy by the time gained? The play looks for utopias of digitisation and automation, questions socialist writings such as Karl Marx's "Fragment on Machines" and his son-in-law Paul Lafargue's "The Right To Be Lazy". It outlines a positive vision for digitisation in which people are free from the hardships of wage labor. An evening full of agitation and self-irony that simply blows away the internalised imperative to diligence.
by Sofia Porscha
This film documents a festival of the group Novo Capoeira Reutlingen from 26 May 2019. A focus lies on the variety of Capoeira, which is exemplarily represented at the festival of the group.
Capoeira is a form of fighting, dancing, living and resistance that has developed since the colonisation of Brazil. Since its origin, for which there is no clear theory, different movements have emerged. These include Capoeira Angola, where the game of Capoeira and the communication of the practitioners is in the foreground, Capoeira Regional, where the martial art character of Capoeira becomes clear and Capoeira Contemporânea, which is regarded as a kind of modern mixed form. The central values of Capoeira in all its forms are social integration, respect and community.
by Johannes Stender and Katharina Frick
“Copy of Techno” is an attempt to capture a modern yet ancient phenomenon. Since time immemorial man has danced to music collectively. This form of ritual practice and expression is what the film wants to dedicate itself to using the example of techno. As genre outsiders, we were primarily preoccupied with the question: What does techno mean beyond a definition of “electronic dance music determined by particularly fast rhythm”?
by Jakob Bangen and Marlin
What actually happens at Ramadan? What is the significance of fasting and breaking the fast together for the community? How does a day in the month of fasting work for Muslims in Germany?
Jakob Bangen and Marlin got to know Islam and one of its most important festivals during the summer semester of 2019. The film provides an insight into the festivities in the mosque and, on a smaller scale, in private apartments. The pictures of the common prayer and the common breaking of the fast were taken in the Tübingen IGMG Mosque.
Tübingen and the region are to become an ecosystem for the development of artificial intelligence. There have been protests against this. Fundamental reservations against AI research are met with anti-capitalist criticism of the companies involved and the fear of a transformation of the region into an “armaments location”.
Christoph Marischka, protagonist of this movement, has written a book (in publication) on the subject in which he describes the Cyber Valley as an “accident of knowledge”, following the (media) philosopher Paul Virilio. He will present passages of his book for discussion.
Digital technologies have long since become living means of design, as the exhibition "Coded Art" at the Leibniz Institute for Knowledge Media (IWM) in Tübingen demonstrates.
Joachim Wedekind's exhibits are dedicated to the fusion of machine predictability and artistic virtuosity. His graphics and installations consciously tie in with the early computer art of the 1960s - and interpret and transform their themes with contemporary technologies.
With this exhibition, the IWM opens up a creative approach to its basic questions: How can digital media deepen our thinking and optimize our understanding? How can they be used to improve knowledge processes?
Dr. Joachim Wedekind is a teaching technologist and mediadidactician. Until 2012, he worked at the IWM on digital media as atool for acquiring knowledge. Since 2014 he has been productivelydealing with various forms of computer and media art and creating hisown works that present digital art in analogue form.
How can art with methods and tools of computer science be used in educational contexts? Based on the omnipresent concept of digitization, the computer science teacher Prof. Ralf Romeike (Freie Universität Berlin) explains the basics of computer art as a starting point for computational thinking.
“Hallogenerator” is a multimedia electro saga of a fortuneless party robot from the future. His software, assigned for eliminating humans, has been corrupted by the virus mutants during the transport. The robot has been successfully booted but only in a party mode.
“Hallogenerator” is displaying the contrast between the digital world of computers and the biomorphic world of humanity where both parties are failing and winning at the same time.
The performance sets up the mirror to producers, DJs and pop singers who want to enhance their voice digitally. But the performance brings to the stage the essence of entertainment and intellectual content in musical form at the same time.
It also peacefully attacks the technological literacy of the nation, the jazz police, and computer reliability. The performance wonders whether the custom experimental hardware and software belong on the stage, and it points out the importance of their usage in a wider context.
Old evergreens clad in the sound era of the 8-bit computers ignite the flame in every heart. You either love them or hate them.
“Recursive Counterpoint Machines” is an exploration of generative mechanism for live composition of algorithmic pattern-based music. The work is part of ongoing research into the possibilities of recursive music composition and live coding self-aware creative systems.
At the heart of the work lies the insight that all information is isomorphic to itself. Any piece of data can be interpreted not only in its own form but also in any other form if the notation is sufficiently strong. This creates a multitude of new avenues for treatment of data and processes. In fact, it demolishes the distinction between the two. Data becomes process and process becomes data. In this way one is able to devise systems that renegotiate the notions of being an “actor” or being “acted upon”.
The piece combines the powers of live coding for generating complex evolving systems with the tactile and immediate interaction with the modular synthesizer for sound creation.
“6:30 AM” is a piece of generative art that generates, on each iteration, a unique living and moving community based on both stereotypes and actual instances of Malaysian culture. The work features the most common stereotypes in the forms of object, movement, speech integrated with the same that has happened and was recorded in real life at the large park behind the artist’s house in Malaysia.
More specifically, the work challenges the ideas of what it means to be Malaysian behind the trope of ‘1Malaysia’, a phrase coined by politicians to unite the Malaysian people.
“I find that in many instances, 1Malaysia (despite having a positive message behind it) is often laced with political undertones and could even be said to be reductionist of what Malaysian culture really means - it can be seen as being a blanket term for the views and interactions between the Malaysian population. Being a Malaysian citizen, I have always found myself acknowledging the micro-interactions Malaysians have on a daily basis, whether it be the conversations had at the food stalls on a late night, or the old folks aerobics groups that take place at the park every morning. Things like this stand for much realer and intimate descriptions of what it means to live in this country. The idea of community on a much smaller level, the dramatic woes and arguments on residential community group chats, for example, is what really unites us as people.” (Alya Hatta)
Live Electro from France
Resolume is one of the most popular programs for Visual Jockeys worldwide. In this workshop you will learn the basics of Resolume Arena to create audioreactive visuals live to music. At the end there will be a short introduction to Projection Mapping, playing a composition created by the participants: inside on a surface using a projector.Content:Introduction to the interface, sources and parameters, effects, layers, conversion of own videos, video feedback effects, projectionmapping.
Please download Resolume Arena (not Avenue) 6.1.3 before the course (https://resolume.com/download/ at the bottom of the page). Make sure Alley and the DXV codec are installed as well!
Please register via mail to: firstname.lastname@example.org
Contribution towards expenses: 15€ / 10€ reduced
Workshop about the use of TouchDesigner in Combination with Ableton Live for creating professional AudioVisual Shows and Installations.
Approaches for creating Live AV Performances:
-Using TD for Visuals with another Musician
-Using TD for Visuals for you own AV Live Performance
-Using TD with Ableton for AV Installations
-Animation vs Generative
MIDI vs OSC, TDAbleton, LiveGrabber, Virtual Sound Cards, ASIO4ALL, DC and AC Coupled Sound Cards, Setup windows and OSX computer to send midi data over ethernet and localhost
TouchDesigner as Visual Tool:
-AV LIVE: USING TD with ABLETON
-TD Ableton for control Touch From Ableton
-Ableton as Timeline Tool for TD
-MIDI for Control Touch From Ableton
-Max4Live Devices to Send Data between Ableton and TouchDesigner
-TouchDesigner Setup for Live Performance
-Structure of AV project for your own AV performance
-Structure of UI for AV performance with another Musician
-Modular Setup Principle: Sound Analysis and Routing
TD as Generative Tool for ABLETON
Map Clip play from TD
Map Ableton parameters from TD
Please register via Mail to: email@example.com
Contribution towards expenses: 20€ / 15€ reduced
The participants get to know the philosophy, functionality and versatile possibilities of the electronic all-in-one musical instrument OP-1, the small Pocket Operators, the Multimedia Synthesizer and Sequencer OP-Z as well as the new Pocket Operator Modular from teenage engineering.
Among other things, the workshop offers the opportunity to discover, connect and use the instruments creatively according to the hands-on principle.
Previous knowledge is not required. Interest and fun in electronic music and multimedia as well as the creative handling with it should however be present.
The focus of the workshop is variable and depends on the wishes and level of knowledge of the participants.
Please bring headphones/earphones with 3.5mm stereo jack plugs and, if available, OP-1/OP-Z and Pocket Operators.
The workshop will be led by Günter Rolle/Stuttgart in close cooperation with teenage engineering.
Please register via: firstname.lastname@example.org
Contribution towards expenses: 20€ regular / 15€ reduced
Social issues and conflicts are negotiated and dealt with in public space. Even though public space is characterised by different mechanisms of hegemony ( economic, political, racist, etc.), it offers marginalised groups the opportunity to gain publicity and thus a hearing. Ideally, even equal access to space and communication is given. In recent years, more and more areas of public space have been privatised and released for profit-oriented marketing. A problematic development within a society that considers itself democratic. Through the interventions of the company Störer, this development is disturbed and the privatized space is reopened performatively.
During the generate! Festival for Electronic Arts, four video documentaries will be shown here, transported back into public space.