9 04 2009

Thursday, April 23, 2009 @ 8 PM @ DOX

Real-time composition for drums and percussion, live-electronics & live-video

The drummer, Stefan Weinzierl, hits a foot-pedal and four bars of the score are generated in real-time – slice by slice – new and unique. Different parameters, set in a graphical score by the composer, define properties of each bar (such as density, instrument-range, dynamic or random-factor). The note propagation varies from strict deterministic to fully aleatoric behaviour. The score-data is automatically transcribed using real-time notation-software and is displayed to the drummer. A copy of the performers view is sent via lan-connection to another machine and is used as input for the generation of video-animations that are projected for the audience. The projections react to sonic input as well as to a pair of infrared-sensors mounted in front of the drummer. These are used for controlling digital audio-processing calculated on a third computer that is connected to the other machines in the network. All sound-effects are generated out of acoustic material played during the performance. Interaction, real-time-processing of score, audio and video were in focus while developing the piece. But the main goal was to connect these processes meaningful to each other.


Jacob Sello (*1976 Hamburg/Germany) began to play violin with the age of four, then switched to different flutes, trumpet and finally guitar. He played in various ensembles and bands or performed as soloist. In the mid 90´s he got introduced to electronic music and began to experiment with the new possibilities given by the computer-technology. After absolving a school for audio-engineering (SAE) in 1998 he started to study Systematic Musicology at the Hamburg University and graduated in 2008 (writing his final thesis on sonic installation art). Since 2007 he is student in Georg Hajdu´s master class for Multimedia Composition at the Hochschule für Musik und Theater Hamburg. He played with different Hamburg-based Jazz-combos, enriching the instrumental music with electronic atmospheres wand digital sound-effects and samples. He produced several radio-plays and wrote music for theatre-productions. Though focussing on electronic sound creation and production for more than 10 years, he is highly interested in the exiting possibilities that arise from the conjunction of traditional acoustic instruments and state-of-the-art technology. These days he experiments with techniques of algorithmic composition, digital signal-processing and 3d-video-animation. He loves to develop his very own interfaces and controllers for interactive computer-music and multimedia-performances.

Stefan Weinzierl (*1985, Günzburg/Germany) unwillingly thinks in stereotypes in regid categories! Thus, as a Drummer and Multi-Percussionist he is invariably challenged by all kinds of compositions beyond every type, form and genre borders. He is a Timpanist and Drummer in classical ensembles and orchestras (Orchester Junge Symphonie Regensburg, Bayerisches Auswahlorchester zur EXPO 2000 Hannover) as well as in Jazz- and Rock/Pop bands (University Jazz Orchestra Regensburg). Since 2008 Stefan Weinzierl has increasingly centred on the soloistic sheet music and the contemporary chamber music (Hamburger Klangwerktage 2008). On this account he studies in the artistic master course of Percussion and Timpani at the Hochschule für Musik und Theater Hamburg. In addition to the improvement of his technical drummer skills he cares about pedagogic work. Therefore, with 23 years he already concluded his study of the educational sciences, music sciences and music educational theory with the first state examination at the University of Regensburg and the Hochschule für katholische Kirchenmusik und Musikpädagogik Regensburg. Beside his work as an instrumental teacher (Sing- und Musikschule Regensburg, private Musiklehrer Institute Ostbayern) and instructor in drums- and percussion workshops Stefan Weinzierl is a freelance collaborator of the neue musikzeitung, ConBrio Verlagsgesellschaft mbH (Educational information center PIZ).



9 04 2009

Wednesday, April 22, 2009 @ 8 PM @ DOX

Rich-media dance performance

GOLEM is a 30 minutes dance performance telling the story of artificial man. It is based on the use of advanced audiovisual technologies such as granular sound synthesis, real-time 3D environments and computer systems for capturing movement. The dancer becomes both on-the-fly choreographer and co-author of the sound composition. Through the dance movements he pilots the sound part as well as influences the virtual projected scenography.


Credits: PAVEL SMETANA (CZ) – artistic director, LUKA PRINCIC (SI) – original electronic music, JURIJ KONJAR (SI) – dancer & musical performer, MICHAL MÁŠA (CZ) – motion capture & 3D, STEPHANE KYLES (FR/USA) – production & light design, ROMAIN SENATORE (FR) & QUENTIN DESTIEU (FR) – video creation, JAN ŠEBEK (CZ) – technical production.

Since the early 1990s Pavel Smetana has been artistically experimenting in the field of digital interactive media, creating installations “The Room of Desires”, “The Mirror”, “ The Cyber-Portrait of Dorian Gray” and “Lilith”. Since 2003 he directed several multimedia performances, interconnecting computer science, contemporary dance and game technologies. During the past ten years he served as a Professor of 3D, VR and Art at the arts academy in Aix-en-Provence, France, and the director of international festival ENTERmultimediale (2000, 2005) and ENTER (2007, 2009) held in Prague. He is director of CIANT, presently involved in brain-computer interface technology research, development and experimentation.

Luka Prinčič (SI) is a musician, sound designer and media artist. He has participated in a number of sound-music and multimedia projects. In addition to publishing web albums, he has been active in Ljudmila and Kiberpipa and is the administrator of, an art-server/community. Prinčič is the author of audio-visual and electro-acoustic performances and multimedia actions in physical and mental-emotional spaces (Music for Hard Disks; Retrospections: MayaDeren; Waves in public: Squares). As a sound designer and adviser, he collaborates with artists, activists and producers of festivals and conferences at home and abroad (Eclipse, Neven Korda, Jodi Rose, Borut Savski, Luka Dekleva, Galerija Kapelica, MFRU, Netmage08, EMAF07, Device_art, Moderna galerija…). His work focuses on personally reflective and socially critical use of new technologies within contemporary audio-visual contexts. Most of his work is based on hacker ethics and DIY philosophy. Currently, he is most interested in the intersection of subjectivity, techno-science, net culture, AV-media and sound.

Jurij Konjar (SI) is a contemporary dancer who regularly practices various aspects of the profession. Besides moving and performing continuously, he directs his own work and is involved in other independent creations as a freelance artist. He gives classes and workshops of contemporary dance techniques for professionals, as well as non-professional youth and adults in a frame of various education projects.

The performance was created, presented, and documented in the framework of IMMEDIATE, CO-ME-DI-A and CASPAR co-production projects and initiatives.


Immersive Media Dance Integrating in Telematic Environments

The IMMEDIATE project reflects the current situation of a cultural divide between the world of contemporary dance and the world of digital art. When we look closely at the dance forms today, we think of necessary evolution, of integrating immersive media technologies, dance and telematic environments. What comes out of a human gesture captured and transferred into digital audiovisual content? What advantage does the tele-immersive interaction represent? What can be achieved via choreographing collaboration of real and virtual dancers, some on a real stage, some other in virtual online environments? In IMMEDIATE we aim to encourage creativity and innovation in the field of dance performances intersecting with digital arts through delivering high-quality interdisciplinary exchange between communities of dancers and choreographers on the one side and new media artists and technology experts on the other side. We work to explore novel possibilities of performances combining real and virtual dancers in mixed-reality environments through deployment of digital real-time performance tools, three-dimensional motion-capture facilities and systems supporting on-line “intelligent stages”. As a result we are delivering collaborative tele-immersive experiments that combine technical excellence in dancers’ own bodies with creative excellence in virtual computer technologies. An example of such an experiment is the GOLEM performance. The project is co-financed by Culture 2007 Programme of the European Union for the period 2007-2009.

c-2007 eac_culture_en


A4 | Association for Contemporary Culture (SK)


CIANT | International Centre for Art and New Technologies (CZ)

LMR | Laboratory for Mixed Realities (DE)

M2F (FR)



Cooperation and Mediation in Digital Arts

CO-ME-DI-A initiative supports the development of networked collaborations between European venues and institutions active in the domain of digital performing arts. The partners work to establish a robust platform for networked artistic and cultural interactions. We experiment with different network configurations for various artistic and cultural activities leading to the production of distributed events and artworks. The project specifically aims to encourage artists to create collaborative works and engage in cultural exchange within the CO-ME-DI-A infrastructure. The activities include interdisciplinary research, quality trans-national training sessions and workshops for professionals, residences particularly aimed at young professionals, and last but not least distributed networked performances and installations presented to general public, all of which use the network as a core for cultural interactions. Under the leadership of IRCAM, CO-ME-DI-A is a Europe-wide initiative to implement a set of experimental cultural activities focused on networked interactions. In order to support innovative distributed production of artworks and to enable more efficient formats of circulation of artistic and cultural products, we address creative use of existing advanced technologies such as broadband telecommunication networks and powerful digital processing tools. The project is co-financed by Culture 2007 Programme of the European Union for the period 2007-2010.

c-2007 eac_culture_en


CIANT | International Centre for Art and New Technologies (CZ)

HCMF | Hungarian Computer Music Foundation (HU)

HFMT | Hochschule für Musik und Theater (DE)

IEM | Institute of Electronic Music and Acoustics (AT)

IRCAM | Institut de Recherche et Coordination Acoustique Musique (FR)

UNIGE | Università degli Studi di Genova (IT)

SARC | Sonic Arts Research Center SARC (GB)


Cultural, Artistic and Scientific knowledge for Preservation, Access and Retrieval

How can digitally encoded information still be understood and used in the future when the software, systems, and everyday knowledge will have changed? This is the challenge of CASPAR project running through 2009 within the 6th Framework Programme of the EU for research and technological development. While the digital information innervates modern civilization, it is extremely vulnerable. A huge amount of precious digital information created and stored all over the world becomes inaccessible every few years at a very fast pace. Think of losing official records, a museum archive, irreplaceable scientific data, or even a collection of family photos, and we realize digital preservation is affecting us all. The fundamental outline for CASPAR is the OAIS reference model (ISO:14721:2002): a very powerful framework, because it is both organisational and technical. OAIS describes all the functions of a digital repository: how digital objects can be prepared, submitted to an archive, stored for long periods, maintained, and retrieved as needed.



9 04 2009

“Temptation, violation, abandonment.”

SCHLAMP is an interactive video installation. Lying on the ground is a young woman in a red dress, unknowing what awaits her. Reassured by her seductive calls we come closer, maybe unexpectedly touching her or even stepping on her. She reacts immediately, complains loudly. “Please, don’t step on me!“ Although only a projected video image she seems to feel pain. “Ouch, i’m sensitive” she shouts. But as we are above her and she can’t really fight back we are provoked to continue. Somehow it’s even enjoyable to inflict pain on her. She moves away from her place, always coming back after a little while with short choreographed sections. Smoothly moving back to her position on the floor. At a certain point the situation completely switching. She doesn’t allow us to invade her personal space anymore, fleeing and hiding from us.

Interaction: We understand interaction to be a communication process. Therefore interactive installations should have a comprehensible response. Like in human communication, we want to establish an understandable language of interaction. But like in a good conversation, there have to be surprising new aspects we get to know. The “Schlamp” installation fulfils those two rules in very direct ways. Encounter with the virtual figure causes known human reactions. Something is still strange though, we just see a projected video image. The floor projection perspective is an essential aspect of the installation. The attractive, but also slightly ‘cheap’ looking woman is unprotected against the viewers. She can’t stand up. That makes it easy to provoke her. The installation actually has three parts. In the beginning the woman tries to tempt us towards her, she is looking for encounter. This part works with animated still images, not video and therefore is a little more abstract. In the second part the woman is lying on her back, responding very sensitive when we touch her or step on her. The last part is about her attempt to flee. It’s abstract by the way she moves, she is actually dancing away from us. The audience response is fascinating. Sometimes the encounter is very friendly and human. One the other hand the virtuality of the situation allows radical and almost violent behaviour.

Technical realisation: The interactive Installation works with the EyeCon camera motion sensing system. Video projector and infrared camera are mounted above the installation space. The interactive system detects the collisions of a person with the projected image. In case of a collision the video branches to a new scene. Sounds are triggered. The choice of the new video scene is determined algorithmically by motion sensing parameters.


Emily Fernandez and Frieder Weiss are ‚Hypecycle’, the Agency for Intermedia Dance.

Frieder Weiss is Expert for realtime computing and interactive systems in performance. He develops software for video interactive dance and performance works. Art and performance projects with several production partners like Phase-7 in Berlin, Leine und Roebana in Amsterdam. Cesc Gelabert in Munich, Chunky Move in Melbourne.

Emily Fernandez is born in Melbourne, Australia, where she also studied dance. Solo dancer at the ‘Mecklenburgischem Staatstheater’ in Schwerin. Now developing own choreographic works and media installations which were exhibited at Cynetart, Dresden, Blaue Nacht in Nürnberg and the Monaco Dance Festival.


9 04 2009

Machinarium is a point-and-click full-length adventure Flash game from Amanita Design. It is situated in strange rusty metallic place populated only by robots. The story is about a little robot that has been unjustly thrown out to the scrap yard behind the city. In the game he returns to the town where he meets the bad guys from Black Cap Brotherhood – they are just preparing a bomb attack on the central tower where the town ruler has residence in. Of course the robot hero must stop them and also rescue his friend robot-girl. Compared to the previous Amanita Design sequel project Samorost, it is more complex, bigger, features more puzzles, inventory and many control improvements. Machinarium is about to be released by the end of 2009.


Jakub Dvorský is a 30 years-old game designer and visual artist who comes from Brno, Czech Republic. He started producing computer games in 1992 and after finishing The Academy of Art, Architecture and Design in Prague in the department of Graphics Design and Visual Communication led by Professor Jiří Bárta in 2003 he established independent games development studio called Amanita Design ( and started to work on Flash games with animator Václav Blín – his former university schoolmate. To the most successful projects of Amanita Design belong Samorost1 and Samorost2 on-line Flash adventure games which are appreciated mostly for its unique graphic style, animation and overall atmosphere. Other projects produced by Amanita Design are Rocketman game for Nikelab, The Quest For The Rest game for The Polyphonic Spree, Plantage video clip for Danish band Under Byen, Questionaut educational game for BBC. At the moment Jakub Dvorský and Václav Blín are collaborating with programmer David Oliva, musician Tomáš “Floex” Dvořák, sound maker Tomáš “Pif” Dvořák and painters Jakub Požár and Adolf Lachman on the Machinarium adventure game.

WBNR_#6 (From objective map to subjective mapping) BY ALESSANDRO CARBONI

9 04 2009

Videowork inspired by the article of the geophysis John K. Wright written on 1946, “Terrae Incognitae: The Place of Imagination in Geography”. The post-modern shift towards the globalization age is producing a deep change in the way that urban space is conceived, realized and experienced. The Chinese cities are no longer the site of staying. While historically the settlement was the primary figure of the urban, the essential constitutive values of which were intimacy, appropriation, defence, circumscription and cohesion, with late modernity there has been a definitive shift towards an ontology of movement. The nature of the metropolis is defined essentially by the capacity to attract movement and to interweave trajectories. It is above all a pole, an attractor, a territory of transit and exchange. Human body in this perspective is redefined as a vector, as an entity able to operate transfer – of knowledge, goods, money, energy – as a force of mobilization necessary to the market dynamics. Fundamental aspects of the way as bodies and cities interact and reciprocally re-design themselves are the progressive fluidification and mobilization of human behaviours, the increasing mediation of interpersonal relationships through technological devices and institutional protocols, and the overwhelming prolification of images and data constituting the dominant form of production in the contemporary urban economy. A dialogue between GPS technologies and video concentrated on the exploration and study of the process of Chinese landscape transformation called: “high-speed urbanization” and on the most disarticulated forms of urban density. A research program developed during a residence of three months, were Alessandro Carboni crossed the region of Guangdong called “the Pearl Delta River” as Hong Kong, Guangzhou.


Alessandro Carboni is a multidisciplinary artist. He divides his practices in the exploration and the study of the body movement and the relation of it to the space. For several years, he has been working on the creation of a method for dance: VCCT, considering the relation with choreography, mathematics, generative code and system theory. Added to this, he is expanding his research coordinating the activities of “LaDU” MultimediaLABoratory of Urban Density” at the University of Architecture in Cagliari. He also teach “Methodology and Performance Practice” at the MA “Scenography for Performance”, Central Saint Martin’s in London; and “Digital Perfomance” at Master of Digital Environment Design at NABA in Milan. He performed in Europe as weel as China and India. He is choreographer and dancer with his group OOFFOURO resident in Sardinia, Italy.


9 04 2009

paul1Based on ideas of classical portraiture and wildlife tracking as a conceptual point of departure, Paul Zografakis’ Migratory Portraits is a series of digital prints created through the use of GPS technology. Using participants encountered throughout his time in Prague, the subjects go throughout their daily routine for one week as the GPS records their every movement from morning to night.  Once the information is gathered, the physical cartography is extracted, leaving only an abstracted linear form of each participant’s trajectory. While the idea of portraiture may often be thought of as painting, photography, or sculpture that represents physical characteristics of a subject, in this project Zografakis suggests that the paths we travel represent an equally telling and personal story.  Similarly, wildlife tracking assesses the behaviour and health of a species through the examination of animal movement, while Migratory Portraits investigates if patterning created by human daily rituals can be related to a study of an individual or a group.

Paul Zografakis (b. 1975 St. Louis, Missouri) employs various strategies in order to investigate his visual vocabulary, often taking the form of transposition in which central aspects of image, environment, or social order are isolated, reordered or interchanged. Zografakis has created social projects, performed, exhibited, and screened his work internationally, including; Up Against the Wall at the Zacheta National Gallery of Art in Warsaw, a recent solo show TBD, at Little Tree Gallery in San Francisco, and the 3rd Biennial of Contemporary Art in Baku, Azerbaijan. Having recently completing a US Fulbright Scholarship to Greece, Zografakis has been living and working in Athens. In 2009 he is artist-in-residence at CIANT LAB, Prague through Pépinières européennes pour jeunes artistes.


9 04 2009

Tarot game is presented by system of 22 multimedia mobile phones creating the net of communication. All mobiles are named with card names while their contents creates psychological portrait of each card. The meaning of 21 Arcanes of the Tarot game is as complex as human personality. It is impossible to evaluate whether it is positive or negative, it always depends on the overall situation and diverse circumstances. The movies inside the phones are short, edited in a single movement of small performances. These are visually explaining the card meaning. Frames of these movies are collected as photos, situations where time does not exist, because time inside is not continual, it is rather interior time of memories. A mobile phone is a singular entity, as Arcane of Tarot cards. Because of this, the author tries to connect these two media, coming from the past and from the future. The viewer of the installation has access to all the documents stored in the mobile and can even call each card. The portraits take form of videos, photos, ringtones, wallpapers, and SMS. If one wants to ask a concrete question, s/he can send a text message to central phone named TAROT that will forward the question to one of the randomly chosen cards. The card will answer directly to the phone of the viewer. Swiss sound artist Anja Kaufmann created new ringtone melodies as well as a special ringing symphony that starts with several visitors calling in. Dimitrij Strelnikov from Russia programmed modified phone menu. Enter the game!


Courtesy: Vernon Gallery

Darina Alster (1979) is visual artist, performer, educator, curator and coordinator of cultural events. She lives and works in Prague. She is mostly working with performance and video. Main topics of her artistic interest are Time, Identity and Relationships. In her performances, she exceeds borders of known reality, interrupting real situations with unknown and irrational things, so that they become subconscious. She is mostly experimenting with new media, combining them with archaic media such as Astrology, Tarot, Mythology, Fairytales or other kinds of Archetypes. Her more known projects include: Treasure, Piet, Confessional, Personal Tarot and Naked Lunch. She was art educator at private secondary school for several years, assistant curator at NoD Gallery Prague, currently she is production manager and co-curator of CIANT Gallery Prague.