35
years
v2_
 

The evening of V2_: 25 year anniversary

V2_ celebrates its 25th birthday with an ultra dynamic performance night. Groundbreaking pioneers that have connected new media, performance, sound and image over the last 25 years are performing in an unusual setting.

14
 
Apr 2007
 - 
15
 
Apr 2007
 
20:00 to 01:00
location: Staal, Rotterdam

Featuring: Ryoji Ikeda, Edwin van der Heide, Mouse on Mars, Staalplaat Soundsystem, Maurice Benayoun and Jean-Baptiste Barrière, and S.S.S. - a trio with Atau Tanaka, Cecile Babiole and Laurent Dailleau will all present their work.

 

Ryoji Ikeda ‘Datamatics'

Japan's leading electronic composer Ryoji Ikeda focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. His work exploits sound's physical property, its causality with human perception and mathematical dianoia as music, time and space. Using computer and digital technology to the utmost limit, Ikeda has been developing particular "microscopic" methods for sound engineering and composition. Since 1995 he has been intensely active in sound art through concerts, installations and recordings: the albums +/- (1996), 0 degrees (1998) and Matrix (2000) have been hailed by critics as the most radical and innovative examples of contemporary electronic music.

Using pure data as a source for sound and visuals, datamatics combines abstract and mimetic presentations of matter, time and space in a powerful and breathtakingly accomplished work. datamatics is the second audiovisual concert in Ryoji Ikeda's datamatics series, an art project that explores the potential to perceive the invisible multi-substance of data that permeates our world.

 

Staalplaat Soundsystem ‘Yokomono'

Staalplaat Soundsystem's project Yokomono received an Honorary Mention Digital Music at this years Ars Electronica Festival.The YOKOMONO live concert version consists of 10 vinyl killers - toy car record players, each customised with its own fm transmitter. The sound will come through a set of radios that receives the signal transmitted by the vinyl killers You might think Yokomono is just a DJ set with 10 turntables, and in a way that is correct but in many more ways Yokomono is completely different. First of all; each killer is mono and has pour sound quality, but much more Yokomono is very hard to handle, you can not really select a track or make it stop when you want to, its more putting the needle down blindfolded. The real difference starts when you realise each killer runs on batteries, meaning the speed is unstable and it will slow down during the concert, the fact that the batteries run out will not only effect the speed but it will effect the fm frequency that the killer is transmitting too.

The fact that we transmit with 10 fm transmitters at the same time means that each transmitter is effecting the other. These interference and the unstable media that is transmitting makes the whole set unpredictable and hard to control, making Yokomono unique and adventures.

 

Mouse on Mars

Perhaps it's due to their 10th anniversary, but Germany's Mouse On Mars have never been more festive. Certainly, they have spent the last decade generating tweaked tonalities in a vast array of rhythmic templates, many of which activated sweat glands in addition to thought bubbles. From vaporous cybervoids to dubbed-out downtempo and beyond, Jan St. Werner and Andi Toma have maintained a continuously adjusted balance of e-brain rapture and techy investigation.

 

It seems like Mouse on Mars is digesting a steady diet of spatial free-jazz and cocaine-fried booty funk to deliver their sparkling chaos and glorious precision in their energetic live sets. "beats become tonal, melodies become syncopated and the whole song changes complexion."


Edwin van der Heide ‘LSP' (Laser Sound Performance)

LSP, short for Laser Sound Performance, is a performance where image and sound play equally important roles. The performance environment allows the audience to change their perspective continuously. The image is generated by means of a laser projecting on a thin layer of smoke in the space. Image and sound originate from the same real-time generated source in the computer. The development of the performance fluctuates between the dominance of image over sound and vice versa.

Edwin van der Heide is an autonomous artist working in the field of sound, space and interaction. His current work is hard to define in the traditional terms of music, sound art or media art because he is often working on the edge and the characteristics of the used medium. In this sense the medium does not just mediate but is being explored and redefined. Although qualities of musical language are being used in the development of the work, it does not mean that the presentation form of the work is necessarily related to the concert form known in music.


S.S.S.

S.S.S. is a trio consisting of Atau Tanaka, Cecile Babiole and Laurent Dailleau, creating a dynamic sound / image performance. S.S.S (Sensors Sonics Sights) performs visual music with sensors and gestures. They create a work of sound and sight, a laptop performance that goes beyond with the intensity of bodies in movement. Going beyond media: music that is more than a soundtrack, images going further than video wallpaper. A three-way conversation modulating sonic and luminous pulse and flow.

Sensors capture gesture and corporeal movement, translating them into digital data. Ultrasound sensors measure the distance between the performer's hands and her machine, allowing her to articulate 3D imagery, navigating in color, scale, texture. The Theremin, historical electronic instrument invented in 1919, an oscillator responds to perturbations of electrostatic fields based on the distance of the hands and body to the instrument. The BioMuse places gel electrodes on the performer's forearms, analyzing EMG biosignals. Muscle tension through concentrated movement allows the musician to sculpt sound synthesis.

 

Maurice Benayoun and Jean-Baptiste Barrière 'e-Spotting' (Emotions Spotting)

Playing instruments is the common lot of music. Playing with emotions is the common lot of politics and entertainment. Considering the Net as the World nerves system, checking the news on the Web becomes a way to get a real time image of the world state of mind. Starting with that data, we build up the dynamic maps of the emotions of the planet.

e-Spotting is a music/Internet on-stage performance in which the world's emotions are the musical instruments. Maurice Benayoun and Jean-Baptiste Barrière play the maps of the emotions extracted in real time from the Net. On stage a big screen displays the mixing of the maps of different emotions. The maps are made of words, whose size correlates with the number of hits related to emotions for 3200 cities around the world. Separate globe-like maps of emotions, from ‘‘terrified'' to ‘‘ecstatic'', display the actual emotional state of the world ready to be converted into music. Meridian lines turns around each sphere, building the sound by scanning the maps of the emotion like reading a musical score. The directors control the speed, the frequency, timbre and the texture of sounds.

Using VR binoculars, Maurice Benayoun visually explores on stage the maps from inside the globes, selecting by watching the zones of emotions. By observing the world, watching becomes a way to mix feelings and to extract the euphoric, enigmatic or pathetic music out of it.

Software by Brigit Lichtenegger; this performance is a co-production with V2_

 

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