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'
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
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
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. 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