festival (82)
A google traduction French 2 English
Pour ceux qui me suivent depuis un momment je vous ai déjà parler de la borne innovanews developpé par Digimind & Pikko dans le cadre de l’Observatoire des Innovations et du projet innovanews à la Cité des Sciences
Rajouter à cela une micro veille sur les instruments du futurs et plus particulierement leurs interfaces ...
J'étais aux anges pendant la conference sur la realitée augmentée organisée en collaboration avec Demain la lune et Future-instruments durant le jamais assez recomandé MAPPING FESTIVALJe reprends ici les pistes d'outil de processing évoquée au début de la conférence par DEMAIN LA LUNE
Le processing KEZAKO?
Processing :Les outils de réalitée augementée présenteé par Demainlalune.ch
Langage de programmation & environnement de dév "multimédia" de Design by numbers. prolongement "multimédia" de Design by
numbers l'environnement de prog graphique développé par John Maeda du le Media Lab du Massachusetts Institute of Technology.
Le logiciel processing à pour vocation la création plastique
et graphique interactive. (MAC, WINDOWS, LINUX) Source: WIKIPEDIA
NDLR :A ce que j'ai compris le terme est devenu générique pour definir les outils de création interactives
ARToolKit http://www.hitl.washington.edu/artoolkit/
is a software library for building Augmented Reality (AR) applications. These are applications that involve the overlay of virtual imagery on the real world. For example, in the image to the right a three-dimensional virtual character appears standing on a real card. It can be seen by the user in the head set display they are wearing. When the user moves the card, the virtual character moves with it and appears attached to the real object.
DECOUVERTE DE L'ARTOOLKIT Via http://deptinfo.unice.fr/~renevier/nmi/
open-source electronics prototyping platform based on flexible, easy-to-use hardware and software. It's intended for artists, designers, hobbyists, and anyone interested in creating interactive objects or environments.Processing
pen source programming language and environment for people who want to program images, animation, and interactions. It is used by students, artists, designers, researchers, and hobbyists for learning, prototyping, and production. It is created to teach fundamentals of computer programming within a visual context and to serve as a software sketchbook and professional production tool.Openframeworks.cc
Cours en ligne de l'École d'Art d'Aix-en-Provence
Cours en ligne de l'Université Paris 8
The library is designed to work as a general purpose glue, and wraps together several commonly used libraries under a tidy interface: openGL for graphics, rtAudio for audio input and output, freeType for fonts,freeImage for image input and output, quicktime for video playing and sequence grabbing.GAMUZA
The code is written to be both cross platform (PC, Mac, Linux, iPhone) and cross compiler. The API is
designed to be minimal and easy to grasp. There are very few classes, and inside of those classes, there are very few functions. The code has been implemented so that within the classes there are minimal cross-referening, making it quite easy to rip out and reuse, if you need, or to extend.
A specific tool designed for non-professional or absolute beginners programmers working on art/interaction/design field, and to
provide an easy-to-use fast-approaching tool to cover computer vision interaction design teaching needs(otras).
May 11th
As a festival like this, or maybe every festival, it is always a contact-making-connections-pool.
Along those lines the day yesterday ended in an open space introducing the people who give the workshops.
Everyone who was interested in talking a little about their work, their art-approach, projects etc. got a microphone in his/her hand and could give a glimpse into their life to the audience.
Today we(*) started our workshop for interactive environments. Talking about recent projects and showing some video material to expose the listener to some ways of making use of the system/environment.
I was talking about the need of finding a common working-language. Just by trying to understand the other participating project-developer. Which means, everyone creating a performance (for instance) should move a little in the interactive space, should look over the shoulder of the musician, try to comprehend the graphic program or install the camera system. Within this crossing the boarders you bring everyone to a point of equality. There you have a chance of a communication which eventually will lead to an artistic output with hopefully some semantic comprehensible line for the audience.
Across the hall where the festival happens, Alexander Carot ( http://www.carot.de/ ) is giving his workshop on a software he developed to enable musicians to rehears and perform together without meeting in real person. Having the problem of delivering the sound with a delay he invented his software “Soundjack” ( http://www.soundjack.eu ).
( http://www.daal.at/ )
After a very intriguing key note by Mark Coniglio about his work, he is giving a workshop on the software Isabora, which he invented himself.
In his lecture he was talking about some art pieces which work with the matter of fact that we are the number one in our life.
I am - is the most used expression in Skype chat.
When we use interactive environments we are fascinated by the music I can create because I move (or graphics etc).
Mark introduced us to one of his recent works "loopdiver". Loopdiver was created with the Isadora software.
They basically filmed a dance phrase from 6 different ankles and then cut them apart and together in all possible orders. In addition they put loops on top with different durations and so on.
At the end, the dancer had to learn what they created with the software.
( http://www.troikaranch.org/vid-loopDiver.html )
In one corner you could see a huge table with stooped people around again soldering something together. The goal was to built a small LED Gadget/Screen with a USB connection which can be fed with any information you want. Some of the components just need to get a software, which has yet to be written.
Before dinner time I was sitting together with some people and Frode Volden (docent for cognitive psychology and human interface design at Gjøvik university) for a so called focus talk.
The question to discuss was on perception of quality. What does it mean to us. How do we use it in a artist approach.
This focus talk is used as a platform to develop a new vocabulary in the field of audio-visual cognition in order to find a way to measure quality. To install parameters and make technology/interfaces more effective, better designed for an intuitive use, to simply define it with its own words/vocabulary.
A few statements shall be listed here
- in the moment there is human energy invested it has a high level of quality
- everything containing passion has high quality
- that would be nice
- it is a matter of (expert) knowledge if you receive something as high or low or no quality
- it's a matter of content
- don't mix high and low quality components
- but "south park" does it
- does technology helps to raise the level of quality?
- depends on the use of it
- restrictions within the use of technologies can be useful
and so on.
Frode Volden was mostly listening, making some notes and asking some questions.
Even that we all came from a very different background (musician, dancer, wearable LED artist, VJ, programmer) we were able to talk on an equal level. We made similar experiences and so had a platform of communication in a high quality ;-)
After dinner there will be a concert with Alexander Carot.
We is:
Marko Ritter - VVVV programmer - http://blog.intolight.de
Valérie-Françoise Vogt - graphic design - http://veevee.de
Jacob Korn - musician (Abelton, Max 4life) - http://www.jacobkorn.de/
Johanna Roggan - dancer, choreographer - www.moveonit.net
A new laboratory-like festival has been born. In Oslo, Norway. Out of nothing Dr. Alexander Eichhorn ( http://www.dance-tech.net/profile/echa ) organized a whole festival by himself. Inviting artists (dancers/choreographers, musicians, code-poets, interior designer, visual designer), programmer, nerds as well as students from the university Oslo to lead workshops in the wide field of media art.
Introduction to OpenFrameworks, Motion Capture Systems and Techniques, BoBo – Gadgetto, Isadora – Advanced Features Quick Boot, Using Interactive Environments for Performance (dance, visuals, music), Telematic Interaction – How physical and technical restrictions determine artistic consequences, Systematic Understanding of Music.
http://art-on-wires.org/workshops
After a nice long ride from Dresden, Germany to Oslo, we(*) arrived with a lot of equipment for the workshop we're going to give. Using Interactive Environments for Performance (dance, visuals, music).
A warm atmosphere and friendly people were welcoming us.
On Sunday and today we set up the festival venue at the Kanonenhallen and due to the fact that there are not so many people from the "outside" (people who would just come to take a workshop) have signed in and all the workshop-leaders are wanting to go to the other workshops as well, we decided not to have the workshops overlapping, but giving space that everyone could participate in every workshop and/or to tinker on or with something...
This is how we started today. With some setting up, a nice lunch and a short introduction speech from Dr. Eichhorn.
Now people listen to the OpenFramework lecture and already implementing codes.
Mark Coniglio ( http://www.dance-tech.net/profile/TroikaRanch ) gives kind of a private workshop for two people on the software Isadora, which he invented.
Everything is quite informal and relaxed - a good start for a young festival.
(*)
We is:
Marko Ritter - VVVV programmer - http://blog.intolight.de
Valérie-Françoise Vogt - graphic design - http://veevee.de
Jacob Korn - musician (Abelton, Max 4life) - http://www.jacobkorn.de/
Johanna Roggan - dancer, choreographer - www.moveonit.net
About me, Johanna Roggan:
I'm a dancer, dance creator, teacher. Currently residing in Dresden, Germany. Working together with the non-profit organization Trans-Media-Academy (TMA) Hellerau ( http://t-m-a.de/ ).
I'm going to give a workshop here in Oslo for interactive environments. Questioning the need of interactivity in performances, how long is it supportive and when does it turn into a show effect.
About communication between the performance-developer (the dancer, the programmer, the designer) - how to find a common working language.
Rebecca Parris was born on December 28, 1951 in Newton, Massachusetts into a family of educators and musicians. Her early career is marked by studies with world-class vocal coach, Blair MacClosky, and attendance at Boston Conservatory. At first she toured with top 40’s bands, then became immersed in the American jazz genre of singing, developing herdistinctive version of improvisation, scat, exemplary phrasing, and masterful story telling.
Parris has performed worldwide with great jazz legends, including Dizzy Gillespie, Buddy Rich, Wynton arsalis, Gary Burton, Count
Basie, Woody Herman, Terry Gibbs, David “Fathead” Newman, Norman Simmons. Harold Jones, Andy Simpkins, Gerry Wiggins, Bill Cunliffe, Red Mitchell, Buster Cooper, Nat Pierce, and many others. Rebecca has performed at the legendary Monterey Jazz Festival in '90 & '95, North Sea Jazz Festival, >Oslo Jazz Festival and the International
Floating Jazz Festival, continuing to exemplify American jazz singing across the globe.
Rebecca's latest release is You Don't Know Me on the Saying It With Jazz label. Rebecca performs some
well-chosen standards with her long-time trio: Brad Hatfield, piano; Peter
Kontrimas, bass; and Matt Gordy, drums. Rebecca's previous releases include her
all-ballads CD, My Foolish Heart, The Secret of Christmas"Arial Narrow"; A Beautiful Friendship, with the Kenny Hadley Big Band, Double Rainbow with Eddie Higgins and Michael Monaghan, A Passionate Fling, Love Comes and Goes, and Live at Chan's. (go to: http://www.rebeccaparris.com)
Additional to performing, Rebecca is a noteworthy vocal teacher, widely in demand, from students near and far, that don’t mind traveling to benefit from her instruction. She is also a community activist who has led benefit concerts for numerous charities and causes, is an ardent supporter of “Save School Music,” and a recent advocate of the “Massachusetts Dance Festival.”
Rebecca Parris will be opening for two weekends of dance festivals during the first statewide MDF events, beginning on Saturday August 21st @ 8:00 pm, at the Boston Ballet top floor performance venue, and the following Saturday, August 28th, and the Fine Arts Center in Amherst. Sheyes""> will perform a few of her favorite jazz songs, then turn the
stage over to 11 professional dance companies for the evening.
Having just attended another spectacular performance by Rebecca last night, I can vouch that our regional icon and “First Lady of Jazz” from Massachusetts, is fully engaging in her playful, serious, sensuous way, that pulls you into an astounding musical experience.
Ticket prices for August 21st and 28th are $25.00 at the door, $20.00 in advance. Go to: http://www.massdancefestival.org/tickets.html
to order in advance.
And enjoy the show!
Article by Lisa Leake
After an AMAZING evening with 3 professors playing music for us, a handsome live act by Jacob Korn, amongst others, and a very cosy atmosphere, the next day started relatively relaxed and a bit late. For me at least.
Jacob Korn gave his Abelton live/MAX MSP workshop.
Here and there was still some working, talking, tinkering around going on.
Within the festival there was a small scholarship given for two projects.
Veronika Mayerböck, Jordi Puig & Wendy Ann Mansilla presented us their work-in-progress results from the last 4 days of researching. Veronika was hunting for a way to let music response to light changes.
Jordi Puig and Wendy Ann Mansilla were working on light changes in 3D environments.
But in general we had to dismantle everything.We (the Dresden crew) left around 5pm.
It's not the easiest to make a synopsis on the last 4 days.
We all had a very good time. We met new people, were listening to interesting keynotes and workshops, we had good food and good music all the time. We learned new things or immersed deeper into topics, software or conversations.
We were part of a great birth of new and promising festival for media art on wires.
For the next year we all just hope for more audience. This festival needs to be seen!
People missed out something very special.
A BIG thank you to Alexander Eichhorn and all the hands and good souls behind the scene! Great work, well done!
Thanks for reading,
Johanna
Massachusetts Dance Festival’s first annual statewide events, sponsored by the UMass Amherst Department of Musicand Dance, will be held August 21st and 22nd at Boston Ballet, 19 Clarendon Street,Boston, and August 28th and 29th, at UMass Amherst (Totman Building) and The Fine Arts Center, Amherst. 2010 events at both sites includeSaturday evening performances by eleven professional dance companies, andSunday late afternoon performances by eleven emerging dance companies,representing genres of ballet, jazz, modern, contemporary, multimedia, EastIndian, and hip hop/jazz. Each presentation reveals the sheer creative power ofdance – the breadth of training and talent across the Commonwealth – ofphysicality, technical excellence, emotional exuberance, and compellingartistry, that is certain to attract and engage audiences of all ages andbackgrounds.
Innovative choreographies of two weekends include: 1) “Marionette,” which questions the notion of “success,” reflectingthe “struggle to get ahead in business, financial, and personal lives…driven byrelentless social images,” choreographedby Katherine Hooper of BoSoma DanceCompany, where athleticism and the “constant energy of phrasing” propelsdancers ahead three steps, and back only two; 2) A dramatic selection by Contrapose Dance entitled “Sanitas,” which approaches society’s “recent obsession withcleanliness and staying free of sickness,” plummeting deeply into the humanpsyche … gripping audiences while challenging dancers through feats of athleticand artistic elocution; 3) Monkeyhousedancers’ newest creation, “"Times New Roman Italic""">Against the Odds11.0pt"">,” which “explores themes of endangerment and stagnancy,” and theenormous effort required to get “unstuck,” using a series of ‘found sound’recordings of rain and train station buskers; 4) A multi-media celebration ofthe Connecticut River by Sorvino DanceProject called “Downstream,” where fluid movements are adapted to the power,stillness, and interruptions of the river, against a backdrop of SamPettengill’s visual artwork, and a magnetic improvisational and polyrhythmicmusical landscape; 5) An energetic and uplifting piece, Mariah Steele’s “Simon &Garfunkel Suite,” which portrays a“desire to celebrate life and the human experience in all its grit and humor,dust and glory… a love of community, awe of our bodies’ vast capabilities … anda deep faith in humanity.”
Additional to dance performances are a total of 48 dance classes for adults and childrenin Boston, August 21st and 22nd, and in Amherst, August28th and 29th, between the hours of 11:00 am and 5:00 pmon Saturdays, and between 11:00 am and 3:00 pm on Sundays. Massachusettsmaster dancers, college and K-12 educators, and industry specialists covergenres of ballet, jazz, tap, modern, African, Cuban Salsa, hip hop, “inclusivedance for physically disabled dancers,” and a diverse range of innovativechildren’s dance classes. Specialty workshops on “dance photography,” “managing a successfulcultural business,” and “healthy dancers” will also run adjacent to movementclasses, offering a full spectrum of activities for all ages and levels ofaudience participants.
MDF’s Emcee for both Saturday nights is Massachusetts native and national jazz icon, RebeccaParris, who will open both performances and sing two of her favorite,popular jazz standards. She is an ardent supporter of music and danceperformance and education in Massachusetts, and a tireless promoter of theMassachusetts Dance Festival’s mission:
“…to revitalize dance and arts-related professions by developing partnerships withbusinesses, corporations, institutions and communities. MassachusettsDance Festival believes that dance, as a major component of arts and culture,is essential to meaningful lives and healthy communities. Dance and artseducation contribute to quality life in the 21st Century byproviding rich education for youth and promoting cultural understanding andtolerance within diverse communities.”
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Tickets are $25.00 and can be purchased in advance or at the door. Discounts areavailable for Boston Dance Alliance Members, students, senior citizens, andgroups of 10 or more. Call: (508) 429-7577 for ticketsales information. You may alsopay for tickets in advance, through Pay Pal, at the Massachusetts DanceFestival web site http://massdancefestival.org.
For a full listing of performing artists and adult and student dance classes, go to: 11.0pt"">http://www.massdancefestival.org/performers.html and 11.0pt"">http://www.massdancefestival.org/schedule.html.
MDF is a registered 501(C) 3 non-profit, with its 2010 summer dance festivalsupported by: Body Grooves,Boston Dance Alliance, Dancing Arts Center, the Dance Inn, Hot Stepz Magazine, North Shore Dance Alliance, Red Fez Restaurant, and Teddy Shoes.yes""> Senator Sonia Chang Díaz,Chair of the Tourism, Arts, and Cultural Development Committee, endorses the Massachusetts Dance Festival.
MDF can help to establish Massachusetts asan important destination for arts, culture and tourism.
Photo of BoSoma Dance Company
First some pictures:
http://www.flickr.com/photos/art-on-wires/
This day we started the interactive environment workshop with introducing the software VVVV (V4). Two rows of laptops (which have to run windows for using V4) were set in front of a screen to show each single step on it. Valerie Vogt and Marko Ritter were conducting the workshop and walking around to help out with any problem the participants might have.
It was an short and very basic introduction of how to use it and what is possible beside making 3D generated graphics.
One of the most beautiful things here at the festival is the feeling of equality with every person. Two luminaries of the media art section were holding a keynote and afterwards they just hang out, talk to who ever is having a question. There is no privileging going on. Just Sharing knowledge, interest and going for ones curiosities.
Lars Graugaard, Anders Friberg both from the Stockholm university, Alexander Refus Jensenius (Olso university) and Aki Asgeirsson from Iceland hold a keynote on „systematic understanding of music“ by presenting several projects.
Music and emotion and creating new instruments were the trigger point of their lecture.
Coming from the fact that there is a level of emotional content inside every musical piece, they disassemble the vocabulary in order to categorize it into parameters like sad, happy, angry, tenderness/love etc.
Knowing that an expert listener is able to distinguish different moods easily but not an untrained ear, every research issue comes across psychology.
Emotion perception – listeners' perception of emotional expression.
Lars Grauggard and Anders Friberg presented then a software based on MAX/MSP which works with these parameters to analyze music and/or create new music pieces.
http://www.graugaard-music.dk/
Alexander Refus Jensenius gave us a brief glimpse on his, still in germinal, SUM sensor device. A gadget like tool to measure emotions. Using the information of blood preasure (via infrared), skin conduction and movement, the small sensor device in your hand gives a lot of parameters to scale your sensitivities.
It is still under construction but could be used in performances to navigate other out/input for instance.
http://art-on-wires.org/workshops/sum
Aki Asgeirsson presented us some of his new instruments he invented. One is an impossible one but still quite impressive. He would use the tunnels of Iceland. Tunnels such as for cars, wires, water. On one side he would place a violin snail on the other end a horn looking like amplifier. For every tunnel the same set up. The audience would be sitting in the center of Icland and receive all tones from all tunnels. BUT – the tunnels have to be empty. So that is the impossible part of it.
http://slatur.is/aki/about.html
After a short break Atau Tanaka was holding his keynot about various projects he has done.
He was working on using networks as a performance space, network music and many different music-related projects and research fields.
I really recommend to read his papers or watch the recorded lecture (online soon on www.art-on-wires.org)
http://www.ataut.net/site/spip.php?page=plan
http://www.ncl.ac.uk/culturelab/people/profile/atau.tanaka
Before lunch time Alexander Eichhorn announced the open laboratory space – so who ever is interested in collaborating with one, two, three of the others at this festival, should go for it and maybe we have something to show at the end.
It is meant to be an option of crossing boarders, of overcoming the idea of this or that could never funktion together but just trying it out and having fun within it and maybe have some outcome.
There is some not so well recognized stuff going on as well. Beside two always very tasty meals (lunch and dinner (German chefs)), the crew FEM ( www.fem.tu-ilmenau.de ) is, beside managing all sound and light happenings, recording and live-streaming the whole festival all the time. All lectures, keynotes, workshops are streamed and most of them will be online soon – if you missed something.
The evening concert series is about to start. All the musicians, producers and Vj's in the hall are going to have some great fun together.
At first all is a live act and then the Dj's will finish us up..
Pierre Proske (music), Arturo Castro (visuals), Jacob Korn (music), Marko Ritter (visuals), Lars Graugraad (music), Aki Asgeirsson (music), Atau Tanaka (music) and then the two Dj's Rainer Wachtelborn and Dj Subway.
www.jacobkorn.de
www.residentadvisor.net/dj/rainerwachtelborn
www.myspace.com/_subway
www.digitalstar.net/about/
http://arturocastro.net/index.html
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