Performed live at BodyControlled #4, 13.07.2012 
LEAP Berlin - http://leap-berlin.tumblr.com/bc04

Music for Flesh II
Interactive music performance for enhanced body (‘Xth Sense Bionsensing Technology)

Music for Flesh II (MFII) is a seamless mediation between human biosonic potential and algorithmic composition. By enabling a computer to sense and amplify the muscular sounds of human tissues, the work approaches the biological body as a means for computational artistry. Muscle movements and blood flow produce subcutaneous mechanical oscillations, which are nothing but low frequency sound waves. Two microphone sensors capture the sonic matter created by his limbs and send it to a computer. This develops an understanding of his kinetic behaviour by *listening* to the friction of his flesh. According to this information, it manipulates algorithmically the sound of my flesh and diffuses it through loudspeakers. The neural and biological signals that drive the performer’s actions become analogous expressive matter, for they emerge as a tangible haunting soundscape.

MFII is based on the Xth Sense’ a new and original, biophysical interactive system based on free, open source tools developed by the author. The Xth Sense (XS) was recently awarded the first prize in the Margaret Guthman Musical Instrument Competition (Georgia Tech, US 2012) as the “world’s most innovative new musical instrument”.

Marco Donnarumma - http://marcodonnarumma.com

Marco Donnarumma - Music for Flesh II

Performed live at BodyControlled #4, 13.07.2012
LEAP Berlin - http://leap-berlin.tumblr.com/bc04

Performance using an electroencephalogram and real time media by Claudia Robles-Angel about the materialization of the performer’s thoughts and feelings on the stage. In the performance, imagination becomes spatial. The stage is a place for the appearance of the invisible. Yasu Ohashi says: “the actors aim at our senses, our body and our unconscious and not at our intellect. Their gestures try to envision THE INVISIBLE WORLD”. The performer, who is surrounded by sound and images, interacts with them using an EEG (electroencephalogram) interface, which measures the performer’s brain activity. Those sounds and images – some already stored in the computer, some produced in real time – are modified consequently by the brain data via MAX/JITTER. Hence, the performer determines how those combinations will be revealed to the audience. Images are projected on a screen and also onto the performer, while sounds are projected in surround.

Claudia Robles Angel - www.claudearobles.de

Claudia Robles Angel - INsideOUT

Sound-Performances at the Finissage of 

"Limited Limitlessness - new findings in primitive digital art"
Exhibition 21.07.-03.08.2012

http://leap-berlin.tumblr.com/limit
www.facebook.com/leap.berlin


64 VIEWS AND EYES by Karin Lustenberger
Techno-ized and by the virtue of physically chaotic movement structures, subjective camera views are generated – a local psychogeografic field recording in orbits.

Poulonk by Owen Roberts
Hardware, clarinet, bass clarinet. Real-time textural compositions with improvised clarinet and pre-produced sound sources.

Silicone Dream by Constantin Engelmann 
Solely an Atmel Atmega 8bit microcontroller is used to generate patterns and sounds based on its own program code at execution time. Its invisible inner structure is being transferred into audible objects.



info@leapknecht.de

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Owen Roberts - Poulonk

Constantin Engelmann - Silicone Dream

Sound-Performances at the Finissage of "Limited Limitlessness - new findings in primitive digital art"
Exhibition 21.07.-03.08.2012

http://leap-berlin.tumblr.com/limit
www.facebook.com/leap.berlin

___________________________________________________________________________________________________________________________________________________________________________________________________

64 VIEWS AND EYES by Karin Lustenberger
Techno-ized and by the virtue of physically chaotic movement structures, subjective camera views are generated – a local psychogeografic field recording in orbits.

Poulonk by Owen Roberts
Hardware, clarinet, bass clarinet. Real-time textural compositions with improvised clarinet and pre-produced sound sources.

Silicone Dream by Constantin Engelmann 
Solely an Atmel Atmega 8bit microcontroller is used to generate patterns and sounds based on its own program code at execution time. Its invisible inner structure is being transferred into audible objects.

___________________________________________________________________________________________________________________________________________________________________________________________________



info@leapknecht.de

How to find LEAP: http://vimeo.com/20384216

subscribe to newsletter: http://bit.ly/NSf7VL

Website: www.leapknecht.de
Facebook: www.facebook.com/leap.berlin
Twitter: http://twitter.com/leapberlin
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Vimeo www.vimeo.com/leapberlin
Vimeo Channel www.vimeo.com/channels/leap
Soundcloud: http://soundcloud.com/leap-berlin

Karin Lustenberger - 64 VIEWS AND EYES

Sound-Performances from Opening & Finissage of "Limited Limitlessness - new findings in primitive digital art".
Exhibition 21.07.-03.08.2012

http://leap-berlin.tumblr.com/limit
http://www.flickr.com/photos/leapberlin/sets/72157630789951268/
www.facebook.com/leap.berlin

___________________________________________________________________________________________________________________________________________________________________________________________________

64 VIEWS AND EYES by Karin Lustenberger
Techno-ized and by the virtue of physically chaotic movement structures, subjective camera views are generated – a local psychogeografic field recording in orbits.

Poulonk by Owen Roberts
Hardware, clarinet, bass clarinet. Real-time textural compositions with improvised clarinet and pre-produced sound sources.

Silicone Dream by Constantin Engelmann 
Solely an Atmel Atmega 8bit microcontroller is used to generate patterns and sounds based on its own program code at execution time. Its invisible inner structure is being transferred into audible objects.

Particulate Matter by Tobias Purfürst
Particulate Matter is a site specific piece with real time influence by the passing traffic and other unforeseen sounds. Cars and pedestriants become unknowingly performers, the street their stage and the front window a big screen, while the musical setting will bend and remix their 'acoustic behavior'. (live recording , sampling and processing in SuperCollider)

___________________________________________________________________________________________________________________________________________________________________________________________________



info@leapknecht.de

How to find LEAP: http://vimeo.com/20384216

subscribe to newsletter: http://bit.ly/NSf7VL

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Tobias Purfürst - Particulate Matter

Performed live at BodyControlled #3, 30.03.2012
LEAP Berlin - http://leap-berlin.tumblr.com/bc03

Nonlinear is a short and intense noise performance that uses audio feedback as its main means to explore the magic of unstable systems. It relates to the concept of no-input mixing
board performances but uses a software emulation instead of hardware. No external sound source or soundgenerator is used. 
Instead, a purposefully over-complex network of effect modules feed into each other, combined with mappings where each turn of a knob changes several tonal parameters simultaneously in different directions. Where no-input mixing boards use the ground noise of the electronic circuitry, its digital pendant gets excited by malfunctions of software modules that produce bursts of sound in irregular intervals making it impossible to
fully control the sonic events. 
The artistic challenge lies in wrestling with a hard-to-control instrument. The poetry of the sonic outcome in its raw, rampant character full of insecurity and unpredictability.

Pure - http://pure.test.at

Pure - Nonlinear

Performed live at BodyControlled #3, 30.03.2012
LEAP Berlin - http://leap-berlin.tumblr.com/bc03

Knyppel is a collaboration between Ann Rosén and Fredrik Olofsson. With the unusual
interfaces of lace pillows and embroidery hoops, they struggle to control a noisy audiovisual system. The system produces sound and graphics that are not always pleasant, and as Ann and Fredrik try to push it to their liking, an endless rabbit chase starts - a man-machine feedback loop. 
As with all feedback systems, it gets interesting only when there is some kind of ‘dirt’ in the feedback chain and no side wins. Here the dirt is the textile controllers and the duo’s inability to master them. They are built so that the performers just cannot react and counteract with speed, planning and precision. 
The performance by Knyppel highlights questions of what is fake and what is real, what is a call and what is a valid response, who or what made which sound?

KNYPPEL (Ann Rosén, Fredrik Olofsson) - http://www.knyppel.se/ 

Knyppel

Performed live at BodyControlled #3, 30.03.2012
LEAP Berlin - http://leap-berlin.tumblr.com/bc03

Can one improvise with computers and electronics in lively, expressive, complex ways; change directions instantly, and communicate within a common flow? Trio Brachiale likes to think they have had some good attempts at it ...

Dominik Hildebrand: computer, The Finger
Alberto de Campo: computer, electronics
Hannes Hoelzl: computer, electronics

Trio Brachiale

Lab for Electronic Arts and Performance (LEAP) is a project space for electronic, digital and performance art. LEAP is an interdisciplinary project that aims to forge relationships connecting Art, Science and Technology.

LEAP is a project by Daniel Franke, Kai Kreuzmüller and John McKiernan.

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LEAP
Lab for Electronic Arts and Performance
(Berlin Carré, 1st floor)
Karl-Liebknecht-Str. 13
10178 Berlin

how to find LEAP: vimeo.com/20384216