Intersections - Nguyen Dang Binh

J.U. Lensing
(THEATER DER KLäNGE)
HOEReographien
Interactive performance
ARTIST STATEMENT
HOEReographien’s starting point is questioning the dependence
of classical dance on music. To what extent can movements and
movement lines become audible in space? What will happen when
music arises from movement and if, within that context, musicians
and dancers interact? And what if the dancer’s body is filmed on the
stage and converted in real time into a video sculpture that, in turn,
interacts with human bodies on the stage to produce a conglomerate
that produces material and virtual dance?
If music results from the movement of dance and, therefore, the
structure of the composition is not developed, adapted, and interpreted
through music composition, what is the role of the dancer?
How will this affect dance?
How do musical variations and development forms appear visually,
in order to provide movement, resulting in a sound that is, at first,
amorphous but later adopts an understandable form and structure?
Which form of contemporary light and video art results from this
interactive action?
And how can this “new” process be made understandable for a live
audience?
CONTACT
Electronic Art and Animation Catalog Art Gallery Electronically Mediated Performances
J.U. Lensing
THEATER DER KläNGE
Winkelsfelderstraße 21
40477 Düsseldorf, Germany
info@theater-der-klaenge.de
www.theater-der-klaenge.de
COLLABORATORS
J.U.lensing, director
Thomas Neuhaus, music
Christian Schroeder, light
lucy lungley, video programming
Jacqueline Fischer, choreographer
Jenny Ecke, dancer
Jelena Ivanovi, dancer
Caitlin Smith, dancer
Hana Zanin, dancer
HOEReographien is a cycle of single pieces (Soli, Pas de Deux, Trios,
Quartet) in the form of dance, through which electronic music is
produced. Dance that develops video sculptures and dance from live
structured improvisations, a constellation that, with mixed shapes,
results in an overall visual composition in the form of “autonomous”
dramatic art that supports the concept of “autonomous music.”
TECHNICAl STATEMENT
A black-and-white camera delivers 25 images per second to a PC
running the software Eyecon, which transforms the pictures to
controlling data for electronic sound and structures programmed in
3ds Max.
Three mini-DV cameras each record another frame from the stage.
For different sets in the performances, one of these three cameras
receives its pictures from a Power Mac running Max/MsP/Jitter,
which transforms the color-camera frames in live-Video-Art. In a
few sets, Max/MSP/Jitter receives control data from Powerbook
Music-Max, so that even the dynamic of the changes in the videosculptures
are controlled by the movements of the dancers.