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J.viewz playing Teardrop with vegetables

J.viewz playing Teardrop with vegetables
Related:  Interactive Workshop Examples

Catherine Béchard & Sabin Hudon » L’oreille [é]tendue — 2013 L’oreille [é]tendue — 2013 Matériaux : papier, résine époxy, aluminium, acier galvanisé, plastique Dans le cadre de son 20e anniversaire, Avatar commande une oeuvre au collectif Catherine Béchard & Sabin Hudon. L’oreille [é]tendue est un projet qui crée un parcours sonore comprenant vingt dispositifs d’écoute, dispersés dans huit lieux situés entre le Parc Victoria et le Bassin Louise à Québec. Réalisée à partir du matériau sonore qui jouit traditionnellement d’une position seconde ou mineure par rapport au visible dans la vie de tout un chacun, l’œuvre L’oreille [é]tendue propose une simple manière d’explorer notre environnement. Material : paper, resine epoxy, aluminium, galvanized steel, plastic L’oreille [é]tendue (the extending ear) is a sound itinerary with 20 audio devices disseminated on 8 outdoor sites located between parc Victoria and bassin Louise in Quebec City, where hearing aids await the ear. Publications — Médias électroniques Art public / Public Art

Simple Harmonic Motion for Light at One Arts Plaza 20x moving head spotlights 4ch sound custom software Duration: infinite loop (1 hour cycle) Dimensions: 10m x 16m Simple Harmonic Motion at the One Arts Plaza, Dallas, Texas as part of Dallas Aurora Festival 2015. Other works from this series and more information on the series of work in general can be found here. Simple Harmonic Motion is an ongoing series of projects and research investigating complexity from simplicity – specifically the emergence of complex behaviour through the interaction of simple multilayered rhythms. Simple Harmonic Motion for Light is a site specific sound and light installation for robotic spotlights and surround sound. Made with openFrameworks.

electronic plant music Installation sonore dans un silo chimique La boite verte :) :o :'( :p :/ :D ಠ_ಠ Installation sonore dans un silo chimique 30 mai 2013 | Art , Bonus | 0 Comments et 12 Reactions L’artiste Zimoun a créé cette installation sonore dans un ancien silo de toluène abandonné en le peignant en blanc et en y installant 329 petits moteurs reliés à des boules de coton qui viennent frapper l’intérieur de la cuve. Si vous avez aimé cet article partagez le : La réaction chimique oscillante de Briggs-Rauscher Une île dans un lac dans une île dans un lac dans une île Comment tailler des arbustes en boules ou en cônes L’attaque des virevoltants Peintures en relief dans de la résine 1000 ans de guerres dans le monde Récents Best of Return to top of page Règles de confidentialité | © 2013La boite verte

Interactive theatre: five rules of play from an audience perspective | Culture professionals network Interactive theatre is not a new genre, but its popularity has exploded. Tricky to define but characterised by an active, physical relationship between audience and production, it often incorporates a site-specific venue around which the audience is free to roam. Shunt, arguably the daddy of this genre, has inspired countless other companies, all wrestling for space on the fringe. Done well, interactive theatre is extraordinary: engaging, exhilarating and transcendent. All too often, however, so-called 'interactive' shows are sloppy and ineffective. With this in mind here are five rules for interactive theatre from an audience perspective, based on my own experiences at a range of shows. Think outside your venue Site-specific venues range from reclaimed spaces to venues constructed entirely from scratch or the great outdoors. Fringe favourite Briony Kimmings is a master of this art and her show, Mega, dumped the audience in a barren roundabout in Ipswich. Keep things simple(r)

Music made in the canopy When theatre goes digital - The Space When we think about theatre and digital technology, what usually springs to mind is live screening. Broadcasting live performance online or direct to cinema or TV screens is a fantastic way of broadening access, but it doesn’t usually have much of an impact on the work itself. It doesn’t really affect audience engagement either – you’re still just watching the show, whether in a theatre, a cinema, or on a smartphone from a caravan in the Scottish Highlands. More and more companies, however, are engaging with digital technology in increasingly inventive ways, putting it at the very core of what they do and pushing the boundaries of audience experience as a result. When director Alexander Devriendt of the Belgian theatre company Ontroerend Goed came up with the idea for Fight Night (pictured above), a show about democracy and the act of voting, he “immediately felt that the audience have to be part of it. But digitisation wasn’t just a logistical choice, says Svendsen.

We invite an FM appealing msuican to record in the canopy Digital Drama: The technology transforming theatre "Vidiots, they sometimes call us," admits Timothy Bird. Some people in the theatre industry don't take kindly to the innovations that Mr Bird and his team at Knifedge are introducing to the stage. Innovations like a computer-generated avatar sword-fighting an actor live on stage in his most recent show Pippin, transporting the audience to the world of a computer game. Or the sight of a Seurat painting gradually coming to life on stage in Sunday in the Park with George, the show which cemented Knifedge's reputation with an Olivier award for Best Set Design in 2007. Impressive feats like these by Mr Bird and others like him have meant that in the last five years the role of "video designer" has become increasingly common in theatrical programme credits - a term hardly known a decade ago. So who are these "vidiots", and what do they want to do to theatre? No 3D glasses required "Theatre is very different," he says. Image copyright Other Image copyright bbc 'Mere spectacle' Classic drama Critical eye

actual sounds of the canopy remixed by another musician