Take Off Sound - Snippet - Tomoko Nakasato & Ectoplastic (motion tracking, binaural, 3D audio) скачать в хорошем качестве

Take Off Sound - Snippet - Tomoko Nakasato & Ectoplastic (motion tracking, binaural, 3D audio)

The performance explores the creation of sound through movements - and conversely, the direction of movements through sound. Tomoko becomes a human mixing console: her image sends data to generative synths, effect chains, and spatializes noises. Comparable to a contact session between man and machine, she interprets the musical fragments by SchneiderTM and Jakob Gruhl. The performance was sponsored by Musikfonds eV and produced with the kind support of ZiMMT eV. Since the 1980s and the breakthrough of electronic music, there has been a discrepancy between the sound production of electronic music and the gesture inherent in playing an instrument. DJs and spectacular shows question the live performance of electronic music per se. This development is also counteracted by “kinetic Mickey Mousing”, as Stefanie Alisch calls air DJs and air guitar players. Stefanie Alisch rightly speculates in “Seeing Music” about a “kinetic primacy” of dance in connection with the visual reception of electronic music. In contrast, live coders, for example, have been visually revealing their work since the 2000s and creating absolute transparency, even if only a few can understand it. In 1997, in relation to contemporary ambient performances, Terre Thaemlitz noted a trend towards installation media in which “people are transformed into their own mixing consoles”. While Thaemlitz refers to the exploration of sound spaces, from today's perspective the tracking technologies seem evident. Tomoko Nakasato and Ectoplastic take an intermediate path in the project “Take Off Sound”: dance and performance become the medium of interpretation of musical compositions and, in the eyes of the recipient, their sonification, so to speak. The formations created go beyond space and bodies, musically through 3D audio, visually through geometries. The figure becomes an extension of the physical presence, it becomes an instrument and an active object of memory. At the same time, an invisible connection is created between man and machine (composer), the intensity of which is similar to contact improvisation and is immediately noticeable in the room. The setup consists of a PC/laptop with the Mazetools software developed by Ectoplastic by Stephan Kloß, a Kinect V2 for detecting movements, an audio interface for surround sound output, and 3 video outputs for projections. In the performance, Tomoko acts autonomously, because he does not change the scenes created by Jakob Gruhl live, only switches them on. These transitions are the only moments in which the two's actions meet. Tomoko Nakasato, from Hokkaido, Japan, began as a hip-hop street dancer in the 90s and combines this experience with contemporary dance techniques, ballet, sound art and physical therapy. She has lived and worked in Berlin since 2008. From 2011 to today she has worked internationally with people like Ilpo Väisänen (Pan sonic, the Angel), Dirk Dresselhaus (Schneider TM, the Angel), Jochen Arbeit (Einstiegde Neuhäusern), Damo Suzuki (Ex-Can), Takako Suzuki, Takehito Koganezawa and Frank Bretschneider (Raster-Noton). Tomoko Nakasato, choreography and performance Jakob Gruhl, composition and sound editing Stephan Kloß, software development BIEST, clothing Camera & Editing: Clemens Jurk With music by schneiderTM Produced by Ectoplastic Funded by Musikfonds eV by means of the Federal Government Commissioner for Culture and the Media. With the friendly support of ZiMMT e.V. For more information please visit our website: https://www.ectoplastic.com/takeoffso... (c) Ectoplastic, 2024