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Aufhebung

  • AV Performance
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Aufhebung
[Text nur in englischer Sprache verfügbar] Aufhebung is a live generative audiovisual performance. The artist develops, through images and sounds, questions about the philosophical term 'Aufhebung' used by Hegel in his 'Phenomenology of Spirit'.

This term, which has dubious meaning even in the original language can be translated as cancellation and maintenance. It is, at the same time, affirmation and negation, being and nonbeing. Hegel uses it to illustrate the process of development of all things, through the triad thesis / antithesis / synthesis.

Aufhebung would be the evolution process in which positive and negative forces coexist; a dialectical process that carries elements of a starting position and its opposite, allowing the results to have characteristics from both parties and, at the same time, differ from them.

The presentation brings reflections on this theme using abstract images and sounds that are generated in real time by the artist by means of custom built software and presented with the aid of an interface made with sensors, potentiometers and faders by which performance is played. The interface was specially constructed by the artist to give the public a more accurate perception of what happens during the performance, since there is a direct correspondence between the movements of the artist on stage and the immediate result of sound and images that are projected on the screen.

Watch complete studio recording [http://hol.1mpar.com/aufhebung_video_studio.htm" target="_blank" class="xx]

Watch video excerpts from the live performance [http://hol.1mpar.com/aufhebung_video.htm" target="_blank" class="xx]

Download the complete studio recording (file size=700M)

Download the complete live performace (file size=1.2G) [http://www.1mpar.com/download/hol_aufhebung_live.zip" target="_blank" class="xx]

Sound and image

In the performance, that lasts 30 minutes, every sound and visual element has an intrinsic relationship with the subject. The initial pure frequencies symbolize early stages of evolution. They are the key elements from which everything else is generated. In image, dots and white lines (white being the potential sum of all colors) begin to evolve from a triad that will generate all the rest. Like complex sounds that are composed of several frequencies and harmonics, the whole image is composed of colors and shapes that can be reduced to basic elements that comprise it. The complexity of sound and image evolves within the composition, starting from notes, frequencies and pure images formed by dots and lines, until the more complex harmonies and rhythms and, on the image side, three-dimensional shapes and colors.

The composition leaves conventional musical patterns by using elements from outside the standard Western scale. Instead of musical notes, frequencies are used. As these are infinitely greater in number than the traditional musical notes, the number of possibilities is extremely amplified.

Audio is split into five channels, inserting the spectator in a virtual ambient, where sounds come from all directions, synchronized with the images movements. Also very explored are the sub bass frequencies, below 100 Hz. These, as well as heard, are also felt by the viewer. Its use, linked to the performance concept, enables new ways to transmit the composition concept.

In the visual side, elements are generated in real time, algorithmically. There are no pre-recorded loops or captured images, everything is generated in real time, inside the computer, through specific programming designed to build a direct relationship with the subject.

The image quality is another feature of this performance. Generated at high resolution, they are clearly defined and well above the standard SD (720x480) normally used in live audiovisual performances.

Interface

For this performance, an interactive interface composed of sensors and LEDs was created and built by the artist, which, in addition to enabling new forms of performance by the artist, allows the public a better understanding of taken actions. By moving each of the "lids", a parameter of sound and / or image is changed. Thus, the viewer can understand through visual changes what is being made during the show.

The need for this visualization came from the fact that performances held in laptops do not give the public a sense of what is actually being played. The artist may be making a number of functions or only pushing one button to play the program alone and who is watching mostly cannot tell the difference. With this interface, on the other hand, all movements are seen by the public as with a "conventional" instrument such as a guitar, drums, etc.

The interface consists of four distance sensors, two bend sensors and four LEDs. The distance sensors positioned at the base of the instrument vary their parameters according to the height of the lid of each cylinder. LEDs, also located at the base, show their colors (red, green, blue and white) as the lids are raised. Bending sensors, as the name implies, vary when they are tensed for one side or the other.

More informatio: http://hol.1mpar.com

Dauer (Minuten)

30

Was wird benötigt

1 fullHD Projetor with VGA input

1 Quadraphonic audio system with subwoofers

1 Audio Mixer with P10 inputs

2 monitors (L / R)

3 Power supplies 220V

1 desk

  • AV Performance

Autoren

HOL
HOL

Brazil Belo Horizonte

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