Video and pictures from Moozak Festival 2012

poster head of the Moozak Festival 2012

The concert of Didi Bruckmayr and myself at this years Moozak Festival at Rinderhalle in Vienna was a real blast! We did an audio-visual live set, the music mostly improvised, glitchy laptop electronic with processed live vocals and framed by real-time 3D visual which were also to some extend controlled by the musical input. We both really enjoyed the gig, it was powerful and wild and it got pretty loud…

These are some images and a short video excerpt from the concert, I think they do convey some of the energy we felt during the concert. Thanks to Michael Rosenkranz for the great pictures and video (shot in a very tough lighting situation)!

update: here are some more great b/w pictures from the festival, shot by Markus Gradwohl

Sound-video piece: No.2.1

Didi Bruckmayr recently recorded visuals for our collaborative sound piece titled “no.2″

realtime audio/video session. rendered realtime in vvvv and max/msp. no cuts, postproduction etc. autogenerative. sequences include boids, box2d, readback, texture fx, misuse of cube mapping.

voice: didi bruckmayr, audio processing: bernhard loibner, realtime 3d: didi bruckmayr

Enjoy!

Meltdown (part 2)

still image of the video from Meltdown

The piece Meltdown was originally produced for an audio-visual live performance at Essl Musum for Contemporary Art, in Klosterneuburg, Austria on May 15, 2008.

This video shows part 2, some 14 minutes long. The full piece was 43 minutes in length with a pre-produced video track and live music. The trio version was performed by myself on processed electric bass and electronics with Clementine Gasser on 5-string Cello and Mikolaj Mikolaj Trzaska on Bass Clarinet.

Meltdown was inspired by french philosopher Guy Debord, a founding member of the Situationist International (SI).

The title “Meltdown” refers to a general collapse of todays social systems and traditional work environments, accompanied by the symbolic meltdown of democracy, public participation in political processes. It seems necessary to “re-synthesize” the ideas of Debord and others into a new strategy to stand against these developments

Guy Debord (1931-1994) postulated, that “alienation”, “reification” and “fetishism of the commodity” could be accounted for by the invasive forces of the ‘spectacle’ – the seductive nature of capitalism. This analysis probed the historical, economic and psychological roots of ‘the media’. Central to this school of thought was the claim that alienation is more than an emotive description or an aspect of individual psychology: rather, it is a consequence of the mercantile form of social organization which has reached its climax in capitalism.

For the video part of “Meltdown” some sequences of Debord’s original film of 1975 were digitally re-processed and re-synthesized where the re-processing refers to ideas Debord used in his own films. He called this technique “détournement”, the recontextualisation of various elements of other films, TV advertising etc. to create new combinations and open new insights being built out of these “detourned” elements.

Contemporary techniques of digital video processing have been used to process the original material. In the resulting textural video basically nothing is left but a few fragments of the english subtitles of Debord’s voice-over of the original film. In his text “A User’s Guide to Détournement” of 1956 he wrote about this way of creating:

“Ideas and creations in the realm of détournement can be multiplied at will. […] it is being understood that these separate sectors are significant only in relation to present-day techniques, and are all tending to merge into superior syntheses with the advance of these techniques.”

The music part of “Meltdown” does reflect the textural nature of the visual elements but still has to be much more than background music for the visuals. It does develop a life of its own and raises the stimulus of the observer in a significant way by creating a dense atmosphere. Live processed abstract electronic sounds are combined with bass guitar and concrete noises of a steel factory (a reference to the title of the piece and the collapse of post-industrial work environments). The instrumental parts of Cello and Bass Clarinet increase the musical spectrum with their specific timbre. The vibrancy and rich colors that the performers elicit from their instruments root the piece back down to earth.

Sound and video together are more than just the total of its elements. In the “User’s Guide to Détournement” Debord wrote about the combination of two different medias:

“The mutual interference of two worlds of feeling, or the bringing together of two independent expressions, supersedes the original elements and produces a synthetic organization of greater efficacy.”

Just stumbled over this piece of mine on the net…

The audio-visual piece “Mnemonics”was realized back in 2002 (or so) and it is also part of my DVD release “Fragmented Memory”. The piece received quite some visibility with some 30 screenings on various festivals (e.g. Videoformes which seems to have uploaded it here.

Several short samples of TV-advertising form the visual base material of the piece. This base material is being stretched by visual “granulation” and “looping”, being transformed into layers of abstract textures. This process reveals the inherent structure of the media footage. The stereotypical nature of postures and gestures in these images emerge through this extreme time stretch and rhythmical montage of images.

The music follows the same creative principle of granulation, looping and abstraction of its base material. The sound drives the visuals, forms the sonic and rhythmical base for the piece. Sound and images fold into overlapping layers oscillating between information and noise.

Images and sounds aim to form an inseparable pulsating system…

Disconnection Machine by Nerve Theory

This is a documentation video of a performance by Nerve Theory aka Bernhard Loibner and Tom Sherman at Elektra Festival 2001 at Usine C in Montreal, Canada. It is a great venue and we had this 3 huge video screens behind us on stage and a nice crowd following our performance.

Note 1: This took place just a few weeks after 9/11 and we came from another performance in Syracuse, NY. The propaganda machine was running at full throttle, Anthrax was right on top of the new, hysteria everywhere in mainstream media, star-spangled banner on every house, definitely the most scary visit to the US so far.

Note 2: On the day of my flight back to Europe a plane crashed in NYC so there was fear of new terrorist attacks (of course not the case). However, the news about the crash was on all screens, even on the airport. I have never watched news about a plane crash while waiting to board since.