! Co LAPse KoDe

Kaleidoscope & Object Score Notation, the Next Generation

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Did it ever occur to you to wave at a surveillance camera? Or rather, at the person who is watching you at that moment in the control room? And how would it feel if that person would wave back and you would somehow be able to see or hear that?

By using surveillance cameras and a free motion tracking software the artists of !CoLAPseKoDe explore spaces in which innocent mouvements can have consequences. Visitors are invited to move between these spaces and by doing so, play with light, image and sound. For interested people there is also a workshop module on Fri (see below).

Players: Simon Yuill, Kirsty Stansfield, An Mertens, Pierre Marchand, Matthias Koole, Lot Jansen, Dorothé Depeauw

When: From 17 till 19th May at De Pianofabriek, Rue du Fort straat 35, 1060 Brussels

Round-up presents the results of !CoLAPseKoDe, a research process about the performance aspects of the free motion tracking software objscrs by Mangrove-Tentactile and Constant vzw/asbl, with the support of De Pianofabriek Kunstenwerkplaats and the Vlaamse Gemeenschapscommissie.
The performance is part of the Open House Festival.
Picture by Bram Goots.

Special: Workshop with Pierre Marchand & Dorothé Depeauw
on Friday 18 from 14 till 18h

Motion tracking is based on the analysis of differences between images in a video input. We’ll propose an exploration of how these differences are built in OBJSCRS, then trace new paths from the video input to the actual motion tracker. We’ll build visualizations out of this data structure, whether on screen or in any other possible form.

May 3, 2012

Artefact demo: Do Clap, Ok I See / Applaus, Ok Ik Zie

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!Co LAPse KoDe is part of the Artefact exhibition on the topic of ´The Social Contract´. On a table constructed as part of the staircase furniture of ‘Connection Protocols’, a live-publication of VJ13 by Constant, An will organise a table top demonstration of objscrs in the spirit of the Pianofabriek & CCA table top experiences. Today between 17 & 19hs. Read the rest of this post

Feb 22, 2012

Voice & objects – the score

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These scores set up a conversation between two objects. They have a precise duration and order. The end reference in score 4 is a sound, activated through a simple pd playback patch.

The scores are used in a table top set-up, with a vid mask to limit the tracked space (in this case the table). Two players take place in front of each other. They take the time to concentrate on body, object, each other. They negociate who starts, without using words. They never look at the projection screen.

The audience discovers how the words materialize on screen by the juxtaposition of two ‘conversations’ going on: the one between the players & the objects, the one between the objects and the text messages.

You can watch the video here: http://vimeo.com/user4419409/objectasvoice (pass=creativelab)

Sep 11, 2011

Voice, objects and audience

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As a closure of the work in the Creative Lab Kirsty and An organised a public moment to share the results.
In the space they set up the table top, a library with the books they consulted and a list of parameters against the wall.

Read the rest of this post

Filed under CCA Glasgow, Pix, Report, Scores
Sep 11, 2011

Time

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Kirsty and An translated elements from their improvisations like ‘meeting’, ‘conversation, ‘presence’ into the machinal building blocks for the scores, looking more closely at ‘machinal’ capacities like the automation of time, selection and repetition.

On Time inspired by Latour:
Time indicates the force of texts, messages, ideas – the longer it stays, the stronger it gets, but when it stays too long, it becomes obsolete, because it is invested by other ideas growing. Change is the only stability. There needs to be change in order to continue breathing.

Filed under CCA Glasgow, Report, Scores
Aug 21, 2011

Listening score

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In Pauline Oliveiros’ Deep Listening she proposes to listen to the space that surrounds you with a ‘global attention’ alternated with a ‘focal attention’ that you follow till the end when something catches your attention.

Kirsty and An applied this exercise at the table for a conversation with some chosen objects. They listened and imagined a score for themselves, like f.ex. this hommage to JC:
- take sounds as a score and objects as the instruments
- perform the score with focus on time, texture, movement, force, position, weight

Filed under CCA Glasgow, Pix, Report, Scores
Aug 21, 2011

Voice workshop with Susan Worsfold using the Nadine Georges Technique

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Kirsty invited Susan Worsfold for 1 day to introduce An to the Nadine George Technique and to lend her knowledge to the work we had realised until then. Thank you Susan!

Susan is a great voice teacher. She is trained as an actress & theatre director in Conservatory of Glasgow, where she met Nadine George at the age of 18 and never left her. In her voice trainings she develops the idea of inhabiting the body, the conversation and the action through breathing. This technique gives the extra connectedness & intuition to a ‘performance’.

Basic warm-up: Read the rest of this post

Filed under CCA Glasgow, Pix, Report, Scores
Aug 21, 2011

Parameters: Qualities

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Inspired by Gertrude Stein’s Tender Buttons Kirsty and An looked into the different qualities one can use to compose, in this case, a text. The idea is to write words or a sentence through association on rhythm, colour, meaning, etc. Here it suited the way objects would engage in a conversation through objscrs.

Dorothé and An already used the same technique during their Summer Residency at Parts: in movement and in text.

Aug 21, 2011

Parameters: live, visual and software

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Organising loops, timing the machinal actions by using the metronome function (‘time’), playing with variables through the selection objects (‘composition’), and having data moved by bodies (‘agency’) were the main ‘machinal’ specs we forces ourselves to look into.

The improvisation exercises we did in the mornings pointed out some more parameters. We divided them into:
- ‘live’ parameters, such as: force, body volume and texture
- ‘software’ parameters such as: body area, dominant, continuous and static tracking
- ‘visual’ parameters (on the projection screen) such as: texture, position

And there are parameters that belong to various fields.
The scheme has to be completed & reorganised :-)

Aug 20, 2011

Objects as agents – the sources

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The software objscrs does not make any difference between a human and an objects entering or being in the space.
This gives any object a potential agency.

Therefore we had with us a.o. following books:
- John Law/John Hassard, Actor Network Theory and after, Blackwell Publishing, 2006, Oxford
- Latour, Irréductions Read the rest of this post

Filed under CCA Glasgow, Pix, Report
Aug 19, 2011