"Spin" lets you experience rotations articulating themselves by variation and constant modification. It is an algorithmic process enriched with random processes generating 3D images.
The sound material behaves similar. Music transformations are frequently used since the Baroque period, called variations. However, a principle of rotation was not spread before Minimal Music got popular. Today it is an established scheme in the generation of material within an abstract context: in dance, art, music and video. But the synthesis of 3D music and 3D image, both generated algorithmically, is quite rare to find.

18 min.
for 3D sound and 3D projection
video: Bernd Lintermann
music: Ludger Brümmer 



'No Place to Hide' is the title of a book by Glenn Greenwald which is based on digital documents handed over to journalists and organizations by E. Snowden in 2013.
A dancer interacts with a motor-controlled speaker system which is used for a text to speech software to read out excerpts from ASCII documents to the audience.
Although the documents reside on local hard drives they could be streamed from remote servers given that accessibility is granted or organized through alternate approaches.

Body as a paradigm for intuitive self-conception is opposed to machine.

Who serves whom, who controls who, or do both combine to a hybrid individual?
Or will it fall apart in failure, fear and destruction?
What are the reasons to hide personality from detailed availability to a global?
Is surveillance a trivial aspect and privacy transferred from local protection to frankness to global inattention?

The piece does not offer return on such queries, instead it is an experiment to associate diverged aspects of data, technology to their effect on living, communication and person.

For: speaker bots, sound spatialisation, text to speech system, body-follower and dancer
Authors: Glenn Greenwald, unknown authors, NSA (National Security Association), CIA (Central Intelligence Agency)
Dance: D. Näger
Choreography: M. Mandras
Sound design: Chemo Cœur
Concept and realization: P. Modler



Body data - in particular body morphology and human voice - can become design tools, and sound can directly shape space, through the intermediary of digital technology.

Centred on human body as the “measure of all things” we will demonstrate an alternative creative process in which wearable, customized smart objects can be designed and fabricated directly in 3D, combining skills from VFX, music, architecture, particle physics, 3D body scanning, fashion design, performance art and disruptive media.

Fundamental for this research is the premise that human body and voice can shape a crystallized sonic pattern. The sound piece is both a musical composition and a sculpting tool. The sculpture is a crystallized sonic architecture.

Objects are composed of particles within fields; they are immersed as agents within general conditions of creating structures, processes and fluxes.
Thus, a multidimensional network is produced where every action is linked to an action of another entity. Audio data sourced from the musical piece become triggers for deformation in a 3D system. Structure can evolve based on mathematical parameters of a musical composition.

Form becomes a system that can grow in time, react and adapt to intrinsic changes.
Form is a dynamic totality of energies under transformation.
In this system, sound becomes the “primary impulse” - a frequency initiating movement, rhythm, pattern, structure.


Technical description:

During the live choreographed performance, the audio parameters of the vocal impact a realtime 3D model of a “wearable sculpture”; elements include animations, live feed of AR to a projection on a film screen behind the performer who is live on stage (no AR).


Research agenda:

The key concept in our work is transformation - of material, immaterial, the Self.
We are seeking elements that link cultures rather than separate them, and in the quest for archetypal formal constants science helps us discover patterns in nature and human perception.
The shifting perception, ambiguity, illusion, emerging patterns in chaos, the error in the ordered system that creates moire effects of superposed fields, are crucial for revealing how we perceive and create our environment. Error and collapse are the triggers of illusory experience, and bring the focus back to the body.

The feeling of being-in-space, empathy, ambiguous structures and a sense of belonging are key to creating illusory spaces and immersive experiences. Borders between the mediated and the experienced content can become dissolved.
A seamless link can be created between the work, the artist and the audience when all the senses are engaged and merging with the environment, but the experience can nevertheless be personal, and transforming.

We can use processes of transformation to simulate processes in nature; here structures emerge as transitory states at all scales of the system, evolving under the influence of force fields and adjusting their own behaviour in anticipation of changes.
The result is only part of the process, the whole is more than a sum of its components, conflict may be a constructive force, and error may be just another creative opportunity.



Rubedo’s approach to multimedia relies on topology theory: space is considered fluid not solid, and the artists attempt to merge the inside/outside, sound/visual, movement/structure. Body in motion creates shapes and structures, fusing with environment, while the boundaries between the artist, the performer, the audience and the artist’s model and the background are being dissolved.

The live performance Dissolutio is part of an eponymous series in which performance art is captured through photographic lens and through “light painting”. In this process, the artists explore dissolution through alchemical phases of transformation, whereby the artist is both the transmuter and the transmuted; the traditional hierarchy of object against its background is replaced by field condition (i.e. agent in field / moire)


Technical description:

The set-up includes an open exposure camera, moving point lighting source, choreography and musical composition by Rubedo.

An open shutter / long exposure will capture what the eye cannot see during a live intervention involving a performer/singer on stage- an agent in the transformation process. The second performer operates electronic sounds and light and by highlighting the zones of the singer/performer’s body, creates a 3D/4D painting which is post-processed to create a pulsating still image, vibrating with movement.


Research agenda:

The work uses immersion to create an alchemy of senses and media, of space and sound, of the intimate and the collective.
Our materials are time-based behaviours and processes on scales from micro to macro, supported by cross-modal perception (synaesthesia), particle physics and cross-modal data networks. While live performance allows us to investigate time in relation to space using sound, moving image and interaction, the medium of photography allows aesthetic investigation of the world of elements that cannot be consciously appreciated during a performance. Inspired by Paul Klee's maxima that art renders the invisible visible, the choreography of movement, light, radiation and resonance are revealed by using long exposure photography. This allows to exceed framing an event as a frozen moment, and instead to accumulate a cross-section of time in a 2D medium.

Time is considered continuous, contingent with space, and topological.
This way, photography allows not only to paint with light but to also paint with time.
What eyes can see is no longer the primary interest; instead, the camera brings sensations, ambiguities, the subconscious and the unexplained to the front.


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