404 opens the world to itself.
Through multidisciplinary feedback loops, the audience and artists create a completely unique piece which redefines what generative art can be. We will blur the lines between human and machine, artificial and organic intelligence.
You, the participatory audience, send instructions to the dancers, their movements motivate the images they're immersed in, which in turn shape the sounds that surround us all, which feedback back to the motion and movements. On, and in, and back through, this cycle continues, until we find the 404 error. What we are dealing with in these feedback loops is the eternal reflection of ourselves, and in 404, we seek to highlight the reflective and looping nature of humanity’s contemporary relationship to technology. We invite you to participate in an escalatory and surrealist experience with dance, acrobatics, electronic music and generative art.
This project has been made possible with the support of the Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and Media within the program NEUSTART KULTUR.
I am working on the intersection of dance and circus, exploring alternative theatrical approaches to create innovative and immersive movement-based work. In my solo piece Machine (un)learning, I created a simple interface which allowed for fully interactive composition. By receiving the audience commands via MIDI Pad, I initiate a live feedback loop that enables the audience to co-create the dance performance in real time.
I am using computer codes to synthesize images and videos. This practice is called creative coding and results in generative forms. The algorithm is written as mathematical formulas in so called shading language, describing how to transform coordinates of the pixel into experience of color. Such a recipe is passed to the graphics processing unit (GPU) of a computer, which is specialized in performing millions of pixel calculations in an instant. Other sources of signal can be mixed into the formula - the acoustic spectrum, video input, human body in motion. If the darkness is the canvas of generative video synthesis, then the process can be compared to sculpting in light, while preserving movement in time. For the 404 show I prepared a specialized programming language for binding synaesthetic effects according to phenomenological model of mind. During the show I will perform by live coding synaesthesia.
There’s a heavy portion of improvisatory elements involved in the music part of this show.
During the pandemic time, I’ve developed techniques for
generative music
making especially in
the live interactive sense - all came from that I wanted to have another musician
to jam
with. The device
uses Ableton Live as a nest
to host everything, and within that I use
Max for Live and several other
plug-ins connected and patched just like a
modular synthesiser
setup. Along with live looping and grand
arpeggiators, what makes this project
special is the
linkage between music and visuals. This musical device is designed to take inputs from the
live coded visuals and the values passed on via
OSC will be the musical gesture itself; also
at the same time what is generated musically will be passed back onto the visual side which
will make a feedback loop in this performance.
To magnify this whole concept even more, this
whole setup is performed through a multi-speaker surround system with some sound objects
planted into the performance space. These sound objects are everyday objects you find in your
daily life but they have transducers
attached to them, which then they become sound output
devices connected to this whole system.
of The Mathematics of Perception, the generative system rendering background of this website. Also check out the #sailormooncore sibling. Both systems are published on the fx(hash) platform, focused solely on generative art and powered by clean Tezos blockchain.