Harvey Moon

New media artist Harvey Moon is a creator of tools and machines. He works with emerging technologies finding new and creative ways of connecting people to the world around us. Using electronics, mechanics and software the works straddle mediums while opening new insights into our connection to art and technology. He received his BFA at the School of the Art Institute of Chicago.

http://www.harveymoon.com/

D-brane is the story of a creation outgrowing its creator. The performance is the culmination of dance, real time projection mapping and live audio synthesis. A software system was built specifically for this project allowing the dancer to have direct gestural interactions with the visuals and audio in real time. The dancer wears a tracking device and interacts with a suspended dodecahedron. The dodecahedron is also tracked and projected as it moves. An analog patch based audio synthesis sonifies the motions of the dancer using the live tracking data. HTC Vive tracking is used for motion tracking. All real time graphics, tracking and projection is done in Touchdesigner.

Credits:

Performer: Kathryn Florez fullstopdance.weebly.com/
Director: Harvey Moon HarveyMoon.com
Story and Art Direction: Qianqian Ye qianqian-ye.com/
Sound Artist: Cullen Miller pointlinesurface.com/
Technical Support: Colin Parsons robot.yoga/

Video Production:
Cinematographer: Andy Hoffman andyjhoffman.com
Editor/ Assistant Director: Ian Colon iancolon.com/

Equipment and space – Obscura Digital

Chris Milk

Chris Milk is an American entrepreneur, innovator, director, photographer, and immersive artist.

http://milk.co/vr

Milks’ 2012 project, The Treachery of Sanctuary, is a giant triptych that takes viewers through three stages of flight through the use of Kinect controllers and infrared sensors. Milks’ 2012 project, The Treachery of Sanctuary,

Chris Fraser 2

Keywords

Light Art, Chance, Visual Perception, Site-Specific Art, Installation

Time, Line, Form, Color, Light as Subject, Linear Forms

Open Form, Mixed-Media, Contemporary Conceptualism

Performance Art, Focus on Materials, Geometric, Film/Video

“My light installations use the camera obscura as a point of departure. They are immersive optical environments, idealized spaces with discreet openings. In translating the outside world into moving fields of light and color, the projections make an argument for an unfixed notion of sight.”

http://www.chrisfraserstudio.com/

Olafur Eliasson

Olafur Eliasson is a Danish-Icelandic artist known for sculptures and large-scale installation art employing elemental materials such as light, water, and air temperature to enhance the viewer’s experience. 

https://www.olafureliasson.net/

Olafur Eliasson developed the visual concept for the contemporary ballet Tree of Codes, choreographed by Wayne McGregor and with music composed by Jamie xx.

2015

The stage design uses intricate sets of reflective, transparent, and refractive surfaces and coloured light to create a dynamic, ever-evolving, and complexly layered space in which the dancers are multiplied and overlap.

Lights panning over the audience cause its spectral image to appear on the stage’s reflective, coloured scrims, integrating the viewers with the activity on the stage.

Triggered by Jonathan Safran Foer’s Tree of Codes (an artwork in the form of a book, which was in turn inspired by Street of Crocodiles, by Bruno Schulz), this new, evening-length work features a company of soloists from the Paris Opera Ballet and dancers from Wayne McGregor Random Dance.

2007

The opera Phaedra by German composer Hans Werner Henze was commissioned by the Staatsoper in Berlin and premiered in September 2007.

Eliasson created the spatial concept.

The focus of the individual scenes alternated between the music and the visual elements. These comprised monofrequency lights; a kaleidoscope; the works Your space embracer 2004 and Square sphere 2007; and a vertical mirror that spanned the entire stage and reflected the audience as well as the orchestra, which had been moved to the back of the auditorium. 


“IMAGINARY SYSTEMS”

Artis duet’ : Golnaz Behrouznia & François Donato

The duet has launched in 2018 several projects strongly anchored in the interactions between artistic vision, scientific knowledges and computer science.

https://eng.imaginarysystems.org/

Lumina Fiction # 2

It offers a biological fiction at the crossroads of art, biology and computer science.
The installation is presented as a cylindrical giant body in volume, structured in multilayers of translucent fabrics that match the exhibition space. Installed in the darkness, this body welcomes on its material the development of a world of virtual creatures into video images evolving in a sound environment.

ElectroAnima Experiment

In the twilight of the venue, huge projections on an invisible medium transcend the limits of the stage and make float in front of us the bright lines of moving materials or fanciful animated creatures, amplified by constants sound metamorphoses.

Yoann Bourgeois

Celebrated around the world as a unique, innovative and groundbreaking artist, Yoann Bourgeois is hailed for his spellbinding, dazzling, and though-provoking works.

Acrobat, juggler, dancer, actor, director…Yoann Bourgeois defines himself above all as a lover of all things play. His work is articulated around reality and the imaginary.

Yoann Bourgeois enjoys appropriating all kinds of places. His work on movement and balance has been presented in historic buildings, parks, urban wastelands…

“I develop my projects in accordance with the space I occupy”, he says. “It is they who inspire me to write dramaturgy and not the other way around”.

https://www.instagram.com/yoann_bourgeois/

Celui Qui Tombe (He Who Falls) – a physical theatre treat and allegory for our time!

Some says it is theatre. Part circus, part dance, part narrative, the cast show off their gymnastic, athletic, choral and acting ability over the 60 minute piece of awesome physical theatre.

In a Q&A session, the cast of He Who Falls admitted that some nights dizziness is harder to avoid than others – before the they had to delicately balance on its centre point and the cast began to drop on to the floor, swing from it and dodge it as it flew from side to side across the otherwise set-free stage.