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<p>Rlg: </p> <hr /> <div>[[Category:Reflecting Light]]<br /> <br /> __FORCETOC__<br /> <br /> == '''Haunted questions - Jan Fedinger''' ==<br /> <br /> '''Haunted questions - Jan Fedinger'''<br /> <br /> We started a practice of interviewing each other. For this issue, Jan Fedinger is asking the questions. Henri-Emmanuel Doublier, Emese Csornai, Bruno Pocheron, Ezra Veldhuis and Jan Maertens are answering. This haunted issue of the fanzine had prompted questions on the presence of light.<br /> <br /> '''How are you present on stage? [as someone working with light]'''<br /> <br /> '''Henri'''<br /> I’m not physically present on stage, but the lights I balance are! The lights are a part of me, of my sensitivity, which can be perceived on stage.<br /> I can recognize the signature of a lighting designer when I see a show: their touch, their feeling, their quality, their way to deal with timing. Lighting designers are like conductors of an abstract orchestra. light and music resemble each other: both are waves and both have a language and a particular presence in a show. *<br /> <br /> '''Emese'''<br /> I am implimenting my abstract ideas in material, so they can respond to me, and start a dialogue. I imagine i am lending a shorter-term dynamic to spaces I work in. It lends a dynamic to space similar to spoken word.I imagine a space gets animated by each work.<br /> I notice colors and angles of light can lend sensuality, sense of behavior to a space. Temporality can be very emotional, and this is how I communicate on stage.<br /> <br /> <br /> '''Bruno'''<br /> In rehearsals, out of my work boots, stockinged feet, sitting in a circle exchanging with performers, choreographers, musicians and other colleagues involved. Before that in my work boots, on ladders, scaffolds, lifts, hanging and focusing light fixtures together with local technicians.. Alternatively, having a little nap on stage when performers are warming up – what a lovely (and too rare) feeling. In my mind, I am very often on stage, revisiting stages and performances from the past, experiencing them as they successively fill up with technical apparatus, come alive with performers, audience, sound and light, then return to that particular beautiful state of stasis filled with potential, after the show is done and packed away. Else I am projecting and planning stages in the future.<br /> <br /> '''How is your light present on stage?'''<br /> <br /> '''Henri'''<br /> If I had one word to qualify it, I would say that my light is generous. It means that my light can have a présence, that it can be seen and noticed by the audience. I often create visual moments in performances where the writing is based on light, close to visual art. So you can feel and see the light. *<br /> <br /> '''Emese'''<br /> In questions, in adapting retinas, in directions. Light can and will re-contextualize everything seen and the gaze of the viewers of it and anything made visible by it. It is mostly appealing to other organs than the brains of the viewers (that of course does not mean that it is pointless to analyze or elaborate). <br /> <br /> '''Ezra'''<br /> Light is always an active player and signifier in my performances and lighting designs. Although light has a supporting role in many works and is an elusive performer, I strive to embed light in the language and dramaturgy of a performance in such a way that it becomes a fully-fledged co-performer, and occasionally shamelessly steals the show.<br /> <br /> '''Jan M'''<br /> There are two ways: a “scenographic” and a “performing” one. In contemporary performances the light infrastructure does not longer need to be hidden, but can become integrated with the overall visual outline of the performance or can even become, more profoundly, a (set of) genuine scenographic light object(s) on stage. This concrete presence is an important point of attention in my work, though still is rather an attribute to a more ephemeral on-stage presence of the light design(er). It is by creating content emitted by this infrastructure that the performing presence of the lighting design(er) is truly happening: as ghostly company for the bodily performers, a dramaturgical co-organiser in constant dialogue with the various media being used or sometimes even directly addressing the audience with bold and alive light states / lightscapes, trying to exchange common effect-fulness for visual poetry.<br /> <br /> '''Bruno'''<br /> Abstract. Asymmetric. Asynchrone. Attentionate. Baroque sometimes. Bleak. Bold. Bright. Brutal. Careful. Casting shadows. Chaotic. Clustered. Cold. Colorful. Coming from above. Complex. Composed. Contrasted. Dark. Diffuse. Direct. DIY. Dynamic. Ephemeral. Equal. Evocative. Fading. Filtered. Focused. Fragile. Gentle. Guiding the gaze. Hidden. Hiding in plain sight. Highlighting. Immanent. Immaterial. Improvised. Independent. Intense. Interacting. Invisible. Just there. K. Layered. Matricial. Musical. Naturalistic. Opening spaces. Organic. Organized. Ostentatious. Plain. Planned carefully. Poetic. Precise. Quantified. Quivering. Referential. Reflecting. Rhythmical. Sculptural. Sensual. Serial. Severe. Shifting. Shimmering. Soft. Static. Suggestive. Synchronized. Theatrical. Uncanny. Understated. Utilitary. Versatile. Votive. Warm. Weatherlike. X. Y. Z. *<br /> <br /> <br /> '''Where do you see light?'''<br /> <br /> '''Henri'''<br /> Everywhere<br /> <br /> '''Jan M'''<br /> Everywhere and always… as without light, I do not see.<br /> <br /> '''Emese'''<br /> I made a work in 2008 called Spleen with two musicians who were playing behind a black curtain for the first 2/3rd of the piece. The rest of the space was divided in 4 parts with half transparent gauze with passages, so a multi-layered object and shadow theater was made possible. Some objects were moving by themselves, some I operated following a trajectory. The audience was alnvited to move all over the place. I found out there and then, nobody wants to see shadows when they can see lights. This was my most useful failure. I figured beyond all these artistic aspirations there is a layer of evolutionary behavior. Light is unique in that way, we evoke some deep feelings just by turning on a fixture, but there is much more to be found in lighting. *<br /> <br /> '''Ezra'''<br /> In the creation process of SUN-SET (an installation-performance that I made together with Oshin Albrecht and Bosse Provoost), we asked ourselves the opposite, and therefore perhaps the same question, by looking for a 0-point. We came up with the idea that places that are completely free of visual stimuli are almost non-existent. Complete darkness has become almost impossible to find. You would have to go to a very remote nature reserve at night and then also be lucky that there are no stars or moon to be seen that night, before you can experience an approximate total darkness outside. Inside, we are kept company by all kinds of lights and machines. That is why the theatre seemed the perfect place to search for a visual zero. Surprisingly, light also appeared in this total darkness, in the form of a flowing or pulsing grey mass. After some research, we learned that at that moment our brains 'guess' what might be out there and that, in the absence of external stimuli, these hypotheses are not being contradicted. In other words, the grey is a (not too spectacular) hallucination called eigengrau or brain gray. Everyone imagines brain gray differently. I often see a kind of purple falling stars.<br /> <br /> <br /> '''“If the audience does not see your light, you have done a good job” alternatively “if the audience looks at your lights, your performance is probably not doing a good job”'''<br /> <br /> '''Henri'''<br /> No, that's such an old-fashioned way of thinking. That's what I learned at drama school 35 years ago... It's good for the format where the choreography or the text is the god on earth and the rest is just there hidden to serve that writing. But I worked for 10 years in a collective where everything had the same importance and resonated together, the writing, the performers, the light, the sound, the set design, to create together a new world on stage, a machine where all the elements work together in sensitivity or spectacularity. <br /> <br /> '''Emese'''<br /> I quickly disengage when such dialogues come up, for me it is a bit like the sketch ‘philosopher’s football’ by Monty Python, but without the narration. Language is so flexible that it still can contort into logical sounding nonsense without feeling its own pain.<br /> <br /> '''Jan M'''<br /> This is probably one of the most tedious and completely obsolete critiques one keeps on being subjected to by a reactionary population in the technical field. I often have the feeling that it’s being used to refrain us, lighting designers, from being artist-crafts(wo)men in our own right instead of just accommodating to the wishes of a sole artist-maker (as if that still would make sense in today's contemporary performing field).<br /> But I wouldn’t mind replacing the word ‘seeing’ or ‘looking’ in this statement by ‘perceiving’, in order to put the focus more onto the performing quality of the light design rather than its materialized infrastructure needed to perform.<br /> The perception of the light is, I believe, a result of an interaction between the directly visible scenographic attribute layer and the content co-creating dramaturgic structuring and added performing value but also the context created for/with all other performing activity. That is an interaction I look for in my work. And this is light being perceived, whether directly or indirectly.<br /> A ghostly presence of the light is always there…. and in one way or another and in many different ways, perceived by the audience.*<br /> <br /> '''Bruno'''<br /> No comment. All has been said :). Plus I have to catch up with re-re-re watching the Flying Circus.<br /> <br /> <br /> '''What ghosts do you encounter on stages?'''<br /> <br /> '''Henri'''<br /> I only see ghosts<br /> <br /> '''Emese'''<br /> The sound of the lamps clacking when cooling down I found sometimes scary, but mostly beautiful.<br /> I spent the night working on the last possibility at MDT on Chromopoem, and that house has many odd sounds. Then I thought if I were a ghost I would certainly feel invited by this work.<br /> <br /> '''Ezra'''<br /> Light in motion often evokes in me a feeling of 'presence' without apparent agency. This reminds me very much of ghosts: invisible, intangible, but present. <br /> <br /> '''What ghosts haunt your [lighting-]designs?'''<br /> <br /> '''Henri'''<br /> My father<br /> <br /> '''Emese'''<br /> I have no such romantic fixations. But I did, and still do, dream a lot on theatre. *<br /> <br /> '''Bruno'''<br /> No ghosts and no haunting as such, really. Naturally, more and more departed colleagues, who were dear friends too, are accompanying me on my path. I take this opportunity to remember them. In memoriam Michel Yang, Laurent Dailleau, Miljenko Bengez, Miš, Benjamin Grieve, Barbara Loreck, Eric Vermeulen, Amandine Denain, Eric Colliard.<br /> <br /> <br /> == '''INTRO: four questions in four days - Ezra Veldhuis''' ==<br /> <br /> Q&amp;A 21/12/2<br /> <br /> '''For you personally, how does the light outside (in &quot;the world&quot;) relate to designed light inside (in the theatre)?'''<br /> <br /> '''Tomi Humalisto''' <br /> <br /> Interesting question. The light outside performance influences my lighting choices in a performance but it is mostly an “ancient light”. With this I mean it is about my personal visual memories filtered by my experiences and emotions in the situation they were stored long ago. They are possibly and partially fake as well, as I don’t trust memory as an absolute data. There is a cultural filter too. I consider myself utterly influenced by my life in Nordic environment. Seasonal variations of light are extremes. I am raised in agricultural, rural and protestant community, later taking distance and embracing urban life. All these personal parameters have influenced, how light means to me and to what qualities of light I am sensitive or attracted to.<br /> <br /> This doesn’t exclude use of representations of &quot;natural&quot; light, or whatever artificial light outside theatre. You may try to replicate a sunset or weird flickering light you saw in a parking lot month ago. Authenticity doesn’t interest me as an absolute aim when reproducing something on stage from outside world, it is good enough if the light engages the wanted association or interpretation. My imagination seems to be limited to operate with real world perceptions and visual memories which are just emotionally coloured or organised differently. Outside world light seems to be reflected on stage through a mindless mirror of my mind, it may distort or change the result.<br /> <br /> <br /> '''Bruno Pocheron'''<br /> <br /> I often see natural light - and natural obscurity -  as the golden measure, the unattainable goal and the ultimate reason for me doing stage lighting.<br /> <br /> As it has been previously in my life for studying arts, practicing painting and photography.<br /> <br /> The fact of never being able to attain such a strength, a versatility, a definition in trying to control artificial light is still a good reason for me to keep trying.<br /> <br /> Very often, stepping out of a theater for a cigarette break, quite happy about some light programming I did, I have been totally blown out by changes in natural light, just occurring and changing the world around me: Nature, you win. So I keep trying.<br /> <br /> On the other end of the spectrum, artificial lighting in the open / public space is harder and harder on me. I can still stare at the sun for a good while, but I feel more and more aggressed by the inflation of increasingly powerful LEDs in shop windows, on the roofs of emergency or police vehicles, on the facades of buildings etc.<br /> <br /> I wonder often how far my perceptions are conditioned by growing up in a LED free time. I would be interested in hearing what the younger amongst us perceive.<br /> <br /> I guess that in nature, on a macro scale, there are only two kinds of lights: incandescent as in the sun or the stars, or reflected as in the moon.<br /> <br /> On a smaller scale there is more diversity, see fireflies, phosphorescent beings or minerals for instance.<br /> <br /> A simple set of questions always present to mind when starting doing lighting for a piece is:<br /> <br /> - how far do we want to create an illusion (of naturalism, of realism)?<br /> <br /> - how far do we want to put the artificiality of what we do in the foreground?<br /> <br /> - Does a specific piece need the revelation, or the masking of the theatrical apparatus, or a dynamic combination of both?<br /> <br /> These questions are for me directly related to the relations between the lights we control, in the theater, and the lights that are, outside of the theater.<br /> <br /> '''Jan Fedinger'''<br /> <br /> the light outside, in the world, both natural as artificial is the main source of inspiration for me.<br /> <br /> basically the light that I experience, the atmospheres and the emotional states towards which this leads me are what I’m trying to replicate in my work. These experiences are not only limited to what I experience in person, out in the nature, at a misty sunset or with the play of shadows on the street when the wind chases clouds over my head on a sunny day or the neon reflections when I walk through a rainy city centre at night. These experiences are also informed by what could be called second hand experiences. Atmospheres about which I read that I see in films that I hear in stories of other people. Together these experiences are what form informs us of our common cultural visual vocabulary, that we can tap into, that we can rearrange that we can sample into visual stories of our own, that we add to tis very global visual reference base.<br /> <br /> So far this answer is of relative general nature. The reproduction and reassembly of experiences. Something that could be described as almost documentary. However there is a second strategy that I like to employ. When i look at my light inside the theatre, where i have reassembled that what i knew into something new, i tend to make new experiences my self. The artificiality gives rise to this new experiences. This happens especially in moments when I start to look at the stage in 2 different ways at the same time. I look at the performers, let their action be what keeps my attention active but I focus on the periphery of my vision. In this blurry field I see rather shapes, movements then clear images. <br /> <br /> Now when I go back into nature when I stare out of a window, when I walk down a street I try to look at my surrounding the same way that I look at a performance. I try to have the environment provide the activity from where I can tune out to observe what is happening at the same time around. When I'm sitting in a train the shaking movement of the train can create a vibration in this interplay of formless movement. Arrivals of tunnels become new physical experiences of blackouts.On a boat, staring at the horizon the slow shaking of the waves make the world turn, make me move without moving my body. <br /> <br /> What I’m trying to achieve here is, to create a feedback loop. That I’m not only consuming images, but that I’m also actively search for different ways of seeing inside everyday live. Ways that I can articulate again inside the theatre, where they provide new sensations in turn.<br /> <br /> '''Henri Emmanuel Doublier'''<br /> <br /> For me, there is a strong link between Outside and inside light.<br /> <br /> I spend a lot of time observing naturalistic light, and phenomenon like reflexion of the light on the water on a lake, how water spiders makes light shining like a diamond…<br /> <br /> Or the mouvement of the shadows of a branches of a tree moved by the wind, or simply the quality of the light in storm or the fog, or the density of the sunlight at different hours. <br /> <br /> It gives me plenty of ideas of visual installations that I’ll never do. But it stays in my toolbox and many times, I go there to pick up an idea when I feel that it could work in a piece.<br /> <br /> For the shows of the collective I worked with, there had many time moments of only performativity of the light with sound.<br /> <br /> So, I was many time searching in my toolbox natural light phenomenon like a storm and a rainbow, light reflections on a swimming pool, a cloud on stage and borealis; or others things where light is involved like a car crash, or the light produced by a fire works on an audience.<br /> <br /> The thing is that I’ll never be able to compete with naturals elements, but I love to find the ideas to transpose it on stage. Just to give the idea, something close to the yellow quality of the light after the storm, or the green light in a forest through the leaves of the trees.<br /> <br /> '''Jan Maertens'''<br /> <br /> For me as a spectator, I try to forget about the “outside light world” in order to fully embrace the &quot;inside light world”, fully reset from scratch.<br /> <br /> For me as a light designer, I often relate to the “real light world” but mostly in a pretty abstract way. Since I found out that my personal interpretation of &quot;nature” or even “civil” phenomena - when installing references of it within the light design on a stage - do not necessarily match with how other peers in the creation (or the audience) imagine/interpret similar phenomena done artificially with “inside light”, I tend to keep it abstract, often non-referential at all or merely on very personal level. And what interest me the most here is the organicity of “nature” phenomena in a time based referential frame rather than a more “frozen” pictorial approach… the chaoticly dancing aurora borealis while watching with a frozen ass:-)… or simply the wind making the wheat move in a filed. <br /> <br /> '''Emese Csornai'''<br /> <br /> Outside is vast, in its own pace it is an infinity of possibilities to observe it from, in space and time, inside it is a little pinhole on time and space on what our eyes could comprehend and in a time-frame to contain something still to understand as behavior.<br /> <br /> <br /> <br /> Q&amp;A 22/12/21<br /> <br /> '''What is a recent optical illusion/effect you have found? What does it do, how did you use it in the performance, and how is it technically done?  '''<br /> <br /> '''Tomi Humalisto''' <br /> <br /> This is easy one to answer, because I don't remember using any optical illusion purpously.<br /> <br /> Perhaps playing with sensitivity of an eye and the threshold of barely seeing and partly imagining what you see. E.g. having so much haze combined with low intensities and introduction scene lasting 10min slow fade in of light until you detect perforners…. <br /> <br /> '''Jan Fedinger'''<br /> <br /> There is not one particular effect that i recently discovered. But there are many directions that i often find myself researching within designs. One strong direction here is the use of constant flashing lights. At certain frequencies they start to produce interesting images, that could be compared to ‘overtones’ in music. Tones that are not directly played that come into existence through the combination of other tones. Another direction is movement of light. Where lights are lit in succesion to mimic movement. Basically a similar princiep as the working film. In a certain way the possibilities of film and animation are a great source of inspiration for me. To try to create gradient effects for example. both of colour or of shapes and textures of light. There is a lot of craftsmanship involved in order to tweak standart lighting equipment, like combining filters [scroller-tape can get you a long way] in order to create this kind of effects. For example the projection of an 80’s style sunset [in Rule of 3 by Jan Martens] with only 2 lamps, with different gobos and filters that were assembled to create a colour gradient in one lamp and the image of a circles interrupted by horizontal lines that was sharp in some parts and diffuse in others in a second lamp. <br /> <br /> '''Henri Emmanuel Doublier'''<br /> <br /> The last recent optical illusion was in October. I was working with a Mexican choreographer who was working with ice on stage.<br /> <br /> I decided to make some filters for my light in ice and to project it on a white screen. No effect, just the timing of the ice melting and decomposing making the time dramaturgie of the show.<br /> <br /> I used the lens of the PC to retroject the ice filter in sharp, so we can enter deeply into the Christal natural composition of the ice. I used also some painting to color them.<br /> <br /> (image) <br /> <br /> '''Jan Maertens''' <br /> <br /> In the last scene of the recent creation with Lenio Kaklea (Sonates&amp;Interludes), the dancer left the stage while the pianist continued playing the last, intimate Sonate. Rather than making things small and focussing on the piano only or leading towards a formal end, it was an idea to keep the overall lit stage fully present while installing a gentle movement in the lights in order to replace the presence of the dancer and accompanying the piano. All this in a discrete and abstract way without any apparent effect-fullness. Doing so, I was mapping video footage of a moving cloudy sky on top of chaotic 33par stage wash and found out that exactly the absence of the performer (otherwise the focal presence) in combination with the presence of the music (overall the basis of the performance structure and a promise towards an ongoing performance) made place for the possibility of an illusionary effect. The subtle complex but organic chaser on the stage wash - the result of the video mapping- was leading to the potentiality for a gaze into the indefinite void of an empty but openly lit stage. When letting go all further performative expectation while staring into the void and being accompanied by the musical performance, the light gave the illusionary effect of the stage itself gently moving on the music. Sure, only when informed one could factually recognise this effect as such, but I’m convinced that the presenting of this kind of subtle situations does play a role unconsciously in how this scene is being experienced.<br /> <br /> At the very end of the Sonata, a drone was launched on stage, flying over like a noisy and hectic bee. The spell got broken. Even though the light effect simply continued, the illusionary effect was gone… no more possibility for a gaze into the void while enforced focussing onto the drone and its pathway….<br /> <br /> '''Emese Csornai'''<br /> <br /> I recently made a loop of 4 different colours that individually pass as white, meaning our eyes can set its white balance on it as base value. The loop itself is very didactically showing the relation of hues, with prompt transition, matched luminosity. Once the loop gets predictable and understood, even boring, I started inserting blackouts, anchoring them on the meeting of two colours. I extended the duration of blackouts from there, in each loop, until the eye and brain couldn't coordinate their references and all colours blinking out of the blackouts looked the same. This was a very nice de-mystification point in the piece.<br /> <br /> <br /> <br /> '''Bruno Pocheron'''<br /> <br /> In the last solo work of Philipp Gehmacher, ''In Its Entirety'', I use a juxtaposition of 4 light matrices controlled by one touchscreen interface.  Each matrix of lamps is focused as a wash with a specific direction (diagonal front left, diagonal front right, diagonal back left and diagonal back right) and a different color filter. The focus is very precise, and each position of the 4 matrices are overlapping. The touchscreen interface allows me to travel simultaneously though the 4 matrices, and 4 master faders allow me to define how much each matrix appears (or, how the matrices are mixed) at a given moment.<br /> <br /> I also have manual controls on transfer time between the lamps, inversion of the image (working in negative), the size and xy deformation of the objects generated by the touch screen, a blur and saturation effect.<br /> <br /> All this allows for controlling in real time some sort of traveling and ever shifting pictural image that morphs between flemish classical painting, clair-obscur, fleshy Baconian images or the illusion of natural lighting for instance.<br /> <br /> <br /> <br /> <br /> Q&amp;A 23/12/21<br /> <br /> '''Is there work you would like to make without starting from a question from someone else?''' <br /> <br /> '''Emese Csornai'''<br /> <br /> Yes and I’m trying to make it.<br /> <br /> To research more what it does to perception to adapt cinema tools to stage.<br /> <br /> It is a longer term research, the first piece I have made using some of the cinema tools was ''On being ill, then Stranger'' in 2017, it is being continued. On Being ill was very abstract, dealing with the idea of presence and absence, questioning how to trespass this binary in the life of chronic diseased persons. Talking off from the essay of Virginia Woolf, it was zooming into how the perception shift of illness can be a source of insight at work rather than the indicator of sufficiency or the lack of it.<br /> <br /> I am implementing the imagery of edited film, such as zoom, camera angle change, cuts in a dialogue always showing one face at a time. It has been a more superficial research for 'Stranger' because of my productional circumstances, and now I am really looking deep into this rabbit hole with my new research project. What is very interesting for me in that is not its formal innovation in theater. (it may become that but it is not the goal). It is the fact that displacing some gestures that are so accepted in cinema became so normal for us that we do not even question them, but if we place them in theater, our normal spinal acceptance becomes questionable, and we get to look at it. <br /> <br /> '''Tomi Humalisto''' <br /> <br /> I assume now this does mean own and individual starting point relating to how visual artist create ideas for their works solo. Saying this, I do realise that, I rarely believe &quot;originality&quot;. Everything is basically already made, used and re-used, it is just digested again through one individual .ind which leaves flavours, combinations and perspectives to material, method and the result.<br /> <br /> I have every now and then ideas for solo works, some might use light or some optical phenomena is important for making it or to achieve certain aesthetics.<br /> <br /> Now I am in the middle of a process for performance piece, where I have been creating the concept with anothet artist. In this work I am inspired of scifi and acheology and non-visible waveleghts of light/radiation.<br /> <br /> I have also another wishes to operate with bioluminance and phosphorous minerals. I am also interested in diamonds. <br /> <br /> '''Jan Maertens'''<br /> <br /> Yes, as i feel it could be interesting/challenging to use light(design) as the initiator for making a performance… even more, it is since a while that I keep this idea in the back of my mind to invite some of the choreographers I’ve been working with in the past and ask them to make a choreography for a light design … turning around the role of the initiator. <br /> <br /> But No, as I don’t really feel the urge to have to communicate something explicitly through making a performance… nesting myself maybe too comfortably behind the scenes? <br /> <br /> '''Henri Emmanuel Doublier'''<br /> <br /> Yes, I have many ideas of installation, but I’m lazy to find productions. Many are already taken by olafus or anne Veronica now…and at the end, I prefer to renovate my house and make my garden when I have free time. I think I like collective creation more than to be alone. I love theaters. I consider myself like a technician more than an artist.<br /> <br /> By working on papers ghost, I had an idea of installation: I’d like to make a mirror where we can see everything reflected except people.<br /> <br /> The idea would be to reproduce exactly the same room separated by a window which would look like a mirror. <br /> <br /> The lighting of the 2 rooms should not create reflections on the window, <br /> <br /> If not, what I like a lot is the humanization of the old theater light fixture.<br /> <br /> It means: putting an umbrella on a lamp when it’s raining. Making a lamp of a par64 falling and attached by an electric cable, like a falling eye.<br /> <br /> I like also to use theater light in another way: create transposition for the light it can create, by breaking the Lenz, changing places of mirrors, …<br /> <br /> An exemple with the following picture for an installation I did in Z33 with artists Sarah and Charles.<br /> <br /> '''Jan Fedinger'''<br /> <br /> I am making work that does not start by the commission of someone else.<br /> <br /> When i work with other artists i always try to be a tangible or experiancable presence on stage together with the human bodies of the dances. In my own [non-comissioned] work i try to work with light as performative body. One could call them solos for those performers that now don t need to share the space with human performers. These non-human performers, [one could call them post-human performers, since they are an extension of my performative body], are mainly light, but can not be reduced to only light. A better way would be maybe to call them experienceable environments wherein light might be the driving expression.<br /> <br /> <br /> '''Bruno Pocheron'''<br /> <br /> Since beginning 2020, I am carrying a tricky electrical experiment, together with lighting, sound and musician colleagues, in which we directly power low voltage episcope halogen bulbs (24V 500w) with sound signals (sound amplifiers). The sound signals make the bulbs flare, and the bulbs themselves act like tiny loudspeakers. I find a great beauty in that paradoxical convergence of light and sound in bulbs, that creates some sort of synaesthetic experience.<br /> <br /> Some (imperfect) video documentation is to be found here https://vimeopro.com/brunopocheron/lightworks password: brunopocheron<br /> <br /> <br /> <br /> <br /> 24/12/21<br /> <br /> '''Lighting design has many sub facets, which ones do you naturally focus on?''' <br /> <br /> '''Jan Fedinger'''<br /> <br /> In the lighting designs i make i often realise that i speak more about the dramaturgy of the piece then about how to best light the piece. And although i often join very early on in processes, it takes most of the time a while until i start experimenting with real light on stage. <br /> <br /> I consider the work i m doing with light for a large part as visual dramaturgy of the piece. As i propose how the audience is going to see what is proposed by the moving bodies on stage. The idea here is that it it more important that the whole team works towards a common goal. Not that every discipline is working on their own island of individual fascinations. Not every performance needs the most spectacular lighting design, but instead one that fits the total work. And great discoveries can always be kept for another project. Or even start a next one.<br /> <br /> '''Jan Maertens'''<br /> <br /> What keeps me busy especially since quite some time is the lighting control aspect of the lighting design business. I feel that I’ve been creative much more with implementing new digital media tools onto the light control universe rather than researching alternative ways of dealing with the hardware tool box of stage lighting where It was more a purification approach that kept me going.<br /> <br /> This focus on lighting control has been resulting in new approaches of dealing with design assignments and has  in a way also been redefining my approach to stage light design much more as a (post human) performer.<br /> <br /> '''Tomi Humalisto''' <br /> <br /> If we are thinking of fuctions of lighting design as Richard Palmer (1985) considers it, I feel the following most natural for me:<br /> <br /> - shaping stage and form<br /> <br /> - composition of stage picture<br /> <br /> - establishing ryhym.<br /> <br /> If thinking of controllable properties along with apalmer again, intensity, direction, shape and frequency seem to ring my bell. <br /> <br /> Outside of Palmer's framing, I have always been interested in dramaturgical structures and questions. This may be reduced into two simple questions: how light itself changes throughout performance (= dramaturgy of light) and how light participates creating multilayered dramaturgy of the whole piece? I have also been increasingly interested in materiality of light and what kinds of ontological experience does that special light quality create. <br /> <br /> '''Henri Emmanuel Doublier'''<br /> <br /> What I prefer in light design, is the moment when in the process, after documentation and having seen the first rehearsals, I have some ideas and I start to experiment them by making a prototype. <br /> <br /> Many of them don’t work, but sometimes, I can find things even différent and better than what I imagine. And it’s for me the best exciting moment. I !!!<br /> <br /> Or the moments when I make mistakes and interesting things happen.<br /> <br /> I think that creation is for me being open to whatever can happen during the process. That’s why the place where I create is so important for me. If there is workshop, if there is a brick wall, if there is an old dusty lamp waiting for me in the cave. I always explore all the places in a theater beforeI create.<br /> <br /> The second strong and interesting moment for me is when I can have time to program and special with sound software and midi. It’s really moment of composition. <br /> <br /> '''Emese Csornai'''<br /> <br /> I am quite opposed to the idea of narrowing viewpoints down, on the other hand I do understand it is not a bad conversation starter to ask where a person sees one's work from.<br /> <br /> In my opinion light is either not talked about, or not properly, or lighting designers get narrowed down to a specificity they stick out with from the rest of the colleagues, and characterized by that continuously. I insist I am a multiplicity as a creative (and so are others), and I rather have a current research than place myself in a sub-facets of lighting design. So in terms of current research and ongoing research, as I previously mentioned, I am considered to have a specific use of colors in my work, firstly, and I say I am considered because in my point of view that research has at least as much to do with angles and timing and rhythm than with colors, nonetheless I happily agree, colors are very important for me and I explore them with much excitement.<br /> <br /> Then secondly I come from the study field of audiovisual arts, which means I have a particularly strong connection to installation, film and animation and comic books (rediscovered recently). The influence of that can be understood in the broadest sense.<br /> <br /> I do not have a strong relation to computer sciences, any sort of programming so far I only picked up because I was very motivated to find new tools and thoughts in lighting, and I was pretty good at mathematics always. Nonetheless I did find some breakthroughs and I hope to continue doing so in the future. Abstraction and my mind are in sympathy.<br /> <br /> As assets, third aspect, I mention I am a female lighting designer, which fact I started to give more importance to, when I understood how long it took me to rid myself of certain social codes in theater and still I catch myself in the wrong shoes, and when I noticed that my former male former student has a higher salary then myself, unintended. It is a real ghost, this aspect, and I wish it is more sincerely addressed, I believe I know numerous persons with patriarchal reflexes. <br /> <br /> And then as a fourth aspect or asset I mention that I have been studying architecture for the shortest while. It is the best for both me and the rest of the world I did not pursue that career, but there is a sense for space and animating space (I cannot elaborate upon but clearly notice when I rely on it,) I do have a touch for, even though I can only experience what that sense is when I can make enough space to work deeply, for which I do not always get the circumstances provided. <br /> <br /> '''Bruno Pocheron'''<br /> <br /> I am approaching lighting from different directions. My work includes precise multi layered programming (Lanbox), mixed with an haptic control of lights allowing for instant decisions and improvisation (by ways for instance of pixel mapping and touchscreen interfaces programmed in pure data or vvvv), and direct or filtered interactions with music and sound (by ways of MIDI or OSC synchronization, by using sound frequency analysis to influence the behavior of lights for instance).<br /> <br /> I see more and more analogies between lighting design and polyphonic musical composition.  <br /> <br /> I enjoy closely working with my colleagues musicians and sound designers and creating together a space both visual and acoustic<br /> <br /> and, when possible, co-designing lights and escaping loneliness and compartimentation in the tech booth.</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Darkness:_Back_to_a_future_of_a_quality_approach_to_lighting_/_Jan_Maertens&diff=1106 2022-12-31T17:02:39Z

<p>Rlg: </p> <hr /> <div>[[category: Manifesto's]]<br /> To a lighting designer, darkness could/should be seen as the equivalent of a white canvas to a painter or simply silence to a composer, conductor or musician: the absence of content that is yet to be create as the necessary condition to effectively pass on that content.<br /> <br /> In today’s theatre venue, alas, the absence of light has become a rare condition to start designing/presenting lighting from. Be it that this condition, indeed maybe not always necessary in its absolute form, seems pretty evident to effectively pass on lighting content.  So it is, that creative content more than often ends up in a state of being already contaminated almost by default by other, non creative, lighting agents. We can enlist here plenty of wrongdoers situated in the executive, efficiency and safety protocol of today’s venues: Emergency exit lights together with door- or step lights starring in a lead role. From functional standby LEDs, over remote control, surveillance and protection systems to genuine LED screens of all sorts of technical equipment. Or light simply leaking from under door ways or roof tops…. and believe me, today’s ''efficient'' theatre architecture is often as inadequate in “darkness” control as it is in creating a compliant acoustic space while keeping up appearances with black moleton… yep, the old Greek didn’t have wireless microphones to stand in for their ignorance:-)<br /> <br /> But also, often audience members themselves, exactly while looking out to be addressed by creative content, seem to more and more become as much a villain in spoiling the conditions for creative content to fully become. Or to at least to be well received by their fellow audience members. Only, a mobile phone screen in a theatre is somehow thought to be less harmful than a ringtone in the middle of a concert… Or how can one think to be discrete by using a smartphone as a light torch in a dark theatre? It has occurred to me that, while preparing the light plotting in a dark theatre, an accidental ''intruder,'' or be it an incidental ''colleague,'' is much less aware of being disturbing with uncontrolled directional lighting than ze would be while talking aloud or chattering during a sound check.<br /> <br /> Let’s face it: light pollution is a fact …. and becomes the more, the bigger a problem. But not only in the theatre. And not only towards creative content making. To a certain extend, I think we all start to suffer from the effects of not being embedded in or even not understanding darkness anymore. It might be interesting to imagine to measure in what way the amount of light we produce and emit as humans on this planet contributes to our apparent global system crisis… if not directly, then at least as a metaphor for our uncontrolled self-inflicting consumption pattern. In that perspective, it speaks for itself, that since technology has reached out with the latest energy friendly alternative for artificial lighting: the ubiquitous LED light source, we haven’t been consuming less (energy for) lighting, but more! And on top of things: in that mass consumption of LED-lighting, we’ve been out ruling all quality approach for the benefit of an even greater quantity approach under the guise of a sort of efficiency thinking that has long gone obsolete by now. That means losing twice: Once more, an economic fix is installed on the back of a planet in crisis and once more, we(‘re made to) mistake quantity for quality.<br /> <br /> Extending further on the ever complex planet-in-crises-discussion is not the intention here… and there’s nothing against the introduction of a new and energy friendly (= not necessarily eco friendly!) light source as such, on the contrary. But it must be clear that the light-efficiency fix greatly effects the way we all mass-consume light these days, often in total neglect of its quality. Nor the intrinsic quality of the light being produced, nor the quality approach in our lighting purposes seem to be questioned anymore. As if quality becomes a redundant attribute when being technically efficient or abundantly available. So also, this efficiency fix has installed itself in the stage lighting design business: We slowly loose acces on quality-full manipulation of artificial light sources that do represent the full and continuous spectrum our eyes have been designed for, while a dogmatic idea of replacement makes our toolbox more and more hollowed out notwithstanding the newly introduced technological assets. But above all, stage lighting tends to become a commodity (again?) for an efficiency-driven theatre machine, after a seemingly too short awakening period in proving its potentials of being an active and artistic agent-performer on the post-humanist stage. <br /> <br /> Or to approach things differently by a photographer’s statement I recently read: “watching carefully is a form of yoga with one’s eyes.” Be it that watching carefully is exactly why we need a quality approach for with/by lighting. Watching carefully implements being guided carefully to watch carefully. Or in other words: being lit carefully! It is indeed in our approach to making an audience -and other stage media for that same matter- watch carefully that we valorise our agency as lighting designers for the stage: making images of thought (visible). And it is exactly here that a technical approach to efficiency stops being efficient, becoming even contra-productive… as well as contamination starts to be more than a temporary nuisance. (Helping in) making/visualising/seeing/watching/understanding images of thought by (stage)lighting ''efficiently,'' demands an abundant tool box and conditions to be manipulated in the best way possible.<br /> <br /> Let us renounce the newly installed over-exposure to light(ing) while re-embracing darkness as the necessary condition for lighting carefully. For lighting quality-full and dynamically. Both on- and off-stage. Darkness as a statement against today’s mass-consumption of light. Not by being efficient - art never is - but by being quality-full. Then maybe not only the artistic content we generate as lighting designers, but also the way we teach, guide and manipulate to watch carefully might help to add value to life.<br /> <br /> Because lighting design does not equal efficient light scenography. <br /> <br /> Because lighting design, in the first place, wants to invite to carefully watch… and watch carefully!<br /> <br /> Let there be darkness!</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Darkness:_Back_to_a_future_of_a_quality_approach_to_lighting_/_Jan_Maertens&diff=1105 2022-12-31T16:28:33Z

<p>Rlg: </p> <hr /> <div>[[category: Manifesto's]]<br /> To a lighting designer, darkness could/should be seen as the equivalent of a white canvas to a painter or simply silence to a composer, conductor or musician: the absence of content that is yet to be create as the necessary condition to effectively receive that content.<br /> <br /> In today’s theatre venue, alas, the absence of light has become a rare condition to start designing/presenting lighting from. Be it that this condition, indeed maybe not always necessary in its absolute form, is known to enhance pretty well to effectively watch and see the intended.  So it is, that creative content more than often ends up in a state of being already contaminated almost by default by other, non creative, lighting agents. We can enlist here plenty of wrongdoers situated in the executive, efficiency and safety protocol of today’s venues: Emergency exit lights together with door- or step lights starring in a lead role. From functional standby LEDs, over remote control, surveillance and protection systems to genuine LED screens of all sorts of technical equipment. Or light simply leaking from under door ways or roof tops…. and believe me, today’s ''efficient'' theatre architecture is often as inadequate in “darkness” control as it is in creating a compliant acoustic space while keeping up appearances with black moleton… yep, the old Greek didn’t have wireless microphones to stand in for their ignorance:-)<br /> <br /> But also, often audience members themselves, exactly while looking out to be addressed by creative content, seem to more and more become as much a villain in spoiling the conditions for creative content to fully become. Or to at least to be well received by their fellow audience members. Only, a mobile phone screen in a theatre is somehow thought to be less harmful than a ringtone in the middle of a concert… Or how can one think to be discrete by using a smartphone as a light torch in a dark theatre? It has occurred to me that, while preparing the light plotting in a dark theatre, an accidental ''intruder,'' or be it an incidental ''colleague,'' is much less aware of being disturbing with uncontrolled directional lighting than ze would be while talking aloud or chattering during a sound check.<br /> <br /> Let’s face it: light pollution is a fact …. and becomes the more, the bigger a problem. But not only in the theatre. And not only towards creative content making. To a certain extend, I think we all start to suffer from the effects of not being embedded in or even not understanding darkness anymore. It might be interesting to imagine to measure in what way the amount of light we produce and emit as humans on this planet contributes to our apparent global system crisis… if not directly, then at least as a metaphor for our uncontrolled self-inflicting consumption pattern. In that perspective, it speaks for itself, that since technology has reached out with the latest energy friendly alternative for artificial lighting: the ubiquitous LED light source, we haven’t been consuming less (energy for) lighting, but more! And on top of things: in that mass consumption of LED-lighting, we’ve been out ruling all quality approach for the benefit of an even greater quantity approach under the guise of a sort of efficiency thinking that has long gone obsolete by now. That means losing twice: Once more an economic fix is installed on the back of a planet in crisis and once more we(‘re made to) mistake quantity for quality.<br /> <br /> Extending further on the ever complex planet-in-crises-discussion is not the intention here… and there’s nothing against the introduction of a new and energy friendly (= not necessarily eco friendly!) light source as such, on the contrary. But it must be clear that the light-efficiency fix greatly effects the way we all mass-consume light these days, often in total neglect of its quality. Nor the intrinsic quality of the light being produced, nor the quality approach in our lighting purposes seem to be questioned anymore. As if quality becomes a redundant attribute when being technically efficient or abundantly available. So also, this efficiency fix has installed itself in the stage lighting design business: We slowly loose acces on quality-full manipulation of artificial light sources that do represent the full and continuous spectrum our eyes have been designed for, while a dogmatic idea of replacement makes our toolbox more and more hollowed out notwithstanding the newly introduced technological assets. But above all, stage lighting tends to become a commodity (again?) for an efficiency-driven theatre machine, after a seemingly too short awakening period in proving its potentials of being an active and artistic agent-performer on the post-humanist stage. <br /> <br /> Or to approach things differently by a photographer’s statement I recently read: “watching carefully is a form of yoga with one’s eyes.” Be it that “watching carefully” is exactly why we need a quality approach for with/by lighting. Watching carefully implements being guided carefully to watch carefully. Or in other words: being lit carefully! It is indeed in our approach to making an audience (and other stage media for that same matter) watch carefully that we valorise our agency as lighting designers for the stage: making images of thought (visible). And it is exactly here that a technical approach to efficiency stops being efficient, be it even contra-productive… as well as contamination starts to be more than a temporary nuisance. (Helping in) making/visualising/seeing/watching/understanding images of thought by (stage)lighting ''efficiently,'' demands an abundant tool box and conditions to be manipulated in the best way they can.<br /> <br /> Let us renounce the newly installed over-exposure to light(ing) while re-embracing darkness as the necessary condition for lighting carefully. For lighting quality-full and dynamically. Both on- and off-stage. Darkness as a statement against today’s mass-consumption of light. Not by being efficient - art never is - but by being quality-full. Then maybe not only the artistic content we generate as lighting designers, but also the way we teach, guide and manipulate to watch carefully might help to add value to life.<br /> <br /> Because lighting design does not equal efficient light scenography. <br /> <br /> Because lighting design, in the first place, wants to invite to carefully watch… and watch carefully!<br /> <br /> Let there be darkness!</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Manifesto%27s&diff=1104 2022-12-31T16:26:05Z

<p>Rlg: Rlg moved page Manifesto&#039;s to Category:Manifesto&#039;s</p> <hr /> <div>#REDIRECT [[:Category:Manifesto's]]</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Category:Manifesto%27s&diff=1103 2022-12-31T16:26:05Z

<p>Rlg: Rlg moved page Manifesto&#039;s to Category:Manifesto&#039;s</p> <hr /> <div>[[category: Reflecting_Light]]<br /> Under the heading '''manifesto's''' we collect opinionated reflections and feedback on our praxis of lighting designers involved in the research project Reflecting Light. The reflections are written by one or more lighting designers, the feedback by their fellow researchers. This collection is a tool to build and broaden a shared and living discursive practice on light, light dramaturgy and lighting design.</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Category:Manifesto%27s&diff=1102 2022-12-31T16:23:27Z

<p>Rlg: </p> <hr /> <div>[[category: Reflecting_Light]]<br /> Under the heading '''manifesto's''' we collect opinionated reflections and feedback on our praxis of lighting designers involved in the research project Reflecting Light. The reflections are written by one or more lighting designers, the feedback by their fellow researchers. This collection is a tool to build and broaden a shared and living discursive practice on light, light dramaturgy and lighting design.</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Xx&diff=1101 2022-12-31T16:22:56Z

<p>Rlg: Rlg moved page Xx to Manifesto&#039;s over redirect</p> <hr /> <div>#REDIRECT [[Manifesto's]]</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Category:Manifesto%27s&diff=1100 2022-12-31T16:22:56Z

<p>Rlg: Rlg moved page Xx to Manifesto&#039;s over redirect</p> <hr /> <div></div>

Rlg https://gangplank.group/mediawiki/index.php?title=Category:Manifesto%27s&diff=1098 2022-12-31T16:16:40Z

<p>Rlg: Rlg moved page Manifesto&#039;s to Xx</p> <hr /> <div></div>

Rlg https://gangplank.group/mediawiki/index.php?title=Category:Manifesto%27s&diff=1097 2022-12-31T16:16:02Z

<p>Rlg: Blanked the page</p> <hr /> <div></div>

Rlg https://gangplank.group/mediawiki/index.php?title=Darkness:_Back_to_a_future_of_a_quality_approach_to_lighting_/_Jan_Maertens&diff=1096 2022-12-31T16:07:06Z

<p>Rlg: </p> <hr /> <div>[[category: Manifesto's]]</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Darkness:_Back_to_a_future_of_a_quality_approach_to_lighting_/_Jan_Maertens&diff=1095 2022-12-31T16:06:34Z

<p>Rlg: Created page with &quot;category: Discursive_Practices&quot;</p> <hr /> <div>[[category: Discursive_Practices]]</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Category:Manifesto%27s&diff=1094 2022-12-31T16:02:31Z

<p>Rlg: Created page with &quot;category: Reflecting_Light Under the heading &#039;&#039;&#039;manifesto&#039;s&#039;&#039;&#039; we collect opinionated reflections and feedback on our praxis of lighting designers involved in the research...&quot;</p> <hr /> <div>[[category: Reflecting_Light]]<br /> Under the heading '''manifesto's''' we collect opinionated reflections and feedback on our praxis of lighting designers involved in the research project Reflecting Light. The reflections are written by one or more lighting designers, the feedback by their fellow researchers. This collection is a tool to build and broaden a shared and living discursive practice on light, light dramaturgy and lighting design.</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1085 2022-12-28T15:25:34Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''[https://fr.wikipedia.org/wiki/Brice_Leroux Brice Leroux]''<br /> <br /> == Factual Description by [[Jan Maertens]]==<br /> <br /> The introducing of the single beat kick-off of the [[wikipedia:Steve_Reich|Steve Reich]]'s [[wikipedia:Drumming_(Reich)|Drumming]] composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, one starts perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing in the same plane of the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical and continuous phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. Along with the musical intensity, the canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine stays put while swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas to the front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes clearly visible what needs to be seen. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave finally a fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> Along with its knees swinging to the beat, the upper part of the body now also starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. The full dia-positivity doesn't seem to have lasted long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards the opposite: a warm body onto a cold canvas. <br /> <br /> The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light intensity. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones start shifting again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a beheaded body that is unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Now, also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with one's eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine lighting halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And as the house lights slowly dim up now, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.[[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour|526x526px]]<br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> [https://fr.wikipedia.org/wiki/Brice_Leroux Brice Leroux]<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('[[wikipedia:Drumming_(Reich)|Drumming]]: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier, Caroline Wagner<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Maertens<br /> <br /> <br /> <br /> == Notes ==<br /> It must be said that Jan Maertens, in due time, was a technical collaborator to the creation and touring of ''Continuum'', of which this Drum Solo is part of. It is therefor maybe important to understand that his factual writing here, some extended time after its actual presentation period, isn't based on a fresh memory upon having seen the performance purely from an audience point of view. What you read is somehow also the calibrating focus to an iterative technical preparing praxis of the performance on the eve before a series of shows: As plotting light intensities is always relative, to the hardware in the first place, but surely also to the venue's conditions including the audience perspective, it was needed to carefully and extendedly 'test-run' this technically delicate performance while re-interpreting things from an audience point of view in function of then (again) fine-tuning the intensity data. <br /> <br /> So Maertens' factual description is both a based on vivid memories of multiple viewings as well as on a personal 'standard' to the factual result of the iterative process of the ad-hoc light plotting... And therefor somehow more the aimed-for (but hopefully achieved) experience of any audience's member.</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1084 2022-12-28T15:24:15Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''[https://fr.wikipedia.org/wiki/Brice_Leroux Brice Leroux]''<br /> <br /> == Factual Description by [[Jan Maertens]]==<br /> <br /> The introducing of the single beat kick-off of the [[wikipedia:Steve_Reich|Steve Reich]]'s [[wikipedia:Drumming_(Reich)|Drumming]] composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, one starts perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing in the same plane of the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical and continuous phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. Along with the musical intensity, the canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine stays put while swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas to the front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes clearly visible what needs to be seen. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave finally a fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> Along with its knees swinging to the beat, the upper part of the body now also starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. The full dia-positivity doesn't seem to have lasted long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards the opposite: a warm body onto a cold canvas. <br /> <br /> The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light intensity. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones start shifting again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a beheaded body that is unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Now, also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with one's eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine lighting halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And as the house lights slowly dim up now, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.[[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour|526x526px]]<br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> [https://fr.wikipedia.org/wiki/Brice_Leroux Brice Leroux]<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('[[wikipedia:Drumming_(Reich)|Drumming]]: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier, Caroline Wagner<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Maertens<br /> <br /> <br /> <br /> == Notes ==<br /> It must be said that Jan Maertens, in due time, was a technical collaborator to the creation and touring of ''Continuum'', of which this Drum Solo is part of. It is therefor maybe important to understand that his factual writing here, some extended time after its actual presentation period, isn't based on a fresh memory upon having seen the performance purely from an audience point of view. What you read is somehow also the calibrating focus of an iterative technical preparing praxis of the performance on the eve before a series of shows: As plotting light intensities is always relative, to the hardware in the first place, but surely also to the venue's conditions including the audience perspective, it was needed to carefully and extendedly 'test-run' this technically delicate performance while re-interpreting things from an audience point of view in function of then (again) fine-tuning the intensity data. <br /> <br /> So Maertens' factual description is both a based on vivid memories of multiple viewings as well as on a personal 'standard' to the factual result of the iterative process of the ad-hoc light plotting... And therefor somehow more the aimed-for (but hopefully achieved) experience of any audience's member.</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1083 2022-12-28T15:10:33Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''[https://fr.wikipedia.org/wiki/Brice_Leroux Brice Leroux]''<br /> <br /> == Factual Description by [[Jan Maertens]]==<br /> <br /> The introducing of the single beat kick-off of the [[wikipedia:Steve_Reich|Steve Reich]]'s [[wikipedia:Drumming_(Reich)|Drumming]] composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, one starts perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing in the same plane of the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical and continuous phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. Along with the musical intensity, the canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine stays put while swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas to the front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes clearly visible what needs to be seen. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave finally a fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> Along with its knees swinging to the beat, the upper part of the body now also starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. The full dia-positivity doesn't seem to have lasted long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards the opposite: a warm body onto a cold canvas. <br /> <br /> The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light intensity. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones start shifting again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a beheaded body that is unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Now, also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with one's eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine lighting halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And as the house lights slowly dim up now, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.[[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour|526x526px]]<br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> [https://fr.wikipedia.org/wiki/Brice_Leroux Brice Leroux]<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('[[wikipedia:Drumming_(Reich)|Drumming]]: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier, Caroline Wagner<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Maertens<br /> <br /> <br /> <br /> == Notes ==<br /> It must be said that Jan Maertens, in due time, was a technical collaborator to the creation and touring of ''Continuum'', of which this Drum Solo is part of. It is therefor maybe important to understand that his factual writing here, some extended time after its actual presentation period, isn't based on a fresh memory upon having seen the performance purely from an audience point of view. What you read is somehow the calibrating focus of an iterative technical preparing praxis of the performance on the eve before a series of shows: As plotting light intensities are always relative, to the hardware in the first place, but surely also to the venue's conditions including the audience perspective, it was needed to carefully and extendedly 'test-run' the performance while re-interpreting things from an audience point of view in function of then (again) fine-tuning the intensity data. Maertens' factual description of the lights is/was in that perspective (also) a personal 'standard' to the factual result of the iterative process of the ad-hoc light plotting and therefor somehow the aimed-for (and hopefully achieved) experience of an audience's member.</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1082 2022-12-28T14:03:54Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''[https://fr.wikipedia.org/wiki/Brice_Leroux Brice Leroux]''<br /> <br /> == Factual Description by [[Jan Maertens]]==<br /> <br /> The introducing of the single beat kick-off of the [[wikipedia:Steve_Reich|Steve Reich]]'s [[wikipedia:Drumming_(Reich)|Drumming]] composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, one starts perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing in the same plane of the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. The canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine stays put while swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas to the front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes clearly visible what needs to be seen. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave finally a fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> The full dia-positivity doesn't seem to last long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards in the opposite: a warm body onto a cold canvas. The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light intensity. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones shift again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a dia-positive beheaded body unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Along with its knees swinging to the beat, the upper part of the body now also starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. Also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with one's eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine light halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And as the house lights slowly dim up now, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.[[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour|410x410px]]<br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> [https://fr.wikipedia.org/wiki/Brice_Leroux Brice Leroux]<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('[[wikipedia:Drumming_(Reich)|Drumming]]: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier, Caroline Wagner<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Maertens<br /> <br /> <br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1081 2022-12-28T14:00:14Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]]==<br /> <br /> The introducing of the single beat kick-off of the [[wikipedia:Steve_Reich|Steve Reich]]'s [[wikipedia:Drumming_(Reich)|Drumming]] composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, one starts perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing in the same plane of the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. The canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine stays put while swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas to the front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes clearly visible what needs to be seen. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave finally a fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> The full dia-positivity doesn't seem to last long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards in the opposite: a warm body onto a cold canvas. The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light intensity. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones shift again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a dia-positive beheaded body unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Along with its knees swinging to the beat, the upper part of the body now also starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. Also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with one's eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine light halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And as the house lights slowly dim up now, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.[[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour|410x410px]]<br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> Brice Leroux<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('Drumming: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier, Caroline Wagner<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Maertens<br /> <br /> <br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1080 2022-12-28T13:31:27Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]]==<br /> <br /> The introducing of the single beat kick-off of the [[wikipedia:Steve_Reich|Steve Reich]]'s Drumming composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, one starts perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing in the same plane of the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. The canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine stays put while swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas to the front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes clearly visible what needs to be seen. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave finally a fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> The full dia-positivity doesn't seem to last long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards in the opposite: a warm body onto a cold canvas. The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light intensity. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones shift again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a dia-positive beheaded body unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Along with its knees swinging to the beat, the upper part of the body now also starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. Also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with one's eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine light halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And as the house lights slowly dim up now, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.[[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour|410x410px]]<br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> Brice Leroux<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('Drumming: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier, Caroline Wagner<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Maertens<br /> <br /> <br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1079 2022-12-26T20:10:31Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]]==<br /> <br /> The introducing of the single beat kick-off of the [[wikipedia:Steve_Reich|Steve Reich]]'s Drumming composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, one starts perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing in the same plane of the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. The canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine stays put while swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas to the front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes clearly visible what needs to be seen. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave finally a fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> The full dia-positivity doesn't seem to last long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards in the opposite: a warm body onto a cold canvas. The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light intensity. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones shift again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a dia-positive beheaded body unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Along with its knees swinging to the beat, the upper part of the body now also starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. Also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with one's eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine light halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And as the house lights slowly dim up now, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.[[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour|410x410px]]<br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> Brice Leroux<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('Drumming: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Maertens<br /> <br /> <br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1078 2022-12-26T19:43:12Z

<p>Rlg: </p> <hr /> <div>[[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour|410x410px]]<br /> [[category:Lighting designs described as experienced]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]] ==<br /> <br /> Introducing the single beat kick-off of the [[wikipedia:Steve_Reich|Steve Reich]]'s Drumming composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, we start perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing without it being clear wether the figurine is in front or behind the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. The canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine keeps swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas in front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes what needs to be seen, clearly visible. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave a finally fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> The full dia-positivity doesn't seem to last long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards in the opposite: a warm body onto a cold canvas. The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones shift again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a dia-positive beheaded body unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Along with its knees swinging to the beat, the upper part of the body starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. Also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with our eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine light halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And while the house lights slowly dim up, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.<br /> <br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> Brice Leroux<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('Drumming: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Mertens<br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1077 2022-12-26T19:42:14Z

<p>Rlg: </p> <hr /> <div>[[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour|410x410px]]<br /> [[category:Lighting designs described as experienced]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]] ==<br /> <br /> Introducing the single beat kick-off of the Steve Reich's Drumming composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, we start perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing without it being clear wether the figurine is in front or behind the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. The canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine keeps swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas in front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes what needs to be seen, clearly visible. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave a finally fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> The full dia-positivity doesn't seem to last long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards in the opposite: a warm body onto a cold canvas. The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones shift again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a dia-positive beheaded body unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Along with its knees swinging to the beat, the upper part of the body starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. Also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with our eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine light halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And while the house lights slowly dim up, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.<br /> <br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> Brice Leroux<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('Drumming: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Mertens<br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1076 2022-12-26T19:41:56Z

<p>Rlg: </p> <hr /> <div>[[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour|425x425px]]<br /> [[category:Lighting designs described as experienced]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]] ==<br /> <br /> Introducing the single beat kick-off of the Steve Reich's Drumming composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, we start perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing without it being clear wether the figurine is in front or behind the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. The canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine keeps swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas in front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes what needs to be seen, clearly visible. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave a finally fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> The full dia-positivity doesn't seem to last long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards in the opposite: a warm body onto a cold canvas. The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones shift again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a dia-positive beheaded body unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Along with its knees swinging to the beat, the upper part of the body starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. Also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with our eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine light halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And while the house lights slowly dim up, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.<br /> <br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> Brice Leroux<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('Drumming: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Mertens<br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1075 2022-12-26T19:41:11Z

<p>Rlg: </p> <hr /> <div>[[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour|432x432px]]<br /> [[category:Lighting designs described as experienced]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]] ==<br /> <br /> Introducing the single beat kick-off of the Steve Reich's Drumming composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, we start perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing without it being clear wether the figurine is in front or behind the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. The canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine keeps swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas in front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes what needs to be seen, clearly visible. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave a finally fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> The full dia-positivity doesn't seem to last long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards in the opposite: a warm body onto a cold canvas. The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones shift again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a dia-positive beheaded body unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Along with its knees swinging to the beat, the upper part of the body starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. Also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with our eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine light halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And while the house lights slowly dim up, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.<br /> <br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> Brice Leroux<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('Drumming: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Mertens<br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1074 2022-12-26T19:40:33Z

<p>Rlg: </p> <hr /> <div>[[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour]]<br /> [[category:Lighting designs described as experienced]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]] ==<br /> <br /> Introducing the single beat kick-off of the Steve Reich's Drumming composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, we start perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing without it being clear wether the figurine is in front or behind the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. The canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine keeps swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas in front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes what needs to be seen, clearly visible. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave a finally fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> The full dia-positivity doesn't seem to last long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards in the opposite: a warm body onto a cold canvas. The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones shift again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a dia-positive beheaded body unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Along with its knees swinging to the beat, the upper part of the body starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. Also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with our eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine light halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And while the house lights slowly dim up, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.<br /> <br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> Brice Leroux<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('Drumming: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Mertens<br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1073 2022-12-26T19:40:11Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> [[File:DrumSolo.jpg|thumb|excerpt from the technical rider of DrumSolo-on-tour]]<br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]] ==<br /> <br /> Introducing the single beat kick-off of the Steve Reich's Drumming composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, we start perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing without it being clear wether the figurine is in front or behind the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. The canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine keeps swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas in front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes what needs to be seen, clearly visible. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave a finally fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> The full dia-positivity doesn't seem to last long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards in the opposite: a warm body onto a cold canvas. The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones shift again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a dia-positive beheaded body unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Along with its knees swinging to the beat, the upper part of the body starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. Also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with our eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine light halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And while the house lights slowly dim up, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.<br /> <br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> Brice Leroux<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('Drumming: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Mertens<br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=File:DrumSolo.jpg&diff=1072 2022-12-26T19:39:04Z

<p>Rlg: </p> <hr /> <div>excerpt from the tech rider of DrumSolo-on-tour</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1071 2022-12-26T19:36:52Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> <br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]] ==<br /> <br /> Introducing the single beat kick-off of the Steve Reich's Drumming composition, makes the house lights dim to end up in pitch black surroundings. Almost immediately after, we start perceiving the lighting up of a whitish rectangular canvas, heigh and narrow, somewhere deep on stage. And in relation to that canvas there is a shadow figurine standing without it being clear wether the figurine is in front or behind the canvas. The musical beat doubles out step by step to slowly become a complex rhythmical phrase. With great precision, the figurine embodies the drumming beat by swinging its knees left and right while keeping the rest of its body totally immobile. The canvas seems growing very gently in light intensity, be it in absolute contrast to the total darkness of the surroundings. And the shadow figurine keeps swinging its knees perfectly in pace with the music.<br /> <br /> After a little while, we start perceiving an actual body lighting up from its shadow, as if the shadow figurine has moved from behind the canvas in front of it. The body takes the same colour tone as the canvas: a coldish, greyish no-colour. Only the head stays a shadow. Nothing but the knees move and the arms stay stiffly aligned to the torso. The initial position is maintained: all happens 'sur place'. At first, one feels lights do not get brighter anymore (or does it get less bright after all?), but the big contrast with the dark surroundings makes what needs to be seen, clearly visible. Though without clear notice, the canvas seems to slowly dim out and disappear from the focus to leave a finally fully dia-positive image of a weirdly kinetic body. There's only one unique focus for the eyes, marking only a knee shaking body on one's retina.<br /> <br /> The full dia-positivity doesn't seem to last long and the canvas is clearly lighting up again, be it this time with a different, warmer, colour contrast to the body... after which both body and canvas are slowly merging to one another's colour tone to finally but almost unnoticeably having shifted towards in the opposite: a warm body onto a cold canvas. The music starts to gear down in complexity step by step, resulting in a seemingly unwinding but still steadily knee-shaking body returning to becoming a shadow figurine again.... back to a single repetitive beat, back to the dia-negative image from the beginning, be it this time clearly much lower in light. One starts to feel them eyes really at work and it becomes hard to judge one's distance to what is being perceived. <br /> <br /> The beat starts doubling out again and the music slowly grows towards yet another form of complexity. Colour tones shift again. And when the figurine becomes a positive body once more, it is as if it has been moving through the canvas. The canvas seems to have become a layer from which we can almost define ourselves its opacity towards the body just by the focus and staring we guide our eyes to do with the very low intensities we ended up in by now. And while doing so, focussing and staring and again letting go, it seems that the body is moving in space: growing big and up front or growing small while moving backwards. Not knowing anymore framing things dia-positively or dia-negatively. <br /> <br /> When the drumming music slowly grows towards a climax, the light slowly dims down very low, leaving us with a solemn focus onto a dia-positive beheaded body unidentifiably positioned, or by time to time, even floating in the realm of total darkness. Along with its knees swinging to the beat, the upper part of the body starts to make gentle little vertical jojo movements as to express the ever growing complexity in the music. Also the arms come loose from the torso where they had been stiffly parked till now, to gently shiver in a similar way the complexity of the rhythm almost inevitably becomes melody. Doing so, and while working really hard with our eyes in the ever darkening conditions, the kinetic dia-positive body gets surrounded by a genuine light halo following the events with a tiny delay ... before finally dissolving in the realm of the darkness for good, leaving a frozen halo image on the retina as a last memory.<br /> <br /> On the last drum beat, we're back in total silent darkness. And while the house lights slowly dim up, we're allowed to re-connect to time and space while wondering wether this trip was real or just a lighting fata morgana.<br /> <br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY/LIGHTS<br /> Brice Leroux<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] ('Drumming: part 1')<br /> <br /> SOUND ENGINEERING<br /> Alex Fostier<br /> <br /> LIGHT ENGINEERING<br /> Hans Meijer, Jan Mertens<br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1070 2022-12-26T16:25:27Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> <br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]] ==<br /> <br /> Seated and w<br /> <br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY<br /> Brice Leroux<br /> <br /> MUSIC<br /> [[wikipedia:Steve_Reich|Steve Reich]] (extract from 'Drumming')<br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1069 2022-12-26T16:21:56Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> <br /> The opening solo out of the performance 'Continuum, solo et duos sur place' by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]] ==<br /> <br /> Seated and w<br /> <br /> == Credits ==<br /> <br /> IDEA/CONCEPT/CHOREOGRAPHY<br /> Brice Leroux<br /> <br /> MUSIC<br /> Steve Reich (extract from 'Drumming')<br /> <br /> == Notes ==</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drumming_Solo&diff=1068 2022-12-26T16:16:14Z

<p>Rlg: Rlg moved page Drumming Solo to Drum Solo</p> <hr /> <div>#REDIRECT [[Drum Solo]]</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1067 2022-12-26T16:16:14Z

<p>Rlg: Rlg moved page Drumming Solo to Drum Solo</p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> <br /> A piece by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]] ==<br /> <br /> Seated and w</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1066 2022-12-26T16:04:10Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> <br /> A piece by ''Brice leroux''<br /> <br /> == Factual Description by [[Jan Maertens]] ==<br /> <br /> Seated and w</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1065 2022-12-26T16:03:27Z

<p>Rlg: </p> <hr /> <div>[[category:Lighting designs described as experienced]]<br /> <br /> A piece by ''Alix Eynaudi'' / Lighting design [[Bruno Pocheron]]<br /> <br /> == Factual Description by [[Jan Maertens]] ==<br /> <br /> Seated and w</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Drum_Solo&diff=1064 2022-12-26T16:02:05Z

<p>Rlg: Created page with &quot;category:Lighting designs described as experienced&quot;</p> <hr /> <div>[[category:Lighting designs described as experienced]]</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Journal_of_the_meeting_December_2022&diff=1063 2022-12-22T16:53:43Z

<p>Rlg: </p> <hr /> <div>[[category: Meetings]]<br /> [[File:Emese.jpg|thumb|Dramaturgical map ]]<br /> <br /> == '''December 19 2022''' ==<br /> <br /> [[File:Ruth.jpg|thumb|Dramaturgical map -]]<br /> <br /> <br /> '''Score writing or Dramaturgical map'''<br /> <br /> Which non-conversational strategies can we imagine in thinking about lighting and light dramaturgy <br /> <br /> &lt;BR&gt;<br /> &lt;BR&gt;<br /> [[File:Mapping.jpg|thumb|mapping]]<br /> <br /> <br /> <br /> == '''December 20 2022''' ==<br /> <br /> '''Dramaturgical map in practice'''<br /> <br /> <br /> == '''December 21 2022''' ==<br /> <br /> '''reflection on teaching and how to proceed'''<br /> <br /> <br /> '''WIKI-Gangplank'''<br /> <br /> == '''December 22 2022''' ==<br /> Exchange of light plotting praxis with/through the Lanbox: Jan presenting his way around with MaxMSP in combination with the Lanbox (direct commands &amp; streaming dynamic data)<br /> <br /> <br /> Exchanging thoughts on:<br /> <br /> * lighting scenography and light scenography<br /> * (in)efficient lighting<br /> * commodification of the lighting design(er)<br /> <br /> <br /> Concluding thoughts on:<br /> <br /> * Reflecting Light &amp; Gangplank as similar/different platforms<br /> * Discursive praxis in its essence.... both when working in/on lighting language<br /> * Alexa taking over the dynamic agenda and the archiving tasks of meetings in order to more freely meander in thoughts</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Time&diff=1040 2022-12-22T13:01:59Z

<p>Rlg: </p> <hr /> <div>[[category: Characteristics_of_lighting]]<br /> <br /> <br /> <br /> Lighting Design &amp; Time : a topic summery on the introduction of the Time attribute to lighting towards the @nd year performance students @ KASK<br /> <br /> <br /> <br /> OBJECT APPROACH<br /> <br /> lighting design =<br /> <br /> * organising a set of lighting fixtures/objects in a spatial context<br /> <br /> AND<br /> <br /> * organising the output of those fixtures/objects in a temporal context<br /> <br /> ''&lt;small&gt;CS-pics&lt;/small&gt;''<br /> <br /> Main attribute to vary in time = <br /> <br /> * intensity … simple as it can be<br /> * be it that contemporary technology allows also time variability on colour/direction/form…. for the better??<br /> <br /> Technical stage tools to manipulate intensity over time =<br /> <br /> * hardware: switch &amp; dimmer<br /> * software: lighting desk or specific computer applications<br /> <br /> <br /> Generating a variety of lighting over time:<br /> <br /> * a series of following static situations (conventional cross fading (pre)set idea)<br /> * extended transitions in stead of swift cross fades (from light-scenes into light scapes)<br /> * ever dynamic light state (organically moving scene)<br /> <br /> CS examples : all-3 / dynamic voices in 3 / dynamic of performance (= trip, not a sequence of scenes…) projected into the bulbs by ever organic movement<br /> <br /> <br /> <br /> <br /> SUBJECT APPROACH<br /> <br /> The perception (by the subject) of any lighting situation is relative to the time dimension<br /> <br /> functioning of the eye: <br /> <br /> * lens/iris: gateway for the light onto the retina<br /> * projection of image onto retina <br /> ** scotopic receptors (intensity)<br /> ** photopic receptors (colour &amp; intensity)<br /> * transmission &amp; translation/'''interpretation''' of information in the brain<br /> <br /> both <br /> <br /> * the opening of the iris (1)<br /> * the differentiated sensitivity of the receptors (2)<br /> * the translation of the information (3)<br /> <br /> are to be seen / can be manipulated in a temporal context<br /> <br /> <br /> <br /> Relative brightness and Intensity adaptation:<br /> <br /> * the opening of the iris regulates the amount of light coming in <br /> ** night walk with full moonlight<br /> ** optimum based on the overall intensity picture: blinding headlights in the night versus daytime <br /> * TIME (directly 1) : relative long transition period needed for iris to adjust…. : intensity adaptation as a lighting design tool<br /> ** known blinding effect after darker light<br /> ** but also inverse…. BO, be it not fully, after brightness: way to quickly disappear into the wings…<br /> ** annoying LED pollution in a space only visible after a while<br /> ** simple LED set design by Anne Juren, Code Series<br /> * TIME (1+3): automatic and unconscious physical adaptation of the iris leading to interpretable or even deceptive information : progressive manipulation of the vision:<br /> ** '''slow transition into''' rather extreme states makes that state the new/manipulatad '''normality''' by which it then can be contrasted much stronger<br /> ** stretching time with long fade-out : losing the spatial context without losing the focus on the dancers (Violet Endscene)<br /> <br /> Relative sensitivity of the light receptors and intensity and/or chromatic adaptation:<br /> <br /> * when receptors are locally stimulated, they become less sensitive…. thus less active areas become more sensitive for information (brightness and/or colour)<br /> ** After image : '''Subject = hungry for missing information''': Frog picture<br /> * TIME (directly 2): relative long transition period needed for receptors to “reset”: intensity/chromatic adaptation as a lighting design tool<br /> ** after image as halo in Drumming solo by Brice Leroux<br /> * TIME: automatic and unconscious chromatic recalibration of the eye’s receptors leading to interpretable or deceptive information: progressive manipulation of the vision:<br /> ** MaybeForever by Meg Stuart &amp; Philipp Gemacher<br /> *** 9 “states” in 1 meta transition…. timely representation of the performance’s dramaturgy<br /> *** '''slowly''' leading into extreme state (sepia or end flat monochrome): '''light defining time defining light'''<br /> *** '''rather swift pivoting point''' out of the sepia makes the contrast much stronger (after sepia new normality while unconsciously missing color information)</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Time&diff=1039 2022-12-22T13:01:41Z

<p>Rlg: </p> <hr /> <div>[[category: Characteristics_of_lighting]]<br /> <br /> <br /> <br /> Lighting Design &amp; Time : a topic summery on the introduction of the Time attribute to lighting towards the @nd year performance students @ KASK<br /> <br /> OBJECT APPROACH<br /> <br /> lighting design =<br /> <br /> * organising a set of lighting fixtures/objects in a spatial context<br /> <br /> AND<br /> <br /> * organising the output of those fixtures/objects in a temporal context<br /> <br /> ''&lt;small&gt;CS-pics&lt;/small&gt;''<br /> <br /> Main attribute to vary in time = <br /> <br /> * intensity … simple as it can be<br /> * be it that contemporary technology allows also time variability on colour/direction/form…. for the better??<br /> <br /> Technical stage tools to manipulate intensity over time =<br /> <br /> * hardware: switch &amp; dimmer<br /> * software: lighting desk or specific computer applications<br /> <br /> <br /> Generating a variety of lighting over time:<br /> <br /> * a series of following static situations (conventional cross fading (pre)set idea)<br /> * extended transitions in stead of swift cross fades (from light-scenes into light scapes)<br /> * ever dynamic light state (organically moving scene)<br /> <br /> CS examples : all-3 / dynamic voices in 3 / dynamic of performance (= trip, not a sequence of scenes…) projected into the bulbs by ever organic movement<br /> <br /> <br /> <br /> <br /> SUBJECT APPROACH<br /> <br /> The perception (by the subject) of any lighting situation is relative to the time dimension<br /> <br /> functioning of the eye: <br /> <br /> * lens/iris: gateway for the light onto the retina<br /> * projection of image onto retina <br /> ** scotopic receptors (intensity)<br /> ** photopic receptors (colour &amp; intensity)<br /> * transmission &amp; translation/'''interpretation''' of information in the brain<br /> <br /> both <br /> <br /> * the opening of the iris (1)<br /> * the differentiated sensitivity of the receptors (2)<br /> * the translation of the information (3)<br /> <br /> are to be seen / can be manipulated in a temporal context<br /> <br /> <br /> <br /> Relative brightness and Intensity adaptation:<br /> <br /> * the opening of the iris regulates the amount of light coming in <br /> ** night walk with full moonlight<br /> ** optimum based on the overall intensity picture: blinding headlights in the night versus daytime <br /> * TIME (directly 1) : relative long transition period needed for iris to adjust…. : intensity adaptation as a lighting design tool<br /> ** known blinding effect after darker light<br /> ** but also inverse…. BO, be it not fully, after brightness: way to quickly disappear into the wings…<br /> ** annoying LED pollution in a space only visible after a while<br /> ** simple LED set design by Anne Juren, Code Series<br /> * TIME (1+3): automatic and unconscious physical adaptation of the iris leading to interpretable or even deceptive information : progressive manipulation of the vision:<br /> ** '''slow transition into''' rather extreme states makes that state the new/manipulatad '''normality''' by which it then can be contrasted much stronger<br /> ** stretching time with long fade-out : losing the spatial context without losing the focus on the dancers (Violet Endscene)<br /> <br /> Relative sensitivity of the light receptors and intensity and/or chromatic adaptation:<br /> <br /> * when receptors are locally stimulated, they become less sensitive…. thus less active areas become more sensitive for information (brightness and/or colour)<br /> ** After image : '''Subject = hungry for missing information''': Frog picture<br /> * TIME (directly 2): relative long transition period needed for receptors to “reset”: intensity/chromatic adaptation as a lighting design tool<br /> ** after image as halo in Drumming solo by Brice Leroux<br /> * TIME: automatic and unconscious chromatic recalibration of the eye’s receptors leading to interpretable or deceptive information: progressive manipulation of the vision:<br /> ** MaybeForever by Meg Stuart &amp; Philipp Gemacher<br /> *** 9 “states” in 1 meta transition…. timely representation of the performance’s dramaturgy<br /> *** '''slowly''' leading into extreme state (sepia or end flat monochrome): '''light defining time defining light'''<br /> *** '''rather swift pivoting point''' out of the sepia makes the contrast much stronger (after sepia new normality while unconsciously missing color information)</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Time&diff=1038 2022-12-22T13:00:09Z

<p>Rlg: </p> <hr /> <div>[[category: Characteristics_of_lighting]]<br /> <br /> <br /> Lighting Design &amp; Time<br /> <br /> OBJECT APPROACH<br /> <br /> lighting design =<br /> <br /> * organising a set of lighting fixtures/objects in a spatial context<br /> <br /> AND<br /> <br /> * organising the output of those fixtures/objects in a temporal context<br /> <br /> ''&lt;small&gt;CS-pics&lt;/small&gt;''<br /> <br /> Main attribute to vary in time = <br /> <br /> * intensity … simple as it can be<br /> * be it that contemporary technology allows also time variability on colour/direction/form…. for the better??<br /> <br /> Technical stage tools to manipulate intensity over time =<br /> <br /> * hardware: switch &amp; dimmer<br /> * software: lighting desk or specific computer applications<br /> <br /> <br /> Generating a variety of lighting over time:<br /> <br /> * a series of following static situations (conventional cross fading (pre)set idea)<br /> * extended transitions in stead of swift cross fades (from light-scenes into light scapes)<br /> * ever dynamic light state (organically moving scene)<br /> <br /> CS examples : all-3 / dynamic voices in 3 / dynamic of performance (= trip, not a sequence of scenes…) projected into the bulbs by ever organic movement<br /> <br /> <br /> <br /> <br /> SUBJECT APPROACH<br /> <br /> The perception (by the subject) of any lighting situation is relative to the time dimension<br /> <br /> functioning of the eye: <br /> <br /> * lens/iris: gateway for the light onto the retina<br /> * projection of image onto retina <br /> ** scotopic receptors (intensity)<br /> ** photopic receptors (colour &amp; intensity)<br /> * transmission &amp; translation/'''interpretation''' of information in the brain<br /> <br /> both <br /> <br /> * the opening of the iris (1)<br /> * the differentiated sensitivity of the receptors (2)<br /> * the translation of the information (3)<br /> <br /> are to be seen / can be manipulated in a temporal context<br /> <br /> <br /> <br /> Relative brightness and Intensity adaptation:<br /> <br /> * the opening of the iris regulates the amount of light coming in <br /> ** night walk with full moonlight<br /> ** optimum based on the overall intensity picture: blinding headlights in the night versus daytime <br /> * TIME (directly 1) : relative long transition period needed for iris to adjust…. : intensity adaptation as a lighting design tool<br /> ** known blinding effect after darker light<br /> ** but also inverse…. BO, be it not fully, after brightness: way to quickly disappear into the wings…<br /> ** annoying LED pollution in a space only visible after a while<br /> ** simple LED set design by Anne Juren, Code Series<br /> * TIME (1+3): automatic and unconscious physical adaptation of the iris leading to interpretable or even deceptive information : progressive manipulation of the vision:<br /> ** '''slow transition into''' rather extreme states makes that state the new/manipulatad '''normality''' by which it then can be contrasted much stronger<br /> ** stretching time with long fade-out : losing the spatial context without losing the focus on the dancers (Violet Endscene)<br /> <br /> Relative sensitivity of the light receptors and intensity and/or chromatic adaptation:<br /> <br /> * when receptors are locally stimulated, they become less sensitive…. thus less active areas become more sensitive for information (brightness and/or colour)<br /> ** After image : '''Subject = hungry for missing information''': Frog picture<br /> * TIME (directly 2): relative long transition period needed for receptors to “reset”: intensity/chromatic adaptation as a lighting design tool<br /> ** after image as halo in Drumming solo by Brice Leroux<br /> * TIME: automatic and unconscious chromatic recalibration of the eye’s receptors leading to interpretable or deceptive information: progressive manipulation of the vision:<br /> ** MaybeForever by Meg Stuart &amp; Philipp Gemacher<br /> *** 9 “states” in 1 meta transition…. timely representation of the performance’s dramaturgy<br /> *** '''slowly''' leading into extreme state (sepia or end flat monochrome): '''light defining time defining light'''<br /> *** '''rather swift pivoting point''' out of the sepia makes the contrast much stronger (after sepia new normality while unconsciously missing color information)</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Time&diff=1034 2022-12-22T12:55:14Z

<p>Rlg: Created page with &quot;category: Characteristics_of_lighting&quot;</p> <hr /> <div>[[category: Characteristics_of_lighting]]</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Category:Characteristics_of_light&diff=1032 2022-12-22T12:53:49Z

<p>Rlg: Blanked the page</p> <hr /> <div></div>

Rlg https://gangplank.group/mediawiki/index.php?title=Category:Characteristics_of_lighting&diff=1030 2022-12-22T12:53:18Z

<p>Rlg: Created page with &quot;category: Reflecting_Light&quot;</p> <hr /> <div>[[category: Reflecting_Light]]</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Color_and_light_in_situ_-performance-B2&diff=1016 2022-12-22T12:43:33Z

<p>Rlg: </p> <hr /> <div>[[category: Characteristics_of_lighting]]</div>

Rlg https://gangplank.group/mediawiki/index.php?title=The_Angle&diff=1014 2022-12-22T12:42:58Z

<p>Rlg: </p> <hr /> <div>[[category: Characteristics_of_lighting]]<br /> <br /> == '''Introduction :'''==<br /> <br /> The angle of the main light is a huge source of meaning. It is this light that defines the direction. Very often there is<br /> more lighting to compose an image, to soften it (because a single lamp gives hard shadows), or to detach<br /> it from the background of the theater.<br /> <br /> =='''4 Main Directions :'''==<br /> <br /> https://www.matrix.edu.au/film-techniques-lighting/<br /> <br /> This website, shows and defined the 4 basic directions and the quality of the light. <br /> <br /> '''Frontal lighting :''' It is a neutral lighting that diffuses no shadows on the face. You will find it is mostly<br /> used for portraits or to emphasise an object or subject.<br /> <br /> '''Sidelight :''' Sidelight creates a shadow on one half of the subject and sculpts the subject’s features. The<br /> contrast between light and shadow creates a sense of mystery<br /> <br /> '''Backlighting :''' Backlighting creates silhouettes and a glowing effect on the subject. This is used to create<br /> a dramatic effect and emphasise the subject in a mysterious way. You may see directors use backlighting<br /> to introduce a superior character without revealing their identity.<br /> <br /> '''Underlighting :''' Underlighting can either be used as a monumental lighting (light up a statue) or distort<br /> the subject’s features (ghost stories around the campfire). It creates feelings of fear, curiosity or awe.<br /> <br /> '''Quality of lighting :'''<br /> Hard/harsh lighting :It creates a dramatic and intense atmosphere.<br /> <br /> Soft/diffused lighting :It creates a romantic, dreamlike or magical atmosphere.<br /> <br /> == '''Semiotic concepts:''' ==<br /> the perception of the angle of the light is also linked with neuro-cognitive sciences : « psychology of art and the evolution of the conscious brain » by<br /> Robert L. Solso.<br /> <br /> Both Martin Esslin and Roland Barthes insist on the relevance of researching the adaptation of semiotics in theatre studies: &quot;The architectural setting of a performance, the actors and their actions, the sets, costumes, and lighting<br /> are all systems of visual signs that constitute the foundations of any drama. &quot;<br /> &quot;Theater is indeed this practice that calculates the looked place of things: if I put the show here, the<br /> spectator will see that. &quot;<br /> <br /> The logician and philosopher Charles Sanders Pierce has also published a very interesting research on semiotics and the signifiers of the angle of light can be analysed in a very precise way through his study protocol.<br /> <br /> A simpler, relevant and interesting way of analysing it is finally defined by JACQUES LOISELEUX, La Lumière au cinéma, Cahier du cinéma (les Petits Cahiers), SCEREN-CNDP, Paris, 2004, p3. &quot;[Light can] give meaning to the image by the way it illuminates the subject and by the emotion it arouses.&quot; <br /> <br /> He talks about three signifiers of light in cinema: a technical signifier, a psychological signifier, which gives emotional values, and a cultural signifier, which appeals to one's cognitive memory, one's reservoir of light sensations. And I think it would be great to do research on this subject with this system.<br /> <br /> == '''Stage vocabulary to analyse :''' ==<br /> Stage Left (Left of the performer from their perspective)<br /> <br /> Stage Right (Right of the performer from their perspective)<br /> <br /> Center (same from stage perspective and house perspective)<br /> <br /> Upstage (the rear of the stage, behind the performer)<br /> <br /> Downstage (the front of the stage, closest to the audience)<br /> <br /> Midstage (In between Upstage and Downstage)<br /> <br /> Onstage and Offstage (used to direct fine adjustments, same from both house and stage<br /> positions)<br /> <br /> House Left (Left from the audience perspective, usually describing something NOT on stage)<br /> <br /> House Right (Right from the audience perspective, ditto)<br /> <br /> FOH (describing the control position and/or house lighting position)<br /> <br /> == '''The experiment :''' ==<br /> See the 2 papers with lighting angles written.<br /> <br /> Experimentation made by university students 2nd year performence:<br /> <br /> with somebody saying the same text, we will change the direction of the light and write what we feel.<br /> <br /> [[File:direction_Kask_students1.jpeg|left|600px|border|Directions of light 1]]<br /> [[File:Direction Kask students2.jpg|left|600px|border|Directions of light 2]]</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Color_and_light_in_situ_-performance-B2&diff=950 2022-12-21T16:41:22Z

<p>Rlg: Created page with &quot;category: Characteristics_of_light&quot;</p> <hr /> <div>[[category: Characteristics_of_light]]</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Journal_of_the_meeting_December_2022&diff=945 2022-12-21T16:35:23Z

<p>Rlg: </p> <hr /> <div>[[category: Meetings]]<br /> [[File:Emese.jpg|thumb|Dramaturgical map ]]<br /> <br /> == '''December 19 2022''' ==<br /> <br /> [[File:Ruth.jpg|thumb|Dramaturgical map -]]<br /> <br /> <br /> '''Score writing or Dramaturgical map'''<br /> <br /> Which non-conversational strategies can we imagine in thinking about lighting and light dramaturgy <br /> <br /> &lt;BR&gt;<br /> &lt;BR&gt;<br /> [[File:Mapping.jpg|thumb|mapping]]<br /> <br /> <br /> <br /> == '''December 20 2022''' ==<br /> <br /> '''Dramaturgical map in practice'''<br /> <br /> <br /> == '''December 21 2022''' ==<br /> <br /> '''reflection on teaching and how to proceed'''<br /> <br /> <br /> '''WIKI-Gangplank'''</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Journal_of_the_meeting_December_2022&diff=943 2022-12-21T16:35:12Z

<p>Rlg: </p> <hr /> <div>[[category: Meetings]]<br /> [[File:Emese.jpg|thumb|Dramaturgical map ]]<br /> <br /> == '''December 19 2022''' ==<br /> <br /> [[File:Ruth.jpg|thumb|Dramaturgical map -]]<br /> <br /> <br /> '''Score writing or Dramaturgical map'''<br /> Which non-conversational strategies can we imagine in thinking about lighting and light dramaturgy <br /> <br /> &lt;BR&gt;<br /> &lt;BR&gt;<br /> [[File:Mapping.jpg|thumb|mapping]]<br /> <br /> <br /> <br /> == '''December 20 2022''' ==<br /> <br /> '''Dramaturgical map in practice'''<br /> <br /> <br /> == '''December 21 2022''' ==<br /> <br /> '''reflection on teaching and how to proceed'''<br /> <br /> <br /> '''WIKI-Gangplank'''</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Journal_of_the_meeting_December_2022&diff=942 2022-12-21T16:34:40Z

<p>Rlg: </p> <hr /> <div>[[category: Meetings]]<br /> [[File:Emese.jpg|thumb|Dramaturgical map ]]<br /> <br /> == '''December 19 2022''' ==<br /> <br /> Which non-conversational strategies can we imagine in thinking about lighting and light dramaturgy <br /> <br /> [[File:Ruth.jpg|thumb|Dramaturgical map -]]<br /> <br /> <br /> '''Score writing or Dramaturgical map'''<br /> &lt;BR&gt;<br /> &lt;BR&gt;<br /> [[File:Mapping.jpg|thumb|mapping]]<br /> <br /> <br /> <br /> == '''December 20 2022''' ==<br /> <br /> '''Dramaturgical map in practice'''<br /> <br /> <br /> == '''December 21 2022''' ==<br /> <br /> '''reflection on teaching and how to proceed'''<br /> <br /> <br /> '''WIKI-Gangplank'''</div>

Rlg https://gangplank.group/mediawiki/index.php?title=Journal_of_the_meeting_December_2022&diff=939 2022-12-21T16:31:58Z

<p>Rlg: </p> <hr /> <div>[[category: Meetings]]<br /> [[File:Emese.jpg|thumb|Dramaturgical map ]]<br /> <br /> == '''December 19 2022''' ==<br /> [[File:Ruth.jpg|thumb|Dramaturgical map -]]<br /> <br /> <br /> '''Score writing or Dramaturgical map'''<br /> &lt;BR&gt;<br /> &lt;BR&gt;<br /> [[File:Mapping.jpg|thumb|mapping]]<br /> <br /> <br /> <br /> == '''December 20 2022''' ==<br /> <br /> '''Dramaturgical map in practice'''<br /> <br /> <br /> == '''December 21 2022''' ==<br /> <br /> '''reflection on teaching and how to proceed'''<br /> <br /> <br /> '''WIKI-Gangplank'''</div>

Rlg https://gangplank.group/mediawiki/index.php?title=File:Ruth.jpg&diff=938 2022-12-21T16:31:17Z

<p>Rlg: </p> <hr /> <div>Dramaturgical map</div>

Rlg