https://gangplank.group/mediawiki/api.php?action=feedcontributions&user=BrunoPocheron&feedformat=atomGangplank - User contributions [en]2024-03-28T21:17:38ZUser contributionsMediaWiki 1.35.6https://gangplank.group/mediawiki/index.php?title=Reflecting_Light_Fanzine_Nr_4&diff=1180Reflecting Light Fanzine Nr 42023-12-23T19:59:10Z<p>BrunoPocheron: </p>
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<div>[[category: Reflecting_Light_Fanzine]]<br />
December 2023<br />
<br />
[https://reflectinglight.gangplank.group/fanzine/Reflecting%20Light%20-%20Issue%20nr%204%20December%202023%20web.pdf web version]<br />
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[https://reflectinglight.gangplank.group/fanzine/Reflecting%20Light%20-%20Issue%20nr%204%20December%202023%20to%20print.pdf printable version]</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Reflecting_Light_Fanzine_Nr_4&diff=1179Reflecting Light Fanzine Nr 42023-12-21T17:57:29Z<p>BrunoPocheron: Created page with "category: Reflecting_Light_Fanzine December 2023 [https://reflectinglight.gangplank.group/fanzine/Reflecting%20Light%20-%20Issue%20nr%204%20December%202023%20web.pdf web..."</p>
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<div>[[category: Reflecting_Light_Fanzine]]<br />
December 2023<br />
<br />
[https://reflectinglight.gangplank.group/fanzine/Reflecting%20Light%20-%20Issue%20nr%204%20December%202023%20web.pdf web version]</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Q%26A&diff=1178Q&A2023-12-14T20:17:13Z<p>BrunoPocheron: </p>
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<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&A 21/12/2<br />
<br />
'''For you personally, how does the light outside (in "the world") 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 "natural" 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 "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 "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&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&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&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 "originality". 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 />
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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 />
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Some (imperfect) video documentation is to be found here https://vimeopro.com/brunopocheron/lightworks password: brunopocheron<br />
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<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 />
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'''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 />
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'''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 />
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- shaping stage and form<br />
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- composition of stage picture<br />
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- establishing ryhym.<br />
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If thinking of controllable properties along with apalmer again, intensity, direction, shape and frequency seem to ring my bell. <br />
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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 />
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'''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 />
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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 />
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Or the moments when I make mistakes and interesting things happen.<br />
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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 />
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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 />
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'''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 />
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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 />
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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 />
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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 />
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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 />
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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 />
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'''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 />
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I see more and more analogies between lighting design and polyphonic musical composition. <br />
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I enjoy closely working with my colleagues musicians and sound designers and creating together a space both visual and acoustic<br />
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and, when possible, co-designing lights and escaping loneliness and compartimentation in the tech booth.<br />
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== '''What is your most meaningful experience of darkness in a theater? - Ezra''' '''Veldhuis'''==<br />
<br />
<br />
'''Henri Emmanuel Doublier'''<br />
<br />
My best experience of darkness was the show MUA from Emmanuelle Huynh. It was a show in total darkness, a trio of Emmanuelle, composer and cello player Kasper T. Toeplitz, and Yves Godin, the lighting designer. In the beginning, the audience was immersed in total darkness for quite a long time (5 minutes or more), listening to the cello playing. Even after this long time in the dark, your eyes couldn’t see anything. Then, as a very subtle light came slowly, I could perceive the softest, blurred, spectral body that I saw in my life. (Emmanuelle was naked or just dressed in a transparent fabric). I remember a lot of alternation of moments in total darkness and moments in little, little, light on the body of the dancer. I could feel some visual distortion tricks, when she moved, the body was decomposed like in a cubist painting of Picasso. She could even become double, because the eyes in such little light don’t have time to adapt. I still have images in my mind more than 25 years later. I was assisting Yves at that time, and I do hope that he won’t be upset if I give you his trick. He used very deep strong filters and a lot of grey neutral density into regular 1kw halogen lamp. Thanks to that, he could have a wide amplitude on its faders and still have a low intensity of light, to get such incredible quality.<br />
<br />
'''Tomi Humalisto'''<br />
[[File:The Dark Project.jpg|thumb|The Dark Project - Tomi Humalisto]]<br />
The most significant experience for me happened when I was working on The Dark Project (Pimeä Projekti), which was performed in 2006 and 2007. I was the initiator and facilitator of the work, for which I also created an infra-red lighting design. Originally conceived as an installation performance in the gallery space of the Museum of Contemporary Art KIASMA in Helsinki, it required a lot of experimentation on the part of me and the team, where we placed ourselves in the same position as the spectators of the work. Viewing is a broad concept in this context, as the performance made use of multiple senses, but also of real-time video camera footage. It was more about experiencing in a dark and dim environment. The performance consisted of four sequentially repeating lighting scenes, dawn, day, dusk, and night. The durations of these lighting scenes followed the durations of daylight, twilight, and darkness per year, shortened and related to the three-hour duration of the performance.<br />
<br />
For me, the significance of the performance was largely built on the rhythm of the various shifts in darkness, but also on experiencing almost total darkness and navigating the performance space, bumping into other audience members, naked performers, indulging in improvised play with strangers or sensing air currents, sounds, textures of materials and cold ice under your feet. Underlying all this imagined anonymity was an awareness of total visibility, made possible by infrared lights and surveillance cameras. I liked the sheer beauty of this idea: I was able to implement a lighting design and lighting scene that did not destroy the darkness, the two could live simultaneously at the same time and place.<br />
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<br />
<br />
'''Bruno Pocheron'''<br />
<br />
One of the most meaningful experiences of darkness in a theatre is for me an often recurring one: the classical final blackout that marks the end of many stage works. A timeless suspension, a respiration, shared by audience and performers alike, a transitional event where all involved in the ephemerous theatrical contract come back to themselves, find back their bodies in the dark, deprived of visual input for long enough to acknowledge the end of the shared, real time experience: the suspension of the suspension of disbelief. I project myself back from the stage to wherever I am physically in the theatre, while the shared experience reforms itself into individual memories, and the magically activated theatrical apparatus resumes the shape of an architectural space occupied by people.<br />
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'''Emese Csornai'''<br />
<br />
Darkness really got me in Juan Dominguez’ My only memory. The audience was first facing a frame of lights very similar to a filmscreen, blinding us. After, it was pitch black. An actor was live performing the text (in a light isolated booth). Darkness changed its quality due to the shifts in the text, its spatial rendering and one's anticipations. I don't want to kill the fun and I hope plenty of people will go and witness this work, but in the very end of the piece in very dim lighting perception and sense of distance were summoned after we have long given up on seeing anything at all. In this performance there was a great dramaturgy of darkness where I felt the piece was sliding directly in my nervous system and I was potentially in another person's head.<br />
<br />
'''Jan Fedinger'''<br />
<br />
''the noise of darkness''<br />
<br />
One of my first memories of working in the theatre has to do with the moment of turning off the lights after a day at work with the multitude of fixtures. Back then this theatre felt as such an immense space as I had not experienced on a daily basis before. Especially often being alone in this large volume felt as being in a silent void. With all the lights on, I could see every corner and every part of the room but often would not hear a single sound. At the end of the day I had to go up the tribune, arriving somewhat in the middle of the space, between the floor and the ceiling to the light desk. Here, after some simple commands, sudden darkness would fall onto the space as I turned off the fixtures that had been shining through the day. A darkness so absolute and immersive as I had not experienced before. Every time again I was struck with a moment of uncertainty, of slight unease but mostly great awe. Time and again it felt like I had entered into a void. However this void of darkness was far from silent as the day working with the lights had been. Instead there was a cacophony of sounds that suddenly erupted. Of clicks and cracks. Of high pitched banging. The lamps that had been heating for hours, expending the metal would now cool down rapidly creating a multitude of sounds as the material retracted. All the light fixtures turned into musical instruments of an overwhelming composition moving through the dark void. In this darkness as the boundaries of space had disappeared around me, I was immersed in the middle of that orchestra of noise. No less frightened at first but even more with a feeling of astonishment and excitement.<br />
<br />
Even bigger was my surprise when I told my supervisor of this experience. He answered with a story. A local myth of sorts. Some time ago heavy rains had flooded the basement of the theatre. Once the water had gone, they discovered a squirrel among the debris that had drowned in the darkness with no one around. Now every night once the living would turn off the lights, the ghost of that squirrel could finally roam free, bound only to the darkness as it jumped from lamp to lamp through the lightgrid.<br />
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'''Ezra Veldhuis'''<br />
<br />
I really love darkness in the theatre and have had many meaningful experiences while working and watching performances with darkness. I was for example amazed by Waldeinsamkeit by Benjamin Verdonck and Lucas Van Haesbroeck. In this performance, you look at a viewing box, in which various shutters open and close in dim shining grey light. Shadows, sliding panels and shutters change the dimly shining light in an inexplicable way. It is a magical, minimalist light show that remains elusive and wondrous even after they explained their technique to me and I was allowed to look inside the cabinet.<br />
<br />
Personally, I really enjoy working at night in an almost deserted dark theatre where only the light you are working with is still on. Time sometimes seems to almost stand still in these evening hours and you often find yourself in a kind of mental and physical in-between space in which another reality can sprout. From working in this zone usually arise the light-scenes of my performances.</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Q%26A&diff=1177Q&A2023-12-14T20:15:38Z<p>BrunoPocheron: </p>
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<div>[[Category:Reflecting Light]]<br />
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__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 />
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'''How are you present on stage? [as someone working with light]'''<br />
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'''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 />
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'''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 />
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<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 />
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'''How is your light present on stage?'''<br />
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'''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 />
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'''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 />
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'''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 />
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'''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 />
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'''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 />
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<br />
'''Where do you see light?'''<br />
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'''Henri'''<br />
Everywhere<br />
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'''Jan M'''<br />
Everywhere and always… as without light, I do not see.<br />
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'''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 />
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'''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 />
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'''“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 />
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'''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 />
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'''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 />
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'''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 />
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'''Bruno'''<br />
No comment. All has been said :). Plus I have to catch up with re-re-re watching the Flying Circus.<br />
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<br />
'''What ghosts do you encounter on stages?'''<br />
<br />
'''Henri'''<br />
I only see ghosts<br />
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'''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 />
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'''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 />
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'''What ghosts haunt your [lighting-]designs?'''<br />
<br />
'''Henri'''<br />
My father<br />
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'''Emese'''<br />
I have no such romantic fixations. But I did, and still do, dream a lot on theatre. *<br />
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'''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 />
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<br />
== '''INTRO: four questions in four days - Ezra Veldhuis''' ==<br />
<br />
Q&A 21/12/2<br />
<br />
'''For you personally, how does the light outside (in "the world") relate to designed light inside (in the theatre)?'''<br />
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'''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 "natural" 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 />
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<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 />
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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 />
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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 />
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On a smaller scale there is more diversity, see fireflies, phosphorescent beings or minerals for instance.<br />
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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 />
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- 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 "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 "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&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&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&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 "originality". 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.<br />
<br />
== '''What is your most meaningful experience of darkness in a theater? -Ezra''' '''Veldhuis'''==<br />
<br />
<br />
'''Henri Emmanuel Doublier'''<br />
<br />
My best experience of darkness was the show MUA from Emmanuelle Huynh. It was a show in total darkness, a trio of Emmanuelle, composer and cello player Kasper T. Toeplitz, and Yves Godin, the lighting designer. In the beginning, the audience was immersed in total darkness for quite a long time (5 minutes or more), listening to the cello playing. Even after this long time in the dark, your eyes couldn’t see anything. Then, as a very subtle light came slowly, I could perceive the softest, blurred, spectral body that I saw in my life. (Emmanuelle was naked or just dressed in a transparent fabric). I remember a lot of alternation of moments in total darkness and moments in little, little, light on the body of the dancer. I could feel some visual distortion tricks, when she moved, the body was decomposed like in a cubist painting of Picasso. She could even become double, because the eyes in such little light don’t have time to adapt. I still have images in my mind more than 25 years later. I was assisting Yves at that time, and I do hope that he won’t be upset if I give you his trick. He used very deep strong filters and a lot of grey neutral density into regular 1kw halogen lamp. Thanks to that, he could have a wide amplitude on its faders and still have a low intensity of light, to get such incredible quality.<br />
<br />
'''Tomi Humalisto'''<br />
[[File:The Dark Project.jpg|thumb|The Dark Project - Tomi Humalisto]]<br />
The most significant experience for me happened when I was working on The Dark Project (Pimeä Projekti), which was performed in 2006 and 2007. I was the initiator and facilitator of the work, for which I also created an infra-red lighting design. Originally conceived as an installation performance in the gallery space of the Museum of Contemporary Art KIASMA in Helsinki, it required a lot of experimentation on the part of me and the team, where we placed ourselves in the same position as the spectators of the work. Viewing is a broad concept in this context, as the performance made use of multiple senses, but also of real-time video camera footage. It was more about experiencing in a dark and dim environment. The performance consisted of four sequentially repeating lighting scenes, dawn, day, dusk, and night. The durations of these lighting scenes followed the durations of daylight, twilight, and darkness per year, shortened and related to the three-hour duration of the performance.<br />
<br />
For me, the significance of the performance was largely built on the rhythm of the various shifts in darkness, but also on experiencing almost total darkness and navigating the performance space, bumping into other audience members, naked performers, indulging in improvised play with strangers or sensing air currents, sounds, textures of materials and cold ice under your feet. Underlying all this imagined anonymity was an awareness of total visibility, made possible by infrared lights and surveillance cameras. I liked the sheer beauty of this idea: I was able to implement a lighting design and lighting scene that did not destroy the darkness, the two could live simultaneously at the same time and place.<br />
<br />
<br />
<br />
'''Bruno Pocheron'''<br />
<br />
One of the most meaningful experiences of darkness in a theatre is for me an often recurring one: the classical final blackout that marks the end of many stage works. A timeless suspension, a respiration, shared by audience and performers alike, a transitional event where all involved in the ephemerous theatrical contract come back to themselves, find back their bodies in the dark, deprived of visual input for long enough to acknowledge the end of the shared, real time experience: the suspension of the suspension of disbelief. I project myself back from the stage to wherever I am physically in the theatre, while the shared experience reforms itself into individual memories, and the magically activated theatrical apparatus resumes the shape of an architectural space occupied by people.<br />
<br />
'''Emese Csornai'''<br />
<br />
Darkness really got me in Juan Dominguez’ My only memory. The audience was first facing a frame of lights very similar to a filmscreen, blinding us. After, it was pitch black. An actor was live performing the text (in a light isolated booth). Darkness changed its quality due to the shifts in the text, its spatial rendering and one's anticipations. I don't want to kill the fun and I hope plenty of people will go and witness this work, but in the very end of the piece in very dim lighting perception and sense of distance were summoned after we have long given up on seeing anything at all. In this performance there was a great dramaturgy of darkness where I felt the piece was sliding directly in my nervous system and I was potentially in another person's head.<br />
<br />
'''Jan Fedinger'''<br />
<br />
''the noise of darkness''<br />
<br />
One of my first memories of working in the theatre has to do with the moment of turning off the lights after a day at work with the multitude of fixtures. Back then this theatre felt as such an immense space as I had not experienced on a daily basis before. Especially often being alone in this large volume felt as being in a silent void. With all the lights on, I could see every corner and every part of the room but often would not hear a single sound. At the end of the day I had to go up the tribune, arriving somewhat in the middle of the space, between the floor and the ceiling to the light desk. Here, after some simple commands, sudden darkness would fall onto the space as I turned off the fixtures that had been shining through the day. A darkness so absolute and immersive as I had not experienced before. Every time again I was struck with a moment of uncertainty, of slight unease but mostly great awe. Time and again it felt like I had entered into a void. However this void of darkness was far from silent as the day working with the lights had been. Instead there was a cacophony of sounds that suddenly erupted. Of clicks and cracks. Of high pitched banging. The lamps that had been heating for hours, expending the metal would now cool down rapidly creating a multitude of sounds as the material retracted. All the light fixtures turned into musical instruments of an overwhelming composition moving through the dark void. In this darkness as the boundaries of space had disappeared around me, I was immersed in the middle of that orchestra of noise. No less frightened at first but even more with a feeling of astonishment and excitement.<br />
<br />
Even bigger was my surprise when I told my supervisor of this experience. He answered with a story. A local myth of sorts. Some time ago heavy rains had flooded the basement of the theatre. Once the water had gone, they discovered a squirrel among the debris that had drowned in the darkness with no one around. Now every night once the living would turn off the lights, the ghost of that squirrel could finally roam free, bound only to the darkness as it jumped from lamp to lamp through the lightgrid.<br />
<br />
'''Ezra Veldhuis'''<br />
<br />
I really love darkness in the theatre and have had many meaningful experiences while working and watching performances with darkness. I was for example amazed by Waldeinsamkeit by Benjamin Verdonck and Lucas Van Haesbroeck. In this performance, you look at a viewing box, in which various shutters open and close in dim shining grey light. Shadows, sliding panels and shutters change the dimly shining light in an inexplicable way. It is a magical, minimalist light show that remains elusive and wondrous even after they explained their technique to me and I was allowed to look inside the cabinet.<br />
<br />
Personally, I really enjoy working at night in an almost deserted dark theatre where only the light you are working with is still on. Time sometimes seems to almost stand still in these evening hours and you often find yourself in a kind of mental and physical in-between space in which another reality can sprout. From working in this zone usually arise the light-scenes of my performances.</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=File:The_Dark_Project.jpg&diff=1176File:The Dark Project.jpg2023-12-14T20:13:17Z<p>BrunoPocheron: </p>
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<div></div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Q%26A&diff=1175Q&A2023-12-14T20:11:14Z<p>BrunoPocheron: /* What is your most meaningful experience of darkness in a theater? */</p>
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<div>[[Category:Reflecting Light]]<br />
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__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&A 21/12/2<br />
<br />
'''For you personally, how does the light outside (in "the world") 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 "natural" 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 "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 "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&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&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&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 "originality". 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 />
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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 />
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'''Tomi Humalisto''' <br />
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If we are thinking of fuctions of lighting design as Richard Palmer (1985) considers it, I feel the following most natural for me:<br />
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- shaping stage and form<br />
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- composition of stage picture<br />
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- establishing ryhym.<br />
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If thinking of controllable properties along with apalmer again, intensity, direction, shape and frequency seem to ring my bell. <br />
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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 />
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'''Henri Emmanuel Doublier'''<br />
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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 />
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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 />
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Or the moments when I make mistakes and interesting things happen.<br />
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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 />
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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 />
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'''Emese Csornai'''<br />
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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 />
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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 />
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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 />
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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 />
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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 />
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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 />
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'''Bruno Pocheron'''<br />
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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 />
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I see more and more analogies between lighting design and polyphonic musical composition. <br />
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I enjoy closely working with my colleagues musicians and sound designers and creating together a space both visual and acoustic<br />
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and, when possible, co-designing lights and escaping loneliness and compartimentation in the tech booth.<br />
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== '''What is your most meaningful experience of darkness in a theater? -Ezra''' '''Veldhuis'''==<br />
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'''Henri Emmanuel Doublier'''<br />
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My best experience of darkness was the show MUA from Emmanuelle Huynh. It was a show in total darkness, a trio of Emmanuelle, composer and cello player Kasper T. Toeplitz, and Yves Godin, the lighting designer. In the beginning, the audience was immersed in total darkness for quite a long time (5 minutes or more), listening to the cello playing. Even after this long time in the dark, your eyes couldn’t see anything. Then, as a very subtle light came slowly, I could perceive the softest, blurred, spectral body that I saw in my life. (Emmanuelle was naked or just dressed in a transparent fabric). I remember a lot of alternation of moments in total darkness and moments in little, little, light on the body of the dancer. I could feel some visual distortion tricks, when she moved, the body was decomposed like in a cubist painting of Picasso. She could even become double, because the eyes in such little light don’t have time to adapt. I still have images in my mind more than 25 years later. I was assisting Yves at that time, and I do hope that he won’t be upset if I give you his trick. He used very deep strong filters and a lot of grey neutral density into regular 1kw halogen lamp. Thanks to that, he could have a wide amplitude on its faders and still have a low intensity of light, to get such incredible quality.<br />
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'''Tomi Humalisto'''<br />
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The most significant experience for me happened when I was working on The Dark Project (Pimeä Projekti), which was performed in 2006 and 2007. I was the initiator and facilitator of the work, for which I also created an infra-red lighting design. Originally conceived as an installation performance in the gallery space of the Museum of Contemporary Art KIASMA in Helsinki, it required a lot of experimentation on the part of me and the team, where we placed ourselves in the same position as the spectators of the work. Viewing is a broad concept in this context, as the performance made use of multiple senses, but also of real-time video camera footage. It was more about experiencing in a dark and dim environment. The performance consisted of four sequentially repeating lighting scenes, dawn, day, dusk, and night. The durations of these lighting scenes followed the durations of daylight, twilight, and darkness per year, shortened and related to the three-hour duration of the performance.<br />
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For me, the significance of the performance was largely built on the rhythm of the various shifts in darkness, but also on experiencing almost total darkness and navigating the performance space, bumping into other audience members, naked performers, indulging in improvised play with strangers or sensing air currents, sounds, textures of materials and cold ice under your feet. Underlying all this imagined anonymity was an awareness of total visibility, made possible by infrared lights and surveillance cameras. I liked the sheer beauty of this idea: I was able to implement a lighting design and lighting scene that did not destroy the darkness, the two could live simultaneously at the same time and place.<br />
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'''Bruno Pocheron'''<br />
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One of the most meaningful experiences of darkness in a theatre is for me an often recurring one: the classical final blackout that marks the end of many stage works. A timeless suspension, a respiration, shared by audience and performers alike, a transitional event where all involved in the ephemerous theatrical contract come back to themselves, find back their bodies in the dark, deprived of visual input for long enough to acknowledge the end of the shared, real time experience: the suspension of the suspension of disbelief. I project myself back from the stage to wherever I am physically in the theatre, while the shared experience reforms itself into individual memories, and the magically activated theatrical apparatus resumes the shape of an architectural space occupied by people.<br />
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'''Emese Csornai'''<br />
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Darkness really got me in Juan Dominguez’ My only memory. The audience was first facing a frame of lights very similar to a filmscreen, blinding us. After, it was pitch black. An actor was live performing the text (in a light isolated booth). Darkness changed its quality due to the shifts in the text, its spatial rendering and one's anticipations. I don't want to kill the fun and I hope plenty of people will go and witness this work, but in the very end of the piece in very dim lighting perception and sense of distance were summoned after we have long given up on seeing anything at all. In this performance there was a great dramaturgy of darkness where I felt the piece was sliding directly in my nervous system and I was potentially in another person's head.<br />
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'''Jan Fedinger'''<br />
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''the noise of darkness''<br />
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One of my first memories of working in the theatre has to do with the moment of turning off the lights after a day at work with the multitude of fixtures. Back then this theatre felt as such an immense space as I had not experienced on a daily basis before. Especially often being alone in this large volume felt as being in a silent void. With all the lights on, I could see every corner and every part of the room but often would not hear a single sound. At the end of the day I had to go up the tribune, arriving somewhat in the middle of the space, between the floor and the ceiling to the light desk. Here, after some simple commands, sudden darkness would fall onto the space as I turned off the fixtures that had been shining through the day. A darkness so absolute and immersive as I had not experienced before. Every time again I was struck with a moment of uncertainty, of slight unease but mostly great awe. Time and again it felt like I had entered into a void. However this void of darkness was far from silent as the day working with the lights had been. Instead there was a cacophony of sounds that suddenly erupted. Of clicks and cracks. Of high pitched banging. The lamps that had been heating for hours, expending the metal would now cool down rapidly creating a multitude of sounds as the material retracted. All the light fixtures turned into musical instruments of an overwhelming composition moving through the dark void. In this darkness as the boundaries of space had disappeared around me, I was immersed in the middle of that orchestra of noise. No less frightened at first but even more with a feeling of astonishment and excitement.<br />
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Even bigger was my surprise when I told my supervisor of this experience. He answered with a story. A local myth of sorts. Some time ago heavy rains had flooded the basement of the theatre. Once the water had gone, they discovered a squirrel among the debris that had drowned in the darkness with no one around. Now every night once the living would turn off the lights, the ghost of that squirrel could finally roam free, bound only to the darkness as it jumped from lamp to lamp through the lightgrid.<br />
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'''Ezra Veldhuis'''<br />
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I really love darkness in the theatre and have had many meaningful experiences while working and watching performances with darkness. I was for example amazed by Waldeinsamkeit by Benjamin Verdonck and Lucas Van Haesbroeck. In this performance, you look at a viewing box, in which various shutters open and close in dim shining grey light. Shadows, sliding panels and shutters change the dimly shining light in an inexplicable way. It is a magical, minimalist light show that remains elusive and wondrous even after they explained their technique to me and I was allowed to look inside the cabinet.<br />
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Personally, I really enjoy working at night in an almost deserted dark theatre where only the light you are working with is still on. Time sometimes seems to almost stand still in these evening hours and you often find yourself in a kind of mental and physical in-between space in which another reality can sprout. From working in this zone usually arise the light-scenes of my performances.</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Q%26A&diff=1174Q&A2023-12-14T20:06:01Z<p>BrunoPocheron: </p>
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<div>[[Category:Reflecting Light]]<br />
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__FORCETOC__<br />
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== '''Haunted questions - Jan Fedinger''' ==<br />
<br />
'''Haunted questions - Jan Fedinger'''<br />
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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 />
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'''How are you present on stage? [as someone working with light]'''<br />
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'''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 />
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'''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 />
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'''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 />
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'''How is your light present on stage?'''<br />
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'''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 />
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'''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 />
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'''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 />
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'''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 />
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'''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 />
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'''Where do you see light?'''<br />
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'''Henri'''<br />
Everywhere<br />
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'''Jan M'''<br />
Everywhere and always… as without light, I do not see.<br />
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'''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 />
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'''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 />
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'''“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 />
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'''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 />
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'''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 />
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'''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 />
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'''Bruno'''<br />
No comment. All has been said :). Plus I have to catch up with re-re-re watching the Flying Circus.<br />
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'''What ghosts do you encounter on stages?'''<br />
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'''Henri'''<br />
I only see ghosts<br />
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'''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 />
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'''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 />
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'''What ghosts haunt your [lighting-]designs?'''<br />
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'''Henri'''<br />
My father<br />
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'''Emese'''<br />
I have no such romantic fixations. But I did, and still do, dream a lot on theatre. *<br />
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'''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 />
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<br />
== '''INTRO: four questions in four days - Ezra Veldhuis''' ==<br />
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Q&A 21/12/2<br />
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'''For you personally, how does the light outside (in "the world") relate to designed light inside (in the theatre)?'''<br />
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'''Tomi Humalisto''' <br />
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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 />
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This doesn’t exclude use of representations of "natural" 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 />
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'''Bruno Pocheron'''<br />
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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 />
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As it has been previously in my life for studying arts, practicing painting and photography.<br />
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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 />
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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 />
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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 />
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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 />
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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 />
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On a smaller scale there is more diversity, see fireflies, phosphorescent beings or minerals for instance.<br />
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A simple set of questions always present to mind when starting doing lighting for a piece is:<br />
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- how far do we want to create an illusion (of naturalism, of realism)?<br />
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- how far do we want to put the artificiality of what we do in the foreground?<br />
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- Does a specific piece need the revelation, or the masking of the theatrical apparatus, or a dynamic combination of both?<br />
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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 />
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'''Jan Fedinger'''<br />
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the light outside, in the world, both natural as artificial is the main source of inspiration for me.<br />
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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 />
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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 />
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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 />
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'''Henri Emmanuel Doublier'''<br />
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For me, there is a strong link between Outside and inside light.<br />
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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 />
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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 />
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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 />
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For the shows of the collective I worked with, there had many time moments of only performativity of the light with sound.<br />
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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 />
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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 />
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'''Jan Maertens'''<br />
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For me as a spectator, I try to forget about the “outside light world” in order to fully embrace the "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 "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&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&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&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 "originality". 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.<br />
<br />
== What is your most meaningful experience of darkness in a theater? ==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Reflecting_Light_Fanzine_Nr_3&diff=1172Reflecting Light Fanzine Nr 32023-09-09T18:54:18Z<p>BrunoPocheron: </p>
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September 2023<br />
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September 2023<br />
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September 2023<br />
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September 2023<br />
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September 2023</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1150Capturing and processing vibrations2023-01-25T20:57:49Z<p>BrunoPocheron: /* Context */</p>
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<div>[[category: Research]]<br />
<br />
[[File:PaulGong.jpg|right|150px|border|Paul and the gong]]<br />
[[File:Sequence1.jpg|right|150px|border|]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
https://www.researchcatalogue.net/profile/show-exposition?exposition=1395394<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
We set up to expand these interconnections over time and to relocate them in media specific to our practices.<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics<br />
<br />
<br />
The vibrations sonically treated as described above were then sent to various outputs:<br />
<br />
* a big shelf made to sound by a bass transducer<br />
* a fire bowl made to sound by a bass transducer<br />
* a window made to sound by a full range transducer<br />
* a stereo pair of studio monitors<br />
* two series of low voltage lighting bulbs powered by a stereo sound amplifier<br />
* the color and intensity channels of 3 LED Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the color mix of the LED fixtures:<br />
<br />
* The 3 tremolos are sent to 3 inputs of a sound interface<br />
* Their envelope is analysed and re-scaled to a range of values fitting the DMX protocole in the lighting instance of Pure Data<br />
* These values, sent via UDP to a Lanbox DMX controller, are then used to control the color mix of each of the 3 Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the intensity channel of the LED fixtures:<br />
<br />
* A 4th input of the sound interface receives the processed audio signal from the live input of the singing bowl, resulting in a decay <br />
* Its envelope is similarly analysed and re-scaled in the lighting instance of Pure Data<br />
* it sent via UDP to the Lanbox DMX controller and used to control the intensity channels of the 3 Fresnel fixtures<br />
<br />
<br />
Additionally:<br />
<br />
* we used the intensity of the LED lighting fixtures to modify the tonal spectrum of resonating objects and the decay time of their resonances<br />
* we also used the intensity of the LED lighting fixtures, sent via UDP and OSC to the sound instance of Pure Data, to control the intensity of the 3 tremolos<br />
<br />
<br />
==Creation of a sequence==<br />
<br />
<br />
We finally created a short sequence based on the notion of expansion of interconnections over time and relocation of processed signal in various media:<br />
<br />
* the live input of the gong on the roof was played back to the shelf, the fire bowl and the studio monitors. In this instance the volume of the fire bowl followed the intensity of the LED Fresnels, that also influenced its tonal spectrum. At the same time the volume of the shelf was influenced by the inverted values of the intensity of the LED Fresnels, resulting in counter movement in volume<br />
* the singing bowl was played acoustically as an instrument. Its resonances were picked up by the dynamic microphone, delayed by 20 seconds and sent to the low voltage lighting bulbs that flared in sync with the two upper tremolos of the singing bowl. After an other delay of 50 seconds the same signal was sent to the LED Fresnels that displayed in color tones and intensity the three tremolos and the envelope of the signal<br />
* the resonances of the singing bowl were also sent to the fire bowl when sent first to the bulbs and then to the Fresnels. Only this second event was affecting the spectral modification of the resonances audible from the fire bowl<br />
* by playing the singing bowl in different ways, different reactions of the bulbs and the Fresnels were controlled</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1149Capturing and processing vibrations2023-01-25T17:54:38Z<p>BrunoPocheron: </p>
<hr />
<div>[[category: Research]]<br />
<br />
[[File:PaulGong.jpg|right|150px|border|Paul and the gong]]<br />
[[File:Sequence1.jpg|right|150px|border|]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
We set up to expand these interconnections over time and to relocate them in media specific to our practices.<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics<br />
<br />
<br />
The vibrations sonically treated as described above were then sent to various outputs:<br />
<br />
* a big shelf made to sound by a bass transducer<br />
* a fire bowl made to sound by a bass transducer<br />
* a window made to sound by a full range transducer<br />
* a stereo pair of studio monitors<br />
* two series of low voltage lighting bulbs powered by a stereo sound amplifier<br />
* the color and intensity channels of 3 LED Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the color mix of the LED fixtures:<br />
<br />
* The 3 tremolos are sent to 3 inputs of a sound interface<br />
* Their envelope is analysed and re-scaled to a range of values fitting the DMX protocole in the lighting instance of Pure Data<br />
* These values, sent via UDP to a Lanbox DMX controller, are then used to control the color mix of each of the 3 Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the intensity channel of the LED fixtures:<br />
<br />
* A 4th input of the sound interface receives the processed audio signal from the live input of the singing bowl, resulting in a decay <br />
* Its envelope is similarly analysed and re-scaled in the lighting instance of Pure Data<br />
* it sent via UDP to the Lanbox DMX controller and used to control the intensity channels of the 3 Fresnel fixtures<br />
<br />
<br />
Additionally:<br />
<br />
* we used the intensity of the LED lighting fixtures to modify the tonal spectrum of resonating objects and the decay time of their resonances<br />
* we also used the intensity of the LED lighting fixtures, sent via UDP and OSC to the sound instance of Pure Data, to control the intensity of the 3 tremolos<br />
<br />
<br />
==Creation of a sequence==<br />
<br />
<br />
We finally created a short sequence based on the notion of expansion of interconnections over time and relocation of processed signal in various media:<br />
<br />
* the live input of the gong on the roof was played back to the shelf, the fire bowl and the studio monitors. In this instance the volume of the fire bowl followed the intensity of the LED Fresnels, that also influenced its tonal spectrum. At the same time the volume of the shelf was influenced by the inverted values of the intensity of the LED Fresnels, resulting in counter movement in volume<br />
* the singing bowl was played acoustically as an instrument. Its resonances were picked up by the dynamic microphone, delayed by 20 seconds and sent to the low voltage lighting bulbs that flared in sync with the two upper tremolos of the singing bowl. After an other delay of 50 seconds the same signal was sent to the LED Fresnels that displayed in color tones and intensity the three tremolos and the envelope of the signal<br />
* the resonances of the singing bowl were also sent to the fire bowl when sent first to the bulbs and then to the Fresnels. Only this second event was affecting the spectral modification of the resonances audible from the fire bowl<br />
* by playing the singing bowl in different ways, different reactions of the bulbs and the Fresnels were controlled</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=File:Sequence1.jpg&diff=1148File:Sequence1.jpg2023-01-25T17:53:37Z<p>BrunoPocheron: Vibration sequence</p>
<hr />
<div>== Summary ==<br />
Vibration sequence<br />
== Licensing ==<br />
{{CC-by-sa-4.0}}</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1147Capturing and processing vibrations2023-01-25T17:49:27Z<p>BrunoPocheron: </p>
<hr />
<div>[[category: Research]]<br />
<br />
[[File:PaulGong.jpg|right|150px|border|Paul and the gong]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
We set up to expand these interconnections over time and to relocate them in media specific to our practices.<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics<br />
<br />
<br />
The vibrations sonically treated as described above were then sent to various outputs:<br />
<br />
* a big shelf made to sound by a bass transducer<br />
* a fire bowl made to sound by a bass transducer<br />
* a window made to sound by a full range transducer<br />
* a stereo pair of studio monitors<br />
* two series of low voltage lighting bulbs powered by a stereo sound amplifier<br />
* the color and intensity channels of 3 LED Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the color mix of the LED fixtures:<br />
<br />
* The 3 tremolos are sent to 3 inputs of a sound interface<br />
* Their envelope is analysed and re-scaled to a range of values fitting the DMX protocole in the lighting instance of Pure Data<br />
* These values, sent via UDP to a Lanbox DMX controller, are then used to control the color mix of each of the 3 Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the intensity channel of the LED fixtures:<br />
<br />
* A 4th input of the sound interface receives the processed audio signal from the live input of the singing bowl, resulting in a decay <br />
* Its envelope is similarly analysed and re-scaled in the lighting instance of Pure Data<br />
* it sent via UDP to the Lanbox DMX controller and used to control the intensity channels of the 3 Fresnel fixtures<br />
<br />
<br />
Additionally:<br />
<br />
* we used the intensity of the LED lighting fixtures to modify the tonal spectrum of resonating objects and the decay time of their resonances<br />
* we also used the intensity of the LED lighting fixtures, sent via UDP and OSC to the sound instance of Pure Data, to control the intensity of the 3 tremolos<br />
<br />
<br />
==Creation of a sequence==<br />
<br />
<br />
We finally created a short sequence based on the notion of expansion of interconnections over time and relocation of processed signal in various media:<br />
<br />
* the live input of the gong on the roof was played back to the shelf, the fire bowl and the studio monitors. In this instance the volume of the fire bowl followed the intensity of the LED Fresnels, that also influenced its tonal spectrum. At the same time the volume of the shelf was influenced by the inverted values of the intensity of the LED Fresnels, resulting in counter movement in volume<br />
* the singing bowl was played acoustically as an instrument. Its resonances were picked up by the dynamic microphone, delayed by 20 seconds and sent to the low voltage lighting bulbs that flared in sync with the two upper tremolos of the singing bowl. After an other delay of 50 seconds the same signal was sent to the LED Fresnels that displayed in color tones and intensity the three tremolos and the envelope of the signal<br />
* the resonances of the singing bowl were also sent to the fire bowl when sent first to the bulbs and then to the Fresnels. Only this second event was affecting the spectral modification of the resonances audible from the fire bowl<br />
* by playing the singing bowl in different ways, different reactions of the bulbs and the Fresnels were controlled</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1146Capturing and processing vibrations2023-01-25T17:49:02Z<p>BrunoPocheron: </p>
<hr />
<div>[[category: Research]]<br />
<br />
[[File:PaulGong.jpg|right|350px|border|Paul and the gong]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
We set up to expand these interconnections over time and to relocate them in media specific to our practices.<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics<br />
<br />
<br />
The vibrations sonically treated as described above were then sent to various outputs:<br />
<br />
* a big shelf made to sound by a bass transducer<br />
* a fire bowl made to sound by a bass transducer<br />
* a window made to sound by a full range transducer<br />
* a stereo pair of studio monitors<br />
* two series of low voltage lighting bulbs powered by a stereo sound amplifier<br />
* the color and intensity channels of 3 LED Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the color mix of the LED fixtures:<br />
<br />
* The 3 tremolos are sent to 3 inputs of a sound interface<br />
* Their envelope is analysed and re-scaled to a range of values fitting the DMX protocole in the lighting instance of Pure Data<br />
* These values, sent via UDP to a Lanbox DMX controller, are then used to control the color mix of each of the 3 Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the intensity channel of the LED fixtures:<br />
<br />
* A 4th input of the sound interface receives the processed audio signal from the live input of the singing bowl, resulting in a decay <br />
* Its envelope is similarly analysed and re-scaled in the lighting instance of Pure Data<br />
* it sent via UDP to the Lanbox DMX controller and used to control the intensity channels of the 3 Fresnel fixtures<br />
<br />
<br />
Additionally:<br />
<br />
* we used the intensity of the LED lighting fixtures to modify the tonal spectrum of resonating objects and the decay time of their resonances<br />
* we also used the intensity of the LED lighting fixtures, sent via UDP and OSC to the sound instance of Pure Data, to control the intensity of the 3 tremolos<br />
<br />
<br />
==Creation of a sequence==<br />
<br />
<br />
We finally created a short sequence based on the notion of expansion of interconnections over time and relocation of processed signal in various media:<br />
<br />
* the live input of the gong on the roof was played back to the shelf, the fire bowl and the studio monitors. In this instance the volume of the fire bowl followed the intensity of the LED Fresnels, that also influenced its tonal spectrum. At the same time the volume of the shelf was influenced by the inverted values of the intensity of the LED Fresnels, resulting in counter movement in volume<br />
* the singing bowl was played acoustically as an instrument. Its resonances were picked up by the dynamic microphone, delayed by 20 seconds and sent to the low voltage lighting bulbs that flared in sync with the two upper tremolos of the singing bowl. After an other delay of 50 seconds the same signal was sent to the LED Fresnels that displayed in color tones and intensity the three tremolos and the envelope of the signal<br />
* the resonances of the singing bowl were also sent to the fire bowl when sent first to the bulbs and then to the Fresnels. Only this second event was affecting the spectral modification of the resonances audible from the fire bowl<br />
* by playing the singing bowl in different ways, different reactions of the bulbs and the Fresnels were controlled</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=File:PaulGong.jpg&diff=1145File:PaulGong.jpg2023-01-25T17:47:17Z<p>BrunoPocheron: Tanzhalle Wiesenburg January 2023</p>
<hr />
<div>== Summary ==<br />
Tanzhalle Wiesenburg January 2023<br />
== Licensing ==<br />
{{CC-by-sa-4.0}}</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1143Capturing and processing vibrations2023-01-25T17:39:57Z<p>BrunoPocheron: /* Creation of a sequence */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
We set up to expand these interconnections over time and to relocate them in media specific to our practices.<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics<br />
<br />
<br />
The vibrations sonically treated as described above were then sent to various outputs:<br />
<br />
* a big shelf made to sound by a bass transducer<br />
* a fire bowl made to sound by a bass transducer<br />
* a window made to sound by a full range transducer<br />
* a stereo pair of studio monitors<br />
* two series of low voltage lighting bulbs powered by a stereo sound amplifier<br />
* the color and intensity channels of 3 LED Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the color mix of the LED fixtures:<br />
<br />
* The 3 tremolos are sent to 3 inputs of a sound interface<br />
* Their envelope is analysed and re-scaled to a range of values fitting the DMX protocole in the lighting instance of Pure Data<br />
* These values, sent via UDP to a Lanbox DMX controller, are then used to control the color mix of each of the 3 Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the intensity channel of the LED fixtures:<br />
<br />
* A 4th input of the sound interface receives the processed audio signal from the live input of the singing bowl, resulting in a decay <br />
* Its envelope is similarly analysed and re-scaled in the lighting instance of Pure Data<br />
* it sent via UDP to the Lanbox DMX controller and used to control the intensity channels of the 3 Fresnel fixtures<br />
<br />
<br />
Additionally:<br />
<br />
* we used the intensity of the LED lighting fixtures to modify the tonal spectrum of resonating objects and the decay time of their resonances<br />
* we also used the intensity of the LED lighting fixtures, sent via UDP and OSC to the sound instance of Pure Data, to control the intensity of the 3 tremolos<br />
<br />
<br />
==Creation of a sequence==<br />
<br />
<br />
We finally created a short sequence based on the notion of expansion of interconnections over time and relocation of processed signal in various media:<br />
<br />
* the live input of the gong on the roof was played back to the shelf, the fire bowl and the studio monitors. In this instance the volume of the fire bowl followed the intensity of the LED Fresnels, that also influenced its tonal spectrum. At the same time the volume of the shelf was influenced by the inverted values of the intensity of the LED Fresnels, resulting in counter movement in volume<br />
* the singing bowl was played acoustically as an instrument. Its resonances were picked up by the dynamic microphone, delayed by 20 seconds and sent to the low voltage lighting bulbs that flared in sync with the two upper tremolos of the singing bowl. After an other delay of 50 seconds the same signal was sent to the LED Fresnels that displayed in color tones and intensity the three tremolos and the envelope of the signal<br />
* the resonances of the singing bowl were also sent to the fire bowl when sent first to the bulbs and then to the Fresnels. Only this second event was affecting the spectral modification of the resonances audible from the fire bowl<br />
* by playing the singing bowl in different ways, different reactions of the bulbs and the Fresnels were controlled</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1141Capturing and processing vibrations2023-01-25T17:15:07Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
We set up to expand these interconnections over time and to relocate them in media specific to our practices.<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics<br />
<br />
<br />
The vibrations sonically treated as described above were then sent to various outputs:<br />
<br />
* a big shelf made to sound by a bass transducer<br />
* a fire bowl made to sound by a bass transducer<br />
* a window made to sound by a full range transducer<br />
* a stereo pair of studio monitors<br />
* two series of low voltage lighting bulbs powered by a stereo sound amplifier<br />
* the color and intensity channels of 3 LED Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the color mix of the LED fixtures:<br />
<br />
* The 3 tremolos are sent to 3 inputs of a sound interface<br />
* Their envelope is analysed and re-scaled to a range of values fitting the DMX protocole in the lighting instance of Pure Data<br />
* These values, sent via UDP to a Lanbox DMX controller, are then used to control the color mix of each of the 3 Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the intensity channel of the LED fixtures:<br />
<br />
* A 4th input of the sound interface receives the processed audio signal from the live input of the singing bowl, resulting in a decay <br />
* Its envelope is similarly analysed and re-scaled in the lighting instance of Pure Data<br />
* it sent via UDP to the Lanbox DMX controller and used to control the intensity channels of the 3 Fresnel fixtures<br />
<br />
<br />
Additionally:<br />
<br />
* we used the intensity of the LED lighting fixtures to modify the tonal spectrum of resonating objects and the decay time of their resonances<br />
* we also used the intensity of the LED lighting fixtures, sent via UDP and OSC to the sound instance of Pure Data, to control the intensity of the 3 tremolos<br />
<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1140Capturing and processing vibrations2023-01-25T17:12:51Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
We set up to expand these interconnections over time and to relocate them in media specific to our practices.<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics<br />
<br />
<br />
The vibrations sonically treated as described above were then sent to various outputs:<br />
<br />
* a big shelf made to sound by a bass transducer<br />
* a fire bowl made to sound by a bass transducer<br />
* a window made to sound by a full range transducer<br />
* a stereo pair of studio monitors<br />
* two series of low voltage lighting bulbs powered by a stereo sound amplifier<br />
* the color and intensity channels of 3 LED Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the color mix of the LED fixtures:<br />
<br />
* The 3 tremolos are sent to 3 inputs of a sound interface<br />
* Their envelope is analysed and re-scaled to a range of values fitting the DMX protocole in the lighting instance of Pure Data<br />
* These values, sent via UDP to a Lanbox DMX controller, are then used to control the color mix of each of the 3 Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the intensity channel of the LED fixtures:<br />
<br />
* A 4th input of the sound interface receives the processed audio signal from the live input of the singing bowl, resulting in a decay <br />
* Its envelope is similarly analysed and re-scaled in the lighting instance of Pure Data<br />
* it sent via UDP to the Lanbox DMX controller and used to control the intensity channels of the 3 Fresnel fixtures<br />
<br />
<br />
Additionally:<br />
<br />
* we used the intensity of the LED lighting fixtures to modify the tonal spectrum of resonating objects and the decay time of their resonances<br />
* we also used the intensity of the LED lighting fixtures, sent via UDP and OSC to the sound instance of Pure Data, to control the intensity of the 3 tremolos<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1139Capturing and processing vibrations2023-01-25T17:11:26Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
We set up to expand these interconnections over time and to relocate them in media specific to our practices.<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics<br />
<br />
<br />
The vibrations sonically treated as described above were then sent to various outputs:<br />
<br />
* a big shelf made to sound by a bass transducer<br />
* a fire bowl made to sound by a bass transducer<br />
* a window made to sound by a full range transducer<br />
* a stereo pair of studio monitors<br />
* two series of low voltage lighting bulbs powered by a stereo sound amplifier<br />
* the color and intensity channels of 3 LED Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the color mix of the LED fixtures:<br />
<br />
* The 3 tremolos are sent to 3 inputs of a sound interface<br />
* Their envelope is analysed and re-scaled to a range of values fitting the DMX protocole in the lighting instance of Pure Data<br />
* These values, sent via UDP to a Lanbox DMX controller, are then used to control the color mix of each of the 3 Fresnel fixtures<br />
<br />
<br />
Sound input applied to the control of the intensity channel of the LED fixtures:<br />
<br />
* A 4th input of the sound interface receives the processed audio signal from the live input of the singing bowl, resulting in a decay <br />
* Its envelope is similarly analysed and re-scaled in the lighting instance of Pure Data<br />
* it sent via UDP to the Lanbox DMX controller and used to control the intensity channels of the 3 Fresnel fixtures<br />
<br />
<br />
Additionally:<br />
<br />
* we used the intensity of the LED lighting fixtures to modify the tonal spectrum of resonating objects and the decay time of their resonances<br />
* we also used the intensity of the LED lighting fixtures, sent via UDP and OSC to the sound instance of Pure Data<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1138Capturing and processing vibrations2023-01-25T16:44:48Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
We set up to expand these interconnections over time and to relocate them in media specific to our practices.<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics<br />
<br />
<br />
The vibrations sonically treated as described above were then sent to various outputs:<br />
<br />
* a big shelf made to sound by a bass transducer<br />
* a fire bowl made to sound by a bass transducer<br />
* a window made to sound by a full range transducer<br />
* a stereo pair of studio monitors<br />
* two series of low voltage lighting bulbs powered by a stereo sound amplifier<br />
* the color and intensity channels of 4 LED Fresnel fixtures<br />
<br />
<br />
Additionally we used the intensity of the LED lighting fixtures to modify the tonal spectrum of resonating objects and the decay time of their resonances. <br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1137Capturing and processing vibrations2023-01-25T16:44:05Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
We set up to expand these interconnections over time and to relocate them in media specific to our practices.<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics<br />
<br />
<br />
The vibrations sonically treated as described above where then sent to various outputs:<br />
<br />
* a big shelf made to sound by a bass transducer<br />
* a fire bowl made to sound by a bass transducer<br />
* a window made to sound by a full range transducer<br />
* a stereo pair of studio monitors<br />
* two series of low voltage lighting bulbs powered by a stereo sound amplifier<br />
* the color and intensity channels of 4 LED Fresnel fixtures<br />
<br />
<br />
Additionally we used the intensity of the LED lighting fixtures to modify the tonal spectrum of resonating objects and the decay time of their resonances: <br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1136Capturing and processing vibrations2023-01-25T16:31:21Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
We set up to expand these interconnections over time and to relocate them in media specific to our practices.<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances.<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm.<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics.<br />
<br />
<br />
Additionally we used the intensity and color temperature of light to modify the tonal spectrum of resonating objects and the decay time of their resonances. <br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1135Capturing and processing vibrations2023-01-25T16:29:39Z<p>BrunoPocheron: /* Initial concepts */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces. A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
We set up to expand these interconnections over time and to relocate them in media specific to our practices.<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances.<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm.<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics.<br />
<br />
<br />
Additionally, the intensity and color temperature of light we used to modify the tonal spectrum of resonating objects and the decay time of their resonances. <br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1134Capturing and processing vibrations2023-01-25T16:16:47Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces.<br />
<br />
A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as sound inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances.<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm.<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics.<br />
<br />
<br />
Additionally, the intensity and color temperature of light we used to modify the tonal spectrum of resonating objects and the decay time of their resonances. <br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1133Capturing and processing vibrations2023-01-25T16:10:48Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces.<br />
<br />
A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br> <br><br />
<br />
In our experimental set up we used mainly two objects as inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances.<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm.<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics.<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1132Capturing and processing vibrations2023-01-25T16:10:14Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces.<br />
<br />
A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br/><br />
<br />
In our experimental set up we used mainly two objects as inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances.<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm.<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics.<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1131Capturing and processing vibrations2023-01-25T16:09:57Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces.<br />
<br />
A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br><br />
<br />
In our experimental set up we used mainly two objects as inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances.<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm.<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics.<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1130Capturing and processing vibrations2023-01-25T16:08:26Z<p>BrunoPocheron: /* Context */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from choreographer Anne Juren's work Sensorial Transference, Anne Juren, Paul Kotal (sound designer) and Bruno Pocheron (lighting designer) came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies (programmer) and Marcello Silvio Busato (musician) contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces.<br />
<br />
A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br />
<br />
In our experimental set up we used mainly two objects as inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances.<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm.<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics.<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1129Capturing and processing vibrations2023-01-25T16:04:43Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting Anne Juren's work on sensorial transference, Anne Juren, Paul Kotal and Bruno Pocheron came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies and Marcello Silvio Busato contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces.<br />
<br />
A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br />
<br />
In our experimental set up we used mainly two objects as inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances.<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
<br />
Sound treatment applied to the inputs of the singing bowl:<br />
<br />
* a set of heavy compression with a fairly fast attack to smooth out the inherent tremolo<br />
* a steep lowCut filter at 200 Hz to protect the incandescent lighting bulbs<br />
* 3 tremolos tuned to the tempo/wavelength of the inherent frequencies. Resulting in a 1/4 note tremolo for the root note, a 1/8 tremolo for the first harmonic and a 1/16 note tremolo for the second harmonic at a tempo of 90.90 bpm.<br />
* those tremolos were inserted on separated mixer buses with eQs tuned to the frequency spectrum of the root note and the two upper harmonics.<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1128Capturing and processing vibrations2023-01-25T16:03:31Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting Anne Juren's work on sensorial transference, Anne Juren, Paul Kotal and Bruno Pocheron came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies and Marcello Silvio Busato contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces.<br />
<br />
A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls and singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br />
<br />
In our experimental set up we used mainly two objects as inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances.<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1127Capturing and processing vibrations2023-01-25T16:01:45Z<p>BrunoPocheron: /* Initial concepts */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting Anne Juren's work on sensorial transference, Anne Juren, Paul Kotal and Bruno Pocheron came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies and Marcello Silvio Busato contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In Sensorial Transference we used the term of trans-corporealities, which refers to the ways bodies are interconnected and influenced by each other in a co-regulated way. That phenomenon often happens during a soma-therapeutic treatment. For example the heart beats of the patient and the practitioner start synchronising during a session.<br />
<br />
We were interested in exploring how those interconnections can also be applied to spaces and objects, which are affected by their environment (the outside) and the resonance of the materials they are made of (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electro-mechanical ways of creating an artificial trans-corporeality between objects and spaces.<br />
<br />
A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls, singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture the vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br />
<br />
In our experimental set up we used mainly two objects as inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances.<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1126Capturing and processing vibrations2023-01-25T15:47:17Z<p>BrunoPocheron: /* Set up / Implementation */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting Anne Juren's work on sensorial transference, Anne Juren, Paul Kotal and Bruno Pocheron came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies and Marcello Silvio Busato contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In sensorial Transference we used the term of trans-corporealities (which refers to the ways bodies are interconnected and travers by each other in a co-regulated way) that can happen during the treatment. For example heart beats start synchronising during a session between a patient and a practitioner and the body-systems start moving together.<br />
<br />
We were interested in exploring how those interconnections can also apply to spaces and objects, how these are affected by their environment (the outside) and how the materials they are made of resonate (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electromechanical ways of creating an artificial trans-corporeality between objects and spaces.<br />
<br />
A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls, singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture the vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br />
<br />
In our experimental set up we used mainly two objects as inputs: <br />
<br />
* a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
<br />
* a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
* eQing in order to clean the signal of parasite noise and to compensate for overly present resonances.<br />
* heavy compression to enhance the atmospheric sounds and avoid clipping<br />
* transient shaping to extend the natural sustain of the gong<br />
* noise reduction<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1125Capturing and processing vibrations2023-01-25T15:45:51Z<p>BrunoPocheron: </p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting Anne Juren's work on sensorial transference, Anne Juren, Paul Kotal and Bruno Pocheron came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies and Marcello Silvio Busato contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In sensorial Transference we used the term of trans-corporealities (which refers to the ways bodies are interconnected and travers by each other in a co-regulated way) that can happen during the treatment. For example heart beats start synchronising during a session between a patient and a practitioner and the body-systems start moving together.<br />
<br />
We were interested in exploring how those interconnections can also apply to spaces and objects, how these are affected by their environment (the outside) and how the materials they are made of resonate (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electromechanical ways of creating an artificial trans-corporeality between objects and spaces.<br />
<br />
A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls, singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture the vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br />
<br />
In our experimental set up we used mainly two objects as inputs: <br />
<br />
a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
eQing in order to clean the signal of parasite noise and to compensate for overly present resonances. <br />
heavy compression to enhance the atmospheric sounds and avoid clipping<br />
transient shaping to extend the natural sustain of the gong<br />
noise reduction<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1124Capturing and processing vibrations2023-01-25T15:44:46Z<p>BrunoPocheron: </p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting Anne Juren's work on sensorial transference, Anne Juren, Paul Kotal and Bruno Pocheron came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies and Marcello Silvio Busato contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In sensorial Transference we used the term of trans-corporealities (which refers to the ways bodies are interconnected and travers by each other in a co-regulated way) that can happen during the treatment. For example heart beats start synchronising during a session between a patient and a practitioner and the body-systems start moving together.<br />
<br />
We were interested in exploring how those interconnections can also apply to spaces and objects, how these are affected by their environment (the outside) and how the materials they are made of resonate (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electromechanical ways of creating an artificial trans-corporeality between objects and spaces.<br />
<br />
A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
<br />
==Set up / Implementation==<br />
<br />
We concentrated on metallic objects such as a gong, fire bowls, singing bowls for their properties of capturing, filtering and transposing/transporting vibrations in the audible domain. We also treated the whole space of Tanzhalle Wiesenburg as a resonating body. For now we used piezo sensors and microphones to capture the vibrations, transducers and speakers to amplify and displace them, incandescent lighting bulbs and LED fixtures to translate them in the visible spectrum.<br />
<br />
In our experimental set up we used mainly two objects as inputs: <br />
<br />
a gong placed on the roof of the studio equipped with a piezo sensor, capturing the sonic environment (trains from afar, birds, sirens, conversations of neighbours, kids playing, church bells, a wedding cortege, etc.)<br />
a singing bowl placed in the room equipped with a dynamic microphone and played as an instrument.<br />
<br />
<br />
Sound treatment applied to the input from the gong: <br />
<br />
eQing in order to clean the signal of parasite noise and to compensate for overly present resonances. <br />
heavy compression to enhance the atmospheric sounds and avoid clipping<br />
transient shaping to extend the natural sustain of the gong<br />
noise reduction<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1123Capturing and processing vibrations2023-01-25T15:43:59Z<p>BrunoPocheron: </p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting Anne Juren's work on sensorial transference, Anne Juren, Paul Kotal and Bruno Pocheron came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies and Marcello Silvio Busato contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
In sensorial Transference we used the term of trans-corporealities (which refers to the ways bodies are interconnected and travers by each other in a co-regulated way) that can happen during the treatment. For example heart beats start synchronising during a session between a patient and a practitioner and the body-systems start moving together.<br />
<br />
We were interested in exploring how those interconnections can also apply to spaces and objects, how these are affected by their environment (the outside) and how the materials they are made of resonate (the inside). For that we focused on the notion of vibration within and beyond the audible and visible ranges, and tried out electromechanical ways of creating an artificial trans-corporeality between objects and spaces.<br />
<br />
A similar approach can be found e.g. in the works of Bill Fontana. <br />
https://ars.electronica.art/planetb/de/silent-echoes-notre-dame/<br />
<br />
==Set up / Implementation==<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1122Capturing and processing vibrations2023-01-25T15:35:36Z<p>BrunoPocheron: </p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting Anne Juren's work on sensorial transference, Anne Juren, Paul Kotal and Bruno Pocheron came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies and Marcello Silvio Busato contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==<br />
<br />
==Set up / Implementation==<br />
<br />
==Creation of a sequence==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1121Capturing and processing vibrations2023-01-25T14:02:10Z<p>BrunoPocheron: </p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting Anne Juren's work on sensorial transference, Anne Juren, Paul Kotal and Bruno Pocheron came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies and Marcello Silvio Busato contributed to that research.<br />
<br />
<br />
<br />
==Initial concepts==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1120Capturing and processing vibrations2023-01-25T14:01:13Z<p>BrunoPocheron: /* Context */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting Anne Juren's work on sensorial transference, Anne Juren, Paul Kotal and Bruno Pocheron came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and rooms, addressing the relation between inside and outside spaces . Marc Lagies and Marcello Silvio Busato contributed to that research.</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1119Capturing and processing vibrations2023-01-25T13:58:18Z<p>BrunoPocheron: /* Context */</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from her work on sensorial transference, Anne Juren, together with Paul Kotal and Bruno Pocheron, came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on interfacing with vibrations inherent to objects and spaces, addressing the relation between inside and outside spaces . Marc Lagies and Marcello Silvio Busato contributed to that research.</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1118Capturing and processing vibrations2023-01-25T13:54:23Z<p>BrunoPocheron: </p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==<br />
<br />
Starting from her work on sensorial transference, Anne Juren, together with Paul Kotal and Bruno Pocheron, came together in Tanzhalle Wiesenburg in January 2023 for a ten days residency focused on finding ways to interface with vibrations inherent to objects and spaces.</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Capturing_and_processing_vibrations&diff=1117Capturing and processing vibrations2023-01-25T13:50:08Z<p>BrunoPocheron: Created page with "category: Research ==Context=="</p>
<hr />
<div>[[category: Research]]<br />
<br />
==Context==</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Category:Research&diff=1116Category:Research2023-01-25T13:41:38Z<p>BrunoPocheron: Created page with "category: Projects"</p>
<hr />
<div>[[category: Projects]]</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=Category:Lanbox&diff=1086Category:Lanbox2022-12-29T13:07:14Z<p>BrunoPocheron: </p>
<hr />
<div>The Lanbox is a dmx lighting controller produced and sold by CDS Advanced Technology bv. https://www.lanbox.com/service/about/ <br />
<br />
For more information about the philosophy of lighting control behind the lanbox and the possibilities of using your own software to control lights with the Lanbox, check the page: [[Lanbox]] <br />
<br />
We also created a Reddit community to allow exchange between Lanbox users: https://www.reddit.com/r/LanBox/<br />
<br />
[[Category:Lighting Control]]</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=BRUNO_by_Alix_Eynaudi&diff=986BRUNO by Alix Eynaudi2022-12-21T18:14:09Z<p>BrunoPocheron: /* Software tools */</p>
<hr />
<div>[[Category:Performance]]<br />
<br />
<span style="color:blue">''This article is still under construction.'' </span><br />
<br />
[[File:211007_BRUNO_0010.jpg|right|350px|border|''BRUNO'' by Alix Eynaudi, copyright Samuel Feldhandler]]<br />
<br />
==In short==<br />
==Credits==<br />
<br />
<br />
The fellowship of BRUNO is composed of '''Hugo Le Brigand''', '''Mark Lorimer''', '''Cécile Tonizzo''', '''Alix Eynaudi''' Costumes '''An Breugelmans''' Light design '''Bruno Pocheron''' Sound design '''Paul Kotal'''<br />
<br />
special thanks to '''Clara Amaral''', '''Samuel Feldhandler''', '''Sabina Holzer'''<br />
<br />
production management '''mollusca productions for boîte de production'''<br />
<br />
coproduction '''Tanzquartier Wien''', '''Kaaitheater'''<br />
<br />
residencies '''MDT Stockholm''', '''Kunstencentrum BUDA'''<br />
<br />
boîte de production is supported by Kulturabteilung der Stadt Wien, BMKOES / Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport, ACT OUT, einem Projekt der IG Freie Theaterarbeit, gefördert aus Mitteln des BMEIA, co-funded by the Creative Europe Programme of the European Union through Life Long Burning<br />
<br />
thanks to '''Bears in the Park''' for the gracious gift of a floor<br />
<br />
==Annoucement text==<br />
<br />
BRUNO, a follow spot, an anticipation, a point of dew, an erotic assembly, a blinking dance. À cheval between languages, BRUNO an oscillation, une figure qui disparaît, the displacement of a name, a dance of lights that light and dance: the sensuality of these dances crosses fields of picnics. BRUNO, a literary dance piece, un océan d’amour, a library, a choir, a cut, a pause, un bébé. A meditation, a fling, a house-hole, a house holder, a hold-up of a house. BRUNO strips the writing away from the dance, in chains, in lights, beaming, vaping, a somber extravaganza folded into a room.<br />
<br />
BRUNO emerges from the mist like a stranded ship, a sigh left there. It cascades away into a pause. A piece of hole. Something that doesn’t happen. A breeze of what didn’t take place. A haunting. To let ourselves be haunted, to let ourselves be singed, to sigh, together, to stop, to blow, to turn around, to be sad, together. To not do much. To step aside, to let a rumbling moment pass, to weave our thoughts against a break, to nestle inside of a break. To brake, together. To rest, to be absent from an event, together. To caress a thought. To rest, to stay there. To not worry about a flow, to do things in vain. To not write scores, protocols, to wait, to cry, to stop, to not fill, to hold back the filling, to dance next to our shoes. To open a hand and let go, to not hold back, to lighten, to tenderly support, to relieve.<br />
<br />
BRUNO is an emanation of a piece without an end, a cloth of friendships, of loves cobbled together. Located in a recently (or perhaps never) uninhabited linguistic space, BRUNO unfurls, unfolds its over-exposures.<br />
<br />
==A collaborative design==<br />
<gallery widths="300" heights="300" perrow="7" mode="nolines"><br />
File:LeFar° Nyon.jpg|Le Far°, Nyon<br />
File:Halle G, TQW.jpg|Halle G, TQW<br />
File:Le Far° 2.jpg|Le Far°, Nyon<br />
File:Speakers on tube.jpeg| Speakers on tubes <br />
File:Inside.jpeg|Inside<br />
File:Structure.jpeg|Structure<br />
File:Kaaitheater, Brussels.jpeg|Kaaitheater, Brussels<br />
</gallery><br />
<br />
==Concept and technical implementation==<br />
<br />
==Software tools==<br />
<br />
[https://github.com/gangplank-group/BRUNObyAlixEynaudi Here] you can find software tools developed for the piece.<br />
<br />
==Technical Rider==<br />
<br />
'''Stage'''<br />
<br />
We bring:<br />
<br />
Grey dance floor 12,8m wide by 12m deep, laid back to front, not taped<br />
<br />
We need:<br />
Truss + pipes structure<br />
<br />
• 4 point truss, black w = 2 m x h = 2 m <br />
• 4 x base plates, black<br />
<br />
Black alu pipes<br />
• 4m x 3 <br />
• 3 m x 9<br />
• 2,5 m x 4<br />
• 2 m x 10<br />
• 1,5 m x 5<br />
• 1m x 4<br />
<br />
Clamps (Black alu or Gerüstschellen)<br />
• fixed 90° clamps x 20<br />
• rotating clamps x 40<br />
<br />
<br />
<br />
'''Light'''<br />
<br />
We need:<br />
<br />
• 1 x 5 Kw fresnel ->1 ch @ 5 Kw<br />
• 5 x 2 kw fresnels → 5 ch<br />
• 25 x 1 kw fresnels → 25 ch<br />
• 20 x Pars 64 CP62 → 20 ch<br />
• 25 x profiles → 20 → 14 ch<br />
• 20 x asymmetric floods → 10 ch<br />
• 74 x 2 kw channels + 1 x 5 kw channel<br />
• Multicores + splitters on the floor inside the structure<br />
• Power supply for the 3 stadium lamps 1 x 63A or 1 x 32 A<br />
• 32 A extensions for the 3 stadium lamps<br />
<br />
color filters lee 501, lee 502, lee 708<br />
diffusion filters R114, R132<br />
<br />
We bring:<br />
<br />
• 3 x Sitecom HIT 2 Kw Stadium lamps FOH right or left<br />
• powercon connectors between lamps and ballasts<br />
• 32A CEE connectors on the ballasts. The lamps use 2 phases each.<br />
• PSA-631 power distribution box, that has to be positioned at the lighting control desk<br />
• Lighting control Lanbox LCX (5 pins DMX connector)<br />
• MIDI controllers + cables<br />
• soundcard<br />
• computer<br />
• router<br />
• USB hub<br />
• external touchscreen<br />
<br />
'''Sound'''<br />
<br />
We bring:<br />
<br />
• 15 to 20 small speakers on 5 channels (series of 3 to 4 speakers), fitted to the alu pipes by a rubber brace, connected with HiFi cables 0,75 square mm<br />
• soundcard<br />
• MIDI controllers<br />
• computer<br />
• USB hub<br />
<br />
7 separate outputs from soundcard: 5 channels for the small speakers + 2 channels for subwoofers<br />
<br />
We need:<br />
<br />
• Amplifiers inside the structure, ideally with binding posts connectors for bare wires.150w 16 Ohm<br />
• 2 subwoofers (position to be defined)<br />
• Long sound multicore with stage box from soundcard to amps<br />
• 7 adapters jack to XLR from soundcard to multicore<br />
<br />
==Premiere and tour dates==<br />
<br />
8th and 9th of October 2021 at Tanzquartier Wien<br />
<br />
9th and 10th of March 2022 at Kaaitheater Brussels<br />
<br />
10th and 11th of August 2022 at Le Far° Nyon<br />
<br />
Upcoming:<br />
<br />
Fall 2023 in Vienna (tbc)<br />
<br />
==Texts==<br />
<br />
''What if "Bruno", the title of Alix Eynaudi's show, referred not only to the lighting designer Bruno Pocheron, but also to another Bruno, lurking in the shadow of the show? Or in other words, if by an act of language - this post - we linked to Bruno Pocheron another genius of chiaroscuro: Giordano Bruno, tortured on a stake in 1600 for heresy? This heresy, as the philosopher Laurent de Sutter reminds us (Magic, une métaphysique du lien, Puf, 2015), consisted in likening magic to a factory of links over which religion had reserved its hold. It was ultimately for challenging religion's monopoly that Bruno was burned alive. Giordano Bruno's theory of magic is thus a theory of the rebel movement that democratizes and redistributes the capacity to bind beings. And isn't this what Alix Eynaudi proposes to us? On the stage, Alix and Bruno have gathered all the available lighting fixtures. At intervals, the Kaaitheater is plunged into the deepest darkness. The audience can hear itself breathe. This light and sound sculpture, in the shadow of which the bodies of Hugo Le Brigand, Mark Lorimer and Alix Eynaudi glide, brush against each other, meet, tumble over each other, entangle each other... in a word, unbind and rebind, is it not a form of contemporary pyre? So that the spectacular is itself staged, its necessary tool, the one that allows to "shed light on" becomes an element of decor. Neither overhanging, nor hidden, it is compacted and enthroned on stage. A kind of magic tree, a sum of arms to articulate the anti-spectacular? The choreographer becomes a "magician" in that she proposes to observe how beings can connect in other ways. Three bodies configure for us an ABC of possible ways to evolve in symbiosis, to give shape to another type of efficiency than the one praised by the reason of moderns. The stage is inhabited like a microcosm that makes us feel that it is not the individual dancers that are important but their dynamic capacity to link up.''<br />
Creation is a matter of relationships, therefore a matter of links to be recomposed.<br />
Not this "social link", sociological invention which tends to normalize the contingency, in the name of which the States imposed by force its opposite: "the social distanciation". The evoked link would bring us back rather to speak about "necessity" than about "society" because to create, it is never to assign to a body its place but on the contrary, to make possible new links. One can only "be" in company. "All the actors who become what they are 'in the dance of relationship' would require each other in unexpected collaborations and combinations. (...) We become together or not at all" reminds us Donna Harraway. Without any abracadabra, "Bruno" has this efficiency proper to the magic rite. Dancing and offering us a liberating post-covid pass. There are other ways of obliging each other than those shaped by command (law and/or war). There is the infinite reserve of possibilities contained in artistic practices, open to all gestures that seek to detach us from any forced "mancipation" (this Latin and archaic designation of attachment). If "Bruno" is the first name, his last name could well be "Emancipation". And we leave the room hoping that this being in relation that has appeared before our eyes has recognized us, the seated audience, as one of his own with and towards whom to "make movement".<br />
<br />
Vincent Messen<br />
<br />
<br />
<br />
[[BRUNO]] Factual Description by [[Jan Maertens]]</div>BrunoPocheronhttps://gangplank.group/mediawiki/index.php?title=BRUNO_by_Alix_Eynaudi&diff=985BRUNO by Alix Eynaudi2022-12-21T18:13:20Z<p>BrunoPocheron: /* Software tools */</p>
<hr />
<div>[[Category:Performance]]<br />
<br />
<span style="color:blue">''This article is still under construction.'' </span><br />
<br />
[[File:211007_BRUNO_0010.jpg|right|350px|border|''BRUNO'' by Alix Eynaudi, copyright Samuel Feldhandler]]<br />
<br />
==In short==<br />
==Credits==<br />
<br />
<br />
The fellowship of BRUNO is composed of '''Hugo Le Brigand''', '''Mark Lorimer''', '''Cécile Tonizzo''', '''Alix Eynaudi''' Costumes '''An Breugelmans''' Light design '''Bruno Pocheron''' Sound design '''Paul Kotal'''<br />
<br />
special thanks to '''Clara Amaral''', '''Samuel Feldhandler''', '''Sabina Holzer'''<br />
<br />
production management '''mollusca productions for boîte de production'''<br />
<br />
coproduction '''Tanzquartier Wien''', '''Kaaitheater'''<br />
<br />
residencies '''MDT Stockholm''', '''Kunstencentrum BUDA'''<br />
<br />
boîte de production is supported by Kulturabteilung der Stadt Wien, BMKOES / Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport, ACT OUT, einem Projekt der IG Freie Theaterarbeit, gefördert aus Mitteln des BMEIA, co-funded by the Creative Europe Programme of the European Union through Life Long Burning<br />
<br />
thanks to '''Bears in the Park''' for the gracious gift of a floor<br />
<br />
==Annoucement text==<br />
<br />
BRUNO, a follow spot, an anticipation, a point of dew, an erotic assembly, a blinking dance. À cheval between languages, BRUNO an oscillation, une figure qui disparaît, the displacement of a name, a dance of lights that light and dance: the sensuality of these dances crosses fields of picnics. BRUNO, a literary dance piece, un océan d’amour, a library, a choir, a cut, a pause, un bébé. A meditation, a fling, a house-hole, a house holder, a hold-up of a house. BRUNO strips the writing away from the dance, in chains, in lights, beaming, vaping, a somber extravaganza folded into a room.<br />
<br />
BRUNO emerges from the mist like a stranded ship, a sigh left there. It cascades away into a pause. A piece of hole. Something that doesn’t happen. A breeze of what didn’t take place. A haunting. To let ourselves be haunted, to let ourselves be singed, to sigh, together, to stop, to blow, to turn around, to be sad, together. To not do much. To step aside, to let a rumbling moment pass, to weave our thoughts against a break, to nestle inside of a break. To brake, together. To rest, to be absent from an event, together. To caress a thought. To rest, to stay there. To not worry about a flow, to do things in vain. To not write scores, protocols, to wait, to cry, to stop, to not fill, to hold back the filling, to dance next to our shoes. To open a hand and let go, to not hold back, to lighten, to tenderly support, to relieve.<br />
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BRUNO is an emanation of a piece without an end, a cloth of friendships, of loves cobbled together. Located in a recently (or perhaps never) uninhabited linguistic space, BRUNO unfurls, unfolds its over-exposures.<br />
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==A collaborative design==<br />
<gallery widths="300" heights="300" perrow="7" mode="nolines"><br />
File:LeFar° Nyon.jpg|Le Far°, Nyon<br />
File:Halle G, TQW.jpg|Halle G, TQW<br />
File:Le Far° 2.jpg|Le Far°, Nyon<br />
File:Speakers on tube.jpeg| Speakers on tubes <br />
File:Inside.jpeg|Inside<br />
File:Structure.jpeg|Structure<br />
File:Kaaitheater, Brussels.jpeg|Kaaitheater, Brussels<br />
</gallery><br />
<br />
==Concept and technical implementation==<br />
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==Software tools==<br />
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[https://github.com/gangplank-group/BRUNObyAlixEynaudi Here]<br />
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==Technical Rider==<br />
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'''Stage'''<br />
<br />
We bring:<br />
<br />
Grey dance floor 12,8m wide by 12m deep, laid back to front, not taped<br />
<br />
We need:<br />
Truss + pipes structure<br />
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• 4 point truss, black w = 2 m x h = 2 m <br />
• 4 x base plates, black<br />
<br />
Black alu pipes<br />
• 4m x 3 <br />
• 3 m x 9<br />
• 2,5 m x 4<br />
• 2 m x 10<br />
• 1,5 m x 5<br />
• 1m x 4<br />
<br />
Clamps (Black alu or Gerüstschellen)<br />
• fixed 90° clamps x 20<br />
• rotating clamps x 40<br />
<br />
<br />
<br />
'''Light'''<br />
<br />
We need:<br />
<br />
• 1 x 5 Kw fresnel ->1 ch @ 5 Kw<br />
• 5 x 2 kw fresnels → 5 ch<br />
• 25 x 1 kw fresnels → 25 ch<br />
• 20 x Pars 64 CP62 → 20 ch<br />
• 25 x profiles → 20 → 14 ch<br />
• 20 x asymmetric floods → 10 ch<br />
• 74 x 2 kw channels + 1 x 5 kw channel<br />
• Multicores + splitters on the floor inside the structure<br />
• Power supply for the 3 stadium lamps 1 x 63A or 1 x 32 A<br />
• 32 A extensions for the 3 stadium lamps<br />
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color filters lee 501, lee 502, lee 708<br />
diffusion filters R114, R132<br />
<br />
We bring:<br />
<br />
• 3 x Sitecom HIT 2 Kw Stadium lamps FOH right or left<br />
• powercon connectors between lamps and ballasts<br />
• 32A CEE connectors on the ballasts. The lamps use 2 phases each.<br />
• PSA-631 power distribution box, that has to be positioned at the lighting control desk<br />
• Lighting control Lanbox LCX (5 pins DMX connector)<br />
• MIDI controllers + cables<br />
• soundcard<br />
• computer<br />
• router<br />
• USB hub<br />
• external touchscreen<br />
<br />
'''Sound'''<br />
<br />
We bring:<br />
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• 15 to 20 small speakers on 5 channels (series of 3 to 4 speakers), fitted to the alu pipes by a rubber brace, connected with HiFi cables 0,75 square mm<br />
• soundcard<br />
• MIDI controllers<br />
• computer<br />
• USB hub<br />
<br />
7 separate outputs from soundcard: 5 channels for the small speakers + 2 channels for subwoofers<br />
<br />
We need:<br />
<br />
• Amplifiers inside the structure, ideally with binding posts connectors for bare wires.150w 16 Ohm<br />
• 2 subwoofers (position to be defined)<br />
• Long sound multicore with stage box from soundcard to amps<br />
• 7 adapters jack to XLR from soundcard to multicore<br />
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==Premiere and tour dates==<br />
<br />
8th and 9th of October 2021 at Tanzquartier Wien<br />
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9th and 10th of March 2022 at Kaaitheater Brussels<br />
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10th and 11th of August 2022 at Le Far° Nyon<br />
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Upcoming:<br />
<br />
Fall 2023 in Vienna (tbc)<br />
<br />
==Texts==<br />
<br />
''What if "Bruno", the title of Alix Eynaudi's show, referred not only to the lighting designer Bruno Pocheron, but also to another Bruno, lurking in the shadow of the show? Or in other words, if by an act of language - this post - we linked to Bruno Pocheron another genius of chiaroscuro: Giordano Bruno, tortured on a stake in 1600 for heresy? This heresy, as the philosopher Laurent de Sutter reminds us (Magic, une métaphysique du lien, Puf, 2015), consisted in likening magic to a factory of links over which religion had reserved its hold. It was ultimately for challenging religion's monopoly that Bruno was burned alive. Giordano Bruno's theory of magic is thus a theory of the rebel movement that democratizes and redistributes the capacity to bind beings. And isn't this what Alix Eynaudi proposes to us? On the stage, Alix and Bruno have gathered all the available lighting fixtures. At intervals, the Kaaitheater is plunged into the deepest darkness. The audience can hear itself breathe. This light and sound sculpture, in the shadow of which the bodies of Hugo Le Brigand, Mark Lorimer and Alix Eynaudi glide, brush against each other, meet, tumble over each other, entangle each other... in a word, unbind and rebind, is it not a form of contemporary pyre? So that the spectacular is itself staged, its necessary tool, the one that allows to "shed light on" becomes an element of decor. Neither overhanging, nor hidden, it is compacted and enthroned on stage. A kind of magic tree, a sum of arms to articulate the anti-spectacular? The choreographer becomes a "magician" in that she proposes to observe how beings can connect in other ways. Three bodies configure for us an ABC of possible ways to evolve in symbiosis, to give shape to another type of efficiency than the one praised by the reason of moderns. The stage is inhabited like a microcosm that makes us feel that it is not the individual dancers that are important but their dynamic capacity to link up.''<br />
Creation is a matter of relationships, therefore a matter of links to be recomposed.<br />
Not this "social link", sociological invention which tends to normalize the contingency, in the name of which the States imposed by force its opposite: "the social distanciation". The evoked link would bring us back rather to speak about "necessity" than about "society" because to create, it is never to assign to a body its place but on the contrary, to make possible new links. One can only "be" in company. "All the actors who become what they are 'in the dance of relationship' would require each other in unexpected collaborations and combinations. (...) We become together or not at all" reminds us Donna Harraway. Without any abracadabra, "Bruno" has this efficiency proper to the magic rite. Dancing and offering us a liberating post-covid pass. There are other ways of obliging each other than those shaped by command (law and/or war). There is the infinite reserve of possibilities contained in artistic practices, open to all gestures that seek to detach us from any forced "mancipation" (this Latin and archaic designation of attachment). If "Bruno" is the first name, his last name could well be "Emancipation". And we leave the room hoping that this being in relation that has appeared before our eyes has recognized us, the seated audience, as one of his own with and towards whom to "make movement".<br />
<br />
Vincent Messen<br />
<br />
<br />
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[[BRUNO]] Factual Description by [[Jan Maertens]]</div>BrunoPocheron