Dökk (‘darkness’ in Icelandic) is the new live-media performance by fuse* and the natural evolution of Ljós (‘light’). Dökk is about a journey throughout a sequence of digital landscapes where the perception of space and time is altered.
As 2017 comes to a close, we take a moment to look back at the outstanding work done this year. From spectacular peformances, large scale installations, devices and tools to the new virtual spaces for artistic exploration – so many great projects are being added to the CAN archive! Here are a just few, 25 in total, that we and you enjoyed the most this year.
To enhance the hypnotic and ritualistic aspects of their music, Yerçekimi (Gravity), a band from İstanbul, Turkey created a website that uses satellite imagery of alien landscapes from around the world and in doing so matches the atmosphere of their music perfectly.
“Three Pieces with Titles” is the latest audiovisual performance by Montreal’s artificiel. In it Alexandre Burton and Julien Roy manipulate an eclectic collection of objects within the field of view of a computer vision system to generate real-time video and abstract sonic collage.
Created by Agoston Nagy, Atlås is an ‘anti game environment’ that generates music in a conversational cognitive space. The app includes automatically generated tasks that are solved by machine intelligence without the need of human input. Agoston questions ad infinitum (ability to continue forever), presence, human cognition, imagination, and more broadly corporate driven automatisms and advanced listening practices.
Created for and in collaboration with an electronic music band Niagra, Roger Water is a web based interactive 360 VR and live A/V experience by Stefano Maccarelli. The project is an a endless immersive exploration of a generative, infinite open world, set in a surreal Earth-like world, of a parallel universe connected to ours, populated by objects from modern terrestrial civilisation and terrestrial creatures that behave in unusual ways.
Created by Benedict Hubener, Stephanie Lee and Kelvyn Marte at the CIID with the help from Andreas Refsgaard and Gene Kogan, ‘The Classyfier’ is a table that detects the beverages people consume around it and chooses music that fits the situation accordingly.
Latest in the series of self-initiated studies by Simon Russell exploring the combination of the audio and visual, ‘The Creatures of Prometheus’ is a generative visualisation of the ballet composed in 1801 by Beethoven.
AUDINT is a European artist collective working across animation, installation, and publishing. Drawing on excerpts from an extended conversation with the group, we unpack their vision of the dystopian future-present and the nether zones that can be conjured through sound and vibration.
Created by the Responsive Environments team at the MIT Media Lab, the ‘FabricKeyboard’ explores the concept of stretchable fabric “sensate media” as a musical instrument. The work is a response to the current developments of textile sensors, stretchable nature of knitted fabrics, and vast growth of new digital music instruments.
The Mylar Topology is a new audiovisual performance by the London-based artist Paul Prudence. In it liquid forms ripple along with binaural beats, forming vertebral columns and congealing oil slicks – which dissipate as quickly as they form.
Created by Katharina Hauke and Dominik Hildebrand Marques Lopes, the MikroKontrolleur is the result of their ongoing artistic research into working with vocals and electronics live on stage. It consists of a control station that can be attached to any microphone stand with one part played using hands and optional foot pedal to extend manipulation. It’s a an instrument to play one’s voice.