Klang-Bild-Maschinen

Klang-Bild-Maschinen, WS 23-24 Wednesday, 14:00-16:00, different spaces

# 25.10.23

Workshop Floris Vanhoof
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where: exMedia Lab

# 01.11.23

no seminar today

#08.11.23

first introductions and some examples

• George Clouzot, INFERNO, 1964
• Edwin Welte, Lichttonorgel, 1930er, Tonscheibe,
  
• Edwin Welte, more about the Welte Licht-Ton-Orgel or Phototone Organ
  
• Edwin Welte, patents for Welte Licht-Ton-Orgel
  

• Pixivisor (Alexander Zolotov) is a tool for experimenting with the transmission of video over audio.
  

• Margaret Watts Huges, The Eidophone, 1904
• Tonoscope, Eidoscope
  

• Jens Brand, Red Psi Donkey, audiovisual installation, 2008
  
• Jens Brand used an acoustic camera, see here. Example of applications eg in bioacoustics
  

• Peter Fischli and David Weiss, the way things go, 1987
  

• Marcel Duchamp (with help by Man Ray), Rotary Glass Plates (Precision Optics), formerly titled as Revolving Glass Machine, 1920
• Marcel Duchamp, rotary demisphere, 1925 (2dimensional discs)
• Marcel Duchamp, Rotoreliefs (Optical Disks) 1935, published 1953. Plates set on a turntable
• Marcel Duchamp, Anémic cinéma, 1926, playing with sound of words engraved on the discs and rotating discs sensations
  
  

• Mariska de Groot, dutch multimedia artist. She will be performing at soundings on January 11, 2024 main page
• Mariska de Groot, stirred mandala II, 2019

tbc

where: animation studio

#15.11.23

no seminar today

#22.11.23

experiments with
motors

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where: exMedia Lab

#29.11.23

workshop
with guest Darya Gulyamova

where: exMedia Lab

next day (30.11.) soundings with Darya Gulyamova

#06.12.23

experiments with

screens
lights
shadows
movements

where: animation studio

#13.12.23

due to general assembly no seminar today

#20.12.23

more experiments with

arduino
screens
lights
shadows
movements

where: animation studio

#10.01.24

guest Mariska de Groot

presenting a initiative she co-initiated: instrument inventors initiative
showing some examples of how she approaches her works and connections between sound, image, installation.

looking at some history of the workings of drawings on film etc in the background

• Norman McLaren Synchromy
• Lev Theremin Rhythmicon (1931)
• Eugeny Sholp Variophone 1931
• Murzin a.n.s. synthesizer (1937-57), coil - a.n.s. synthesizer
• Daphne Oram oramics, drawing sound

• also take a look at the book sound in z, Andrew Smirnov (also in the khm-library)
  

talking about her works and different stages in her work: see her website
material patterns: patterns of light: patterns in sound, rhythm
eg about her harmonograph inspired work nibiru - planet of crossing

where: exMedia Lab

next day (11.01.) soundings: Mariska de Groot

#17.01.24

art's birthday

everyone playing with Majas code for art's birthday:

three more gifts for art's birthday:
a hand-moved-butterfly-machine by Claude, two furry gloves by Kyuwon, a magnetic-resonance-nail lacquer-sound-picture by Sayaka.

#24.01.24

last seminar day
discussing concepts/ ideas/ sketches of klangbildmaschinen.

AND

building and experimenting with brush bots
just two of many examples:

• autonomous toothbrush-robot-building

or one without battery

• solar brush bot

and a study about vibration-driven robots:
Modeling, Analysis, Control and Design of the Brushbot on arXiv.

where: exMedia Lab

eigene seiten/ your own pages

Janosch	[[ | ]]	Claude	[[ | ]]	[[ | ]]
[[ | ]]	[[ | ]]			visible unicorn

how to work with subpages

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seminar text vv

Was geschieht mit Formen, wenn sie in Bewegung versetzt werden? Wie werden Räume durch bewegte Objekte geschaffen und verändert? Welche Klänge entstehen beim Bewegen der Objekte oder umgekehrt können diese Objekte erst in Bewegung versetzen? Was für Athmosphären entstehen dabei und welche Geschichten werden davon erzählt? Was hält diese kleinen klingenden-leuchtenden Universen zusammen?

Im Seminar wollen wir entlang dieser Fragen Klang-Bild-Maschinen erdenken, entwerfen und realisieren, wobei wir uns auf Aspekte der gemeinsamen Gestaltung von Klängen und Licht in Bewegung konzentrieren.

Dabei möchten wir uns an dem Begriff "expanded cinema" orientieren. Seit den 1970er Jahren verweist "expanded cinema" auf die künstlerisch-forschende Suche nach Möglichkeiten zur Erweiterung etablierter kinematografischer Standards. Dabei geht es in erster Linie um das prozesshafte Experimentieren entlang einer "expanded consciousness". (Siehe dazu: Sheldon Renan "The Underground Film" (1967) und Gene Youngblood "Expanded Cinema" (1970), sowie auch Alvin Toffler "Future Shock" (1970).