no one can really ever be close to another

but...

OBSERVATION II

Attempts of approach

OBSERVATIONII

Distance & Proximity. Three works on the subject



octophonic sound space and
stereoscopic multiscreen videoprojection

OBSERVATION II
come closer


space-spanning 3D sound and video installation that hovers at the interface between media-art and dance.

download TecRider (PDF)

Eight circularly arranged loudspeakers describe the approximately 10-meters-in-diameter, darkened, interior installation space, which is unilaterally delimited by three spatially arranged projection surfaces.

Up to four visitors can simultaneously move freely in the interior installation space.

* * *

Space composition

Spatial sound and video recordings (S3D video recordings and multi channel miking) of two dancers and three door elements form base material of this audio-visual space composition.

The immersive quality of the acoustic work was realised by an eight-channel arrangement for which the loudspeakers are arranged in the classical circle format. On the visual plane, the spatial representation of position, scale, movement is realised by stereoscope video technology.

Spatially arranged video projection surfaces expand the virtual room depth around the (respective) distance of observers from the screen and provide a clear view of the (slightly illuminated) room behind the screens.

"Real" and virtual space

The installation space and the are behind the projection screens are constantly visible. On meantime, the used technology simulates other (acoustic and visual) spaces and situates there the bodies of dancers and doors.

Both spaces - the visitor area and the virtual space - are combined. They complement and expand each other, but they do not fade out one another.

Atmosphere of Presence


The approach of the work to the topic "distance and proximity" is a sensual one.
Atmospherically densed and more similar to a fugue than to linear narrations.

The bodies are present. Sometimes they are far away.
Sometimes, in spatial close-ups (video), they appear to be nearby.
Or - even closer and more immediate - they approach as the sound of a breath.

What emerges here is an "atmosphere of the presence of bodies".

Virtual Space Composition - Visual Plane

Style elements of the visual composition are rhythm, repetition and the spatial positioning of virtual bodies.

The emptiness, in which a desert-like (two-dimensional) landscape passes by, comprises all three screens. Close-ups of intertwined bodies appear as if they are part of this landscape. The emptiness is replaced by spatial-plastic images of dancers, doors and their interaction.

The selected camera setting dimensions, in connection with a more or less strongly, spatialized image, are relevant to the increasingly tangibly emergent, spatial presence of the figures. Besides, there is the "replication of bodies", which is created by the simultaneous reproduction on three projection surfaces.

Virtual Space Composition - Acoustic Perspective

For the dimension of the work, the focus was particularly placed on the possibilities of the acoustic representation of physicality and spatiality (distance and proximity), as well as the psychomotoric characteristics of the figures.

Therefore, it is crucial for the composition the sound of the body itself, which was taken by elaborate microphone techniques (16 contact microphones, omnidirectional microphones in the room) and which enabled to emphasize acoustically the interaction of the bodies in their immediacy.

Virtual Space Composition - Sound, Image, Space

Through the compositional interplay between sound spatialization and stereoscopic video projection, the visitor is enabled to focus on content-related elements at different levels and put them in relation to each other.

Examples of the compositional interplay:
- A body perceived in the distance by the spatial video projection contrast the near-to-the-body sounds, which are projected into the space.
- The wide echo space of a beaten door object enters into a tension with the three differently distanced scene views of the beat on the visual plane.

In the interplay of spatial sound and video, a place emerges where the space of the dancing exploration of distance and proximity can be sensually experienced and allows visitors to establish references to their own physical positioning and to place these in relation to other visitors.

Sequence of "OBSERVATION II - come Closer" from Yvette Pistor on Vimeo.

Sequence of a space-spanning 3D sound and video installation that hovers at the interface between media art and dance. This black/white Anaglyph Version (red/cyan) is for demonstration purpose. The original work is based on octophonic soundspace and stereoscopic multiscreen installation (color & top/bottom) of Yvette Pistor, Christian Berkes and Paul Modler.

The installation is the place where experiences of distance and proximity are transmitted to spatial perception.

Presence

Everything is present - at the same place, at the same time. Thereby, it is unimportant whether it is about virtual or "real" spaces and people. Ultimately, everything that is "present" owes its existence to the commitment of our senses. That applies also - and first - to our own presence.

In this sense, OBSERVATION II come closer is considered as an invitation to trace your own presence in order to guess - perhaps - the presence of the "real other".

OBSERVATIONII
come closer

by Yvette Pistor

Christian Berkes > sound composition & Spatialisation of sound

dance: Daniela Näger & Romina Becker
soundengineering and supervision soundrecording: Paul Modler
multichannel Soundrecording: Zaza Barisch
S3D camera and costume-design: Marcela Snaselova
production assistance and second video edition: Vanessa Berghof

Sound composition for the octophone Soundspace: Christian Berkes
concept, setdesign, choreographie, video edition: Yvette Pistor

workshop metal & wood, support: Matthias Mai, Susanne Schmitt
postproduction support: Malte Paetsch & Jonas Piroth
Fotografie: Zaza Barisch

 

Nah und Fern

Tanzperformance und S3D Live Streaming.
Beyond 3D Festival 2011, part of the opening event
Center for Art and Media (ZKM), Karlsruhe

In the interplay of image and sound, the audiovisual space composition consciously undermines the visitors' receptive experiences. The bodies of the dancers appear very close and in the next moment very far away. The sound, very close to the ear, of a swishing garment is here perhaps far too intimate - confusing considering the view in the depth of the projection space which is empty for a short while.

Impressions of 27th may 2011,
Beyond 3D Festival 2011
ZKM & HfG Karlsruhe

Fotografie: Ilda Kim

OBSERVATION II work in progress
Tanzperformance und S3D Live Streaming in das ZKM Medientheater,
Beyond Festival am 27.05.2011, Karlsruhe 2011

OBSERVATION II - Proben & Dreharbeiten:
Tanz: Daniela Näger & Romina Becker
Inszenierung / Szenenbild: Yvette Pistor
Kamera und Kostümbild: Marcela Snaselova
Soundengineering und Aufnahmekonzept gr. Studio: Paul Modler
Soundaufnahme / Mikrophonie: Zaza Barisch

Studioleitung: Sebastian Schäfer
Beleuchtung: Thorsten Schwanninger
Betreuung Holz- und Metallwerkstatt: Matthias Mai

3D - Festival BEYOND Kooperationsteam (Firma INVISTRA):
Bildregie: Karlheinz Gelhardt
3D-Bild Übertragungstechnik: Andreas Baumgardt
Kamera 2: Michael Gsell
Kamera 3: Jonas Gelhardt
Assistenz Bildregie, Aufnahmeleitung: Vanessa Berghof

OBSERVATION II Trailer (Anaglyph Version)
Video Editing: Yvette Pistor
Music: Bosques de mi Mente / Track: "Paseo 3, Otono"
duration: 3:39 min.

TEAM OBSERVATION II (Rehearsal & Filming)
DANCE: DANIELA NÄGER & ROMINA BECKER
SOUNDENGINEERING AND SUPERVISION SOUNDRECORDING: PAUL MODLER
MULTICHANNEL SOUNDRECORDING: ZAZA BARISCH
S3D CAMERA AND COSTUME-DESIGN: MARCELA SNASELOVA
PRODUCTION ASSISTANCE AND SECOND VIDEO EDITION: VANESSA BERGHOF
Directed and Produced by: YVETTE PISTOR

The first part of this trailer is based on the music theme "Paseo 3" Otono by Bosques de mi Mente (http://www.bosquesdemimente.com).