Jan Thoben & Boris Hegenbart + Floris Vanhoof
12 Aug 2022
Denne aften byder på to audiovisuelle performances: Jan Thoben & Boris Hegenbarts “60Hz” og Floris Vanhoof “Expanded Cinema Performance”. Alle tre kunstnere er på kunstnerophold i Sound Art Lab, hvor de bruger vores værkstedsfaciliter og Struers umiddelbare adgang til højtkvalificeret viden om lysteknologi til at videreudvikle deres projekter.
60Hz
60Hz is an audiovisual performance project by Jan Thoben and Boris Hegenbart (Berlin, Germany). Rooted in DIY video synthesis techniques from the 60s and 70s, this project explores the signal-based creation of sound and image from inside the electronics. The wild oscillation of voltages in feedback circuits is digitally processed and gated. 60Hz embraces the ephemerality of hard-synced almost tangible audiovisuality that video synthesis offers as a generative medium. 60Hz refers to the vertical refresh rate in cathode ray video sytems. Following early cybernetic art approaches of the 1960s and 70s, this project‘s interest is with matters of influences rather than control. The traditional chain of command from humans to machines in which technology is considered a utility is replaced by an exploration of the ideosyncrasies of signal flows and processes. Thoben and Hegenbart built circuits and applications, which can be considered a controlled framing or scoring.
In the performance situation, however, human and technical agents enter a co-creative society.
60Hz is an audiovisual performance project by Jan Thoben and Boris Hegenbart (Berlin, Germany). Rooted in DIY video synthesis techniques from the 60s and 70s, this project explores the signal-based creation of sound and image from inside the electronics. The wild oscillation of voltages in feedback circuits is digitally processed and gated. 60Hz embraces the ephemerality of hard-synced almost tangible audiovisuality that video synthesis offers as a generative medium. 60Hz refers to the vertical refresh rate in cathode ray video sytems. Following early cybernetic art approaches of the 1960s and 70s, this project‘s interest is with matters of influences rather than control. The traditional chain of command from humans to machines in which technology is considered a utility is replaced by an exploration of the ideosyncrasies of signal flows and processes. Thoben and Hegenbart built circuits and applications, which can be considered a controlled framing or scoring.
In the performance situation, however, human and technical agents enter a co-creative society.
Expanded Cinema Performance
Floris Vanhoof (Antwerp, Belgium) is interested in the hybrid forms of music, visual art, and film. His first projections -experimental films on 16 millimeter- evolved towards purely visual experiences which questioned our viewing patterns. Inspired by structural film and early electronic music, he builds installations, creates expanded cinema performances, and releases his music.
Vanhoof makes his own instruments to explore the border between image, light, and sound. As media-archaeologist, he confronts the digitally-spoiled audience with flickering 16mm films and 35mm slide installations – formats doomed to disappear. He often chooses analog technology because of the greater transparency of the workflow, and because of its rich dynamic range. Cut loose from all nostalgia, he experiments with what used to be considered “hightech.” Vanhoof searches for new ideas with old media. He translates sound to image and vice-versa by connecting different incompatible media. He is especially curious about the effects his work elicits in the viewer: How does our perception operate? Which new perspectives appear?
Floris Vanhoof (Antwerp, Belgium) is interested in the hybrid forms of music, visual art, and film. His first projections -experimental films on 16 millimeter- evolved towards purely visual experiences which questioned our viewing patterns. Inspired by structural film and early electronic music, he builds installations, creates expanded cinema performances, and releases his music.
Vanhoof makes his own instruments to explore the border between image, light, and sound. As media-archaeologist, he confronts the digitally-spoiled audience with flickering 16mm films and 35mm slide installations – formats doomed to disappear. He often chooses analog technology because of the greater transparency of the workflow, and because of its rich dynamic range. Cut loose from all nostalgia, he experiments with what used to be considered “hightech.” Vanhoof searches for new ideas with old media. He translates sound to image and vice-versa by connecting different incompatible media. He is especially curious about the effects his work elicits in the viewer: How does our perception operate? Which new perspectives appear?
It is free to attend the event and everybody is welcome.
The event is made in collaboration with Sound Art Lab and Aarhus University’s summer school “Sounding city – sonic interventions and storytelling for liveable urban spaces and landscapes”.
Place:
Sound Art Lab, Peter Bangs Vej 17B, 7600 Struer
Sound Art Lab, Peter Bangs Vej 17B, 7600 Struer
Program:
19:30 Doors open
20:00 Performances followed by Q&A
19:30 Doors open
20:00 Performances followed by Q&A
Sound Art Lab
Peter Bangs Vej 17B
DK-7600 Struer
+ 45 20 74 55 35
info@soundartlab.org