ČETRTEK/THURSDAY, 9. 12.

22:30 Klub Gromka (Metelkova mesto)





Srđan Prodanović (Some1Else) in Janko Mandić (Oknai) predstavljata avdio/vizualno uprizoritev, s katero želita publiki podariti poglobljeno izkušnjo svojih stvaritev. Uporabila bosta odprtokodne in lastnoročne rešitve, ki temeljijo na programiranju kontrolnih površin s stotinami gumbov (Monome, Max/MSP, PureData). Te jima omogočajo trenutno najbolj interaktivno in ekspresivno interpretacijo glasbe, s časovno usklajeno montažo pripadajočih video posnetkov.
Na prvi pogled je njun nastop kriptično sprožanje osvetljenih tipk; a kaj kmalu postanejo opazovalcu telesna govorica in pozicije v dvodimenzionalni mreži sinonim za trenutno predvajana zvok in sliko. Tako avtorja pozornost usmerita na vsebino, ne pa na prenosni računalnik, ki marsikaterega elektronskega glasbenika na odru na videz spremeni v pisarniškega delavca. Zvočni razpon obsega: eksperimentalne digitalne sinteze in obdelave; melanholične harmonije, zaigrane na intuitiven dvodimenzionalni notni sistem; ritmične skladbe, oplemenitene s prodornim basom in elementi digitalne dekompozicije. Vizualni razpon zajema: projekcije trenutnih potez na kontrolni površini; kreativne, a dosledne vizualizacije zvočnega zapisa; animirane interpretacije posameznih elementov glasbe; video posnetke igranja na uporabljene glasbene inštrumente in ostale kontekstualno kompatibilne mikro-fragmente iz množice rastočih internetnih video virov.

Srđan Prodanović (Some1Else) and Janko Mandić (Oknai) present their audio/visual performance, with which they attempt to give the audience a highly involved experience of their creations.They use both open-source and home-brew solutions, which are based on control surfaces with hundreds of buttons (Monome, Max/MSP, PureData). These enable the most interactive and expressive realtime composition of music and video to this date. At first glance, the performance appears to consist of cryptic tapping on backlit buttons, but soon the spectator begins to link body language and positions in a two-dimensional grid to the currently output audio and video. Therefore, attention is directed towards the content, and not the portable computer, which often seemingly transforms performing electronic musicians into office workers. Soundscapes consist of: experimental digital synthesis and manipulation; melancholic harmonies, played in an intuitive two-dimensional note pattern; rhythmic compositions, embellished with massive bass lines and elements of digital decomposition. Visuals consist of: projections of artists' current moves on the control surfaces; creative but factual visualizations of sonic properties; animated interpretations of music; videos of performance on musical instruments used and other contextually compatible micro-fragments from a myriad of growing internet video sources.