In this compositional work, the dancers' motions undergo real-time transformation into a graphical notation through a specially crafted interface. This interface converts the data of movement that is then interpreted by the three musicians within a pre-established compositional framework. As the musicians respond to this dynamic input, they evoke immediate reactions from the dancers, resulting in a fluid dialogue between music and movement facilitated by the interface. This interplay blurs the boundaries between media and physical perception, where notations evolve into real-time instruments for artistic expression.
Eadweard’s Ear: Muybridge Extended-Berlin Edition, interactive live-installation for 4 musicians, 2 dancers, spatialisation & video projection, 2018
Unlike conventional music, where tones are typically inscribed into time, "Eadweard’s Ear" embeds them into space as each musician interacts with spatial changes inherently linked to time. Thus, space is understood as a dynamic process, in constant motion and therefore never complete. In this context, not only the dancers create space but also the musicians through spatial information: pitch, their placement within the ensemble, movements, and the interplay between sounds. Furthermore, the ensemble itself occupies a distinct space within the performance venue, defining an area from which the music emanates in all directions. The dancers rely solely on sounds. Through listening and physical exploration, they navigate through the sonic space, allowing the music to guide their movements.
Concept & artistic direction: Penelope Wehrli Video & projection: Sven Gareis aka telematique Musical direction, composition & spatialisation: Gerriet Krishna Sharma
2018 Mousonturm Frankfurt am Main 2018 Academy of Arts Berlin 2017 Uferstudios Berlin Funded by Berliner Hauptstadtkulturfonds
A–2017
Eadweard’s Ear
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