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House met Amapiano and together—they told my story. Three minutes of pure pulse.
"When the music hits, even time forgets to count."
#SecondLifeVibes #AmapianoGroove #HouseEnergy #DigitalDance #AfroFuturismMoves #InWorldRhythms
Café Central - Eksperimentala evening curated by Sub Rosa & Laboratoire Central. Carte Blanche given to Camera Obscura.
You can watch extracts from this gig here:
Café Central - Eksperimentala evening curated by Sub Rosa & Laboratoire Central. Carte Blanche given to Camera Obscura.
You can watch extracts from this gig here:
Café Central - Eksperimentala evening curated by Sub Rosa & Laboratoire Central. Carte Blanche given to Camera Obscura.
You can watch extracts from this gig here:
Following a British Council/Connect ZA invitation to participate at the inaugural Alight Festival and the Fak’ugesi African Digital Arts Festival in Johannesburg, we planned to animate the streets of Braam with the use of video projections in public spaces.
The British Council/Connect ZA team gathered a group of aspiring digital artists to help create the work and arranged a shoot with the talented young dancers from Moving into Dance.
With only 2 days we created and installed the artworks, workshopping ideas and techniques for projection mapping and imaginative use of structures with our team of young international artists.
Together we devised 3 interventions: a huge 20m high projection onto an adjacent tower block; projections onto the entrance to the Tshimologong Innovation Precinct (where the Alight and Fak’ugesi festivals were held); and a number of roaming handheld projections.
Taking inspiration from the architecture of the buildings, after noticing a column of windows that ascended the tower and split our projection surface into 2 sides, we asked the dancers to improvise a short theatrical performance against a wall, imagining what or who would be on the other side. We then projected a dancer on each side of the tower, randomly mixing the performances so that they would interact through ‘the wall’. What emerged was a powerful artwork that engaged emotionally with the audience and appeared to address love, loneliness, gender and equality.
At the entrance of Tshimologong we used animations and film gathered from the workshops to create dynamic live video mapping that was operated by the workshop participants.
Three pico handheld projectors were loaded with short loops of the dancers and were operated by our ‘agents’, circulating through the audience. The images could be found on ceilings, walls, floors and often onto audience members themselves.
"2008년 9월":http://noyuna.tistory.com/m/607 집 근처 꽃집에서 샀던 장미허브. "작년 5월":http://me2day.net/yuna/2012/05/20/py4wwi8-yr 물꽂이로 화분 세개가 됐다. 오늘 그중 제일 오래된 장미허브 하나를 '은퇴'시키고 거기에 며칠 전 물꽂이한 애플민트를 심었다. 이 화분은 "2004년":http://digitaldance.tistory.com/56 프랑크푸르트에서 사와 동거인에게 선물했던 것. (은퇴한 허브는 말려서 삼베주머니에 넣어 포푸리로 쓰다가 오래되면 부수어 퇴비를 만들 생각이다. 버리는 것 없이 돌고도는 자연의 섭리를 따라. 허브 농사)posted by yuna
Café Central - Eksperimentala evening curated by Sub Rosa & Laboratoire Central. Carte Blanche given to Camera Obscura.
You can watch extracts from this gig here:
Café Central - Eksperimentala evening curated by Sub Rosa & Laboratoire Central. Carte Blanche given to Camera Obscura.
You can watch extracts from this gig here:
Café Central - Eksperimentala evening curated by Sub Rosa & Laboratoire Central. Carte Blanche given to Camera Obscura.
You can watch extracts from this gig here:
디안젤로의 얼굴을 그린 게 "1999년이었는데":http://www.digitaldance.co.kr/dreams/990222.php 헐. 2014년 앨범에선 오히려 더 젊어졌어.posted by yuna
Following a British Council/Connect ZA invitation to participate at the inaugural Alight Festival and the Fak’ugesi African Digital Arts Festival in Johannesburg, we planned to animate the streets of Braam with the use of video projections in public spaces.
The British Council/Connect ZA team gathered a group of aspiring digital artists to help create the work and arranged a shoot with the talented young dancers from Moving into Dance.
With only 2 days we created and installed the artworks, workshopping ideas and techniques for projection mapping and imaginative use of structures with our team of young international artists.
Together we devised 3 interventions: a huge 20m high projection onto an adjacent tower block; projections onto the entrance to the Tshimologong Innovation Precinct (where the Alight and Fak’ugesi festivals were held); and a number of roaming handheld projections.
Taking inspiration from the architecture of the buildings, after noticing a column of windows that ascended the tower and split our projection surface into 2 sides, we asked the dancers to improvise a short theatrical performance against a wall, imagining what or who would be on the other side. We then projected a dancer on each side of the tower, randomly mixing the performances so that they would interact through ‘the wall’. What emerged was a powerful artwork that engaged emotionally with the audience and appeared to address love, loneliness, gender and equality.
At the entrance of Tshimologong we used animations and film gathered from the workshops to create dynamic live video mapping that was operated by the workshop participants.
Three pico handheld projectors were loaded with short loops of the dancers and were operated by our ‘agents’, circulating through the audience. The images could be found on ceilings, walls, floors and often onto audience members themselves.
Following a British Council/Connect ZA invitation to participate at the inaugural Alight Festival and the Fak’ugesi African Digital Arts Festival in Johannesburg, we planned to animate the streets of Braam with the use of video projections in public spaces.
The British Council/Connect ZA team gathered a group of aspiring digital artists to help create the work and arranged a shoot with the talented young dancers from Moving into Dance.
With only 2 days we created and installed the artworks, workshopping ideas and techniques for projection mapping and imaginative use of structures with our team of young international artists.
Together we devised 3 interventions: a huge 20m high projection onto an adjacent tower block; projections onto the entrance to the Tshimologong Innovation Precinct (where the Alight and Fak’ugesi festivals were held); and a number of roaming handheld projections.
Taking inspiration from the architecture of the buildings, after noticing a column of windows that ascended the tower and split our projection surface into 2 sides, we asked the dancers to improvise a short theatrical performance against a wall, imagining what or who would be on the other side. We then projected a dancer on each side of the tower, randomly mixing the performances so that they would interact through ‘the wall’. What emerged was a powerful artwork that engaged emotionally with the audience and appeared to address love, loneliness, gender and equality.
At the entrance of Tshimologong we used animations and film gathered from the workshops to create dynamic live video mapping that was operated by the workshop participants.
Three pico handheld projectors were loaded with short loops of the dancers and were operated by our ‘agents’, circulating through the audience. The images could be found on ceilings, walls, floors and often onto audience members themselves.
Following a British Council/Connect ZA invitation to participate at the inaugural Alight Festival and the Fak’ugesi African Digital Arts Festival in Johannesburg, we planned to animate the streets of Braam with the use of video projections in public spaces.
The British Council/Connect ZA team gathered a group of aspiring digital artists to help create the work and arranged a shoot with the talented young dancers from Moving into Dance.
With only 2 days we created and installed the artworks, workshopping ideas and techniques for projection mapping and imaginative use of structures with our team of young international artists.
Together we devised 3 interventions: a huge 20m high projection onto an adjacent tower block; projections onto the entrance to the Tshimologong Innovation Precinct (where the Alight and Fak’ugesi festivals were held); and a number of roaming handheld projections.
Taking inspiration from the architecture of the buildings, after noticing a column of windows that ascended the tower and split our projection surface into 2 sides, we asked the dancers to improvise a short theatrical performance against a wall, imagining what or who would be on the other side. We then projected a dancer on each side of the tower, randomly mixing the performances so that they would interact through ‘the wall’. What emerged was a powerful artwork that engaged emotionally with the audience and appeared to address love, loneliness, gender and equality.
At the entrance of Tshimologong we used animations and film gathered from the workshops to create dynamic live video mapping that was operated by the workshop participants.
Three pico handheld projectors were loaded with short loops of the dancers and were operated by our ‘agents’, circulating through the audience. The images could be found on ceilings, walls, floors and often onto audience members themselves.
Following a British Council/Connect ZA invitation to participate at the inaugural Alight Festival and the Fak’ugesi African Digital Arts Festival in Johannesburg, we planned to animate the streets of Braam with the use of video projections in public spaces.
The British Council/Connect ZA team gathered a group of aspiring digital artists to help create the work and arranged a shoot with the talented young dancers from Moving into Dance.
With only 2 days we created and installed the artworks, workshopping ideas and techniques for projection mapping and imaginative use of structures with our team of young international artists.
Together we devised 3 interventions: a huge 20m high projection onto an adjacent tower block; projections onto the entrance to the Tshimologong Innovation Precinct (where the Alight and Fak’ugesi festivals were held); and a number of roaming handheld projections.
Taking inspiration from the architecture of the buildings, after noticing a column of windows that ascended the tower and split our projection surface into 2 sides, we asked the dancers to improvise a short theatrical performance against a wall, imagining what or who would be on the other side. We then projected a dancer on each side of the tower, randomly mixing the performances so that they would interact through ‘the wall’. What emerged was a powerful artwork that engaged emotionally with the audience and appeared to address love, loneliness, gender and equality.
At the entrance of Tshimologong we used animations and film gathered from the workshops to create dynamic live video mapping that was operated by the workshop participants.
Three pico handheld projectors were loaded with short loops of the dancers and were operated by our ‘agents’, circulating through the audience. The images could be found on ceilings, walls, floors and often onto audience members themselves.
Following a British Council/Connect ZA invitation to participate at the inaugural Alight Festival and the Fak’ugesi African Digital Arts Festival in Johannesburg, we planned to animate the streets of Braam with the use of video projections in public spaces.
The British Council/Connect ZA team gathered a group of aspiring digital artists to help create the work and arranged a shoot with the talented young dancers from Moving into Dance.
With only 2 days we created and installed the artworks, workshopping ideas and techniques for projection mapping and imaginative use of structures with our team of young international artists.
Together we devised 3 interventions: a huge 20m high projection onto an adjacent tower block; projections onto the entrance to the Tshimologong Innovation Precinct (where the Alight and Fak’ugesi festivals were held); and a number of roaming handheld projections.
Taking inspiration from the architecture of the buildings, after noticing a column of windows that ascended the tower and split our projection surface into 2 sides, we asked the dancers to improvise a short theatrical performance against a wall, imagining what or who would be on the other side. We then projected a dancer on each side of the tower, randomly mixing the performances so that they would interact through ‘the wall’. What emerged was a powerful artwork that engaged emotionally with the audience and appeared to address love, loneliness, gender and equality.
At the entrance of Tshimologong we used animations and film gathered from the workshops to create dynamic live video mapping that was operated by the workshop participants.
Three pico handheld projectors were loaded with short loops of the dancers and were operated by our ‘agents’, circulating through the audience. The images could be found on ceilings, walls, floors and often onto audience members themselves.
Following a British Council/Connect ZA invitation to participate at the inaugural Alight Festival and the Fak’ugesi African Digital Arts Festival in Johannesburg, we planned to animate the streets of Braam with the use of video projections in public spaces.
The British Council/Connect ZA team gathered a group of aspiring digital artists to help create the work and arranged a shoot with the talented young dancers from Moving into Dance.
With only 2 days we created and installed the artworks, workshopping ideas and techniques for projection mapping and imaginative use of structures with our team of young international artists.
Together we devised 3 interventions: a huge 20m high projection onto an adjacent tower block; projections onto the entrance to the Tshimologong Innovation Precinct (where the Alight and Fak’ugesi festivals were held); and a number of roaming handheld projections.
Taking inspiration from the architecture of the buildings, after noticing a column of windows that ascended the tower and split our projection surface into 2 sides, we asked the dancers to improvise a short theatrical performance against a wall, imagining what or who would be on the other side. We then projected a dancer on each side of the tower, randomly mixing the performances so that they would interact through ‘the wall’. What emerged was a powerful artwork that engaged emotionally with the audience and appeared to address love, loneliness, gender and equality.
At the entrance of Tshimologong we used animations and film gathered from the workshops to create dynamic live video mapping that was operated by the workshop participants.
Three pico handheld projectors were loaded with short loops of the dancers and were operated by our ‘agents’, circulating through the audience. The images could be found on ceilings, walls, floors and often onto audience members themselves.
Following a British Council/Connect ZA invitation to participate at the inaugural Alight Festival and the Fak’ugesi African Digital Arts Festival in Johannesburg, we planned to animate the streets of Braam with the use of video projections in public spaces.
The British Council/Connect ZA team gathered a group of aspiring digital artists to help create the work and arranged a shoot with the talented young dancers from Moving into Dance.
With only 2 days we created and installed the artworks, workshopping ideas and techniques for projection mapping and imaginative use of structures with our team of young international artists.
Together we devised 3 interventions: a huge 20m high projection onto an adjacent tower block; projections onto the entrance to the Tshimologong Innovation Precinct (where the Alight and Fak’ugesi festivals were held); and a number of roaming handheld projections.
Taking inspiration from the architecture of the buildings, after noticing a column of windows that ascended the tower and split our projection surface into 2 sides, we asked the dancers to improvise a short theatrical performance against a wall, imagining what or who would be on the other side. We then projected a dancer on each side of the tower, randomly mixing the performances so that they would interact through ‘the wall’. What emerged was a powerful artwork that engaged emotionally with the audience and appeared to address love, loneliness, gender and equality.
At the entrance of Tshimologong we used animations and film gathered from the workshops to create dynamic live video mapping that was operated by the workshop participants.
Three pico handheld projectors were loaded with short loops of the dancers and were operated by our ‘agents’, circulating through the audience. The images could be found on ceilings, walls, floors and often onto audience members themselves.
Following a British Council/Connect ZA invitation to participate at the inaugural Alight Festival and the Fak’ugesi African Digital Arts Festival in Johannesburg, we planned to animate the streets of Braam with the use of video projections in public spaces.
The British Council/Connect ZA team gathered a group of aspiring digital artists to help create the work and arranged a shoot with the talented young dancers from Moving into Dance.
With only 2 days we created and installed the artworks, workshopping ideas and techniques for projection mapping and imaginative use of structures with our team of young international artists.
Together we devised 3 interventions: a huge 20m high projection onto an adjacent tower block; projections onto the entrance to the Tshimologong Innovation Precinct (where the Alight and Fak’ugesi festivals were held); and a number of roaming handheld projections.
Taking inspiration from the architecture of the buildings, after noticing a column of windows that ascended the tower and split our projection surface into 2 sides, we asked the dancers to improvise a short theatrical performance against a wall, imagining what or who would be on the other side. We then projected a dancer on each side of the tower, randomly mixing the performances so that they would interact through ‘the wall’. What emerged was a powerful artwork that engaged emotionally with the audience and appeared to address love, loneliness, gender and equality.
At the entrance of Tshimologong we used animations and film gathered from the workshops to create dynamic live video mapping that was operated by the workshop participants.
Three pico handheld projectors were loaded with short loops of the dancers and were operated by our ‘agents’, circulating through the audience. The images could be found on ceilings, walls, floors and often onto audience members themselves.
Following a British Council/Connect ZA invitation to participate at the inaugural Alight Festival and the Fak’ugesi African Digital Arts Festival in Johannesburg, we planned to animate the streets of Braam with the use of video projections in public spaces.
The British Council/Connect ZA team gathered a group of aspiring digital artists to help create the work and arranged a shoot with the talented young dancers from Moving into Dance.
With only 2 days we created and installed the artworks, workshopping ideas and techniques for projection mapping and imaginative use of structures with our team of young international artists.
Together we devised 3 interventions: a huge 20m high projection onto an adjacent tower block; projections onto the entrance to the Tshimologong Innovation Precinct (where the Alight and Fak’ugesi festivals were held); and a number of roaming handheld projections.
Taking inspiration from the architecture of the buildings, after noticing a column of windows that ascended the tower and split our projection surface into 2 sides, we asked the dancers to improvise a short theatrical performance against a wall, imagining what or who would be on the other side. We then projected a dancer on each side of the tower, randomly mixing the performances so that they would interact through ‘the wall’. What emerged was a powerful artwork that engaged emotionally with the audience and appeared to address love, loneliness, gender and equality.
At the entrance of Tshimologong we used animations and film gathered from the workshops to create dynamic live video mapping that was operated by the workshop participants.
Three pico handheld projectors were loaded with short loops of the dancers and were operated by our ‘agents’, circulating through the audience. The images could be found on ceilings, walls, floors and often onto audience members themselves.
Following a British Council/Connect ZA invitation to participate at the inaugural Alight Festival and the Fak’ugesi African Digital Arts Festival in Johannesburg, we planned to animate the streets of Braam with the use of video projections in public spaces.
The British Council/Connect ZA team gathered a group of aspiring digital artists to help create the work and arranged a shoot with the talented young dancers from Moving into Dance.
With only 2 days we created and installed the artworks, workshopping ideas and techniques for projection mapping and imaginative use of structures with our team of young international artists.
Together we devised 3 interventions: a huge 20m high projection onto an adjacent tower block; projections onto the entrance to the Tshimologong Innovation Precinct (where the Alight and Fak’ugesi festivals were held); and a number of roaming handheld projections.
Taking inspiration from the architecture of the buildings, after noticing a column of windows that ascended the tower and split our projection surface into 2 sides, we asked the dancers to improvise a short theatrical performance against a wall, imagining what or who would be on the other side. We then projected a dancer on each side of the tower, randomly mixing the performances so that they would interact through ‘the wall’. What emerged was a powerful artwork that engaged emotionally with the audience and appeared to address love, loneliness, gender and equality.
At the entrance of Tshimologong we used animations and film gathered from the workshops to create dynamic live video mapping that was operated by the workshop participants.
Three pico handheld projectors were loaded with short loops of the dancers and were operated by our ‘agents’, circulating through the audience. The images could be found on ceilings, walls, floors and often onto audience members themselves.