The heart of onedotzero’s festival ethos of ‘convergence and collaboration’ inspired designers Wieden + Kennedy to take advantage of onedotzero’s vast fan base and harnessing and bringing together constant, global live conversations from a diverse range of social networking to create the identity. Aggregated words and opinions are channeled via specially created software devised by computation designer Karsten Schmidt. Colorful strands behave organically, gravitating towards invisible paths that will ultimately make the onedotzero logo. a living, breathing identity driven by onedotzero’s audience and online community as well as in person at EMPAC. Projected on the lobby ceiling, you interact with the visuals via cellphone, text and online message.

the driving force of onedotzero's programming since inception, wow + flutter's remit has always been to seek and share the most innovative and surprising work in progressive, motion graphics and short-form works. fresh talent and celebrated masters alike strive to expand, blur and explode traditional notions of what future moving image could be. as a playground for creative expression.

• bruno dicolla: return as an animal / brazil 2008 / 01:31
• christian schläeffer: agent orange ready / germany 2008 / 02:52
• zeitguised: peripetics / uk 2008 / 03:20
• chiesa, sukarya, temes + kageyama: iran: a nation of bloggers / canada 2008 / 02:00
• maxim zhestkov: onedreamrush / russia / 2009 /0:42
• oscar sheikh: tancho / hong kong 2009 / 03:43
• lauri warsta: dictaphone parcel / finland 2009 / 02:47
• tom geraedts: eros / netherlands / 2009 / 02:55
• bastian bohl + andreas muench: spritze / germany 2009 / 02:20
• tomas dieguez: gato curioso [excerpts x3] / argentina 2008 / 1:45
• las palmas: reset / finland 2008 / 1:46
• clemens kogler: arbeit 2.0 / austria 2009 / 03:01
• impactist: parallelostory / usa 2009 / 02:24
• ubik: voxel / uk 2009 / 02:36
• jean-paul frenay: artificial paradise inc. / belgium 2009 / 03:00
• xavier chasseing: scintillation /france / 2009 / 02:59
• fillipe lyra + william paiva: voltage / brazil 2008 / 04:14
• pedro mari: hello world / uk 2008 / 00:55
• duncan rait + jon marsh: ant and len / uk 2009 / 01:45
• murat pak: garamond? / turkey 2009 / 01:10
• julien vallée: globo logos / canada 2008 / 00:52
• superestudio/lamole: psychoscopic / argentina 2009 / 00:51
• nazim moisés: essay 1 / argentina 2009 / 01:48
• rimantas lukavicius: the balance / lithuania 2009 / 01:29
• johnny hardstaff: cherry girl / uk 2009 / 01:02
• michael paul young [you work for them]: this is agostina / usa + thailand 2008 / 01:43
• tomas dieguez: gato curioso [excerpt 3] / argentina 2008 / 0:35
• james wignall, ruffmercy + hush: tranquility fat yak happy fun show / uk + usa 2009 / 04:37
• yibi hu [aka eb]: lucky / uk 2008 / 02:00
• paris mavroidis: divers / usa 2009 / 03:07
• mato atom: docking / usa 2009 / 00:50
• james brocklebank: it’s what’s inside that counts / aleck morton / uk 2009 / 01:25
• mato atom: docking / usa 2009 / 00:50

Serves up the most exciting and offbeat music videos from around the world, including work for röyksopp, n.a.s.a and fleet foxes. this area has spawned current cinematic titans such as spike jonze, michel gondry and jonathan glazer, amongst others. it remains a fertile breeding ground for breaking talent and startling new ideas.

• shynola: strawberry swing / coldplay / uk 2009 / 04:13
• wyld stallyons: the reason / the blizzards / uk 2008 / 03:20
• spike jonze + ty evans: heaven / unkle / usa 2009 / 06:52
• logan: a volta / n.a.s.a / usa 2009 / 04:23
• reuben sutherland: happy up here / röyksopp / uk 2009 / 00:49
• martin de thurah: when i grow up / fever ray / denmark 2009 / 03:55
• pecknold [aka grandchildren]: fleet foxes / usa 2009 / 03:48
• andrius kirvela [petpunk]: who’s shot the silence / lithuania 2009 / 03:32
• kenny frankland: printer jam / mistabishi / uk 2009 / 04:10
• adam comiskey: one mississippi / hey negrita / uk 2009 / 03:09
• arri reschke + claudio pavan: over exposed / the parlotones / south africa 2008 / 03:00
• daniel franke + martin w. maier: watusii / cortney tidwell / germany 2009 / 03:06
• han hoogerbrugge: love etc / pet shop boys / uk 2009 / 03:29
• laurie thinot: stay the same / autokratz / uk 2008 / 03:18
• david o’reilly: bang tour visuals / m.i.a / ireland 2009 / 01.25
• nabil: t.i.a. / k’naan / usa 2009 / 03:48
• jess holzworth: raindrops / basement jaxx / uk 2009 / 03:25
• david nord + boris nawratil: rock away / lazee / sweden 2008 / 03:53
• jo apps + kate moross: audacity of huge / simian disco mobile / uk 2009 / 03:02

Why do we have eyes on the front of our heads, like cats, rather than on the sides, like horses? And how is it that we find it so easy to read when written language did not exist until a few thousand years ago—a virtual millisecond in evolutionary time? These are just a few of the riddles theoretical neurobiologist Mark Changizi explored in his talk on Alien Vision Revolution. Searching for the design principles behind color vision, binocularity, motion, and object recognition, Changizi suggests what they say about human nature and the circumstances in which it was formed. He also uses those principles to extrapolate how extraterrestrial beings would be likely to see—probably the same sorts of writing but not the same colors, and not with eyes that face forward. 

Mark Changizi was assistant professor in the Department of Cognitive Science at Rensselaer and author of the The Vision Revolution and Harnessed: How Language and Music Mimicked Nature and Transformed Ape to Man. He is director of human cognition at the research institute 2ai Labs  and managing director of O2Amp.

As part of the lengthy production process for this EMPAC-commissioned opera, composer Sean Griffin worked in residence with staff as well as auditioned regional actors. He also developed the Cold Spring set by researching, and acquiring on loan, artifacts drawn from the Museum of Innovation and Science in Schenectady, NY, the General Electric Company collection, and from several other historic collections of upstate New York industrial history. Griffin worked in collaboration with EMPAC engineers on integrating the computer-based lighting system and cue-based computer-controlled rigging with his compositional approach, blending these technologies with dancers, musicians, actors, and a roller derby team.

Sean Griffin’s unique compositional works rely on interdisciplinary incongruities positioned at the intersection of sound, image, performance, and the archive. His works manifest as music, large and small-scale operas, collaborative installations, historically weighted musical performance works, and numeric choreographies. His pieces have been commissioned and presented internationally by venues including LA’s REDCAT, Hammer Museum, and Contemporary Museum of Art, London’s Royal Academy and Tate Modern, among others. He lives and works in Los Angeles.

In the three weeks leading up to the onedotzero festival, AntiVJ worked in residence at EMPAC to create this performance and installation. En route to EMPAC, Joanie Lemercier (co-founder of AntiVJ) discovered that a volcano in Iceland that caused the cancellation of all flights. The volcano—Eyjafjallajökull—became the subject of AntiVJ’s new work, a painted wall mural augmented with projections to create the sensation of three-dimensional forms. Lemercier had been fascinated by geometry and minimalism for years; with this work he incorporated more organic shapes and visual elements that would connect geometric patterns with mountainous terrain, ocean waves, wind, snow, and rain. By projecting a “virtual layer” of light, color, and animation over the static painted scenery, he created an imagined landscape of futuristic mountains, where the audience’s perception of space is progressively challenged.

The AntiVJ visual label is a project initiated by a group of European visual artists whose work is focused on the use of projected light and its influence on our perception, presenting performances and installations that create wonderment and challenge the senses.

An Academy Award-winning documentary about Phillipe Petit's daring and defiant tightrope walk between the twin towers, which became known as the “artistic crime of the century.” Presented in conjunction with Dancing on the Ceiling: Art & Zero Gravity. Unfiction is a series of documentary films that turn truth into something other than fact, using poetry and imagination, rather than transparency and objectivity. These filmmakers question the very notion of authenticity, and disobey the typical documentary filmmaking practices; instead they stage their own realities on location, employing techniques such as reenactment, personal voice-overs and special effects.

Due to unforeseen circumstances, Victor Herrero will be unable to perform at tonight's concert with Josephine Foster. Foster will instead be joined by folk maven Rachel Mason. What makes a song a song? To what extent does it depend on the presence of a human voice? This question lies behind the last of the Spring New Nothing concerts, in which two charismatic performers offer their idiosyncratic take on the song. Josephine Foster (“a Grace Slick for the 21st century” — Arthur magazine) transforms the poems of Emily Dickinson with her otherworldly soprano. And Victor Herrero performs new songs for the Spanish guitar.

A rare US performance of work by one of the most influential living European composers, as interpreted by two exciting new music ensembles. The German composer Helmut Lachenmann is known for his musique concrète instrumentale—music that uses an iconoclastic vocabulary of instrumental sounds, recombined to create imaginary timbres. The result can be uncanny: imagine a string quartet able to sound like a car crash.

Lachenmann’s demanding, imaginative music was performed in concert by SIGNAL, one of the most exciting chamber orchestras playing in the US today, and the JACK Quartet, praised for its “explosive virtuosity” by the Boston Globe. The composer was in attendance, performing a work for piano and taking the speaking role in an ensemble piece with SIGNAL. SIGNAL is a large ensemble comprising some of the most gifted and innovative musicians in New York City. JACK Quartet commissions and performs new works, working closely with composers in the US and Europe and touring extensively.

The German composer Helmut Lachenmann is known for his musique concrète instrumentale — music that uses an iconoclastic vocabulary of instrumental sounds, recombined to create imaginary timbres. The result can be uncanny: Imagine a string quartet able to sound like a car crash. Lachenmann's demanding, imaginative music will come alive in this concert by SIGNAL, one of the most exciting chamber orchestras playing in America today, and the JACK Quartet, praised for its “explosive virtuosity” by the Boston Globe. The composer will be in attendance, performing a work for piano and taking the speaking role in a large ensemble piece with SIGNAL.

PROGRAM

Helmut Lachenmann Pression
Helmut Lachenmann String Quartet No. 2
Helmut Lachenmann Ein Kinderspiel
Helmut Lachenmann ,,…Zwei Gefuhle…”