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Layered projections of three individual pictures of people's face's in green over three images of people protesting in red.

True Fictions: New Adventures in Folklore

The Light Surgeons

The first public presentation of an EMPAC commission!

Recorded and shot in and around Troy, New York, True Fictions: New Adventures in Folklore is an eye-popping performance of epic proportions with projections on multiple over-sized screens that fuse documentary film making, live and electronic music, animation and motion graphics with innovative digital video performance tools.

Taking American folklore as a departure point, the UK-based Light Surgeons tackle the universal question of how our personal, political, and national myths evolve from subjective stories to widely held truths. The artists guide the audience through this terrain with a live collage of documentary footage, interviews and music recorded in Troy and across the rest of the state of NY—from Troy’s Uncle Sam’s Day Parade to a cramped music studio in Brooklyn to an upstate Native American reservation and more. 

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A person in a navy blue rain jacker with hood up holding a microphone over some natural hot springs.

Natasha Barrett

Using an orchestra of over 20 individual loudspeakers, Natasha Barrett will perform works of her own and that of the “great old master-innovator” French composer Luc Ferrari.

Program:

Part I: 26 Minutes

  • Music Promenade — Luc Ferrari
  • Red Snow — Natasha Barrett
    • -PAUSE-

Part II: 19 Minutes

  • Selections from FAR-WEST NEWS — Luc Ferrari
    • Episode 2 Part I
    • Episode 3 Part II
    • Episode 3 Part III
    • Episode 2 Part V
    • -PAUSE-

Part III: 55 Minutes

  • Trade Winds — Natasha Barrett

For this concert, each composition exists as a recording, instead of a musical score. As a performer, she will interpret these works by projecting them through space live, through speakers in, around, and above the audience, creating unique realizations of each piece. On the program will be RED SNOW and TRADE WINDS, two of her recent works. Both pieces are intense and intricate — full of dramatic gesture, vivid sounds, and elusive narratives. She will also perform Ferrari’s MUSIC PROMENADE and selections from FAR WEST NEWS. MUSIC PROMENADE is a visually evocative collage of disparate sounds and the memories they trigger. In FAR WEST NEWS, Ferrari and his wife travel from France to the USA to take the iconic American road trip West to the Grand Canyon and Los Angeles. The resulting experiences and sounds are transformed into anecdotal narratives– expressed through quirky combinations of field recordings and Ferrari’s oddball psychoanalytic synth overlays.

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Four large screens on a dark background projecting three abstract black and white images and one of an up close bloody fingerprint.

Bedlam

Robert Darroll + Sean Reed

Bedlam—originally the name for a medieval England insane asylum—has since become a synonym for tangled, chaotic states. This installation by Robert Darroll and Sean Reed draws us into the minds of five individuals planning their joint escape from Bedlam via multichannel sound and an amalgam of computer graphics, animation and video projected onto oversized screens. The word Bedlam refers to a medieval asylum for mad people in England. In the 18th Century, such asylums were a source of entertainment. Wealthy people paid a penny to enter and watch mad people behave crazily. Later the word came to mean, a chaotic, uncontrollable situation. A similar word is shambles, which Beckett uses symbolically to describe the very substance of existence.

Photo: Shannon K. Johnson/EMPAC.

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The Flux Quartet playing in a yellow lit hallway.

FLUX Quartet

On the 17th, FLUX will perform a new piece by Alvin Lucier called GROUP TAPPER that explores the Biotech Center's acoustics, Matthew Welch's bagpipe/gamelan inpired SIUBHAL TURNLAR, the architect/composer Iannis Xenakis's gritty TETORA, Anton von Webern's micro-masterpieces 6 BAGATELLEN and Giacinto Scelsi's QUATUOR n°2.

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A projection of city lights against musicians and people mingling in a black box studio.

So Percussion / Dirty Projectors

Two different approaches to contemporary music collide. Featuring SO PERCUSSION, a young percussion ensemble from Brooklyn fresh from tour with Matmos, and DIRTY PROJECTORS, rising stars of who knows what. So Percussion is a four member percussion ensemble in the tradition of the virtuousic Percussion Group Cincinnati and Les Percussions de Strasbourg. In the past few years, they have differentiated themselves by commissioning new works from young composers and extending their repetoire beyond traditional 20th century avant-garde percussion music through collaborations (most recently with Björk producers Matmos) and their own compositions. So Percussion / Dirty Projectors program:

  • FOUR ORGANS, Steve Reich
  • LITTLE EYE, David Lang, Florent Renard-Payen, Cello
  • THE SO-CALLED LAWS OF NATURE, David Lang
  • ... Intermission ...
  • Dirty Projectors
  • Total Running Time: 1:45

On the 19th, So Percussion will perform FOUR ORGANS by composer Steve Reich, and two works by David Lang: THE SO-CALLED LAWS OF NATURE, a work composed specifically for So Percussion that features homemade instruments such as teacups, flowerpots, metal tubing and LITTLE EYE, a gorgeous spatial piece for solo cello, piano, vibraphone, and brake drums. Just back from a national tour with Xiu Xiu, Dirty Projectors is the work of composer / performer Dave Longstreth -- who relentlessly assembles different groups of musicans to perform his diverse and rapidly expanding compositions. In this incarnation the group features Longstreth on guitar (played upside down, Hendrix-style) and vocals, back up singers Amber Coffman and Susanna Waiche, Charlie Looker (member of Zs and Extra Life) on twelve string electric guitar, Nat Baldwin on electric and upright bass, Brian McOmber on drum set, and live video projection by James Sumner, animator of Dirty Projectors' full-length animated opera THE GETTY ADDRESS.

Photo: Shannon K. Johnson/EMPAC.

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Abstract projected 3d bodies hover over an audience in a cloud of lilac theatrical fog.

FEED

Kurt Hentschläger

Come and be immersed in clouds of dense fog and stroboscopic light in a digital landscape populated with virtual characters, intense sound and unearthly video projections. FEED is an artificial spectacle that will challenge your limits of perception like no other performance has done before. Seating is limited to 50 people per performance.

Courtesy the artist.

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A musician standing with arms up on a small stage lit in red light in front of a projection reading "S M P T E Universal Leader"

DRIFT

Lee Ranaldo & Leah Singer

DRIFT is an immersive sonic/visual environment consisting of music, sounds and texts by Ranaldo in response to two 16mm analytical film projectors performed in real time by Singer. Much as a DJ scratches a vinyl record, Singer manipulates her films in a live improvisation with Ranaldo's guitar, poetry and soundscapes.

Main Image: Ranaldo on stage in the Alumni House. Photo: Shannon K. Johnson/EMPAC.

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Three faces in green projected onto a dark stage with red images of protesting overlapped. A small pit orchestra is in front of them.

True Fictions: New Adventures in Forklore

The Light Surgeons

Commissioned by EMPAC, and recorded in and around Troy, New York—the birthplace of archetypal character Uncle Sam—True Fictions: New Adventures in Folklore fused documentary film making, live and electronic music, animation, and motion graphics with innovative digital video performance tools. Taking American folklore as a departure point for this performance, this UK-based collective tackled questions of how personal, political, and national myths evolve from subjective stories into widely held truths. True Fictions: New Adventures in Folklore was developed over the course of a year, as the artists developed a collage of documentary footage, interviews, and music recorded in Troy and across the rest of the state of New York: from Troy’s Uncle Sam’s Day Parade to a cramped music studio in Brooklyn, to an upstate Native American reservation and more. 

The Light Surgeons were founded in London in 1995 by artist and filmmaker Christopher Thomas Allen with like-minded media artists and filmmakers; they specialize in creative content for video productions, live performances, and installation-based projects. They develop new forms of cross-disciplinary practice through the fusion of film production, animation, motion design, and the application of creative code and cutting-edge tools.

Main Image: True Fictions in Robison Gymnasium at RPI in 2007. Photo: EMPAC.

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A woman's face painted white with red lips and frost on her eyelashes to evoke being frozen against a back drop of snowy pine trees.

Dreamscapes And Dark Places

Music Videos Spawned from Surrealism

Join us for an evening of surreal music videos by the likes of Björk, Beck, The Arcade Fire, LCD Soundsystem, Amon Tobin and Aphex Twin …all viewed from the comfort of cozy couches at the Heffner Alumni House.

In the past decade, the structure of the short snappy music video has not only become fodder for the likes of the commercial MTV set, but a goldmine for major artists and film directors to work with – and within – the limitations of the specific structure of the music video clip.

Consequently, many music videos have begun to look more like an art form reminiscent of the short film genre than a commercial product.

Please note‚ Entr´acte (1924) a 13–minute surreal film by René Clair will precede the compilation of music videos‚ so be sure to arrive on time e to catch the dreamy ancestors of contemporary music video.

The Video Lineup

Sky Starts Falling
Music: The Doves
Director: Reuben Sutherland
Courtesy: EMI Records and Joyrider Films
E Pro
Music: Beck
Director: Shynola
Courtesy: The Directors Bureau and Interscope Records
Tribulations
Music: LCD soundsystem
Director: Dougal Wilson
Courtesy: DFA Records and Colonel Blimp
Just Briefly
Music: Daedelus
Director: Dada Kingz
Courtesy: Ninja Tune/Plug Research
Will The Summer Make Good For All of Our Sins?
Music: Múm
Director: Marc Craste
Courtesy: studio aka
Fortress
Music: Pinback
Director: Elliot Jokelson w/ Loyalkaspar
Courtesy: Touch and Go
4 Ton Mantis
Music: Amon Tobin
Director: Floria Sigismondi
Courtesy: Ninja Tune
Human
Music: Carpark North
Director: Martin De Thurah
Courtesy: EMI Denmark
Destroy Everything You Touch
Music: Ladytron
Director: Adam Bartley
Courtesy: Exposure Films, Universal - Island Records and Emperor Norton Records
Triumph of a Heart
Music: Björk
Director: Spike Jonze
Courtesy: Atlantic Records
What Else is There?
Music: Röyksopp
Director: Martin De Thurah
Courtesy: Wall of Sound and Academy Films
Come to Daddy
Music: Aphex Twin
Director: Chris Cunningham
Courtesy: Warp Records
Rebellion
Music: The Arcade Fire
Courtesy: Spy Entertainment
Hyperballad
Music: Björk
Director: Michel Gondry
Courtesy: One Little Indian Records
Hayling
Music: FC Kahuna
Director: Lynn Fox
Courtesy: Colonel Blimp
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A round wooden structure with an opening, seemingly squished in a white concourse with low ceilings.

bubbles

EMPAC plus ZKM

German artists Wolfgang Münch & Kiyoshi Furukawa present bubbles, an interactive installation for the whole family.

Interacting with virtual bubbles is quite simple...you just walk in front of the projectors light beam and cast your shadow onto the projection screen. The bubbles will recognize this shadow and bounce off its outlines, at the same time emitting certain sound effects. By moving your body and its resultant shadow you can play with these bubbles and the sound composition.

In a subtle manner, the work addresses the aesthetics of interaction on several levels: There is the body itself, which is usually left out when it comes to human-computer-interaction. In bubbles, it is central - users interact with the work *as* bodies, not only making themselves known as 'being there', but rather projecting their concrete body outlines onto the screen as a means of interaction. It's the body's shadow - a cultural icon in its own right - which is being used as an analog 'interfacing device' to interact with a completely digital world of its own, the simulated objects on a projection screen. The data projector, the spectator's body, and the screen itself serve as an 'analog computer' that computes the size of the shadow on the screen; the distances and spatial relationships of these elements crucially contribute to the overall experience of the work. Finally, there is the simulation algorithm itself that defines the completely artificial, two-dimensional world of the screen.

Computer simulations and shadows share the property of a certain irreality; bubblescelebrates the encounter of these two deficient reality modes: the traces of solid bodies meet the fleeting results of program code, the latter being the equivalent of an 'essence' in advanced information societies.

The work presents itself in a light, almost innocent fashion. The initial idea was to create a user tracking interface that is as simple as possible. Insofar as the bubbles react in a predictable manner when they encounter a shadow, it takes no effort for participants to observe the effects on the installation of their respective movements in real space. Ironically, while the technical requirements are in fact moderate and the setup relatively simple, bubbles also displays illusionist qualities in that the 'story' is obvious while the way it's done remains oblique. Spectators learn how to interact with the system very quickly and get involved in dancing, playing, and other kinds of odd behaviour, while the 'how'-question often remains unresolved.

In terms of computer programming, bubbles is a small complex system composed of simple autonomous objects. Each bubble is paired with a script object that defines its behaviour according to the physical laws of gravitation, acceleration and air circulation. Virtual air streams influence the bubbles' drifting movements across the projection surface. A number of the parameters needed for the bubbles' description is further used to generate the nonlinear musical structures with commands to a midi-synthesizer. To obtain the position of a shadow, the generated image is continuously compared with camera input. Where the two clearly differ, there must be a shadow: below a certain level of brightness the program performs a routine at which the bubble bounces back.

bubbles describes a playful interaction between man and machine: the participant's shadow in the light beam of the data projector creates an interface reminiscent of traditional shadow play theater. Positioned at the intersection of physicality and virtuality, bubbles displays the shadow, which is nothing but the partial absence of light, as a surprisingly dynamic force.

bubbles at the Concourse in Empire State Plaza

Dates: April 20th - May 27th, 2004
Hours: 7pm - 11pm

bubbles will be located on the Main Concourse of the Empire State Plaza between the Bus Terminal and the State Museum. The Concourse is open from 7am to 11pm, and main business hours are roughly 8am to 8pm. Parking is available either on the street across from the State Museum or in the parking garages underneath the Concourse. Bring a Photo License to park underneath the Concourse as it is a State Facility.

bubbles at the Troy Junior Museum

Dates: November 19, 2005–April 23, 2006
Hours: Thurs. 10am - 2pm, Fri-Sun 10am - 5pm

bubbles will be at the Junior Museum for the foreseeable future. Admission is $6 per person over 3 years of age and free for Museum Members. The Museum is located at 105 8th Street in Troy, NY, directly across from the future location of EMPAC.

Wolfgang Münch was born 1963 in Karlsruhe, Germany. He studied Fine Arts at the State Academy of Fine Arts in Stuttgart, Germany and at the University for Applied Arts in Vienna, Austria. Since 1996 he developed software for various projects of the ZKM Institute for Visual Media such as the interactive visitors information system "Panoramic Navigator" and the publication series 'Artintact' and 'Digital Arts Edition'. Lecturer for Interactive Media at Merz Academy Stuttgart [University of Applied Arts], Germany from 1997 to 2002. Artist in residence at ZKM Center for Art and Media in Karlsruhe (Germany) in 2002, The Hongkong Arts Centre in 2003 and IAMAS Institute for Advanced Media Arts and Science (Japan) in 2003. He is appointed Senior Lecturer for Media Arts at Lasalle-Sia College for the Arts (Singapore) in 2003.

Lives in Singapore and Karlsruhe, Germany.

Kiyoshi Furukawa was born 1959 in Tokyo, Japan. He studied composition with Y. Irino in Japan and with I. Yun and G. Ligeti at the Music Academy in Berlin and Hamburg. He was also a guest composer at Stanford University, USA, in 1991 and artist in residence at the ZKM Center for Art and Media Technology in Karlsruhe, Germany. He has been awarded numerous awards and scholarships including the "Ensemblia" in Moenchengladbach [1983]; the "PRISMA Prize", Hamburg [1990]; "Siemens Project Scholarship" [1992 | 1993]; the "North German Radio [NDR] Music Prize" [1994]. Since 2000 he has been assigned as an Associate Professor at the Tokyo National University of Fine Arts and Music [Faculty of Inter-Media Art].

Lives in Germany and Tokyo, Japan.