MSP - Spuler - Magnetstudie - MusicalProjects - 5Minutes - C02B_V2

 

  KARLSRUHE 2000 - 2005

MSP –––––––––––––––––––––––––––––––––––––––

MSP is a collaborative art-project that attempts to connect sound and light by focusing on their basic properties -- waves traveling through space. Founded at the end of 2005, the group includes the three members Florian Meyer, Phillip Schulze and Armin Purkrabek.

Developing different acoustic irradiation and illumination concepts in the form of club- / concert-, installation-, or performance-situations, and accordingly mixtures of those, always created specifically for each environment. MSP is interested in trying to find new strategies in integrating / disintegrating, connecting / disconnecting audience and performer by creating uncertain performance situations.

Raw audio feedback, shaped by the performance space itself (resonance / reverb / people), is the basis material for the emerging music. Through processing and deconstructing this material in real-time, using different more or less complex feedback and filter systems via self programmed software / hardware on the one hand and light controlled by the music through audio analysis on the other, MSP creates an intense room-filling atmosphere.

Homepage

 

MSP Trailer I - V (5mb)

MSP ShortCut I - VIII (120mb)

–––––––––––––––––––––––––––––––––––––––

past performance / Installations:

2007:

MSP VIII : 30th october 2007: WhereabOut - Wesleyan University - CT - USA

MSP VII : 28th october 2007: Share NYC - NY - USA

MSP VI : 12th july 2007: Lacunacity - rOundabOut 07 - Karlsruhe - De

2006:

MSP V : 22th june 2006: HfG / ZKM - Karlsruhe - De

MSP IV : 16th may 2006: Salon des Amateurs - Dusseldorf - De

MSP III : 26th april 2006: Badischer Kunstverein - Karlsruhe - De

MSP II : 30th march 2006: Performance Studio HfG / ZKM - Karlsruhe - De

2005:

MSP I : 03th december 2005: Re/act Media Art Festival - Heidelberg- De

–––––––––––––––––––––––––––––––––––––––

The MSP collective defines itself as a unified non-hierarchical alliance accompanied by openness to outside information. MSP generates concerted and concentrated (immediate) output manifestations, each labeled MSP. Thus far, the group’s collaborative oeuvre consists of eight distinct manifestations in the form of extended performance and installation situations (MSP I – MSP VIII). The concept underlying MSP’s essence is understood as procedural, and its evolution is therefore incomplete.

Consequently, MSP may be interpreted as a complex but simple (minimalist), adaptive system, capable of continuous transformation on account of its inner structure and the influence of the surrounding environment. At first, the environment is everything that MSP is not. Certain elements within the environment are then brought into relief according to their utility as defined by MSP. In adapting just a few specific fragments of its surroundings, MSP acts like a filter, extracting and amplifying elements of interest. Because all artwork and indeed all humans act as filtration systems as regards all experience, MSP is especially interested in how this filtration process takes place and how it can be manipulated. Additional elements MSP considers involve contemporary art treatises (especially within media and music) in confluence with MSP’s own personal discourse. The work itself confronts and questions accepted positions of art reception within the establishment. MSP challenges the predetermined constructs whose fulfillment is expected to occur via art and societal contexts.

The receptive apparatus described above results in fluctuating appearances (visual as well as aural). These contrast the aesthetic consistency espoused by the artists’ taste. The decisions made employ first a minimalist approach – an attention to just the fundamental features of sites and materials. This restricted foundation is primarily an adaptive method accompanied by distinct interventional operations. MSP labors with given sites and material. The principle of strict limitation and restriction is an essential strategy for the group’s conceptual coherence. This simplicity also facilitates the artist-to-audience relationship; the spectators can follow what’s happening.

As stated above, Light, Sound and Space, are the three major elements concerning MSP. They are all entities which demand separate consideration (explicated below), even if they are highly interwoven within the group’s inherent concepts.

–––––––––––––––––––––––––––––––––––––––

Space.

Every performance and installation is considered a unique piece of artwork, created especially for a specific environment and for only one performance. The site, its salient properties, and the context in which the site exists (both globally and locally) all contribute pragmatically in performance design. The performance environment establishes a conceptual starting point and determines the piece’s intention. The site’s shape, its size and its physical feeling further delineate where in fact the group performs. From these parameters, MSP determines the setup configuration (arrangement ideas concerning performer/spectator, audio/light equipment, etc.). The site may be anything inside and/or outside as long as it provides an appropriate fundament for the pertinent elements as well as some room for modification.

MSP explores strategies regarding performer and spectator relationships – tactics investigating integrations and disintegrations, connections and disconnections within and consistent with the given site.

In the first performance, the group broke with the conventions of a traditional concert setting and the official function of these enclosed performance spaces. With each of the succeeding pieces, more and more extreme separations between spectators and performers as well as separations between the performers themselves developed. The subversion of audience expectations is a primary goal of the group. If, for instance, the audience is located in the same space as the performer, mounted constructions of technical equipment (e.g. sound and light objects) may distinguish the two parties.

Sound.

The group is interested in mechanisms that reintroduce produced matter (e.g. sound) back into production-process (feedback). The sonic feed-material exists therefore already in the site before any MSP manifestation. The group exclusively activates, amplifies and modifies this information.

The regenerating raw audio feedback, shaped by the performance space itself, is the basis for the music experience. However, the resultant music passes through a series of real-time computer and mixer transformations, audio processing and deconstruction before its amplification for audience reception. Extreme volume in contrast to silence, the use of the entire frequency spectrum, rising abstract rhythmic patterns, drones, clusters and vibrating sub-basses are methods of analyzing, extracting information about the site’s shape, size, and substance and the objects within it. The resounding sonic information is additionally used to trigger and control the light design that fills the entire or applicable areas of the space.

Light.

The concert configuration depends on the group’s aforementioned concern with site specificity and aesthetic preference. As a result of MSP’s choices regarding these issues, the audience is confronted with extremely dynamic, contrasting light and darkness situations, spanning from 60w light bulbs to dazzling, hot 6kw light-batteries. The lights can be targeted at the audience and/or performers, or they may illuminate and shadow different architectural aspects or objects situated within the site. MSP’s light configurations follow rules that are in no way comparable with arrangements found in concert situations wherein light design is employed as a directive to audiences or as stage ornamentation. In opposition, the group is contextualizing temporary installation-setups in which it finds ways to confront themselves as well as the spectator with the presence of high-energy light-waves.
To date, MSP has experimented and labored with professional stage lights, heavy-duty working lights, pyrotechnics, found-light-objects, light ready-mades (site-specific pre-installed elements that MSP modifies), lights of motor vehicles, and strobe lights.

 

–––––––––––––––––––––––––––––––––––––––

MSP I (03.12.05) Halle 02 / React Media Art Festival / Heidelberg

Venue: old warehouse club
Audience / Performer Situation: not staged, performers surrounded by audience
Matter: found light objects
MSP II (30.03.06) HfG / Performance Studio / Karlsruhe

Venue: professional performance studio
Audience / Performer Situation: all light & sound directed towards the audience
Matter: 50 000 watt professional stage light & sound
MSP III (26.04.06) Badischer Kunstverein / Karlsruhe

Venue: exhibition hall
Audience / Performer Situation: all light & sound directed towards the performers
Matter: 20 000 professional stage light & sound
MSP IV (16.05.06) Salon des Amateurs / Düsseldorf

Venue: club / bar
Audience / Performer Situation: feedback, generated outside, sent to audience inside
Matter: six windows, six floodlights, large ledge
MSP V (22.06.06) Lichthof HfG / Karlsruhe

Venue: factory hall
Audience / Performer Situation: audience separated from performers, performers separated from performers, feedback generated inside cars sent to audience outside
Matter: self-customized cars /-lights /-hi-fi
MSP VI (12.07.07) Lacuna City / Karlsruhe

Venue: outside
Audience / Performer Situation: audience stand & seat freely, performer located on top of metal gantry
Matter: 3 pyro balloons, 2 commentaarboy (for feedback creation)
MSP VII (28.10.07) Manhattan / New York City

Venue: american dinner
Audience / Performer Situation: audience stand & seat freely, performer located on diner tables
Matter: 2500 watt heavy duty commercial lights, 2 strobe lights, quadraphonic PA system

MSP VIII (30.10.07) WhereabOuts Festival / Wesleyan University

Venue: temporary football stadium
Audience / Performer Situation: audience stand & seat freely
Matter: 8000 watt heavy duty commercial lights, 2 strobe lights, 3 headlights, 2 separate PA systems, 3 megaphones.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 MSP FLorian Mayer  Phillip Schulze Armin Purkrabek.MSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin Purkrabek

MSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin PurkrabekMSP FLorian Mayer  Phillip Schulze Armin Purkrabek

MSP - Spuler - Magnetstudie - MusicalProjects - 5Minutes - C02B_V2

 

SPULER –––––––––––––––––––––––––––––––––––––––

Christof Wagner & Phillip Schulze

LIVE ELECTRONIC MUSIC & VIDEO

Spuler was a electroacoustic performance duo, working with self-crafted digital & analog electronic equipment, sensors, circuits in conjunction with self-programed digital music software. The live-performances were often collaborations with video artists.

–––––––––––––––––––––––––––––––––––––––

Spuler arbeitet mit klassischen analogen elektronischen Instrumenten, sowie mit modernen digitalen Instrumenten. Alles entsteht live und interaktiv. Der experimentelle, performative Akt ist wesentlicher Bestandteil des musikalischen Konzeptes. Während des Konzertes werden Takt, Geräuschfetzen, Sprachschnipsel, Melodiestücke live in sich verändert: C.Wagner und P.Schulze spielen sich gegenseitig die Klangfragmente zu, die sie in Abhängigkeit zueinander mittels Effektgeräte, Tonbandschleifen, Looppedale, Synthesizer und Computer vervielfachen, zerschneiden, loopen, mixen, collagieren und als neues Material sofort in den Kompositionsprozess aufnehmen. Auf der Basis von Max MSP, Nord Modular Editor, verwendet Spuler selbstgeschriebene Patches. Ein selbst-konstruiertes Klangsteuerungselement bestehend aus Schiebereglern, Schaltern, Knöpfen und Sensoren reagiert auf Licht, Temperatur und Bewegung und ein selbstentworfener Datenhandschuh verändert die Geräusche je nach Hand- und Fingerstellung. Die als Ausgangsmaterial verwendeten Audiosamples entstammen der Umwelt: Straßen-geräusche, Ausschnitte aus den auditiven und visuellen Medien oder von Datenträgern werden mit Mikrofonen aufgenommen und auf dem Computer gespeichert. "Es entstehen feine, differenzierte Klang- und Geräuschlandschaften und offensive Noise- und Elektrosounds. Konstruktion und Dekonstruktion, Zufall und Absicht, Wiederholung und Einmaligkeit beschreiben das vielschichtige Spektrum der Musik von Spuler." (Ole Niehoff)

Hardware: 2x Mac, Datenhandschuh, verschiedene Sensoren, selbst gebautes Klangsteuerungselement (verbunden über Sensorboxen mit MAX MSP), Boss Loopstation (RC-20), 6.35-mm (1/4 inch) Tonbandgerät (Nagra 4.2), Nord Modular, Analogdelay (Ibanez AD-150), Verschiedene analoge Effekte, 2x Audiomixer.

Software: MAX MSP, Nord Modular 3.03, verschiedene Plug- Ins.

Konzerte: "Roundabout02" HFG Karlsruhe, "Iconotope" HfG Karlsruhe, "Klangriffe"
ZKM Karlsruhe, "Dance, Dance, Revolution" ZKM Ka, "Moulins" Moulins / F,
"Transmediale04" innerhalb "Nomadic III" Berlin, "Bogen13" Zürich / CH

 

 

 

 

 

 

 

Christof Wagner & Phillip Schulze ZKMSpuler Christof Wagner Phillip SchulzeChristof Wagner & Phillip Schulze ZKMSpuler Christof Wagner Phillip SchulzeChristof Wagner & Phillip Schulze ZKMChristof Wagner & Phillip Schulze ZKMChristof Wagner & Phillip Schulze ZKMChristof Wagner & Phillip Schulze ZKMChristof Wagner & Phillip Schulze ZKMSpuler Christof Wagner Phillip SchulzeChristof Wagner & Phillip Schulze ZKMChristof Wagner & Phillip Schulze ZKMSpuler Christof Wagner Phillip Schulze

MSP - Spuler - Magnetstudie - MusicalProjects - 5Minutes - C02B_V2

 

MAGNETSTUDIE –––––––––––––––––––––––––––––––––––––––

Armin Purkrabek / Phillip Schulze

INSTALLATION FOR MANIPULATED TV

Idea and realization of a television media-installation.
Electric magnets are placed on the tube inside a TV monitor. The audio channels of the TV are analyzed via software. This data is used to control the electronic power of the electric magnets, resulting distortions of the TV image in conjunction with the audio.

–––––––––––––––––––––––––––––––––––––––

In der Installation Magnetstudie_01 & 02, wird das Bild eines herkömmlichen Fernsehapparates durch Manipulation von Elektromagneten die an der Bildröhre befestigt sind Verzehrt.
Dieses Verzehrung ist aber nicht konstant, sie ist im dauerhaften Wechsel, da es sich um Elektromagneten handelt die einer Spannung von 0 –220 Volt ausgesetzt sind. Je höher die Spannung, desto stärker die Verzehrung. Ist die Spannung bei 0, ist das Bild im normalen unverzehrten Zustand.

Nun ist der Grad der Verzehrung (also die Höhe der Spannung) nicht zufällig, sie ist abhängig von dem Audiosignal des Fernsehprogramms, das mit dem Bild ausgestrahlt wird. Das heißt, je komplexer und lauter das Audiosignal ist, desto intensiver ist die Verzerrung. Somit muss, um den Grad der Verzehrung zu bestimmen, dass Fernsehaudiosignal analysiert werden. Das Analoge Signal wird in Echtzeit Digital umgerechnet, im Computer Analysiert (Frequenzanalyse + Analyse der Lautstärke) und als Dateninformation wieder ausgespielt. Dieses Signal wird wieder in Stromspannung umgewandelt und erreicht letztlich die Magneten die an verschiedenen Positionen an der Bildröhre angebracht sind.
Die Verzerrung des Bildes ist in keinsterweise eine einfache Zerstörung, sie ist vielmehr eine eigene Bildästhetik, es entstehen komplexe Farb- und Muster- Strukturen die sich sehr schnell und immer wieder neu zu der Geräuschkulisse bilden, bewegen.

Ars Mediale Krakau 2002

 

 

 

 

 

 

 

Magnetstudie Armin Purkrabek Phillip SchulzeMagnetstudie Armin Purkrabek Phillip SchulzeMagnetstudie Armin Purkrabek Phillip SchulzeMagnetstudie Armin Purkrabek Phillip SchulzeMagnetstudie Armin Purkrabek Phillip SchulzeMagnetstudie Armin Purkrabek Phillip SchulzeMagnetstudie Armin Purkrabek Phillip SchulzeMagnetstudie Armin Purkrabek Phillip Schulze

MSP - Spuler - Magnetstudie - MusicalProjects - 5Minutes - C02B_V2

 

MUSICAL PROJECTS –––––––––––––––––––––––––––––––––––––––

Simple Music for Computer and Synthesiser (2003)

with Rees Archibald

–––––––––––––––––––––––––––––––––––––––

 

As a improviser Phillip Schulze has performed with (among others): Tetuzi Akiyama, Rees Archibald, Tatsu Aoki, Matt Bauder, Anthony Braxton, Taylor Ho Bynum, Jonathan Chen, Hong Chulki, Louis-Philippe Demers, Andrew Raffo Dewar, Bill Dixon, Bryan Eubanks, Elmar Faschmin, Angela Fette, Chingo Inao, Institut für Feinmotorik, Choi Joonyong, Guillermo Gregorio, Christian Jendreiko, Andrew Lafkas, Paul Modler, Virgil Moorfield, Toshimaru Nakamura, Marina Peterson, Brian Parks, Jessica Pavone, Michael Pestel, Michael Saup, Aaron Siegel, Keiko Uenishi, Rie Watanabe, Stefan Werni, Jack Wright, Katherine Young.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

simple musicichiigai hfg karlsruheichiigai hfg karlsruhe

MSP - Spuler - Magnetstudie - MusicalProjects - 5Minutes - C02B_V2

 

5 MINUTES TO WHAT –––––––––––––––––––––––––––––––––––––––

Ulf Neumann / Phillip Schulze 2006

Kunstfilmbiennale Köln, Germany 2007 / Kunstverein Hildesheim, Germany 2008

In “5 min to what” durchqueren zwei Personen verschiedene Innen- und Außenräume. Ihre beiden Taschenlampen stellen die einzigen Lichtquellen dar, sichtbar wird nur das Angestrahlte. Ein regelmäßiges Klick- Geräusch und die Schritte lassen durch ihre unterschiedliche Klangwirkung Rückschlüsse auf den umgebenden Raum zu. Die gegebenen Informationen reichen aber nicht für eine eindeutige Orientierung aus, der Raum bleibt unfassbar. Verschiedene Filmgenres werden angedeutet, Bilder die an Kriminalfilme denken lassen wechseln sich ab mit Szenen die Assoziationen zu Endzeitfilmen wecken. Es ist ein Gang durch eine scheinbar menschenleere Welt, nur ein paar Tiere reagieren erschrocken auf die Eindringlinge.

English:

Through visual and auditive reduction the video "5 min to what" tries to focus the audience perception to basic movement patterns in a urban context.The observer is for the most part confronted with a totally dark video screen and sound layers consisting out of atmosphere recordings.
Only fast movements of flashlights illuminateing for a short time parts of the dark and impenetrable space that the two actors and the observers are trying to explore. A camera, the flashlights and a steady clicking sound (that is reflecting different reverberation and echos depending on the actual location) are working as simple instruments for scanning and sensing the spatial environment. The video reflects and plays with different art, film and TV genres such as criminal and horror movies, describing a search of two lost persons in empty nature and urban landscapes.

 

 

 

 

 

 

 

5Minutes to what Ulf Neumann Phillip Schulze Kunstfilm Biennale Köln5Minutes to what Ulf Neumann Phillip Schulze Kunstfilm Biennale Köln5Minutes to what Ulf Neumann Phillip Schulze5Minutes to what Ulf Neumann Phillip Schulze5Minutes to what Ulf Neumann Phillip Schulze5Minutes to what Ulf Neumann Phillip Schulze

MSP - Spuler - Magnetstudie - MusicalProjects - 5Minutes - C02B_V2

 

C.02B_V2 –––––––––––––––––––––––––––––––––––––––

C.02B_V2 composition for string instruments and video score (2006)

The composition C.02B_V2 is a process piece made up of
two major elements; a nine-second-long video sequence
showing a person hoisted by other people in extreme
slow motion presented on four videos screens,
and rising glissandi played by four string instruments.
Each screen is paired with a musician, creating four
strands of audio-visual material.

As a result of each of these A/V strands moving at different
speeds they move out of synchronisation as time goes by,
creating a non-linear time space in which the audience
appraisal and re-appraisal the same process of similar
material...

 

–––––––––––––––––––––––––––––––––––––––

C.02B_V2 | composition for string instruments and video score

The composition C.02B_V2 is a process piece based on a text, with a graphic / notated score and four separate videos.

A nine-second-long sequence shot showing a person hoisted by other people is slowed down to nine minutes, accompanied by rising glissandi played by string instruments.
The videos and the sonic events run out of phase as time goes by. The rising audio and video coincide with a sense of falling, interrupted by bright light flashes.

The videos will be presented in front of the players on four monitor screens and at the same time on four separate projection screens for the audience to see.
Every monitor is linked with one screen and one musician.

 In the time frame of nine minutes every musician has to play one glissandi on the two higher strings of her instrument, without a break; from the top end of the fingerboard to (…) the bridge.
The movement of the fingers must be as slow and as minimal as possible.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

C02BC02BC02B