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Cloud at Kunstkapel continues its ongoing investigation of performance work in the realm of the AUDIO VISUAL SPATIAL at this unique circular landmark space with one of its most challenging programs to date:

The Generative Cinema: Living Abstractions and Related Mindbenders.

The Generative Cinema has been referred to as an essentially live cinema. It is a powerful medium for performance that brings together an incredible array of technical developments as well as associative philosophy. Generative Cinema suggests an ultimate integration of computational, structural, musical and organic principles that for some is a reasonable illustration of the process of life itself. Programs that establish a specific visual pattern language driven by a structural logic for change and elaboration are set in motion. These immersive environments create a powerful space for reflection and interaction for the audience. 

The curvature of the KunstKapel will add a greater challenge and dimension to Generative Cinema practice, placing it at the service of a panoramic interactive space that engulfs its audience in its particular reality. While the same performers will be present for both programs it is well understood that the event will be extremely different from one evening to the next which in itself is an important aspect of the Generative Cinema.

A roundtable discussion with all of the participants will be convened on
April 16 at 6 pm before the performances commence at 8 pm.

As with all of the AUDIO VISUAL SPATIAL programs the audience will find itself in the midst of a highly charged spatial arrangement that places them fully in the center of the performance in spite of what perspective they may choose to take. The program will begin at eight o’clock. Tickets can be bought with cash at the door: 10 Euros, studentcards: 5 euros. Reservations can be made at:


Paul Prudence, a master practitioner of the Generative Cinema, will perform Cyclotone which takes thematic cues from cyclotrons, particle accelerators and gyroscopic devices. It alludes to aspects of particle physics, space exploration and 4-dimensional space. Paul Prudence combines algorithmic video synthesis and generative visuals with electroacoustic environments. He is known for his complex time-based geometric narratives which are precisely synchronised to sonic compositions.

Joost Rekveld will present a highly experimental work in progress especially adapted for a 360 degree viewing experience. Storms of particles will self-organize into crystalline or coral structures, and algorithms that describe the spatial collaboration of neurons or symbiotic species will collide with algorithms taken from the world of social insects. Joost Rekveld is an artist who is motivated by the question of what we can learn from a dialogue with machines. In his work, he explores the sensory consequences of systems of his own design, often inspired by forgotten corners in the history of science and technology.


The screen is the habitat of a variety of artificial pixel creatures. Together they generate a dynamic landscape by leaving traces in interaction with their environment, the pixels on the screen. The creatures are simple autonomous machines that operate according to a built-in program. Innumerable scenarios for interaction and emergence are possiblebecause the traces of one creature can influence the behaviour of other creatures. The collective activity of all the creatures in the habitat forms an artificial ecosystem, that gradually develops in time.
Erwin Driessens and Maria Verstappen attempt an art in which spontaneous phenomena are created systematically. Art that is not entirely determined by the subjective choices of a human being, but instead is generated by autonomously operating processes. In addition to working with natural generative processes, the couple develops computer programs for artificial growth and evolution.



Rainer Kohlberger´s audio-visual compositions are always fierce attacks on the human system of perception. His algorithmic works have little in common with conventional film and video. The artist refrains entirely from all types of representativeness and referentiality while working with a higher frame rate than usual; in the present case, thirty images per second. No motion pictures meet the retina, but instead, impulses and waves of pure light. The extreme light-dark intervals incessantly vary, climaxing in a black-and-white stroboscope storm. Abstract "ghost beings" become manifest in digital "nirvana." The intentional overload of the human perception apparatus leads, moreover, to visual impressions that appear exclusively in the literal "eye of the beholder." These "ghosts" appear from "nothing" and are "nothing"; they are mere hallucinations evoked by the imperfect human-biological data processing system. The purely synthetic sound surfaces in interaction with the pulsating curve and line forms lead to a meditative rapture of sorts.


Arkitechtronic Assemblies is a project of shifting membership engaged in the construction of imaginary edifices drawn from the remains of cultural production over the last century which 
proposes not a generative cinema but a generational one. The initiative attempts to open up 
constructed spaces to redefinition and reinterpretation through the use of what it defines as modified building blocks that create ‘correspondances’ between alternate spaces and times, locations and durations: the very stuff of cinema. Works are produced through combined Appropriation/Zero-in/Cut-Up/Exquisite Corpse procedure that produce a dialogue between the associated members and the space of associations using cinema history as its raw material for the rebuilding of the imaginary.
A few short examples will be offered including The Chronic Detail and ScopeStripSearch: Auto/Preminger.

Coming soon on the event horizon:
The next AudioVisualSpatial project will be presented on the last weekend of
April (29-30): The Archeology of the Lost Spectacles… From the Magic Lantern to Laser technology in a single bound.
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