2003 | Tmema (Golan Levin and Zachary Lieberman) with Jaap Blonk and Joan La Barbara
A brilliant and hilarious performance which is combined with interactive visulasation in the immersive environment. ”Utterly wordless, yet profoundly verbal, Messa di Voce is designed to provoke questions about the meaning and effects of speech sounds, speech acts, and the immersive environment of language.” (Levin, Collaborators 2003).
Although it might be exaggerated for all of the meaning of speech sounds and acts, I think this performance is still thoughtful in terms of provoking a question to audiences by combination with interactive visulasation and immersive performance (though a little bit noisy that makes me have to turn down the volume…guess maybe that’s another point for this performance…).
I still consider artworks, especially interactive artworks which have more possibilities without limitation, could be the way that provokes questions to people about the meaning of pending issues / phenomenon of current world (e.g. global warming) / human-related subjects, rather than focusing on the artwork itself, experimental effects or the inner world of somebody / a group of people, despite artwork more or less implies an embodied form that shows the creator’s values.
Golan Levin and Collaborators (2003) Available at: http://www.flong.com/projects/messa/[Accessed 5 January, 2014 ]
Werckmeister Harmonies (Opening Scene – GR-EN sub)
Personally, I have to say it is one of the best short films that I’ve ever seen. And it’s also a very impressive one within the massive and various great art works which has been shown in the sessions.
Firstly, it is quite easily to catch someone’s attention from close shot to distant shot and from the limited space.
What interests me was the introduction-oriented narrative from Valuska. It reminded me an imaginary vision of “the space of universe” in mind based on the existing ‘stars’ that were revolving in the bar. When he was narrating, performers who embodied the imagination. The contrast and connection between the imagination and reality were impressing me a lot, since it was no longer an merely output from the creator. Moreover, the background music was really impressive in this film, as one of the best parts in it, I reckon. Such low-pitched piano music in a way eliminated the boundary of real length of this short film – as if time has been stretched. The rhythm of plot with the background music is appropriate – the ‘sun’ became warmth again, followed by everything being coming back to life with a slow tempo of recovering. The difference between the previous performance is that almost everyone(everything) in this bar(space) were involving in revival. At the end, The bar owner suddenly appeared, broke this rhythm and broke the balance of ‘stars’. He opened the door, asked Valuska to leave, however, it looked more like a signal to the audiences who might be aware of that ‘Oh, the film is almost over.‘ Then, the most interesting dialogue appeared , which Valuska replied to the bar owner and even the audiences‘….it’s still not over.’ Personally, I think the silence from bar owner who looked around the environment brought more opportunities to rethink the dialogue and the performance. Yes, it’s not over. Everything goes full circle over and over again, like solar system has its own revolving rule. On the other hand, the bar will open on next day as usual, and people never stop their own trace of daily lives. This brilliant work as a good example that brings a lot of inspiration in terms of how to make the connection between audiences and the surrounding they are involving in. Finally, appropriate music always plays an important role in creating the atmosphere so that people are able to be induced to an art work easier.