Description:
Sample session performed by Akemi Takeya. Edited on various AVID Suites in England and Austria between 1994-96. Produced by: Mike Stubbs, at HTBA (Hull Time Based Arts) in Hull, England. Co-produced by PYRAMEDIA Vienna. Video © GRANULAR-SYNTHESIS: Kurt Hentschläger and Ulf Langheinrich. Used here by kind permission from the artists. All rights reserved.

Created:
1994-1996

Granular Synthesis Modell 5 © Kunstverein Hannover e.V.

Description:
Sample session performed by Akemi Takeya. Edited on various AVID Suites in England and Austria between 1994-96. Produced by: Mike Stubbs, at HTBA (Hull Time Based Arts) in Hull, England. Co-produced by PYRAMEDIA Vienna. Image © GRANULAR-SYNTHESIS: Kurt Hentschläger and Ulf Langheinrich. Used here by kind permission from the artists. All rights reserved.

Created:
1994-1996

Granular Synthesis Modell 5 © Bruno Klomfar und Gebhard Sengmueller, MAK Vienna

Description:
Sample session performed by Akemi Takeya. Edited on various AVID Suites in England and Austria between 1994-96. Produced by: Mike Stubbs, at HTBA (Hull Time Based Arts) in Hull, England. Co-produced by PYRAMEDIA Vienna. Image © GRANULAR-SYNTHESIS: Kurt Hentschläger and Ulf Langheinrich. Used here by kind permission from the artists. All rights reserved.

Created:
1994-1996

Granular Synthesis Modell 5 © Kunstverein Hannover e.V.

Description:
Sample session performed by Akemi Takeya. Edited on various AVID Suites in England and Austria between 1994-96. Produced by: Mike Stubbs, at HTBA (Hull Time Based Arts) in Hull, England. Co-produced by PYRAMEDIA Vienna. Image © GRANULAR-SYNTHESIS: Kurt Hentschläger and Ulf Langheinrich. Used here by kind permission from the artists. All rights reserved.

Created:
1994-1996

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Kurt Hentschläger & Ulf Langheinrich: Granular Synthesis
Modell 5

From a few expressions on the face of the performer Akemi Takeya to a frenzied exploration of the alter ego, any known context of meaning ends in the dissolved movements, is stalled in denaturalized redundancy, in machine pain.

The semantic void is too loud to be amenable to meditative reception. The frontal images, the rhythmic structures generate contradictory emotions and great strain. Entertainment is offered and almost violently denied. At the highest level of energy, enjoyment reaches the limit.

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