Pascal Müller, Stefan Arisona, Simon Schubiger, Matthias Specht, since 2001

Corebounce is a collective of artists and scientists with the common goal of mediating between arts, science, and technology. We maintain a number of new media projects and our own multimedia software research platform, Soundium. We are organised as a non-profit association and collaborate with a number of partners from education, in particular with ETH Zürich, and industry.

We regularly tour as the Scheinwerfer Live Visuals Collective, where we create the visual experience at various electronic music events since 2001. Our live-composited and sound-driven visuals are designed to emphasise the theme of the event as well as taking into account the architectural framework. Not coincidentally, we have been labelled as “Club Scientists”: As stated above, our performances are deeply influenced by the momentary state of the Soundium research software platform. At the same time research is typically induced by specfic artistic performance goals.

Scheinwerfer has performed at some of the coolest locations around the globe, supporting world-class DJs and musicians like Jeff Mills, Rush, Miss Kittin, Dave Clarke, Josh Wink, Mouse on Marks, Jimi Tenor and many more.

Steve Gibson and Stefan Arisona, since 2011

Virtual VJ takes the concept of Virtual DJ one step further and unites the role of the DJ and VJ into one interface: 3D space. The concept of Virtual VJ is to allow two or more users to control different aspects of the sound and video environment with their movements. One tracker is set to trigger sound and video and the other is set to manipulate the sound and video initiated by the first tracker. The focus of the media integration is on the development of observable connections between the audio and video mediums in order to assist the users with ease of interaction.

The key conceptual idea that is explored in Virtual VJ is the idea of cooperation and the sense of personal space in ephemeral, virtual systems. This is achieved by programming the trackers so that dramatic events happen when the two trackers are close together or far apart. For example the environment has been programmed so that the trackers apply distortion to the audio when they are proximate to each other. At the same time video effects are added when the same proximity of the two trackers is observed.

This can result in a game of cat and mouse where the users determine whether they will chose to closely follow the movements of the other participant or decide whether they wish to pursue a more individual experience. Audience members are allowed to interact in whatever manner they chose, but at the same time noticeable results will be produced as they inhabit similar spaces, encouraging them to cooperate with each in order to produce dramatic audio-visual results.

Documentation and videos at the VirtualVJ site: https://www.telebody.ws/VirtualDJ/virtualvj/virtualvj.html

3D tracking, sound, and programming: Steve Gibson
Visuals and programming: Stefan Arisona

History

• November 2011 - Duncan of Jordanstone College of Art & Design, Dundee, Scotland. Invited Exhibition
• August 2011 - Jade Valley Winery, Xi’an, China. Invited Exhibition
• July 2011 - The Interactive Experience, HCI 2011, Culture Lab, Newcastle University. Refereed exhibition
• May 2011 - Culture Lab CHI party, Intersections Digital Studio, Emily Carr University of Art and Design, Vancouver. Refereed exhibition

Corebounce, in collaboration with Heinrich Lüber and Art Clay, 2006

“Almost Lost” was a performative audio-visual installation of Corebounce in collaboration with artists Art Clay and Heinrich Lüber: Streams of spoken words are deformed by interactive technology.

In der Performance spreche ich über zwei Stunden endlose Wortketten und projiziere diese gewissermassen von Innen an eine meinen Kopf umgebende Sphère. Die sich selbst dekonstruierende Sprache wird durch eine interaktive Technologie umgeformt und in Lichtform auf die Sphère und den Umgebungsraum zurückgeworfen. Die Projektionen zeigt eine Virtualität im Sinne einer “plastischen” Verformung in Möglichkeitsräume hinein. Das die Figur umgebende Halbrund bildet eine Andeutung einer zweiten Schicht dieses dynamischen Raumsystems, die begehbar ist und worin der Zuschauer sich als formender/aktiver Mitspieler in diesem System erleben kann. (Heinrich Lüber)

During the two hours of performance, I speak ceaseless streams of words and virtually project them from the inside onto the sphere surrounding my head. The self-deconstructing language is deformed by interactive technology and reflected in terms of lights and shapes onto the sphere and the ambiance. The projections show a virtuality in terms of “malleable” deformations into alternative spaces. The semicircle surrounding the character constitutes an adumbration of a secondary layer of that dynamic space. It is accessible to the spectator, who can experience herself / himself as a forming and active participant in this space system. (Heinrich Lüber)

The project was officially supported by Kultur Basel-Stadt and Kulturelles Basel-Land. Heinrich Lüber’s Homepage: https://www.heinrichlueber.ch/

https://youtu.be/frTtp-L80p8

Event: Digital Art Weeks 2006
Location: ETH Zurich, Switzerland
Date: Jul 12 2006
Concept: Art Clay and Stefan Arisona
Programming: Stefan Arisona
Performance: Heinrich Lüber and Corebounce Art Collective

Corebounce Art Collective, 2006

The project “Rip my Disk”, presented at Interactive Futures 2006, brought mobile art to the dancefloor. It compromised privacy by displaying personal content to the big screen.

In an augmented VJ performance, visitors entered into a dare by letting the Corebounce team “rip” multimedia contents off their personal mobile phones with the Soundium program to get exposed (“virtually naked”) on the dance floor. Others, not so akin to risk taking, simply enjoyed to employ their mobile phones for interactive painting as well as sending media sources such as live video and image material. The sent media were used as personal artifacts, and were continuously adapted and integrated into the live visuals performance. The result was the personal enhancement of the space around the media owner’s location. The project also demonstrated how mobile communication technologies can easily be made accessible to artists or performers.

https://www.youtube.com/watch?v=Ut3D5Z4PoWg

Performance & Installation: Interactive Futures 06
Location: Open Space, Victoria, BC, Canada
Date: Jan 27 2006

Installation: Digital Art Weeks 07
Location: ETH Zurich, Switzerland
Date: Jul 10 - 14 2007

Concept, programming and realisation: Corebounce Art Collective

Corebounce, in collaboration with Art Clay and Anne Faulborn, 2005

This radical, eye-and earblasting performance was realised in collaboration with Art Clay (Composition) and Anne Faulborn (Cembalo). Art Clay’s composition “A River and Five Bridges” is an electronic adaptation of André Bretons “Barrières” and asserts the affinity of rational and irrational.

The visual composition’s interpretation, realised by Corebounce, absorbs the assertion by implementing a modulated flickering screen. The modulation function is both defined by real-time music analysis and live visual performance. The flicker colors were obtained by two cutouts from Paul Klee’s “The Twittering Machine”, one in blue tones and one in red tones.

The piece premiered at ETH Zurich’s main building dome during Digital Art Weeks 2005.

https://youtu.be/Ij5gvJpYfVY

Event: Digital Art Weeks 2005
Location: ETH Zurich, Switzerland
Date: Aug 20 2005
Concept: Stefan Arisona and Art Clay
Composition: Art Clay
Programming: Stefan Arisona
Performance: Anne Faulborn, Stefan Arisona, Art Clay