The performances presented as “Optofonica Showcase” aim at stimulating the combined research of vibratory and electromagnetic phenomena, sound and light spatial propagation and synesthetic immersion. As guest curator for the audiovisual live performances at MRFU festival 2011 // Maribor TeZ has proposed the following program :

- SONIA CILLARI (IT): “As An Artist I need to rest”
- MARTIJN VAN BOVEN (NL): “Shadow Optics”
- PAUL PRUDENCE (UK) + FRANCISCO LOPEZ (SP): “Hydro Organic Machine”


SONIA CILLARI (IT): “As An Artist I need to rest”
Lying still on the floor of the exhibition space, Cillari exhales through a long cable, which suspended from the floor departs from inside her left nostril and ends at the center of the main screen. Through her breath she generates a “digital creature” in the form of a feather.  Her exhalations production approximately 14,000 feathers, which cumulate into various different states of being – patterns of addition and resistance.  The range of the carbon dioxide level in the exhibition space is also revealed by color changes in the digital feather, which veers towards black if there are higher concentrations of carbon dioxide in the air she is inhaling. This poetic performance-installation deepens your attention as one hears the fatigued sound of Cillari’s respiration over time.

Hydro Organic Machine is a live cinematic exploration of sonically activated hydrological events, specifically evolving waveforms, proto-cellular bubbles, and meniscus’s that grow and exhibit behaviour in direct response to sound. Within this simulated rheological environment a hydro-graphic narrative unfolds orchestrated by sound as an organising principle and nourishing substance. The work takes inspiration from a number of scientific studies in the cymatic properties of water. It attempts a speculative inquiry into future possibilities in the study of the effects of sonic frequencies on water. 
Technologies used:

Hydro Organic Machine uses a variety of techniques to translate sound directly into visual material – from real-time algorithmic sound analysis methods, such as beat detection and frequency analysis, to direct translation of generative sound mapping to the visual output via OSC (Open Sound Control) and MIDI data transmission.

VVVV, a patch-based visual programming environment is used to generate the visual material. The liquids, bubbles, foams, and water effects utilise a variety of GPU Shaders written in HLSL - an internal programming language that makes use of the Graphics Processor Unit for enhanced performance. Many of the parameters of these Shaders are programmed to be directly effected by incoming audio signals. For example a particular set of frequencies are used to modulate the surface turbulence of the proto-cellular bubbles.

MARTIJN VAN BOVEN (NL): “Shadow Optics”
In an apparent total blank audiovisual space the viewer sees shadows, outlines, opposition effects, reflections and traces of fragmented image and sound objects.
Shadow Optics is in six parts to the changing position of the viewer in an immersive digital landscape set put. Were only a hard cut is noticeable when changing from perspective and entering a new mechanism of optical deformation. Only the sheer sensation of this perceptual shift through the impenetrable white image and the aesthetics of the compact soundscape make it difficult for the viewer to discern. In Shadow optics the viewer will be see shaded versions of apparent movies.

Shadow Optics will concentrate on the appearance of atmospheric optics and other natural phenomena such large dust storms and natural phenomena alike. Expressed in a dense and multilayered sound and image composition. Consisting of a vast variety real-life data and rapidly alternating algorithmic models on the behavior such as low and high pressure fields and visual spectales. The position of the audience will be in the centre position of the converging fields.