Phosphere installation at SonarPLANTA 2017



“Phosphere (sphere of light), created by Daito Manabe and his Rhizomatiks studio for SonarPLANTA. Inspired by the crystallization process of certain minerals and their whimsical shapes, Manabe creates a changing space defined by light. It’s a robotized hybrid architecture in which synchronized mirrors, smoke machines, beams of light and up to 24 video projectors, combine to build an unprecedented spatial experience, drawing from the world of new contemporary dance, as well as the vocabulary of projection mapping. Blurring the borders between dance, scenography, and installation) phosphere is an experience built by a computer system that combines two different spaces on the same plane: the physical space of the room, and another digitally generated in a computer. Through multiple video projectors, mirrors, and meticulous optical calculation technology, both dimensions are synchronized to generate a new visual experience from the moving geometry of all elements. The engine that runs this installation is the digital technology incubated at Rhizomatiks.”



There is a videocamera installed above the stage and under infrared lighting. Besides positional tracking the project is focus in measuring movement qualities as: forces and directions, accelerations, stage position, velocity and body area.

The performance has been created and executed in live using the environment MAX/MSP/JITTER by Cycling74 and the computer vision library CV.JIT by Jean-Marc Pelletier.
“Trinity is an audiovisual interactive dance piece which tells the journey of a body going through different states of perception of the space. Through movement, the body is immersed in an environment of textures and audiovisual landscapes that not only accompany but will push to a transformation process.

A transformation process achieved through the close link between the triad of movement, light and sound shaping a language that allows the expression of these elements in space, while causing profound changes in physical behavior to the body through the reverberation and echoes of its own actions.

This work proposes a profound, clear and efficient interaction between its three elements: the triad of movement, sound and visuals. This interaction is understood as a dialogue which passes through different levels of intensity and transformations throughout the piece and is focused in the detection of the following qualities and patterns of movement like: forces and directions, acceleration, position, speed and body area.

The interaction system works through a videocamera installed at top of the stage under infrared lighting. The entire performance has been developed and is performed in real time with the programming tool MAX/MSP from Cycling74 and the computer vision library CV.JIT.”

Seventh Sense

Seventh Sense


A taiwanese dance company Anarchy Dance Theatre collaborating with Ultra Combos t create a projected space for the dancers.

“The collaboration project between Anarchy Dance Theatre and Ultra Combos focused on building up a new viewer centered performance venue. In this space all movements including the dancers’ and audience’s can be detected and interact with each other through visual effect. The audience is not merely watching the show but actively participating in it.”

“Pixel” Adrien M/Claire B

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Physical-digital performances

Pixel choreographed by Adrien M/Claire B

Projected light onto the stage and backdrop, Adrien and Claire have been exploring the intersection of projection mapping and dance since 2004. Adrien and Claire utilize projection mapping, CGI and sensors and combining it with human interaction and dance to create a dynamic performance

“dancers spin inside virtual rings; they hold umbrellas that shield them from pixelated rainfa

Tabaimo and Ohad Naharin

Ohad Naharin and Tabaimo’s collaboration in the piece Furo is a beautiful example of Media Art and Dance. Tabaimo’s video art usually dealing between the tension in Japan’s traditional and contemporary life. While Ohad Nahrin’s movement possesses a more primal and raw quality and approach to the work. The dance piece that Ohad choreographed enhances the experience and perception of the Tabaimo’s video work “Furo”. The same goes for the effect on Ohad’s work, the piece is much stronger in terms of concept and aesthetics with the video. Especially because the video was presented in a 3-dimensional screen set up. The “stage” was surrounded by 3 screens. Having this screen set up, already gives choreographers new “constraints” to work with.  Instead of taking away from the dance or the video art, the two complement each others narrative and make for a stronger piece.

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Link to Batsheva Dance Company Channel (Furo by Ohad Naharin):