The invisible atmosphere was thus the assumed intermediary in all communication, a zone of subtle influences crossing, mingling, and metamorphosing. The progressive forgetting of the air— the loss of the invisible richness of the present—has been accompanied by a concomitant internalisation of human awareness.
CULTURAL ECOLOGIST DAVID ABRAM, THE SPELL OF THE SENSUOUS
Atmospherics is a synesthetic performance, immersive audio experience, and educational tour featuring three musicians, spoken word narrative, dynamic visuals, architectonic transitions, and interactive elements for the audience. Lasting 45 minutes, the piece can be performed both in large concert halls and in more intimate or unconventional venues as a traveling performance. The experience was collaboratively developed by Elias Faingersh, Jenny Filipetti, Sofia William Åsenlöf, and Imre Zsibrik. Visuals relate to notions of time, sound, memory, creation, and decay, and participants become part of the music throughout the experience: invoking thunderstorms, recording their own voices and sound effects, and moving around the environment.
This collaborative synesthetic piece experienced its world debut at the Kav Kaz Festival in Derbent, Russia, in October 2021, under the curation of Masha Kroupnik. This work sought to bring alive the Biblical story of the 12 Sons of Israel, creating a multisensory symphony of sound, light, and colour for each brother/tribe. Visual pieces incorporate the colours, symbols, and imagery relating to the life or tribal role of each son, each element created as visual embodiment of the experience listening to that piece. The videos were then compiled and performed live during the festival.
I created and performed the live video projections. Music was composed by Uri Brener and conducted by Zarifa Abdulaeva. Featuring Sergei Nakaryakov (France) on the trumpet and cornet, Elias Faingersh (Sweden) on the trombone, live electronics, shofar, and the Makhachkala Philharmonic Orchestra. Narrative elements were composed by Elias Faingersh and Keren Klimovsky (Israel/Sweden). Additional lighting design by Imre Zsibrik (Sweden). View video footage from the Tribe of Levy, the Tribe of Issacher, and the 12 Tribes of Israel.
Chromabar is an approximately 30-minute site-specific experiential soundwalk via smartphone and indoor interactive installation. Participants are invited on a journey into an alternate version of the city, a grayscale world where colours are highly regulated, forcing venues like the colourful Chromabar underground. Luckily you’ve got a guide, and a ticket to get in.
Watch the trailer below or reach out to bring Chromabar to your city.
The images above and videos below depict the raw output of the liquid mirror technology, in various configurations. This creates a subtle flickering effect when output through LED grids but may also be projected directly as shown here for a more direct translational experience. For example:
- A single video channel mask on black background creates a literal light mirror or “light shadow” effect in dark environments.
- The use of a particle system within the masked area rather than a one-to-one mask generates the appearance of motion. It is appropriate for use even with still images as the mask or background or anywhere that a more subtle interaction is desired.
- By using one video for the mask and a different video for the background, interesting dynamic effects can be achieved. This might also take the form of two completely independent moving images, or alternatively a single source onto one copy of which slight post-processing effects have been applied (e.g. shifted brightness, hue).
Please note that the short video snippets below will loop upon playback.
Liquid mirror is a technology designed for interactive light installations. It acts as an abstracted “light mirror” that transforms the movements of passersby into flickering patterns of light. In a sense, it also mirrors the moods and emotions that encounter it, inviting playful interaction as equally as meditative reflection. The piece does not demand intentional interaction but rather reacts to its surroundings, generating surprise and delight among its often-unsuspecting viewers.
Both physically and conceptually these works evoke the comfort and reassurance of light. If we feel alone amidst the darkness of night, these pieces bear witness to our presence, illuminating us in their glow. There is a living quality to the subtleties of this light, accompanying us in however transient our passage through its shared space.
Liquid mirror technology was first exhibited in 2015 as the wall piece Weare, although it has since served as a technical backbone for several custom projects. It is scalable to many different sizes and resolutions and can be incorporated into wall-based or sculptural works.
View the video documentation of Weare below or on Vimeo.
You can also find a behind-the-scenes look at the direct output from the system through photos and video here. This can be projected directly for a less subtle “light shadow” effect.