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Forceps of Perception

Chasten dragons and Dragoon chance Immobilise phantoms with a hug Like beauty’s lies in the beholder’s eyes Premembered clippings of notion pictures Clinging to the never mind Little red barrette We wonder How the memory of now Will turn out.
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Borrowed Blooms

when night falls like a feather in a vacuum tube covert carrier crows embark on missions, collecting clues that stick together like birds of borrowed plumes, the secretions of agents. filling ravenous caverns
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Yarrow

YArrow is based on the I Ching (the book of changes) Our reintroprateration relies on the inherent symbolistic systematics and the interrelation of its de-parts. the receiver defines the message. so we trancelaid it all out anew for you towards what we read into it. We focruised around the lushwhack of a 4096-fold world & beat to the marrow of the yarrow stroke of luck. biased on this fundament we dewalloped 64 plowattic stories, fraudiovisusual zenarios, sidlent medidata on the dowser of babel, a cosmogenetic c0de to joy. Hexacrammed i-jingles of the blue dragon scry the moon baby on trigramcycles preprevented by particle systems. forebodementia. the red lots and lashes show the modus mutandi from a start-us-quote to the potendial I-CHANGE-6789. So, profate and forscythe !“ Yarrow Online
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Vexations

“Vexations”: on & on & on, till the beak of yawn play a loophole into your headpeace performance for two piano players, projected video and stream of consciousness writing. original composition (1893) by Erik Satie. duration ca. 1200 min. our resume: Vexations is a challenge, a practical joke and a timemachine. eriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatie “Je m’appelle Erik Satie comme tout le monde.” we perform satie. wir verformen satie. we do it for us. wir tun es für uns. we do it for you. wir tun es für euch. we do it because it is not important to be done. wir tun es weil es nicht wichtig ist dass es getan wird. we do it because we would like to do it. wir tun es weil wir es gerne tun möchten. we are two people playing piano and one computing and showing the difference. wir sind zwei, die klavier spielen und einer, der die differenz berechnet und zeigt. we will play it note for note. wir werden es note für note spielen. you will hear it note for note. ihr werdet es note für note hören. afterwards nothing will be the same. danach wird das nichts sein wie es war. Short piano piece […]
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Des Gesprächfightfadens

“Des Gesprächsfightfadens”: word of the wings stutters & flutters a language re-de-re-construction performance for two performers, video backdrop, disillustrative commentary and sound duration: ca. 45 min. DEPART’s germanguage desastroy, a veritabledance lingo-limbo. Dramatized worldplayhem. A staged piece with toadloads of glimmericks fallinglong upwards from heaven’t scene and hertz beforeplay. In DEPART’s “Des Gesprächsfightfadens” there is no dramatic plot per se as in conventional theater, but there are recurring themes and ideas, more like in a musical composition. This work relies heavily on DEPART’s belief in the controlled overflow of sensoric input. The audience is supplied with a sheer mass of wordplay in order to provoke a struggle for perception and conscious processing of input. The more you struggle to get everything, the less interesting the piece will be. But if you are able to relax and let your thoughts wander freely, as in a kind of mediational state of mind, you might be able to grab one meaning here, or one there but go along with the flow of the piece easily. The goal of this endeavour is to create a certain state of consciousness where the seemingly superfluous and absurd action supporting the piece becomes a sort of focus […]
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Asphodel

Asphodl Text Download Linki
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Impressure Series

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playground eclectics the impressure series was a first attempt to bring together graphic design, sound design and poetry. passing ideas to-and-fro in long messenger hours (you should see those chat protocols) DEPART were tossing out pieces that would be somehow defining their future output. like in a lot of DEPART works, wordplay is a crucial element here and is used to make the mind wander and take the reader adrift, flashy animation and fluffy sounds take it all ashore… 2000 onwards headspace odysseys, sandboxfresh playdoobedoo. DEPART was moved and influenced by rural scapes and urban shapes, streetart and landart growing together. leo was moved from berlin to barcelona, gregor was moved from lehen to itzling and back every day.
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