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In italian the term “Partitura” is used to describe the written representation of music, literally the musical score. This is a system which represents aurally perceived music, through the use of visual written symbols…

“Like his avant-garde German predecessors, Hans Richter, Oskar Fischinger and Walter Ruttman, Max Hattler is fascinated by the relationship between sound, music and moving pictures. He has built himself a solid reputation on the trendy international scene with his audiovisual performances.” Anima

Ryoichi Kurokawa performance 2011. This work emphasizes some elements more than in the previous work ‘cm: av_c’. Those elements are: synchronization, synthesis, synopsis, and synesthesia. But while the recent concert pieces ‘Rheo’ or ‘Parallel Head’ are to be treated as ‘cinema’, this work should have much more to do with ‘music’ instead.

Ryoichi Kurokawa performance 2009. “All things flow, everything runs and does not stay in the same place, which seems to be the same but in fact, never is. We will find beauty and life (the being) in this flux. Then, the nature of things will lurk in such an alteration. I think this is what beauty is all about; and that we are in this temporary beauty.” (Ryoichi Kurokawa)

Telcosystems performance 2008. Slowly changing structures and stretched drone clusters create an introspective state for the audience. Pounding subsonic frequencies and high-speed shape shifting images transform the performance space in an audiovisual time-warp machine, exploring the limits of the human sensory apparatus.

Ryoichi Kurokawa performance 2008. This work is composed of filmed scenes, field recordings, and generative audio/animation. On ten screens surrounding the spectators, the multiple pieces of information are projected one after the other. The commonplace scenes look like fragments of the viewers’ memories, or perhaps of their expectations…