A synaesthetic and synchronic live performance. It is based on the phenomena of retinal persistence and uses sound up to 400 bpm. Bleeding uses two screens, one of which is painted with phosphorescent pigments.
Otolab was founded in 2001 in Milan by an affinity group of musicians, djs, vjs, videoartists, videomakers, web designers, graphic designers and architects joined to go through a common path in the field of the electronic music and audiovisual research. The projects are developed through lab sessions, seminars and live performance according to the principles of brainstorming and mutual support, free circulation of knowledge and experimentation.
The production includes collective and individual projects managed with languages ranging from experimental electronics to techno, dub and industrial sonorities, always looking for a symbiotic relationship with image and video. Otolab is a cultural association committed to create live media and installations and to carry out audio and audiovisual projects, seminars and workshops.
In these years, Otolab members have been welcomed to festivals, cultural events, museums, national and international galleries and have contributed to the realization of self-managed cultural initiatives.
Bleeding – live media performance
Bleeding is a synaesthetic and synchronic live performance. It is based on the phenomena of retinal persistence and uses sound up to 400 bpm. Bleeding uses two screens, one of which is painted with phosphorescent pigments. Projecting on both simultaneously results in a perceptual ambiguity between the real and the retinal permanence of vision. The audiovisual aesthetic of the performance derives from this dualism and is achieved by firing a barrage of stimuli at the audience. Bleeding is performed by Fabio Volpi and Luigi Massimiliano Gusmini.
Bleeding is “an artistic performance in which the audio and video component are strongly integrated between each other, not only on a technical basis but also and especially emotionally, sinestetically and immersively. The concept of immersiveness itself becomes preponderant in these projects. The capacity, that is, to create new audiovisual architectures in which the public is dragged into it as an active part of the performance.
The artists will be therefore able to demonstrate how the present trend of integration between electronic music and visuals is not only a passing trend but the true point of origin for a future research which is always deeper and more refined, both in artistic expression terms and in a way of sinestetic fruition for a public which is always more careful towards future development of electronic sound art”.