Cross disciplinary collaborations with with dancers, choreographers or other media artist such as Obscura Vertigo is a high priority for KLO

Obscura Vertigo are interesting to us, because we share a fascination of creating spaces – they did it with heaps of self-manufactured LED video strips, and we were at the mercy of a ballsy multichannel system, which forcefully massaged a sitting audience throughout a three-hour experimental electronica endurance set. Winter 2016.

The experimentation with creation of auditory spaces is important to us.

KLO was part of organizing a multichannel festival named Deus Ex Machina at the Danish National School of Performing Arts in Copenhagen, summer 2015. Focus was on research in electronic music performed live in a spatial context.

A dedicated scenography was build for the project in collaboration with Eva Kirstine Lendorph Christensen and light designer Elroy Villumsen. The scenography included hidden contact speakers surrounded by 32 speakers in a dome shape with 3 onion layers, enabling the performers to play with spatial placement of auditory events.

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Performers were centred in space, with the audience moving around them. The audience were encouraged to investigate each concert spatially, both from a sound and physical movement perspective. Performers presented their way of human-computer interaction before commencing each concert, to invite the audience in, and communicating a more in-depth understanding of performing electronic music live.

KLO is a playground for experimentation with technology. is important to us.

We are often fascinated by having a spatial awareness, and wanted to try out how it would affect our live performances, if we projection mapped onto our skulls while performing, for creating a sensation of space, inside our heads.

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Visuals were created from the following steps

a) create 3D models from scanning our skulls

b) make software which allowed for real time manipulation of the models, with a live audio input

c) project the manipulated faces onto our physical skulls while playing, to create a sense of depth or abstract ‘see-through’.

A condensed artistically proof of concept video with edited excerpts of a live-performance is staged in the video.