The Crystal Interface

ELEKTRA and MUTEK have teamed up and synchronized dates to mark their 15th anniversary and created one combined event christened EM15. In this context, EM15 launched an international audiovisual creation contest inspired by the theme: “The Crystal Interface”.

The contest is now over. Our jury, composed of Patti Schmidt (MUTEK curator), Marion Carassou-Maillan (artist and MUTEK's VJ curator), Pheek (artist) and Nathalie Bachand (BIAN & Elektra) has selected 5 finalists for the public to vote on. 

EM15 proudly announces Hugues Clement (89 votes) as the winner of the Jury Prize and the People’s Choice Prize. A major congratulations to this young and inspiring talent! Joining him in the list of People's Choice Prize winners are Françoise Provencher (65 votes) and Ferenc Stenton (61 votes) who will all receive awards.

PRIZES AWARDED TO THE WINNERS

To the Public Choice Prize winners:
1st Prize
•      Live9 Ableton software (a value of 449 CAD)
•      MadMapper software (a value of 462 CAD)

2nd Prize
•      Modul8 software (a value of 462 CAD)
•      Liquid Rhythm software from WaveDNA (a value of 144 CAD)

3rd Prize
•      MadMapper software  (a value of 462 CAD)
•      Liquid Rhythm software from WaveDNA (a value of 144 CAD)

To the Jury Prize Winner:
•      Modular synthesizer furnished by MOOG AUDIO (a value of 600 CAD )
•      Modul8 software (a value of 462 CAD)

PRIZES AWARDED TO THE 5 FINALISTS

•      The broadcast of their creation on the EM15 website from May 19 to June 30, 2014
•      The broadcast of their creation on screens at the Musée d'art contemporain de Montréal, where the festival takes place from May 27 to June 2, 2014
•      Liquid Rhythm Introduction software from WaveDNA (a value of 55 CAD)
•      1 EM15 t-shirt.

 

IN PARTNERSHIP WITH

                       

Contact : contest@EM15.ca

 

  • Hugues Clément

    Gleam

    Coexistence entre formes/mouvements organiques et interventions graphiques, le tout connecté au son. Inspiration provenant des cavernes et cristaux.

  • Françoise Provencher

    Figés

    One instant, individual molecules are randomly floating in the solvent, invisible. The next, they self assemble into large crystals, luminous forms emerging from the dark void. This audiovisual work captures the sense of wonder one has upon looking through a microscope, a witness to this crucial moment between nothingness and being. It bridges the artist's multifaceted occupations : physicist, electroacoustic composer and DIY filmmaker. This work is situated at the interface of nano-science and contemporary art, as it presents images of crystallizing self-assembling molecules used in cutting-edge organic electronics applications. The spectacular birth of these organized structures is captured in real-time by a camera affixed to a cross-polarized microscope. The music aims to make the crystallization phenomenon larger than life. This work is constantly sublimating the objects to see or the phenomena to hear to make them tumble into another dimension, less purely acoustic and more musical, more poetic.

  • Ferenc Stenton

    Refraction Interface

    Created solely with the use of practical in-camera effects, such as audio driven projections as the light source and broken prisms, "Refraction Interface" creates a foreign world where scale and depth are impossible to calculate.

  • Anne-Sophie Mongeau

    Crystalline Space

    Crystalline Space tente de représenter l'espace en son et en images. La texture cristalline des structures présentées dans cette vidéomusique permet de mettre en valeur la profondeur ainsi que l'espace occupé par l'objet dans un unviers en trois dimensions, du point de vue tant de la hauteur, de la largeur, que de la profondeur et même de son évoution au cours du temps. La musique a été composée en programmation en langage Python, de façon à intégrer une part d'aléatoire dans l'évolution des paysages sonores, grâce à différents types d'algorithmes.

  • VJ Radiance

    The Space Between Us

    The Space Between Us Artist Statement: During 2012 and 2013 as I was travelling throughout Europe, the landscape began to speak to me. . Arriving in Tallinn, Estonia to undertake a visual arts residency at Polymer Culture Factory I noticed that the geography was very different to that of my home country Australia and I was inspired to explore it. Walking was my way to engage with the landscape and became meditative— a space for reflection. I pondered the real and imagined distances between locations and also the emotional space and proximity between people separated by geography. My walks became both physical and psychological journeys. With my camera in hand I processed my surroundings, making meaning from my experiences and engaging with the new environment. I was interested in exploring ways to document and combine performance art and actions of physical endurance with digital media and live video. The way in which people navigate the physical landscape has been greatly impacted by new technology with printed maps diminishing to be replaced by screen-based maps. Maps are powerful tools of communication which show a point of view or inspire a journey in a particular environment. As universal instruments they can guide us not only from one destination to the next but provide a unique perspective on the world, selecting information and ‘framing’ the space presenting it in scale. In this work I have used the triangle as a motif to depict the journey from one destination to the next - A to B to C. The geography of a place is mapped through personal experiences, using macro and aerial footage to represent multiple perspectives and ways of understanding In Tallinn, Estonia I felt separated from loved ones by geographical distance. Digital media such as skype, email, facebook make people feel like they are closer through creating the illusion of closeness. It enables us to connect regardless of our physical locations. However it does not replace human interaction and intimacy.