webpage of hannes andersson [anti-diciplinary storyfinder].
coded by: hannes andersson.
licence: If nothing else stated all content on site is licensed to Hannes Andersson under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) License.
last update: 30/04/2016.
* this page is under construction, if you cannot find what you are looking for feel free to send me an email on hannes.andersson[a]gmail.com
is an artist, filmmaker and researcher, born in Gothenburg (Sweden) and currently based in the Netherlands where he is undertaking a MFA in Media, Art, Design and Technology at the
Frank Mohr Institute
, Minerva Art Academy. before which he studied Digital Film & Animation at
SAE Institute Barcelona
(Catalonia). Hannes is co-founder of the art collective
Chinos International CC
, centered on the development of interactive art and open source technology as well as a resident artist with the
European Art-Science-Technology Network (EASTN)
. He is director and co-founder of the independent film group
Andersson Rodriguez Films
, mainly producing digital video and narrative cinema shorts for distribution Online. His artistic work focuses on perception and communication in the in-between of art and science and has been presented internationally at events and venues such as
Blue Metropolis Festival
Skepto International Film Festival
Mumbai International Film Festival
Festival Internacional Mapping Girona
Hannes also uses the Aliases
(video/vj/cinema related work) and
(music/sound related works).
Emergence~ is an audio-visual work by Hannes Andersson about vibrancy, resonance, communication and the emergent qualities that arises through interaction. It is a sensory experience situated slightly above the flicker fusion threshold, on the fluctuating border between the clear and the abstract.
My hope is that it provides enough direction for communication to take place, while at the same time leaving enough lee-room for the viewer to fill with his/her own thoughts and feelings.
The work is also an experiment in the combining of neurological triggers (such as rapid flickering and high/low frequency sounds in varying vibrational patterns) with symbolic narrative elements.
3D animation, modeling and compositing has been made in Cinema 4D R16, with the exception of the 3D scans which was captured with the Skanect software using a Microsoft Kinect sensor. The sound design, synthesis and edit have been using Ableton Live 9 in combination with Max 7. 2D animation, Textures, image post-production and final edit has been made using Adobe After Effects.
The world can be seen as consisting of an infinite number of different energetic lines or filaments intersecting at the assemblage point of awareness where the construction of reality takes place.
What changes during communication is the conditional readiness of the participants of the communication process towards specific forms of attention, effectively altering the scope of reality, as well as the complexity of this construction.
At resonant frequencies, small periodic driving forces have the ability to produce large amplitude oscillations as the system stores vibrational energy.
Resonance occurs when a system is able to store and easily transfer energy between two or more different storage modes.
Emergent behaviors can occur because of intricate causal relations across different scales and feedback, known as interconnectivity.
The emergent properties of a system are the ones that are not properties of any component within the system, but are still features of the system as a whole.
The emergent is unlike its components insofar as these are incommensurable, and cannot be reduced to their sum or their difference.
Causation is iterative, and this is equally true of the synergistic effects produced by emergent systems.
In other words, there is more going on in communication than just information transmission or command and control: communication means sender and receiver are changing each other. Vibrancy thus is a process of change, of changing and being changed, happening in a third space; it is the synergies produced by the system that are the key.
Site specific work mixing drawing and projection @ RHHlab,
Het Werk, Groningen. By
Hannes Anderssonpresented during the Het Werk Open Day 20161002. Music:
Slagsmålsklubben- Sponsored By Destiny
Osmosis Methods Groningen: An antidiciplinary artistic exploration, assimilating six distinct voices in the collaborative effort of disintegrating aesthetics.
Romy Joya Kuldip Singh&
Lee McDonald, held in
Sign Gallery, Groningen, in March 2016.
↗ Osmosis Methods Groningen @ fb (Dynamic project documentation)|
↗ Sign Web|
↗ Osmosis Methods Groningen @ Sign web|
↗ Hendrik's page|
↗ Romy's page|
↗ Salims's page|
↗ Lee's page|
Electro-Alchemic transcranial Direct Current Stimulator” – is an artwork / brain hack device by
transcranial Direct Current Stimulation (tDCS)- originally developed by neuroscientist
Brent Williams– in a DARPA montage to enhance focus and accelerate learning capabilities (explained below in more detail, for now we can think about it more or less as “electric coffee”). The work -which engages with the alchemic symbolism applied to the materials it is made out of (Copper and Tin (also explained below)) - is an attempt at exploring the concepts of cognitive liberty and techno-shamanism in order to probe the question of however we should take a more human-friendly, social and spiritual approach to how we think of - as well as talk about – technology and technological development.
Transcranial direct current stimulation (tDCS) is a form of neurostimulation which uses constant, low current delivered to the brain area of interest via electrodes on the scalp. It was originally developed to help patients with brain injuries such as strokes and depression.
more info on tDCS:
↗ diy tDCS | ↗ the brain stimulator | ↗ total tDCS | ↗ tDCS news
Scientific research findings suggest that tDCS causes polarity-dependent alterations in cortical excitability and activity. In other words, of the two electrodes (the positive Anode & the negative Cathode), Anodal stimulation increases cortical excitability, while Cathodal stimulation decreases cortical excitability. These changes in cortical excitability are most likely initiated through respective depolarization and hyper-polarization of the underlying neurons. It appears that this effect can be attributed to a sub-threshold modulation of resting membrane potential, which can persist even after stimulation. In simpler terms, tDCS does not actually cause neurons to fire, but instead increases the likelihood of them firing, by increasing “neuronal excitability”.
(Source: ↗ thebrainstimulator.net)
The wearable parts (connectors) are made from recycled belts, mounted with home made electrodes made from wire and washing cloth.
EAtDCSis almost entirely made out of copper and tin and integrates the respective alchemic sigils acting as connectors for the anode and cathode. ↑↑↑
A 3D animation loop by
Hannes Anderssonmade from 3D scans of the Sign Gallery, the participant artists and the different artworks presented in the omg exhibition. Info: Scans made with a
Kinectdepth camera using the
Scanectsoftware | Modelling, Texturising & Animation made in
Maya| Image styling & postproduction made in
Wall painting by
A walk through the space (video by
A video loop by
Hannes Anderssonaccompanying the "
Fly Me to The Moon" installation (
Lee McDonald. Camo Tank, 210x110x155cm. Wood, hinges, carpet, bearings, wheels and paint.
A projection mapping / drawing by
Hannes Anderssonaccompanying the "
Camo Tank" installation (
A sound work by
Hannes Anderssonsonifying the live data of the current sea levels on different locations in the Netherlands. Made using
TEDxGroningen, Groningen, Netherlands. April 2016.
Code for scraping the water level data and communicate out to Ableton (ableton project available here)
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Antenna Horns for listening to electromagnetic fields By
Produced during the
"In Praise of Shadows"
workshop held by
Dewi de Vree
. exhibited in
, Groningen, Netherlands. April 2016.
A sound and light installation by
Romy Kuldip Singh
Jorrit Van De Waal
in Groningen, Netherlands, during Orbit Fest
. December 2015
an interactive video/web work by
, that premiered on the 23rd of April, 2015 in Montreal during the
Blue Metropolis Festival
where it was presented as a part of a collaborative video work made together with Canadian artist
(also titled A/Vgration). The work has been commissioned by
"Performigrations, People Are The Territory"
with support of the
European Union Culture Programme
The work has been presented in:
Blue Metropolis Festival
, Montreal, Canada.
The Italian Ministry of Culture
, Montreal, Canada.
(During the Biografilm Festival
), Bologna, Italy.
sysiphus 2.0 is an interactive projection mapping installation made in
Fab Lab Barcelonafor
the European Art-Science-Technology Network.
culture programmeof the
European Union. The work has been presented in
MISO music, Lisbon, Portugal, 2015 &
Avarts Festival, Corfu, Greece 2015.
Festival International Mapping Girona, Girona, Spain, 2015, where it was nominated for best micro-mapping.
sisyphus is an interactive video projection that takes the form of a 3D dimensional object. The physical presence. The wheel of time activates Sisyphus to walk on a 3D printed mountain made out of puzzle pieces. In Greek mythology Sisyphus was a king of Ephyra (now known as Corinth) punished for chronic deceitfulness by being compelled to roll an immense boulder up a hill, only to watch it roll back down, and to repeat this action forever. According to the solar theory, King Sisyphus is the disk of the sun that rises every day in the east and then sinks into the west. Other scholars regard him as a personification of waves rising and falling, or of the treacherous sea.
Albert Camus, in his 1942 essay The Myth of Sisyphus, saw Sisyphus as personifying the absurdity of human life, but Camus concludes "one must imagine Sisyphus happy" as "The struggle itself towards the heights is enough to fill a man's heart." By interacting with the mechanical system of gears an animated 3d human starts his journey on the mountain.
The interaction interface consists of a laser cut mechanical gear system, which the audience interacts with by rotating them.The gear’s movement controls Sisyphus going up a 3d printed mountain made out of 44 unique pieces that interlock one with the other like a puzzle. The gear’s movement is tracked using accelerometer data received by the Sisyphus Stone Application in openFrameworks and Unity 3D.
Graphics and Unity by: Hannes Andersson Donuan
Programming by: Ovidiu Cincheza
3D modelling and printing by: Anastasia Pistofidou
Mountain Design by: Matteo Guarnaccia
Interface Design by: Santi Fuentemilla
Morphing Faces is a multichannel video installation about cultural identity by
Hannes Andersson. Presented in
Pallazo Pepoli, Museum of the History of Bologna, Bologna, Italy.
European Union Culture Commission.
“Where do you come from?” is the second question, whenever I meet somebody new. Most people I meet are not from where they happen to be at the time. It comes after “what is your name?”, but before “what do you do?”. “Where are you from?” is difficult, when you don´t regard the country of birth as your home. True for so many people in my generation. Generation Y: The first children of the information era, created in a world where everything is possible and nothing is certain. Enabled as well as obligated to move by the force of political economic circumstances. This is not without a sense of fragmentation, a sense of not fitting in the categorized national culture one is suppose to represent. Where are you from is no longer a question that can be answered with a single word, with the name of a nation serving as cultural container of the social. It needs more time and reflection. If we take that time, and listen to the long answer, not only from where they came, but how they got here and what changed in the process, we might learn something about ourselves.
“Just as human beings make their own history, they also make their cultures and ethnic identities. No one can deny the persisting continuities of long traditions, sustained habitations, national languages, and cultural geographies, but there seems no reason except fear and prejudice to keep insisting on their separation and distinctiveness, as if that was all human life was about” (Edward W. Said).
Morphing Faces is an A/V piece exploring how senses of (non-) belonging to place relate to identity constructions and how transnational movement and global communication transform our perception and may fragment our sense of Self. This work has been composed of Audio / Video recordings collected in interviews with individuals who come from this particular generation and who do not live where they have been born. These individuals represent themselves and their own trajectory, not countries, not nations, but their own story. Together however, they might explain a generational phenomenon. A social change. A very particular experience of globalisation. The recordings have been juxtaposed and translated into different audio-visual narratives. These narratives have in turn been distributed in the space so that they overlap, and impose upon, each other, forming an audio-visual landscape to be navigated. As on any journey, what you get out of it depends on how you choose to steer the route and where you eventually choose to stay.
Ekaterina Baskakova, Ekin Bayurgil, Anastasia Fotopoulo, Richard Fraser, Renato Scarpelini Fernandez dos Santos, Anna Katarzyna Zaremba
Cecilia Amicone, Baptiste Bousset, Christoph Bram, Christian Cherene, Anonymous from Cameroon, Ovidiu Cincheza, Alexandre Dubor, Soukaina El Anaoui, Bruna Frimpong, Daniel Gonzalez Franco, Tony Higuchi, Aris Karambakos Papagionasis, Merabi Kechkhoshvili, Saskia Lillepuu, Tómas Matus, Nazifa Merza Hussein, Annamaria Muscaridola, Luis Simón Nuñez Rodríguez, Anastasia Pistofidou, Glazione Rocha, Marco Savo, Valeria Steiger. Aki Weston Murai, Augusto Zuniga
for sharing your thoughts and entrusting me with your words.
Elena Lamberti & Paolo Granata (Performigrations / Unibo)
Irene Tognazzi & Alessandra Lauria (Genus Bononiae)
for being fantastic hosts and for enabling the realisation of these works (and also for Paolo's carpenter skills).
to Ryan Bishop and Norma Deseke for inspiration and critique.
To the other Performigrations artists who have all contributed to this process in different ways.
To Enrico Mercadante & the patient technical team of Eurovideo.
and to Chinos International for putting / keeping me on the right track.
Interactive web documentary made for the European Art-Science-Technology Network
European Art-Science-Technology Networkwith support of the
European Union Culture Programme.
ZKM, Karlsruhe, Germany
#AST2015, Grenoble, France
The main purpose of the « European Art Science and Technology Network » (EASTN) Initiative is to contribute to make digital creativity more accessible, by promoting the development of a deep and collective knowledge of the current artistic movements and of theirs tools. Digital technologies play a significant and increasing part in artistic creation, from generating the substance of a work of art to broadcasting it. Nevertheless, because of a profusion of possibilities and because of the speed of evolutions, the inherent concepts of these tools are often overlooked by the general public, and even by the artists themselves. In order to ensure that Europe fully participates in the Cultural Revolution rising from these technologies and that European citizens are encouraged to be more than just isolated consumers, specific actions must be undertaken.
The central theme of 2014-2015 is about Tangibility, which is at the heart of a major evolution in the creative field. Indeed, nowadays, new methods of interaction with the information and with digital medias are proposed, relying more on senses and gestures in a way to connect real and virtual worlds. In this way, the body resumes its predominant place in the act of creation, and the publics are able to achieve a better assimilation and utilization of the digital creation tools.
The missions of this network are:
To support creation and artistic exchanges through residencies and workshops
To conceive and realize digital tools in relation with tangible objects encouraging digital creativity
To promote European digital creation to the general public
ACROE, Association pour la Création et la Recherche sur les Outils d’Expression (Grenoble, France)
ACROE is well-known as a pioneer in physical modeling for artistic creation and in design of force-feedback gestural devices and multisensory real-time simulation platforms, aiming to turn the computer into a true instrument for artistic creation. ACROE has also developed several computer environments for artistic creation, in particular GENESIS for computer music and MIMESIS for animated image.
Cardiff School of Art and Design (CSAD) of Cardiff Metropolitan University (Cardiff, United Kingdom)
CSAD, first opened in 1865 as Cardiff School of Art, is today part of Cardiff Metropolitan University. It is one of the oldest Art Schools in the UK and its undergraduate and post graduate courses includes Fine Art, Ceramics, Artist Design Maker, Textiles, Illustration, Graphic Communication, Product Design and Architectural Design and Technology. CSAD is a lead partner in the Wales Institute of Research in Art and Design and it is part of the Fab Labs collaborative global network as Cardiff Fab Lab.
Fab Lab Barcelona from institute d'Arquitectura Avançada de Catalunya (Barcelona, Spain)
Fab Lab Barcelona is a cutting edge education and research centre dedicated to the development of an architecture capable of meeting the worldwide challenges in the construction of habitability in the early 21st century. It is one of the leading laboratories of the worldwide Fab Labs network, innovative workshops equipped with small-scale as well as large-scale traditional and digital fabrication tools allowing production of objects, prototypes and electronic devices. Fab Lab Barcelona is inside the Institute for Advanced Architecture of Catalonia (IAAC), where it supports different educational and research programs related to the multiple scales of the human habitat.
Zentrum für Kunst und Medientechnologie (Karlsruhe, Germany)
ZKM holds a unique position in the world. Its work combines production and research, exhibitions and events, coordination and documentation. ZKM’s Institute for Music and Acoustics (IMA) is a creative hub that aims at developing new technologies in digital music, supporting the creation of new compositions through artist residencies and production support. IMA presents new works of electronic music through a series of concerts to the general public in the unique environment of the Klangdom, a 43-channel loudspeaker setting designed to enable new listening experiences for acousmatic music. The Klangdom is activated through the use of Zirkonium, a computer program that was developed at IMA. Many works by international.
Ionian University,Department of Audio and Visual Arts (Corfu, Greece)
The Ionian University is a relatively young regional University specializing in Humanities, which has demonstrated an intense activity and rapid growth particularly in the last decade. Two of its departments are involved in this network. The Department of Audiovisual Arts (AVARTS), which is the first and currently only academic institution in Greece specializing in Audiovisual and Media Arts. It combines education, research and production in interactive digital arts of sound and image, photography, audio and visual design. The second is the Music Department , which focuses with the EPHMEE (Electroacoustic Music Research and Applications Laboratory) on the study and production of original work within the field of sonic art and technology. It aims at including the structuring and support of education for music and technology, the support of research and innovation in sonic art, the production of music and the dissemination of knowledge and artistic experience.
Laboratoire Ingénierie de la Création Artistique of Institut Polytechnique de Grenoble (Grenoble, France)
ICA Lab. created at Grenoble Institute of Technology (GIT) in 1999, is, in partnership with the ACROE, in charge of research on science and technology of artistic creation in music, animated image and multi-sensory arts. It is also in charge of academic teaching through the Art Science and Technology (AST) master degree's and the AST platform.
Official Music Video for "Repress Play" by
Mind Fox. a
donuanTvproduction Created and directed by:
Skepto International Film Festival 2015, Cagliari, Italy. and part of the official selection of
Crouch End Festival 2015, London, UK.
Official Music Video for "100 wrong turns" by
Oddur. Created and directed by
Luis Simón Núñez Rodríguez| an
Andersson Rodriguez Filmsproduction | Music by
The most fun part of this video was constructing the machine itself. Since there is not any references available for how a backwards machine would look like, we decided to go for a mix between steampunk and voodoo, we found this amazing warehouse full of rusty metal parts which we started to put together with bones and electronics in any way that they could fit. we couldn't get it to actually move automatically so in the end there was a lot of pushing and turning recorded which was later cut together. The whole video is composed, postproduced and colored in After Effect, and many many hours where spent doing manual masking.
Created and directed by
Luis Simón Núñez Rodríguez|
Mateo Ávila. With
RIkke Frances Wahl| Music by
John TalabotRecorded with: Canon 60D. Tamron 18-55mm.
A Young man fed up with his current conditions and inspired by a moment of self insight, decides to leave the currupt society leading him on a chase though run down industrial city landscapes covered in holes and grafitti.
Official Music Video for "papercities" by
Mind Fox. Created and directed by
Luis Simón Núñez Rodríguez| an
Andersson Rodriguez Filmsproduction | Music by
Max Veerstrepen(and Mind Fox)
A short film about leaving reality. Created and directed by:
Luis Simón Núñez Rodríguez| an
Andersson Rodriguez Filmsproduction | Original music by
Rikke Frances Wahl.
Mumbai International Film Festival 2013and in
Horror Hotel Film Festival 2014.
(The password is lara)
, Lille, France, by
. Music by
in the framework of the
European Heritage Days
with the support of the
Creative Europe Programme
of the European Union,
city of Lille
An intermedial Performance by
Ovidiu Cincheza(Photo && OpenFrameworks) &&
Hannes Andersson(Live Projections && Video).
Antique Teatre, Barcelona, Spain. 2015.
Hangar, Barcelona, Spain. 2014.
Espai Erre, Barcelona, Spain. 2014.
Graner, Barcelona, Spain. 2014.
Can Felippa, Barcelona, Spain. 2014.
The term ‘choreography’ is intuitively related to the word ‘writing’. When we think of composing, we think of writing a dance, in tracing movements and treating them as signs. But what are the signs of dance? Body? Shape? Gesture? When asking whether there is such a thing as the language of dance, we are also asking how understandable it is, whether it needs to be understood intellectually. Capturing dance in words is an impossible task, and it’s this impossibility that makes it interesting; an unsolvable puzzle, the pleasure of creating art out of interference and error. It’s more as if words are trapped inside the body, because the body is there, and is, and tells its story from somewhere else.
Javi Sampol & Rick Maia Back to Back @ Putis! Barts Club 04/10/2014, Visuals by Hannes Andersson Donuan. Camera by Luis Simon Nuñez Rodriguez. | Edit by Hannes Andersson Donuan. Barcelona 2013
Snippet from "Lara | Camilla: Live Remix"
a/v-jam with Salim Bayri @ Frank Mohr Institute, Groningen 2015
Paperjam feat. Chinos part 1 & 2. Paperjam & Chinos International CC | Daos club, Timisoara, Romania | Projections by Hannes Andersson Donuan, Timisoara 2013
Martin del Litto @ NIU during Cau d'Orella. Projections by Hannes Andersson Donuan. Barcelona 2013
Fábel @ NIU during Cau d'Orella. Projections by Hannes Andersson Donuan. Barcelona 2013