A green-screen manipulation of our contemporary digital realities, live on stage: An electronic musician, like a lonely hacker, performs on stage. We see him there, but we also see him better on the huge cinema screen. And this screen reality around him is constantly changing, being edited and manipulated by the musician in realtime, creating an endless music video reality. The musician appears in films, in social media, in video games, on digital screens, in selfies, on street posters, in advertisements, in dating apps…. The realities of where we are, what we see, blend and overlap. Where is the performance really happening?

“There is no here, here” as a performance and concept springs from William Gibson’s dystopian futures of lonely hackers, struggling in multiple digital realities. But it’s not fiction any more. We are all living in those split realities now. Devices stear us, digital profiles socializes for us, algorithms decide for us, internet-of-things augments us, the network is always with us, and we ourselves, are not really here.

Gisle Martens Meyer, a Norwegian new media artist, combines music, sound and live visuals for his performances. He creates works for film, TV, video games and the stage. His work has a special focus on new technologies and the challenges of our digital lifestyles.

The last few years 2012-2015, his focus has been on composing and performing the contemporary stage, working with different choreographers and theaters in Spain, Portugal, France, Germany and Norway. In Hiroshima he creates the soundtrack of the performance Portal of Nuria Guiu.


Produced: Uncanny Planet.
Co-produced: BEK Bergen Center For Electronic Arts (Norway), Tanzhaus NRW Dusseldorf (Germany) and Hiroshima, Barcelona.

Performed at Festival Temps D’Images, Dusseldorf, 2016

To be performed at Oktoberdans 2016 (BIT Teatergarasjen 2017)

Duration: 45 min aprox


 



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