MSP is a collaborative art-project that attempts to connect sound and light by focusing on their basic properties -- waves traveling through space. Founded at the end of 2005, the group includes the three members Florian Meyer, Phillip Schulze and Armin Purkrabek.

Developing different acoustic irradiation and illumination concepts in the form of club- / concert-, installation-, or performance-situations, and accordingly mixtures of those, always created specifically for each environment. MSP is interested in trying to find new strategies in integrating / disintegrating, connecting / disconnecting audience and performer by creating uncertain performance situations.

Raw audio feedback, shaped by the performance space itself (resonance / reverb / people), is the basis material for the emerging music. Through processing and deconstructing this material in real-time, using different more or less complex feeback and filter systems via self programmed software / hardware on the one hand and light controlled by the music through audio analysis on the other, MSP creates an intense roomfilling atmosphere. 

> upcoming performance / Installations: :

> past performance / Installations:

2007:

MSP VIII : 30th october 2007: WhereabOut - Wesleyan University - CT - USA

MSP VII : 28th october 2007: Share NYC - NY - USA

MSP VI : 12th july 2007: Lacunacity - rOundabOut 07 - Karlsruhe - De

2006:

MSP V : 22th june 2006: HfG / ZKM - Karlsruhe - De

MSP IV : 16th may 2006: Salon des Amateurs - Dusseldorf - De

MSP III : 26th april 2006: Badischer Kunstverein - Karlsruhe - De

MSP II : 30th march 2006: Performance Studio HfG / ZKM - Karlsruhe - De

2005:

MSP I : 03th december 2005: Re/act Media Art Festival - Heidelberg- De

> video streams:

MSP Trailer I - V (5mb)

MSP ShortCut I - VIII (120mb)

The MSP collective defines itself as a unified non-hierarchical alliance accompanied by openness to outside information. MSP generates concerted and concentrated (immediate) output manifestations, each labeled MSP. Thus far, the group’s collaborative oeuvre consists of eight distinct manifestations in the form of extended performance and installation situations (MSP I – MSP VIII). The concept underlying MSP’s essence is understood as procedural, and its evolution is therefore incomplete.

Consequently, MSP may be interpreted as a complex but simple (minimalist), adaptive system, capable of continuous transformation on account of its inner structure and the influence of the surrounding environment. At first, the environment is everything that MSP is not. Certain elements within the environment are then brought into relief according to their utility as defined by MSP. In adapting just a few specific fragments of its surroundings, MSP acts like a filter, extracting and amplifying elements of interest. Because all artwork and indeed all humans act as filtration systems as regards all experience, MSP is especially interested in how this filtration process takes place and how it can be manipulated. Additional elements MSP considers involve contemporary art treatises (especially within media and music) in confluence with MSP’s own personal discourse. The work itself confronts and questions accepted positions of art reception within the establishment. MSP challenges the predetermined constructs whose fulfillment is expected to occur via art and societal contexts.

The receptive apparatus described above results in fluctuating appearances (visual as well as aural). These contrast the aesthetic consistency espoused by the artists’ taste. The decisions made employ first a minimalist approach – an attention to just the fundamental features of sites and materials. This restricted foundation is primarily an adaptive method accompanied by distinct interventional operations. MSP labors with given sites and material. The principle of strict limitation and restriction is an essential strategy for the group’s conceptual coherence. This simplicity also facilitates the artist-to-audience relationship; the spectators can follow what’s happening.

As stated above, Light, Sound and Space, are the three major elements concerning MSP. They are all entities which demand separate consideration (explicated below), even if they are highly interwoven within the group’s inherent concepts.

Space.

Every performance and installation is considered a unique piece of artwork, created especially for a specific environment and for only one performance. The site, its salient properties, and the context in which the site exists (both globally and locally) all contribute pragmatically in performance design. The performance environment establishes a conceptual starting point and determines the piece’s intention. The site’s shape, its size and its physical feeling further delineate where in fact the group performs. From these parameters, MSP determines the setup configuration (arrangement ideas concerning performer/spectator, audio/light equipment, etc.). The site may be anything inside and/or outside as long as it provides an appropriate fundament for the pertinent elements as well as some room for modification.

MSP explores strategies regarding performer and spectator relationships – tactics investigating integrations and disintegrations, connections and disconnections within and consistent with the given site.

In the first performance, the group broke with the conventions of a traditional concert setting and the official function of these enclosed performance spaces. With each of the succeeding pieces, more and more extreme separations between spectators and performers as well as separations between the performers themselves developed. The subversion of audience expectations is a primary goal of the group. If, for instance, the audience is located in the same space as the performer, mounted constructions of technical equipment (e.g. sound and light objects) may distinguish the two parties.

Sound.

The group is interested in mechanisms that reintroduce produced matter (e.g. sound) back into production-process (feedback). The sonic feed-material exists therefore already in the site before any MSP manifestation. The group exclusively activates, amplifies and modifies this information.

The regenerating raw audio feedback, shaped by the performance space itself, is the basis for the music experience. However, the resultant music passes through a series of real-time computer and mixer transformations, audio processing and deconstruction before its amplification for audience reception. Extreme volume in contrast to silence, the use of the entire frequency spectrum, rising abstract rhythmic patterns, drones, clusters and vibrating sub-basses are methods of analyzing, extracting information about the site’s shape, size, and substance and the objects within it. The resounding sonic information is additionally used to trigger and control the light design that fills the entire or applicable areas of the space.

Light.

The concert configuration depends on the group’s aforementioned concern with site specificity and aesthetic preference. As a result of MSP’s choices regarding these issues, the audience is confronted with extremely dynamic, contrasting light and darkness situations, spanning from 60w light bulbs to dazzling, hot 6kw light-batteries. The lights can be targeted at the audience and/or performers, or they may illuminate and shadow different architectural aspects or objects situated within the site. MSP’s light configurations follow rules that are in no way comparable with arrangements found in concert situations wherein light design is employed as a directive to audiences or as stage ornamentation. In opposition, the group is contextualizing temporary installation-setups in which it finds ways to confront themselves as well as the spectator with the presence of high-energy light-waves.
To date, MSP has experimented and labored with professional stage lights, heavy-duty working lights, pyrotechnics, found-light-objects, light ready-mades (site-specific pre-installed elements that MSP modifies), lights of motor vehicles, and strobe lights.

MySpace:

> links:

> Mail:

> Additional Information

MSP Festival Application

MSP Additonal Concept Information

MSP V Concert Chart

MSP I     (03.12.05) Halle 02 / React Media Art Festival / Heidelberg

Venue: old warehouse club
Audience / Performer Situation: not staged, performers surrounded by audience
Matter: found light objects

MSP II    (30.03.06) HfG / Performance Studio / Karlsruhe

Venue: professional performance studio     
Audience / Performer Situation: all light & sound directed towards the audience
Matter: 50 000 watt professional stage light & sound

MSP III   (26.04.06) Badischer Kunstverein / Karlsruhe

Venue: exhibition hall
Audience / Performer Situation: all light & sound directed towards the performers
Matter: 20 000 professional stage light & sound

MSP IV   (16.05.06) Salon des Amateurs / Düsseldorf

Venue: club / bar
Audience / Performer Situation: feedback, generated outside, sent to audience inside
Matter: six windows, six floodlights, large ledge

MSP V    (22.06.06) Lichthof HfG / Karlsruhe

Venue: factory hall 
Audience / Performer Situation: audience separated from performers, performers separated from performers, feedback generated inside cars sent to audience outside
Matter: self-customized cars /-lights /-hi-fi

MSP VI    (12.07.07) Lacuna City / Karlsruhe

Venue: outside 
Audience / Performer Situation: audience stand & seat freely, performer located on top of metal gantry
Matter: 3 pyro balloons, 2 commentaarboy (for feedback creation)

MSP VII    (28.10.07) Manhattan / New York City

Venue: american dinner
Audience / Performer Situation: audience stand & seat freely, performer located on diner tables
Matter: 2500 watt heavy duty commercial lights, 2 strobe lights, quadraphonic PA system

MSP VIII (30.10.07) WhereabOuts Festival / Wesleyan University

Venue: temporary football stadium
Audience / Performer Situation: audience stand & seat freely
Matter: 8000 watt heavy duty commercial lights, 2 strobe lights, 3 headlights, 2 separate PA systems, 3 megaphones.