AV Performances

Usurpation Rite

Angel Salazar

The dark power change hands, it reveals itself with another face. We go towards a social uprising of unthought consequences helped by the uselessness of the political class. Short lived power because he who has it will keep it while he governs for the few groups that own this country.

Usurpation Rite is a sound action that uses the gestures and voice of those who supported the social struggle in Ecuador during 2019, turning them into acoustic and mechanical energy and bringing them to the present.

Angel Salazar

Artist, cultural manager. His work is developed in a transdisciplinary way between art and technology, exploring various narratives. His research projects articulate the relationship between sound, territory and various technologies, through the exploration of speculative and futurological methodologies. He has presented audiovisual performances in various cities in Ecuador, Peru, Chile and Argentina

The Gesturewriter

The Gesturewriter is a unique tool for composing and performing text. The underlying concept is to understand writing utensils as performative instruments, similar to musical instruments! The musical instrument theremin is known for its playability without physical contact. It can be controlled through the gestures of the left and right hand. A typewriter writes characters on a sheet of paper and is used as a writing medium to store text on paper. However, the Gesturewriter combines both the theremin’s gestural interaction and the typewriter’s storing ability. It forms an instrument that brings together performance and writing.

People commented that the Gesturewriter has several bugs and is difficult to use. In this performance lecture, I will prove that they are wrong.

Joseph Knierzinger

joak is Joseph Oliver Anton Knierzinger and an artist exploring the history and politics of past, present, future and anachronistic media, technology and confusion. Humor and irony is an important method in his undertakings. His compositions, devices, games, installations, interventions, instruments, lectures, performances, performance-lectures, scores and software have been shown in academies, artist-run spaces, community centers, festivals, galleries, hackerspaces, museums, radio station, squats, streets, theaters and universities in Austria, Catalonia, Croatia, Belgium, Bulgaria, China, Germany, Italy, Kugelmugel, Mongolia, Netherlands, Online, Russia and Slovenia. He works on different alogisms and algorithms in Rotterdam and Vienna.

Strip & Embellish

Daniele Pozzi, Hanns Holger Rutz

Strip & Embellish is a young experimental live sound project founded in 2022 by Graz-based computer music duo Daniele Pozzi and Hanns Holger Rutz. Both have developed specific, individual digital instruments based on the SuperCollider sound synthesis language which are strongly linked together by plugging each other’s sound signal into many nodes and entry points of the opposite system, creating essentially a complex non-linear feedback process. The project name derives from the fact that, on the one hand, Daniele’s continuous effort is to strip down a complex feedback driven system as much as possible while maximising its expressive richness. On the other hand, Hanns Holger creates a signal graph during the first part of the concert that is then repeated in the second part as an “empty structure” which is now newly navigated and embellished by the altered live input signals. This is mirrored by Daniele’s approach of finding “snapshot points” in the structure that may be recalled during the performance.

Daniele Pozzi is an electronic musician and artist living in Graz, AT. Among his works are live performances and improvisations, sound installations and electroacoustic music, often involving the design of original computer programs and interfaces addressing compositional or performative issues. His recent practice investigates the relation of process and form in feedback system composition, and the becoming of sound and algorithmic processes. His work appeared in international venues, exhibitions, conferences and festivals, among others: ICMC 2019 (New York City), BEAST FEaST (Birmingham, UK), New York Electroacustic Music Festival 2017, BEK (Bergen, NO), ZKM (Karlsruhe, DE), Audio Mostly (London, UK), XIX CIM (Rome, IT), deSingel (Antwerp, BE), KM28 (Berlin, DE). Daniele holds a BA in Electroacoustic Music Composition from the Conservatory of Padua, Italy, and a MA in Computer Music from the Institue of Electronic Music and Acoustics (IEM) of the University of Music and Performing Arts Graz. He is currently pursuing his doctoral degree at the same university.

https://www.danielepozzi.com/

Hanns Holger Rutz is an artist and researcher in the field of sound and digital art, based in Graz, AT. Central to his work, comprised mainly of sound and intermedia installation, electronic music and improvisation, are the materiality of writing processes and the trajectories of aesthetic objects as they move and change across boundaries of individual works and artists. Since 2013, he worked as Pre- and Postdoc Researcher at the Institute of Electronic Music and Acoustics (IEM) of the University of Music and Performing Art Graz (KUG), most recently leading the FWF-funded project “Algorithms that Matter”. In 2021, he joined the KUG’s Doctoral School for Artistic Research as Senior Scientist. Starting in autumn 2022, he heads the FWF-funded artistic research project “Simultaneous Arrivals“ (with Nayarí Castillo and Franziska Hederer) on novel forms of collaborative artistic processes.

https://www.sciss.de/

Intersections

Alejandra Tapia, Mauricio Román

R is a free programming language for data analysis, which is defined as a multiparadigm: functional, vectorial, imperative, procedural, object-oriented. These characteristics enable the extended plasticity of its potential as a computational language, being used both for the development of scientific research based on data, and in artistic experimentation, among others.

Art as a transversal language leaves open its ability to subvert what is established. In this axiom, we propose to use R for the creation of an audiovisual artistic staging, through passages of algorithms and codes, using specific libraries for the generation of audio and images, which interact with other languages ​​and programs for Live Coding such as Supercollider and Tidal Cycles.

This live presentation will take place as an audiovisual concert at Festival Piksel 20, and is part of the Rstart project (www.rstart.cl), which was born out of the concern to experiment with various multiparadigm free computer programs for transversal creation and production. between media arts, science and digital culture.

Alejandra Tapia: Co-founder of Rstart. She has a PhD in Statistics from the University of São Paulo, Brazil. She is currently an academic at the Catholic University of Maule. She is also the founder and organizer of the RLadies Talca chapter.
https://rladies.org/chile-rladies/name/alejandra-tapia/

Mauricio Román: Co-founder of Rstart. Medial artist, computational poet with an interest in the development of creative proposals and shared knowledge between the interrelation between art – science – nature through technology. He develops his work from creative computer code to audiovisuals generated in real time.

Incidental Effects

Giuseppe Torre

“Incidental Effects” is a three-part live coding performance.

OS: Debian
Sotware: ORCA, Carla, Surge-XT, QJAck

Giuseppe Torre [Laurea/M.Phil., MSc, PhD] is Lecturer of digital art practices at the University of Limerick (Ireland). His research interest lies at the crossings between digital art practices, open source technology/culture and philosophy. These interests respond to a questioning of the relationships between technology and art, code and aesthetics, numbers and self; a process that has so far led him
to question under what forms and forces truly creative efforts may, or may not, arise. He is the author of An Ethico-Phenomenology of Digital Art Practices (Routledge, 2021).
His academic writings feature in journals and books by publishing houses such as MIT Press, Springer, Routledge/Taylor & Francis. As an active digital art practitioner, his works and performances have been showcased nationally and internationally. He is a advocate of FLOOS (Free and Libre Open Source
Software) in the teaching and professional practice of all digital arts.

Akira

Shawn Lawson, Ryan Ross Smith

Shawn Lawson and Ryan Ross Smith will collaboratively live code a single text buffer from two remote locations to perform the audiovisual work. Lawson will live code visuals with the OpenGL Fragment shader and python in Touch Designer and Smith will live code audio with Tidal Cycles.

Shawn Lawson is a computational artist and researcher creating the computational sublime. He performs under the pseudonym Obi-Wan Codenobi where he live-codes real-time computer graphics with his open source software, The Force and The Dark Side. Lawson’s other work explores the computational sublime through a range of technology: stereoscopy, camera vision, touch screens, game controllers, hand-held devices, random number generators; and output formats: print, sculpture, mobile apps, instruction sets, animation, and interactive.

He has performed at NIME, Australia; Radical dB, Spain; ICLI, Portugal and UK; ICLC, UK, Canada, Mexico, Spain; ISEA, Canada; GENERATE!, Germany; Live => Coding, Brazil; CultureHub, NYC, CCRMA, and more. Shawn’s artwork has exhibited or screened in museums, galleries, festivals, and public space in England, Denmark, Russia, Italy, Korea, Portugal, Spain, Brazil, Turkey, Malaysia, Iran, and Canada; locally in ACM SIGGRAPH, IEEE ProCams, ACM MM, The Art Institute of Chicago, Milwaukee Art Museum, Chelsea Art Museum, Eyebeam, Aperture Foundation Gallery, Nicholas Robinson Gallery, MIT, OSU, ASU, and LTU. He has given workshops on programming or live coding in Europe and the USA. Shawn is published in the proceedings of ICLC, ACM CC, ACM SIGGRAPH, ACM SIGCHI, ACM MM and the Journal of Electronic Dance Music Culture.

Lawson has received support from from the Electronic Media and Film Program at the New York State Council on the Arts, the Experimental Television Center’s Finishing Funds Program, Kamel Lazaar Foundation, CultureHub’s Micro-Residency, and Signal Culture’s Toolmakers in Residency. Lawson studied fine arts at Carnegie Mellon University and École Nationale Supèrieure des Beaux-Arts. He received his MFA in Art and Technology Studies from the School of the Art Institute of Chicago in 2003. He is an Associate Professor and Animation Area Coordinator at Arizona State University and selectively consults for independent artists and commercial R&D.

Autoconstruccion

Iván Abreu, Malitzin Cortes

metacity self construction
AUTO{}Construction is an audiovisual concert of live coding and virtual reality in a video game environment. This act explores the relationship between speculative architecture and experimental electronic music, taking the phenomenon of informal housing executed by “non-architects” in countries like Mexico , United States, Latin America, Asia, India and some peripheries in Europe to create 3D imaginaries elaborated collaboratively with machine learning (machines trained to understand this phenomenon and reinterpret it), this audiovisual immersion is guided by a generative soundtrack that controls and gives life to this dystopian reality, a kind of music “self-constructed” by this score of inhabitable VR chaos.

E-09

Alexandra Maciá, Seamus O’Donnell

E-09 focuses on producing a live sound aesthetic composed of a collage of influences. While the live input of voice and electronic instruments is important, so are the frequencies of the radio bands and electromagnetic spectrum. Sources can include LW, SW and FM radio, where local electronic devices along with self-built mini FM transmitters interfere with normal reception. Power supplies feeding the devices used provide a color palette of EM spectrum tones to intuitively discover and manipulate. Other sources of electromagnetic sounds are the motors of the instruments used, such as the Dictaphone and the CD player picked up by a DIY broadband receiver for electromagnetic radiation. Other DIY instruments used are a digital circuit bending synthesizer and a circuit curve enhancer.
Once captured all these elements are filtered, dissected and then superimposed on themselves through repetition of patterns which in turn are destroyed – generating an organic, dynamic and progressive audible universe.

E-09 is collaborative live audio project developed by Alexandra Maciá and Seamus O’Donnell at the end of 2021. Their combined explorations envelop a wide range of approaches and intended outcomes. Always welcoming of fresh challenges E-09 thrive on a DIY attitude with an eye on the visualization of sound within the minds of their audience.

Alexandra Macia is a sound artist from Granada, Spain. Since her move to Berlin in 2015, she has been investing in analog sound and working with handmade instruments, sound recordings, loops, feedback, and electromagnetic signals which she processes using a modular synthesizer to sculpt cinematic compositions through the deconstruction of textures and noise.

Seamus O’Donnell works can include radio frequency experiments, manipulated field recordings, self made devices, amplified objects and magnetic fields, no-input mixer as well as other more traditional instruments and voice. Improvisation is probably the most important factor.
As an organiser O’Donnell works with the registered association, Salon Bruit e.V., a platform for experimental music and with ColaBoraDio, a part of the Freien Radios Berlin Brandenburg, as presenter and programmer on the local frequency 88.4FM.

YupanaSimi

Asimtria / Marco Valdivia, Milagros Paola Saldarriaga

Yupana Simi is an interactive audiovisual work executed through code in a programming language expressed in a syntax inspired by the Quechua, one native language of AbyaYala, which processes sounds from the Andes and contemporary graphics of artisans. The performance is executed by Semilla y Muerte and ###, audiovisual projects of Milagros Saldarriaga and Marco Valdivia, creators from Perú.

Milagros Saldarriaga
A woman of the abya yala, from Lima, who finds in the southern highlands the possibility of expanding her experiences and trying to unlearn the thoughts of cement to breathe the blowing of the apus, drink the water of the clouds, listen to seeds, touch the earth, resent the sun, look at the thunder, as a vital necessity to resist the violence that reigns and in search of harmonizing with life. Just taking off….

Marco Valdivia
He believes in technology and its appropriation as a tool for the development of people, individually and above all common and collective, focuses it on sound and audiovisual practice, and on the communication and exchange of knowledge and experiences on these same topics. From this perspective, he has mediated training spaces, shared talks, and presented concerts and works in different festivals, meetings, cycles and other specialized spaces in Abya Yala and other territories.

Since 2006 he has been developing his work from asimtria.org, an open transdisciplinary platform, focused on researching, carrying out, transferring and sharing various forms of creation based on the use, appropriation and free development of technologies applied to contemporary experimental music, listening and audiovisual, through projects such as Pumpumyachkan, Festival Asimtria, Festival Transpiksel, REUDO – Encuentro de Ruido, and others. He has also collaborated with other organizations and networks in the Latin American region.

Puckette/Hagan/Bowers

Kerry Hagan

Kerry is a composer and researcher working in both acoustic and computer media. She develops real-time methods for spatialization and stochastic algorithms for musical practice. Her work endeavours to achieve aesthetic and philosophical aims while taking inspiration from mathematical and natural processes. In this way, each work combines art with science and technology from various domains. Her works have been performed in Asia, Australia, Europe and the Americas.
Kerry performs regularly with Miller Puckette as the Higgs whatever, and with John Bowers in the Bowers-Hagan Duo.
As a researcher, Kerry’s interests include real-time algorithmic methods for music composition and sound synthesis, spatialization techniques for 3D sounds and electronic/electroacoustic musicology. Her research has been presented in international conferences around the world.
In 2010, Kerry led a group of practitioners to form the Irish Sound, Science and Technology Association, where she served as President until 2015.
Currently, Kerry is a Lecturer at the University of Limerick in the Digital Media and Arts Research Centre. She is the Principal Investigator for the Spatialization and Auditory Display Environment (SpADE) and President of the International Computer Music Association.

Miller Puckette

Dr. Miller Puckette (Harvard; mathematics) is known as the creator of Max and Pure Data. As an MIT undergraduate he won the 1979 Putnam mathematics competition. He was a researcher at the MIT Media lab from its inception until 1986, then at IRCAM, and is now professor of music at the University of California, San Diego. He has been a visiting professor at Columbia University and the Technical University of Berlin, and has received two honorary degrees and the SEAMUS award.

Kerry Hagan is a composer and researcher working in both acoustic and computer media. She develops real-time methods for spatialization and stochastic algorithms for musical practice. Her work endeavours to achieve aesthetic and philosophical aims while taking inspiration from mathematical and natural processes. In this way, each work combines art with science and technology from various domains. Her works have been performed in Asia, Australia, Europe and North America.

John Bowers