Online

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.

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.

Haptic Box and its entangled flows

Dave Riedstra

Haptic Box is a DIY self-constructed tactile sound sculpture – though it might be more of an event score, it can be used as an instrument, has some attributes of a composition, and my own build is getting to be a nuisance. The physical thing is a wooden box with stereo transducer input and output and all the related electronics onboard. As a sound-sculpture, the piece uses low-frequency feedback to entangle a “listener” into its algorithmically unfolding process through the listener’s handling of the surfaces which the tactile vibrational feedback plays out on. As an instrument, a pair of stereo phono jacks and related routing switches provide the possibility to use the box as a character input, output, or filter, or for feedback with external processing.

This presentation will introduce Haptic Box and dig into some implications of what it means to DIY a sound sculpture. By saturating the experience of “the piece itself” with the listener’s history as its builder, Haptic Box intermingles the would-be detached and transcendental aesthetics of the fine art frame with the more involved experiences of gathering and manipulating material and software. This mixed relationship can lead to a feeling of responsibility toward the object as well as a broader appreciation for materials and the labour of making. But what happens with the object “after” it has performed its role as a sound sculpture? Thinking with Yuriko Saito, Sarah Ahmed, and N. Katherine Hayles, I suggest that living with an object like Haptic Box can provide everyday aesthetic experiences of distributed cognition and socio-material feedback processes. In the spirit of these thinkers, I will discuss my own personal history with the project and the box that I built to further suggest an aesthetics of entangled ongoingness. Living with self-built projects, maintaining them, and contributing to others are ways in which DIY, FOSS, and open knowledge communities can shift cultural mindsets to more equitable and sustainable patterns through an aesthetics of flaws and flows.

Dave Riedstra (b. 1989, Brampton, Ontario, Canada)

I work with sound, mostly quiet, in a variety of modalities including composition, sound art and installation, double bass performance, and code. Focusing variously on material, process, experience, feedback, and transduction, I try to offer an immediate sensation of engagement with entangled environments, networks, assemblages, and milieux. Though facilitating these aspects of experience has long been my main goal, recently I have been increasingly considering how co-composition and sympoiesis play out in the processes of my own practices. This has led to additional interest in debris, an image of art as byproduct, and a transient conception of author, performer, listener, and maker to match an object which looks more like a process.

I engage with open source software, hardware, and art as a means of fostering non-capitalist creative, restorative, and sustaining practices. I develop a few open software and hardware projects and I release music online as an unsteady stream of detritus scrap recordings from my electronic sound practice, alongside code snippets and patch notes. Find me online as @dried on various platforms or through my website at https://daveriedstra.com.

Creative PCB Design for Manufacturing using SVG2Shenzhen

Budi Prakosa

There are some incredible PCB art projects out there, and approaches to creating non-standard shaped PCBs have varied and frequently been complex. Svg2shenzen is an Inkscape extension that allows you to draw directly on KiCad equivalent layers in Inkscape and export them as KiCad projects. These projects can be sent directly to manufacture or tweaked and expanded using the standard KiCad workflow.

Budi Prakosa is a self-taught programmer and open source software developer who is interested in the wide range of possibilities in creative coding. In 2009, he launched a project as a VJ called Manticore, which mixed interactive coding with graphic data visualization.
He has a background in industrial engineering and is interested in image and sound processing, generative art, and science-art collaboration.

Neural Networks in Pure Data

Alexandros Drymonitis

This workshop aims to demystify some basic concepts that pertain to neural networks, and their potential in artistic practices. Focusing on Pure Data and the brand new neuralnet object, the participants will be introduced to basic use cases of neural networks in audio (and visuals possibly), while the workshop will end with a collective brainstorming session where participants will either try for themselves, or will share their ideas on how they would like to use a neural network for their own work.

Alexandros Drymonitis is a sound and new media artist. He is a PhD candidate at the Royal Birmingham Conservatoire doing research on the creation of musical works with the programming language Python. His artistic practice focuses on new techniques utilizing new media such as computer programming, AI, or even older practices, like modular synthesis.

He has collaborated with various artists from different art disciplines, plus several ensembles, either interdisciplinary or music ensembles.

He has taught the guitar at the Music School of Amsterdam and ‘Philippos Nakas’ Conservatory in Athens, and electronic music programming at ‘Musical Praxis’ Conservatory in Athens. He is currently a freelancer in the field of electronic music and multimedia programming, teaching several workshops in various venues and undertaking multimedia programming in various events.

I make music and videos with statistics software.

MusikeR

I make cheesy music and with animated videos in statistics software. To do this, I write music composition libraries or extensions for these various softwares. It works just like any other electronic music, but it’s funnier when you use statistics software. I’ll show some examples mostly in R, explain how they work, and recount some things I have learned about humanity through this endeavor.

MusikeR

My favorite activity is sleeping, and after that I enjoy pointless things like scalable astrology, children’s songs, and data-driven music.

Journey to the Planet of nuclear Chewing Gum

Vera Sebert

How can we characterize the cinematic narrative, which is in a netbased environement no longer tied to chronological sequences? How does actual information deform under the manipulating influence of the viewer? The webproject JOURNEY TO THE PLANET OF NUCLEAR CHEWING GUM is formally based on experimental film, poetry texts and interactive netart, arranged in several layers. Digital images of different objects are assembled in the picture’s foreground and overlapping found and newly assorted footage. They can be rearranged randomly by drag and drop. Each movement of an object is linked to one individual sound snippet and a random subtitle. By interacting viewers create a strong varying narrative form which manifests in the space between text, image and film.

Vera Sebert, *1987 (DE), Media Artist
2007- 2015 Fine Arts at University of Fine Arts Braunschweig and Academy of Fine Arts Vienna. 2015 – 2019 Language Arts at University of Applied Arts Vienna. Artistic works in the border areas of visual media, language, film, computer programs: Computer code allows the adaptation of all other media whose properties are imitated, fragmented and reassembled in virtual space. The hybrid exposes the categorical separation between artistic image and text production and creates a space for experiments that explore the mesh of code, image, sound and language in a digital environment. Most recent international exhibitions and screenings: Hamburg International Film Festival (DE), Vector Festival Toronto (CA), House of Electronic Arts Basel (CH), Eclat Festival Stuttgart (DE), Cairotronica (EGY).
2017 Artist in Residency at Künstlerdorf Schöppingen (DE). 2018 Hannsmann-Poethen Grant for Literature (DE), Styria Artist-in-Residency (AT). 2019 Subnet Artist-in-Residence, Salzburg (AT), 2020
https://verasebert.com