Østre

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

screenBashing

Magno Caliman

screenBashing is a live coding piece, where audio and visual materials are programmed in real time during its performance using SuperCollider for it’s sound components, and C for it’s visual elements.
Visuals are created by printing characters such as backslashes and underlines in rapid succession, while at the same time freezing the whole system several times per second, creating the illusion of animated motion.

Audio is generated via an “oneliner”, and there are no refined performance controls to it, making it impossible later on in the performance to tweak parameters of something that was already generated and is being heard. Any modification on the code will create new versions of the audio, where the only possible option is to sound in superposition to previous layers, creating an accumulation which drives the narrative forward. Layers can not be paused or removed after their creation. Mistakes are impossible to be undone, and all decisions are final.

One consequence of this setup is that it is extremely resource-heavy on the computer, as it purposely freezes the whole system several times per second in order to create an animation.
This unavoidable consequence – saturation of the machine processing power – is embraced as a principle/composition guideline, and is deeply explored throughout the performance, with the computer becoming gradually more unresponsive as new animations are spawned. After a certain threshold, the system becomes erratic, up to a point where it is no longer possible to gain control of it.

Magno Caliman

Sound artist, educator and creative coder, both his artistic and academic research activities are heavily rooted in the embracing of programming languages as places for poetical speculation, as well as the construction, modification and manipulation of electronic circuits. Has a degree in Music Composition and a master’s diploma in Education, where he developed and researched learning and teaching methodologies for programming languages in the context of the arts. Former teacher of Multimedia Arts at Maia University in Porto – Portugal, and was part of the team running, managing and curating SOMAR, a venue in Lisbon dedicated to sound, art and technology.

Currently teaches at the “Artistic Research in Music” master’s programme at the Conservatorio Santa Cecilia in Rome – Italy. As a doctoral researcher working with the “Music, Thought and Technology” research cluster at the Orpheus Institute – Ghent, he investigates how technical objects can operate as active, non-transparent agents in technologically mediated experimental sound practices.

robotcowboy

Dan Wilcox

robotcowboy is a wearable computing platform to explore new types of man-machine music & artistic performance. Embedded computing, custom open-source software, and audio electronics are utilized to build portable, self contained systems which both embed and embody the computation on the performer. This cyborg approach is both empowering and compromising as new sonic capability & movement are offset by the need for electrical energy: elements of tension between human and system. robotcowboy shows are always live and contain aspects of improvisation, feedback with the audience, and an inherent capability of failure.

robotcowboy’s first 2006-2007 incarnation melded rock with realtime algorithmic composition tools into a dynamic live show. The second incarnation followed the story of the first human on Mars with spacesuit as portable music machine in 2013. The ongoing third incarnation explores themes of trajectories, radiation, and space travel. The future is bright, do you have room to wiggle?

Dan Wilcox is an artist, engineer, musician, and performer who combines live musical performance techniques with experimental electronics and software for the exploration of new expression. He grew up in the Rocket City, and has performed in Europe, Asia, and around the US with his one man band cyborg performance project, robotcowboy.

Techno-chiptune-jazz

Live coding party music by Servando Barreiro and Per-Olov Jernberg
Per & Servando are Audiovisual artists based in Stockholm where they often meet and collaborate in the local artist collectives.

Improvised Audiovisual collaboration
Tools used: Hydra, puredata, Nanoloop FM

https://possan.codes/
http://servando.teks.no
https://www.rumtiden.com/
https://www.blivande.com/
https://www.instagram.com/svartljus/

Servando Barreiro

Has a background is in Electronics, Sound and Audiovisual communication. He started his artistic career early on by showing a video performance in the Reina Sofía contemporary art museum in Madrid. From that point on, he continued self-educating about the subjects of Art+ science+ technology. He considers himself lucky to have been around Medialab Madrid, precisely when they started teaching and organizing lectures about media / technology / electronic art. A couple of years later, he moves to Berlin where he does various Artist in residencies. He has lived in Perú, Stockholm, México and California.
www.servando.teks.no

Possam

Polyglot programmer living in Stockholm, Sweden. Spending most of my time experimenting with new technology.

Pleasure Force

dr. Nexus / Kris Kuldkepp

PLEASURE FORCE is a duo between Hamburg based bass guitar player and feminist performer Kris Kuldkepp and Berlin based sound artist and voice improviser Dr. Nexus.
Their performances are exploring the intersections of noise and experimental music, silence and loudness, visuality and materiality with a hint of pleasure.

https://www.kristinkuldkepp.net
https://drnexus.bandcamp.com

All My Piksels: A Momentary Archive, John Bowers Solo

We saw all the colours at The Flip-Flop Flop-Film Film-Club and learned our alphabet with Xerxes who Must Die, And So Must You And I (2011). Wearing god helmets, we made Experimental Communications, wrapping copper wire around our bodies and haunted rocks, and we transmitted to broken televisions (2012). We touched the bare pins of circuitry and microcontrollers to display The Peacock’s Tail (2013). We walked to where the witches were burned, the warship sunk, and followed the steps of the Isdal Woman as Bergen Invocation (2015). We used salt water to reprogram a Turing Machine which we saw and heard execute its algorithms in Turing Tape Music: The Sea Is Ground (2016). We prototyped The Universal Transformation Machine (2018). We walked there and back, there and back, there and back, there and back, while live streaming in LOOPS (2020) and The Rose Walks (2021). All My Piksels is a performance which revisits all the past works I have been involved with at Piksel, remixing and refashioning their ideas, devices, sounds and images, into a momentary archive.

John Bowers is an artist-researcher with an academic background in the social and computing sciences, design, music and critical theory. As an improvising musician, he works with modular synthesisers, home-brew electronics, reconstructions of antique image and sound-making devices, self-made software, field recordings, esoteric sensor systems, experimental film, and spoken text. He often combines performance with walking and the investigation of selected sites to research an imagined discipline he calls ‘mythogeosonics’. He has performed at festivals including the collateral programme of the Venice Biennale, Experimental Intermedia New York, Transmediale/CTM Vorspiel Berlin, Piksel Bergen, Electropixel Nantes, BEAM London, Aldeburgh Festival and Spill Ipswich, and toured with the Rambert Dance Company performing David Tudor’s music to Merce Cunningham’s Rainforest. He contributed to the design of The Prayer Companion – a piece exhibited twice at the Museum Of Modern Art (MoMA), New York, and acquired for their permanent collection. Amongst many musical collaborations, he works with Sten-Olof Hellström, Tim Shaw, Kerry Hagan, with Paul Stapleton and Adam Pultz Melbye in the telematic improvising trio 3BP, and in the noise drone band Tonesucker. He helps coordinate the label Onoma Research, is a director of Allenheads Contemporary Arts, a trustee of Monkfish Productions, and a Visiting Scholar at SARC, Queen’s University Belfast. https://www.instagram.com/johnthemodulator/

Gravel

Malte Steiner (aka Notstandskomitee)

Malte Steiner (aka Notstandskomitee) performs the first concert with his new open source live coding system Gravel. A first beta of the software will be out during Piksel, latest by the end of this year. It offers synthesized and sampled instruments controlled by the expressive Gravel language which can generate complex evolving patterns with little code. The sound engine is backed by Csound which is compiled into Gravel as a library.

Malte Steiner (born 1970) is a German media artist, electronic musician and composer. He started creating electronic music and visual art around 1983, developing his own vision of the interdisciplinary Gesamtkunstwerk. First exhibitions already in 1983. In 1986 Steiner took a course in electro-acoustic music in Lüneburg by H.W. Erdmann and gave his first concerts in the following years, e. g. in Germany, France and Belgium, and started 1987 to release his music on cassette, later on vinyl, CD and online.

In 1998 he began to create electronic art and installations and additionally in 2003 several netart projects including a collaborative visual networking environment, shown in the Java museum in Sofia, Bulgaria.

Besides diverse music projects Steiner is also involved in several open source projects and has done lectures, radio features and workshops. Artist-In-Residency i.E. in Open City (La Ciudad Abierta) Of Ritoque, Chile 2011 or together with Tina Mariane Krogh Madsen in Ii, Finland 2018.

2018 he relocated to Aalborg, Denmark and started in 2019 with the work on the new art project The Big Crash, art for the pending burst of the real estate bubble, reflecting on the housing crisis and gentrification. Art pieces are based on data which a software by Steiner harvest from online real estate ads. For instance images were segmented with the help of a Machine Learning algorithm and the resulting fragments were used for actual 3D printed objects but also in VR. Physical exhibitions of The Big Crash have been in Aarhus and Aalborg, Denmark and Bergen, Norway. The VR part has been shown i.E. at the Sound Campus exhibition of Kunstuniversität Linz at Ars Electronica 2020, at the ICMC 2021 conference, in the digital section of KP22 exhibition Aarhus 2022 and Rencontres Internationales Paris 2022.

Also in 2019 he started the conceptional phase of the project absolute power, macht + ohnmacht and painted first paintings. This project reflects on power structures and their mechanisms in politics and society.