– robotics

– algorithmic composition

– d.i.y.

– media electronics

– interactive installations

– sound performance

– soundscapes

– sound-light installations

– sound.art


Abramovic, Marina.

Anderson, Laurie.

Antunez, Marceli.

Amoros, Lot.

Berenguer, Jose Manuel.

Butcher, Rosemary.

Cardiff, Janet and Bureaus Miller, Henry.

Castelluci, Romeo.

Donaruma, Marco.

Duncan, John

Doo Sung Yoo.

Hecker, Tim.

Fabre, Jan.


Fontana, Bill.

Jordan, Ryan.

Judson Dance Theatre: Y. Rainer, Tricia Brown, Yoko Ono.

Ikeda, Ryoji

Leafcutter, John.

Lopez, Francisco.

Lozano-Hemmer, Rafael.

L’Ull Cec: Martin Howse, Alex Mclean, Dirty Electronics, Theo Burt, EVOL, Mark Fell, Lee Gamble, Yutaka Makino, Dan Stowell.

Marclay, Christian.

Mech, Jean.

Miyazaki, Shintaro.

Naccarato, Teoma .

Nicolai, Carsten.

Noise, Amaria.



Prudence, Paul.

Random Dance.

Reich, Steve.

Scanner, Dj.

Schmidt, Tobias

Snibe, Scot.

Tanaka, Atau.

Tobin, Amon.

Tone, Yasunao.

Vandekeyvus, Wim.

Xenakis, Iannis.

Visnjic, Filip.

Wollscheid, Achim.

Ziegler, Chris.


MARCELI ANTUNEZ Macel•lí Antúnez Roca (Moia, 1959) is known internationally for his mecatronic performances and his robotic installations. Since the 1980s Antúnez’s work is characterised by an interest in the causes of man’s desires. He first worked on tribal performances with La Fura dels Baus and later on his own, with pieces that propose complex systems and which very often become hybrids without category. This might be one of the reasons why Marcel•lí Antúnez Roca is an artist difficult to classify. Since the beginning of the 1990s, when he began to incorporate and pervert technical and scientific elements and to interpret them via particular prototypes, he has provided his work with a renewed cosmogony on themes such as affection, identity, eschatology and death; concepts, that in his work acquire an ironic and human dimension provoking a spontaneous reaction in the viewer. http://marceliantunez.com/   http://www.marceliantunez.com/tikiwiki/tiki-index.php?page=Txts_   http://www.hamacaonline.net/autor.php?id=85

tags: robotic performance – interactive installation – animation


JANET CARDIFF AND HENRY BUREAUS MILLER. Partly inspired by Franz Kafka’s ‘In the Penal Colony’ and partly by the American system of capital punishment as well as the current political situation, the piece is an ironic approach to killing and torture machines. A moving megaphone speaker encircles an electric dental chair. The chair is covered in pink fun fur with leather straps and spikes. In the installation are two robotic arms that hover and move- sometimes like a ballet, and sometimes attacking the invisible prisoner in the chair with pneumonic pistons. A disco ball turns above the mechanism reflecting an array of coloured lights while a guitar hit by a robotic wand wails and a wall of old TV’s turns on and off creating an eerie glow.  In our culture right now there is a strange deliberate and indifferent approach to killing. I think that our interest in creating this piece comes from a response to that. Credits: Robot arm design: Carlo Crovato . Music: “Heartstrings” by Frieda Abtan , Percussion assistance: Titus Maderlechner    http://www.cardiffmiller.com/artworks/inst/index.html         http://www.cardiffmiller.com/artworks/walks/missing_voice.html

tags: interactive installation – sound intallation – robotic installation


MARCO DONARUMA – Pure Data Congress Berlin http://www.uni-weimar.de/medien/wiki/PDCON: Start  – Pdcon: Conference/A Pd Framework For The Xth Sense: Enabling Computers To Sense Human Kinetic Behaviour. Music for Flesh II < PdCon 2011 > An interactive music performance for enhanced body by Marco Donnarumma. Music for Flesh II is a seamless mediation between human biophysical potential and algorithmic composition. By enabling a computer to sense and interact with the muscular potential of human tissues, the work approaches the biological body as a means for computational artistry. Muscle movements and blood flow produce subcutaneous mechanical oscillations, which are nothing but low frequency sound waves. Two microphone sensors capture the sonic matter created by my limbs and send it to a computer. This develops an understanding of my kinetic behaviour by *listening* to the friction of my flesh. Specific gesture, force levels and patterns are identified in real time by the computer; then, according to this information, it manipulates algorithmically the sound of my flesh and diffuse it through a quadraphonic system. The neural and biological signals that drive my actions become analogous expressive matter, for they emerge as a tangible sound. – 2012 | Incarnated sound sculpture (Xth Sense technology) The Xth Sense (XS) is a biophysical musical instrument. With it one can produce music with the sound of the muscle tissue. The instrument is composed of free software and open hardware. The XS amplifies the muscle sounds of the human body, and use them as control data and musical material. When a performer contracts any muscle low frequency sound are produced (technically called mechanomyogram or MMG). By capturing these sounds with a microphone embedded in the XS sensor and live sampling them with a computer one creates music in real time. This process can be thought of as plugging a guitar to an effect pedal; but in this case it is the body to be connected to a computer. A performer has complete control over the shape of the sounds by simply contracting muscles in different ways. Download and detailed information:  http://res.marcodonnarumma.com/projects/xth-sense   http://www.uni-weimar.de/medien/wiki/PDCON:Concerts/Marco_Donnarumma

tags: interactive performance – body synthesizers


DOO SUNG YOO Vishtauroborg (version 2.6: Reaction), 2012. Robotic devices and cow tongues. Human animal machine hybrid . Part human part animal part machine. It combines technological devices, cow tongues, mounted on a dancer performer, Interactive hybrid mechanical movements. Choreography of human body gestures. Boundaries beetwen art and sciences. Human animal organ machine hybrid. Real-time interactions. Electronic sensors, mechanical motions, computational artificial speech sound and human body natural movements. Technological augmentation, extension and expansion of human form, Interdisciplinary work: robotics, bio-art, dance, electronic music, costume design, graphic design, animation, visual performance, mechatronics. Conceptual hybrid. Mechanical motion. Motion and sound control systems. Synthesized artificial human speech. Manipulation of recorded human voice sounds and dancer’s own voice sound. Generated synthesized tones. Motion sensors. Posthuman body works. New sounds from new trans-organs. human robotic arms. Prosthetic devices. – Technical description:  Sensory and motion control system: infrared sensors, magnetometers, gyroscopes, air cylinders, motors and microcontrollers. Speech: electronic sensors for triggering computational sound systems (speech synthesis unit). Mechanical motion generate artificial verbal sounds. Random movements manipulate experimental musical sounds. Managed with visual programming language software for music Max/MSP and speakjet. Mechanical engineer, computer programmer, animator, sound designer, computer programmers,  Real time interaction. Robot sculpture and dance movements. Simultaneity, mechanics, choreography, costume, animation, motion, sound. Sensory and motion control systems, computational sound systems. Movement and sound. Mechanical engineer: AutoCAD. Industrial designer and animator: 3D CAD (solidworks), 3D animation software (autodesk maya), Costume design and electronic sensors for motion control system. Musical digital instrument interface MIDI connected to motion control system.  1. modelling design   2. sensory and motion control process or motion control system: motors, cilindres, valvules,  microcontrollers,  arduino mega 2560, 12 electronic sensors: IMU sensors and infrared sensors, Bluetooth wireless modem, blue smirf gold, connecting the sensors to maxMSP software and speakjet.  2 arduino mega 2560: A controls motion B controls sounds. 9 degrees of freedom sensors. Accelerometers, gyroscopes. (graph.29)  3. computational sound process: speakjet, artificial speech synthesizer. https://www.sparkfun.com/products/9578  . manipulating sounds in real time with maxMSP. Motion sensors – maxMSP – speakjet. IMU sensors. It can be done through Bluetooth wireless 4. costume design  5. choreography : sound, motion, light. Shamanic movements. Body apparatus.  6. sound design. Artificial sounds and live sounds. Experimental music sounds. Speech. Motion modify recorded voice sounds, synth.speech and sampled musical sounds. (Graph.47)                7. make up. Style design  8. lighting design. Red, cyan, white.  9. design documentation www.doosungyoo.com

Others:– Nataniel mellors http://www.youtube.com/watch?feature=player_embedded&v=3eP8LwKtvVo#t=117                                                                  – Donna Haraway, Cyborg manifesto  http://wayback.archive.org/web/20120214194015/http://www.stanford.edu/dept/HPS/Haraway/CyborgManifesto.html                                                                                                -Donnarumma, Marco. “Fractal Flesh — Alternate Anatomical Architectures: Interview with Stelarc.”                                                                                                                               – Biotechnological Performance Practice  (July 2012). Montréal: CEC.                                 – Stelarc. “[Gallery] Stelarc.” eContact! 14.2 — Biotechnological Performance Practice / Pratiques de performance biotechnologique (July 2012). Montréal: CEC.


tags: robotic performace – interactive performance


NACCARATO TEOMA participating at re-new festival 2013. http://www.naccarato.org/dance/ Teoma Naccarato is a contemporary dancer, choreographer and pedagogue with passion for interdisciplinary creation. Naccarato received an MFA in Dance and Technology at the Ohio State University (2011), and a BFA in Contemporary Dance at Concordia University (2004). Naccarato has enjoyed appointments as a Visiting Artist in Dance at the Ohio State University (2011), Florida State University (2012), Concordia University (Montreal 2013), and presently Sam Houston State University (2013). Naccarato teaches undergraduate and graduate level courses in contemporary dance technique, choreography, dance for camera, and multimedia performance.  Teoma’s passion for teaching extends to work with diverse populations including youth, elderly, and people with mixed mental and physical abilities. Naccarato’s creations integrate contemporary dance with responsive video, audio and sensor technologies to explore vulnerability and intimacy in embodied/virtual interactions. Over the past decade Naccarato has presented choreography for stage and screen across Canada, the United States, South America, and Europe. Choreographic credits include: Beneath the pavement, an ocean (2013), Experience #1167 (2012),Gently between us (2011), and Exposure (2010). In June 2013 Naccarato’s cyber-solo Dirt was streamed live at the TimeWave Festival in London, UK.  Naccarato is currently collaborating with composer/interactive sound designer Adrian Freed to develop an intermedia dance solo that will premiere at the Re-New Digital Arts Festival in Copenhagen, Denmark in November 2013. Naccarato has performed internationally since 2004 in her own creations, as well as with choreographers Catherine Castonguay, Marianne Desjardins, Ilona Dougherty, and Michael Montanaro. Naccarato is involved with interactive media and movement research at the Centre for New Media and Audio Technologies (CNMAT) at UC Berkeley (2013-present), the Topological Media Lab (TML) at Concordia University (2011-presnt), and the Experimental Media and Movement Arts Lab (EMMA) at Ohio State University (2009-2011). Collaborators include Adrian Freed, Shawn Hove, Oded Huberman, Vangelis Lympouridis, and Navid Navab, among others.  Ongoing investigations involve developing dynamic systems for whole body interaction in performance with audio, video and sensor technologies. Recently Naccarato’s article “Recipe for a Dance Artist: Vulnerability, Intimacy and Uncertainty in Creative Process” was published in the book Creating Dance: A Traveller’s Guide by Hampton Press (2013). http://cnmat.berkeley.edu/     http://accad.osu.edu/Projects/emma/

experience 1167  Choreography & Media Design: Teoma Naccarato
Performer: Cheryl Rosario
Media & Concept Collaboration: Oded Huberman  Experience #1167 is a 15-minute solo performed in a responsive environment in which the dancer’s live movement and vocalization drive shifts in the video projection and soundscape.  The solo can be presented on stage or as an installation with the audience in close proximity 360 degrees around the dancer. For the duration of the piece the dancer lies glued on her back as if confined inside an MRI machine (http://en.wikipedia.org/wiki/Magnetic_resonance_imaging) . She is surrounded by a mass of equipment including cameras, microphones, monitors, sensors, and cables extending from her body to create a cyborg sculpture. The dancer’s movement vocabulary is restrained, often isolated within her core region or a single body part.  Layers of interactivity accumulate slowly, inviting the audience to observe, analyze, and feel the material intimately on a personal, social and political level. In Experience #1167 the performer is in a vulnerable state physically, emotionally, and psychologically. She is being exposed and surveilled by technology, as well as the gaze of the public.  Images and sounds of her body are continuously amplified and magnified from a private to public scale. The audience is witness to her experience on an immediate, sensorial level as well as in a mediated way via digital representations and manipulations of the live action.  On an obvious level, the technology appears invasive. On the other hand the media reveals intimate details of the performer’s experience not evident to human senses alone. As the piece progresses the dancer exercises greater agency regarding what, how, and when she is exposed by the media.  It is her action or inaction, as well as the quality of each act that triggers shifts in the technology. At moments she may seem available as an object of sexual or medical examination, but she then breaks this voyeuristic boundary to meet the audience in a shared space where they may connect to her state as the active protagonist of the piece. Read a review of Experience #1167 Here:     http://htmlles10.tumblr.com/post/33490845971/featured-work-experience-1167-teoma-naccarato-is  Premiere: Re-New Digital Arts Festival, Copenhagen, Denmark, October 28-November 3, 2013  http://naccaratodance.wordpress.com/projects/476-2/experience-1167/

My identity as an artist and scholar is shaped by a cyclical interplay of practice and theory in creations for the stage, screen and page.  Through dance as research I access, construct and share embodied episteme as it relates to other ways of knowing the world, particularly language. As an interdisciplinary artist, I utilize the specificity of meaning manifest within multiple media such as movement, language, video, audio and lighting to investigate intimate human experiences within a communal context. Key questions that permeate my current practical and theoretical research include: how do corporeal and virtual realities coexist, coalesce, and contrast one another? In what ways are bodies exposed, examined, and penetrated by technologies in performance, medicine, and everyday life? What power does technology yield to impact experiences of vulnerability and intimacy, on and off stage? My creation process is very physical from start to end, exploring the content and knowledge present in the body. I see the body as a storehouse of unconscious knowledge and memory of an individual’s life as well as generations past, which can be articulated through movement. I value approaches to training that foster vulnerability in performance, as I believe this honesty allows audience members to enter a piece, experiencing it from their own perspective. In all areas of my work, I am committed to furthering dance as a critical mode of inquiry and expression in our society—one which can achieve accessibility without oversimplification, through widespread embodied education.  With each new endeavor be it for the stage, screen, or page, my understandings as an artist and scholar become more finely interwoven.

MRI are used in the technosciene imaginary of women artists http://en.wikipedia.org/wiki/Feminist_technoscience .  in donna haraway “modest wittness” the paintings of lynn randolph show the interest in inner vision image technology as MRI http://www.amazon.co.uk/Modest_Witness-Second_Millennium-FemaleMan_Meets_OncoMouse-Technoscience-Donna-Haraway/dp/0415912458/ref=sr_1_1?ie=UTF8&qid=1385466171&sr=8-1&keywords=modest+witness  lynn randolph, immesurable results, is using an hitachi magnetic resonance imaging medical device. the machine is criticised as an articulation of high-technology capital. 

-Teoma Naccarato


tags: interactive performance – MRI technologies


TRANSFORMATORIO   http://www.trasformatorio.net  is about settling and developing an annual laboratory for performative arts in a remote community in Sicily: Montelbano Elicona (province Messina). This laboratory focuses on development of innovative site-specific performances and theatre installations, in close connection with the landscape, history and traditions of the people of Montalbano. A group of international artists, from various disciplines is invited and selected to participate in workshops and initiate projects within the community and its surrounding landscape. Main challenge to the artists is to go ‘back’ to the basic questions of performative arts in this specific place: ‘what can we be aware of here and transform into a vital work; a work that shares/communicates a pure reflection on what is present for us here?’ The topic of sustainability, both of natural landscape and cultural life, follows directly and organically on these basic questions. Awareness of the place and local culture is artistic starting point. The ‘transformations’ that we seek, are meant to enrich the cultural exchange of both the local people and the visiting artists. Artistically ‘reading‘ a place means in our project: taking care of the place. Therefore we explicitly connect research of sustainability in site-specific performative arts to the artistic research  http://13.piksel.no/2013/10/30/trasformatorio/   http://piksel.no/2013/11/22/piksel-13-riot-streams/

Motion Tracking Experiments in the Castle of Montalbano Elicona during the residency @Trasformatorio 2013. Federica Dauri: Movement Improvisation Antoni Rijekoff and JesterN a.k.a. Alberto Novello: Motion tracking and Sound Design (jestern.com). Powered by Trasformatorio (trasformatorio.net) . 25.30min  http://vimeo.com/64815964

Transformatorio. Southern site-specific sustainable performance lab. Performers, designers, technologists, artists working together. This is theatre in between artists and audiences, sharing a space. Ancient Techniques in contemporary theatre. Toys to share. Lab in Sicily. 22 artists. Site-specific performances. Work outside. DIY tools. Bring the theatre to audiences. In archaeological areas, natural environments, sustainable places, preservational surroundings. Self-sustainable strategies through Free-culture and Open-source. Utopian, paradoxically, thinking life 30y.in the future. Utopian, pragmatic and poetic. Technology is not poetic. It has a non–emotional connection. looking for poetic ways to use technology and communication. Respect with the environment. Site-specific works. Working around the concept: Situation Transformation: space-time motivation intention. It consists in the Modified space perception. Using sensors. It is a Dance: physical improvisation and Sound improvisation. Like Shamans, drunks, and theory of the morphic field. http://en.wikipedia.org/wiki/Rupert_Sheldrake based in Popper, Jung, Bergson, memory, unconscious, and holistic systems. Based in Permaculture. References are Hackim Bey. TAAZ. Situationism. International Situationism. Terrorism Poetry. Jodorovsky. Surrealism. Network and community in situations. Sustainability: efficiency of energy, economically, connectivity. Like the avantguarde, it refuses the system. Is set in Montalbano Elicona. North-East Sicily. Castle. Etna volcano. No tourism is permitted, only projects development. Supported by University of Messina. Actually working on a Project, with a dancer. Using Sensors from steim http://steim.org/. the Dancer controls sound. with Motion tracking. A Sensors tracker device. Others are Radio-astronomy station. Technical projects with artist, researchers, strategies. Liminal perception, design.

JesterN. http://jestern.com/ motion tracking studies.  motion tracking connected to sound and visuals. mapping the movements of the performers. sound, movement and visuals are interconnected.

Pan::Ik is an ASUS infrared camera + STEIM sensors called MiniBees, that communicate with the computer wirelessly, they’re just acceleration sensors, but it has been built a flex sensor for the performer. The software is complex: VVVV, Max/MSP and Supercollider for the sound synthesis. the research is still open on how to achieve 3d body mapping with the projections.
ASUS infrared camera or kinect
minibees The Sense/Stage minibee is a small, battery-powered Arduino-based wireless node that can be worn on the wrist, sewn into clothing, or embedded in objects. Each node is equipped with a built-in accelerometer (ideal for capturing motion), but also has ample analog/digital input possibilities for adding more sensors, and can communicate using OSC. You can have as many or as few of these nodes as you need, and using the data sharing software they can all communicate with one another.
steps _

tags: dance – performance -motion tracking – sensors – wireless


ATAU TANAKA. DSCP. http://www.ataut.net/site/DSCP for chamber orchestra, Theremin, and infrared sensors DSCP is a piece for chamber orchestra and two electronic instruments that capture performer gesture. The Theremin is a historical instrument using electrostatic field perturbation. D-Beam infrared sensors generate MIDI output from hand distance. Each instrument has a unique way to capture the performance gestures of an instrumentalist.  The gestural instruments bring the electronics to a performative mode of articulation close to the acoustic instruments. The choice of sound materials are entirely extensions of acoustical sounds. The fundamental materials are extremely simple – most concentrating on one frequency D (294 Hz). The musical investigation comes by zooming into and expanding each simple sound into a rich timbral universe. Commissioned by Musiques Nouvelles, Mons Belgium, and Artzoyd. Premiered in 2003 in Mons, conducted by Jean-Paul Dessy, with Yukari Bertocchi, infrared sensors, and Laurent Dailleau, Theremin. Performed in 2004 in Dusseldorf. CD release on Sub Rosa SR192, “Experiences de Vol”


LOCUS SONUS  http://locusonus.org/soundmap  http://locusonus.org/  http://locusonus.org/w/?page=Locustream   Our intention being to provide a permanent (and somewhat emblematic) resource to tap into as raw material for our artistic experimentation. We have now established a worldwide community of streamers each person being responsible for the installation and maintenance of his mike. Alejo Duque and Jean-Pierre Dautricourt (CASSIS – camargo), Miguel Eduardo Venegas Monroy (ENSENADA – ksa), Avatar, association de crĂ©ation et de diffusion sonores et Ă©lectroniques (QUEBEC – avatar), Björn Eriksson, sound artist http://ruccas.org/wiki.pl/Miulew (SOLLEFTEA – miulew), Marc McNulty http://www.earphone.org (BOSTON – boston), Nicolas_Bralet compositeur d’espace sonore, micro- paysagiste d’intĂ©rieur… (PARIS – gouttedor), peter sinclair for locus sonus (MARSEILLE – cap15), daniel schorno (AMSTERDAM – jordaan), KRN (incident.net) (DAKAR – amitie), cyrille henry (PARIS – home), Ragnar Helgi Olafsson [Lorna] (REYKJAVIK – komplex), cedric maridet // http://www.moneme.com (HONGKONG – sw), nicolibri(Nicolas Bralet)-explorateur traceur des territoires gĂ©o-flottants (LES LILAS – stromboli), Jerome Joy (Locus Sonus) (NICE – mouans), Esther Salmona http://hyphes.blogspot.com (MARSEILLE – lafayette), Eric Leonardson, artist, Director of World Listening Project, founding member of Midwest Society for Acoustic Ecology, faculty at The School of the Art Institute of Chicago (CHICAGO – westside), marieheuln (VESINET – cerceris), http://www.kristianpaul.org (CALI – valle), Mikhail Iliatov http://mikhaililiatov.com (BROOKLYN – brooklyn), Timothy Nohe (BALTIMORE – nohe), Chad Clark (CHICAGO – rogerspark), http://mikhaililiatov.com (BROOKLYN – sunsetpark), Alain Renaud (BOURNEMOUTH – dec), Emeka Ogboh (LAGOS – ajah), GrĂ©goire Lauvin Echo-in (STBAUME – stmax), John Kannenberg artist and curator of Stasisfield.com —– http://www.johnkannenberg.com (ANN ARBOR – AnnArbor), brett ian balogh (CHICAGO – wicker_park), Koganecho Area Management Center (YOKOHAMA – koganecho), The Fibers (YOGYAKARTA – honf), max and julian stein http://cessa.music.concordia.ca/soundmap (MONTREAL – petite-italie), Rhizome Lijiang Art Center (LIJIANG – rhizome), blackhole-factory http://www.blackhole-factory.de http://www.theaterhaus-kunstmuehle.de (BRAUNSCHWEIG – kunstmuehle), KRN DĂ©sert NumĂ©rique (SAINT-NAZAIRE-LE-DESERT – cledan), john grzinich, moks.ee (non-profit artist run organization) (MOOSTE – moks), un/locker (MAMM – medellin), Timothy Nohe (BALTIMORE – Baltimore), un/loquer, jardincosmico (MEDELLIN – san_lucas), Cimatics (BRUSSELS – cimatics), Vijayendra Sekhon (MUMBAI – malad_east), P&D Audio Productions, Inc. (GREENSBORO – Greensboro_NC), london soho (LONDON – soho), GrĂ©goire Lauvin http://gregorth.net (AIX_PROVENCE – st_jerome), Locus Sonus (AIX_PROVENCE – Ecole_art), JĂ©rĂ´me Joy (NANTES – stnaz), alejo duque + dock18 (CH – roambox), Phil Edelstein (PORT WASHINGTON – philed), udo noll radio aporee (COLOGNE – aporee), August Black (OAKLAND – california), JĂ©rĂ´me Joy and StĂ©phane Cousot (BOURGES – ensa), Jeff Sturges (DETROIT_MAKERSPACE – mt elliott), grant smith self-noise.net (LONDON – camberwell), Andres Burbano, Media Arts and Technology UCSB (SANTA_BARBARA – ucsb_gate), JayVe Montgomery (CHICAGO – humboldtsquare), Scott Fitzgerald, Stephanie Hugh and the cats. (BROOKLYN – cobblehill), Henrik Schroeder ::: radio aporee (BERLIN – neukoelln), GrĂ©goire Lauvin Echo-in (STBAUME – source), GrĂ©goire Lauvin Echo-in (STBAUME – bois), GrĂ©goire Lauvin Echo-in (STBAUME – grotte), GrĂ©goire Lauvin Echo-in (STBAUME – sommet), Chinowski Garachana, El sueno de Tesla, Medialab Invisible, Teslaradio (MALAGA – invisible), Peter Sinclair (LE-ROVE – niolon)



RYOJI IKEDA datamatics [prototype-ver.2.0       http://www.ryojiikeda.com/archive/concerts/  https://www.digitalartarchive.at/database/artists/general/artist/ikeda.html    Using pure data as a source for sound and visuals, datamatics combines abstract and mimetic presentations of matter, time and space in a powerful and breathtakingly accomplished work. datamatics is the second audiovisual concert in Ryoji Ikeda’s datamatics series, an art project that explores the potential to perceive the invisible multi-substance of data that permeates our world. Projecting dynamic, computer-generated imagery – in pared down black and white with striking colour accents, Ikeda’s intense yet minimal graphic renderings of data progress through multiple dimensions. From 2D sequences of patterns derived from hard drive errors and studies of software code, the imagery transforms into dramatic, rotating views of the universe in 3D, whilst the final scenes add a further dimension as four-dimensional mathematical processing opens up spectacular and seemingly infinite vistas. A powerful and hypnotic soundtrack reflects the imagery through a meticulous layering of sonic components to produce immense and apparently boundless acoustic spaces. datamatics, alongside the recently released and critically acclaimed dataplex album, marks a significant and exciting progression in Ikeda’s work. http://www.ryojiikeda.com/biography/   http://www.ryojiikeda.com/project/datamatics/


NOISH – OSCAR MARTIN http://noconventions.mobi/noish/hotglue/?code/   http://noconventions.mobi/noish/hotglue/    Experimental programmer and musician. He bases his work on the deconstruction of field recordings, no-conventional sinthesis and the creative use of technology errors. Luthier-digital with a “pure data” environment, which he uses to develop his own no conventional tools for processing and real time algorithmic generative composition. He can be placed somewhere between Computer Music, the Aesthetics of Error, and generative Noise. He seeks the creation of virtual sound universes, imaginary soundscapes that encourage active listening and a different sensibility toward the perception of sound phenomena.  He works under the open source paradigm. All his sound experiments are published under Open licences, by different labels and netlabels; (Free Software Series, Uzusounds, Drone Records, tecnoNucleo, BRRR, etc). His music has been presented in different spaces national/international festivals. MAKEART (France), MOOZAK (Austria), A10LAB-noise=noise (UK), FESTIVAL DE LA IMAGEN MANIZALES (Colombia), PIKSEL (Norway), PDCON (Brazil), VAD (Spain), LEM06 (Spain), LAC-Linux Audio Conference (Germany), NK (Berlin), DE PLAYER (Rotterdam), MAUS HABITUS (Portugal), LaLAboral-SummerLab (Asturias), MIDE-Arteleku (Donosti), Ulterior09 (Madrid), Hangar(Barcelona). other projects involved: -experimental net-radio mEtaminaFreeNetRadio  -editor of the e-zine ursonatefanzine  -colective minipimer.tv  http://www.tecnonucleo.org/index.php?   http://nuevocalipso.tumblr.com/listen!!


NOISHX {RdEs} Sonic Emergency Distributed Network. 2011 PHONOS-IUA GRANT . Sound-Light Installation >> Generative and autopoietic sound-light installation that embodies complex systems theories based on concepts and processes such as emergency and self-organization. The installation bases on models taken from various fields of science, philosophy, biology,computer science and study of the artificial intelligence (cellular automata, neural network,Cybernetics..).  The installation explores the sonic and compositional possibilities of these concepts, using a network of “modules-particles” that interact with each other and the environment. Each “module-particle” follows simple individual rules, but is able to generate more complex and sophisticated patterns when combined with the others.  It consists of a distributed network comprising 35-40 micro-modules (hardware-software) that are connected to each other and communicated through cables and light sensors. Each module is composed of an ATmega328 chip, a speaker to deliver sound and four LEDs to emit light. It also contains a “LDR” sensor capable of measuring the amount of ambient light. Each micro-module is connected with another four, two connected to its input ports and two to its output ports. Each module can “vibrate” in luminosity and sound following a number of individual behaviours, which are predefined through programming. These states of “vibration” are communicated to the next interconnected modules by a pulse frequency code. These pulses are received by the two input ports in each module, having to choose (using a algorithm of affinity) one of both and adopt it as the current state of vibration as well as transmit the new state over the network. After a while, trends emerge in the system, states of vibration are generalized and temporarily stabilized. Later, new states of instability and imbalance will generate new attractors and other patterns. {{Autopoiesis}} . The basic idea is that: following predefined and simple patterns, the micro-modules network is able to produce more complex behaviours and higher levels of abstraction from the interaction and feedback between them and the environment and make us perceive these emergency processes by means of the light and sounds generated in the installation. The micro modules are designed and built taking the paradigm “Arduino” – open hardware platform based on a simple board equipped with a microcontroller and a development environment that implements the programming language Processing / Wiring. Each module consists of a microcontroller Atmega328, 4 LEDs, a small speaker, a photosensible LDR sensor, 2 minijack inputs and 2 minijack outputs and some other electronic stuff like resistors and capacitors. The electronic circuit design was developed in the Interactivity Lab HANGAR.ORG and designed by M. A. Heras.  The software was also developed in the Arduino programming environment with the invaluable assistance and inspiration of Jano from the collective Befaco.org. http://vimeo.com/46497665 Oscar Martin http://noconventions.mobi/noish/hotglue/


BERENGUER, JOSE MANUEL.  Multifocal sound spatialization workshop. A project by Orquestra del Caos. Teachers: Lina Bautista , Jose Manuel Berenguer , Medín Peirón , Jordi Salvadó. Hangar. Passatge del Marquès de Santa Isabel, 40. Can Ricart. Barcelona. November 2 and 3, 2013. Sound sources are all the time in any place, so usually the sound reaches us from all directions at once. Multifocal sound spatialization workshop aims to get the participants familiar with conceptual and technological tools that can transform listening to music and sound art in a similar experience as listening to the surrounding world . Such a thing is possible by the use of audible multifocal, which consist of a large set of speakers arranged in different ways according to the aesthetic needs of the project and the characteristics of the space they are in. By this system , electronic recreation of the sound life becomes bright and unusual. Orquestra del Caos being very interested since its foundation in sound conditions of experimental music concerts and sound installations , has been developing since 1999 different spatialisation models of multiple sets of speakers. At present, the experimental set used in public performances includes 25 to 33 high fidelity loudspeakers. Details of the installation of this speaker set and interfaces, which will be the main tool of the workshop, will be analyzed and discussed , so that participants can perform experiments on it with their art works. For other than creators works especially designed for spatialisation will be proposed as case studies. Participants: The multifocal spatialization Workshop is aimed at all those who wish to experience directly the possibility of multifocal environments and real-time control behavior. They may be musicians, but also artists and professionals from any discipline interested in the incorporation of sound in art, in general, or in their own productions, in particular. No preparation is required prior art, only attitude to listen and wonder about what you are listening at any given time, how to listen, how it affects us and how this could be used in a creative context. What to bring : You should come to the workshop with the audio samples you want to propose to be listened with the multifocal set. They can be finished works or work samples, sounds, sound sets , etc. . In any case , i files be WAV or AIFF type are recommended , resolution not less than 16 bit and sampling frequency is 44.100 kHz or higher. Timings: 16 hours over 4 hour sessions in a weekend. Saturday 2 and Sunday 3 November 2013. Schedule: From 10.00 to 14.00 and 15.00 to 19.00 . places: Maximum of 15 people. Registration: To register for the workshop you can send an e-mail to formacio@hangar.org including your phone number, name and surname, Passport number and a brief covering letter explaining why do you want to attend and eventual connections with sonic arts. more : http://www.sonoscop.net/multifocal2013/      JOSE MANUEL BERENGUER http://www.sonoscop.net/jmb/     http://www.sonoscop.net/jmb/musicas/mu/extractos/mue.mp3


NICOLAI, CARSTEN artists and musician. works  in collaboration with the label raster notonnumereous exhibitions, festivals, and art galleries have exhibited his sound compositions and pieces. in his work carsten nicolai, born 1965 in karl-marx-stadt, seeks to overcome a separation of art forms and genres for an integrated artistic approach. influenced by scientific reference systems, nicolai often engages mathematic patterns such as grids and codes, as well as error, random and self-organising structures. after his participation in important international exhibitions like “documenta x” and the “49th and 50th venice biennial”, nicolai’s works were shown in two comprehensive solo exhibitions at schirn kunsthalle frankfurt, germany (anti reflex), at neue nationalgalerie in berlin, germany (syn chron) in 2005, at haus konstruktiv, zurich (static fades) in 2007 and at cac, vilnius (pionier) in 2011. he is represented by galerie eigen + art in leipzig/berlin, the pace gallery and galleria lorcan o’neill in rome. under the pseudonym noto carsten nicolai experiments with sound to create his own code of signs, acoustic and visual symbols. as alva noto he leads those experiments into the field of electronic music. besides performing in club and concert halls, nicolai presented his audio-visual pieces at museums like solomon r. guggenheim museum in new york, san francisco museum of modern art, centre pompidou in paris, kunsthaus graz or tate modern in london. additionally he pursues projects with diverse artists such as ryuichi sakamoto, ryoji ikeda (cyclo.), blixa bargeld (anbb), michael nyman, mika vainio or thomas knak (opto). his latest musical project with olaf bender (byetone) is called diamond version and is released on mute records.   http://www.raster-noton.net/main.php     http://www.carstennicolai.de/    http://www.forma.org.uk/artists    http://www.raster-noton.net/


MARCLAY, CHRISTIAN. Marclay’s work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Marclay is, in the words of critic Thom Jurek, perhaps the “unwitting inventor of turntablism.” His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip hop’s use of the instrument.


JOHN DUNCAN. http://johnduncan.org/instalmenu.html John Duncan introduces himself in the sixth series in the IMA_experiment sequence. With his early short-wave noise experiments, which were produced in the late 1970s in and around the Los Angeles Free Music Society, he is one of the founding fathers of industrial music.  John Duncan (*1953 in Wichita, Kansas) is a pioneer of performance art and experimental electronic music. He refines his oeuvre into detail-rich drones and conceptual performances, and works, among others with Zbigniew Karkowski, zeitkratzer, or the Finnish duo Pan Sonic. John Duncan has realized performances and installations, among others, at the following places: Performa in New York, Färgfabriken and Gallery Niklas Belenius in Stockholm, The Institute of Contemporary Art (ICA) in Boston, die NoorlandsOperan in Umeå, Netmage 07 (with Leif Elggren) in Bologna, Cut and Splice (with CM von Hausswolff) in London, and at the 2nd Gothenburg Biennial. He made a joint appearance with Ensemble Phoenix (in Basel and Bern, and at the Angelica Festival in Bologna), and with Ensemble zeitkratzer at the Musica Nova in Tel Aviv and in Berlin. His CD releases THE CRACKLING (1996 with Max Springer), PALACE of MIND (2001 with Giuliana Stefani), PHANTOM BROADCAST (2002), THE KEENING TOWERS (2003), and NINE SUGGESTIONS (2005 with Mika Vainio and Ilpo Väisänen) were works of experimental music highly praised by critics. His works of radio art and performances have been on show in museums such as the CCA Kitakyushu; the Getty Center and the Museum of Contemporary Art (MOCA), Los Angeles; the Österreichische Museum für Angewandte Kunst (MAK), Vienna; the Museu d’Arte Contemporani, Barcelona (MACBA); and the Museum Museum of Tokyo (MOT). John Duncan lives and works in Bologna. Further information can be found at: www.johnduncan.org  http://johnduncan.org/installations.html#STRESS_CHAMBER  http://www.allquestions.net/


ANDY BOLUS, EVIL MOISTURE     http://schoolofmeatcutting.free.fr/about.html    Andy Bolus is just pure genius. From his artwork and toys to his music it just stinks of originality and imagination. He has kindly answered some questions about his work.  Collage audio, numerous cassettes / cds /LPs since around 1991. Vaguely complete discography herehttp://www.tochnit-aleph.com/evilmoisture/disco.html


TIM HECKER Tim Hecker is an electronic musician and sound artist based in Montreal, Canada. Hecker previously recorded under the moniker Jetone, but has become better known internationally for his ambient recordingsreleased through Kranky, Mille Plateaux, Alien8, Force Inc, Staalplaat, and Fat Cat under his own name. http://www.sunblind.net/  https://soundcloud.com/search?q=tim%20hecker   http://stjohnsessions.co.uk/ http://livemusic.fm/node/809079/videos  https://soundcloud.com/kranky/tim-hecker-virginal-ll


FONTANA, BILL sound artist. his work is near to paul prudence  or francisco lopez  . working on audiovisual artwork, his results are soundscapes, image capture and sound recordings to  create sound sculptures. he works within human natural environment as a living source of musical information through networks of simultaneous listening points that relay real time acoustic data to a common listening zone. master of soundscapes.  http://www.resoundings.org/    http://resoundings.org/Movies/Acoustical_Visions.mp4


LAURIE ANDERSON Laura Phillips “Laurie” Anderson (born June 5, 1947) is an American experimental performance artist, composer and musician who plays violin and keyboards and sings in a variety of experimental music and art rock styles. Initially trained as a sculptor,Anderson did her first performance-art piece in the late 1960s. Throughout the 1970s, Anderson did a variety of different performance-art activities. She became widely known outside the art world in 1981 when her single “O Superman” reached number two on the UK pop charts. She also starred in and directed the 1986 concert film Home of the Brave. Anderson is a pioneer in electronic music and has invented several devices that she has used in her recordings and performance art shows. In 1977, she created a tape-bow violin that uses recorded magnetic tape on the bow instead of horsehair and a magnetic tape head in the bridge. In the late 1990s, she developed a talking stick, a six-foot-long baton-like MIDI controller that can access and replicate sounds. Anderson married singer-songwriter and guitarist Lou Reed in 2008. Operas  http://naccaratodance.wordpress.com/teoma-naccarato/about/   http://www.laurieanderson.com/home.shtml    http://www.operaen.no/en/Performances/Arkiv/Annet/2012-2013/Laurie-Anderson—Dirtday/



LOPEZ, FRANCISCO  one  of the best known artists in the independent and underground electronic music scene. his work in sound.art, experimental and electronic music, has conducted him into the best international residencies and awards. recently has collaborated with red bull music academy. he has also published lectures texts and articles, such as THE BIG BLUR THEORY: As we progress further into the dense forest of uncertainty that is the 21st century, something becomes painfully clear about our relationship to recorded sound: the overwhelming majority of it is inextricably linked to an image of some kind. The art of the record album cover has, by now, been immortalized and anthologized in countless coffee table books and museum exhibitions, while the physical appearance and photogenic quality of the musician has become every bit as important of a marketing point as their instrumental virtuosity. Consumption of recorded sound as a lifestyle accessory, or as a metaphor for some fixed set of experiences, has lessened its value by lessening sound’s essential ambiguity- suggesting, for example, that the sound of a distorted guitar must always be a ‘soundmark’ of youthful rebellion, or that the sound of a harp must be a prelude to ascension into a stereotypical image of heaven, complete with angels frolicking on clouds. Sound artist Brandon Labelle, discussing the challenges of perception involved in making site-specific sound, suggests an asynchronous relationship between the time it takes to comprehend audio information vis-à-vis visual information (…)  http://www.franciscolopez.net/   http://www.sonmarchive.es/    http://www.sonmarchive.es/index.php?option=com_muscol&view=songs&id=6045&lang=es


PARMEGIANI. Bernard Parmegiani. Bernard Parmegiani (born 27 October 1927 in Paris, France) is a composer best known for his electronic or acousmatic music. He joined the Groupe de Recherches Musicales(GRM) in 1959 for a two-year master class, shortly after its founding by Pierre Schaeffer. he was first a sound engineer and was later put in charge of the Music/Image unit for French television (ORTF). There he worked in the studio with several notable composers, Iannis Xenakis, for example. He composed his first major work, Violostries for violin and tape in 1964 for a choreography performed for Théâtre Contemporain d’Amiens directed by Jacques-Albert Cartier. During a visit to America in the late 1960s, he researched the link between music and video and on his return produced several musical videos, including L’Œil écoute, and L’Écran transparent (1973) during a residency atWestdeutscher Rundfunk in Germany. In the 1970s he also became involved with live performances of jazz and performed with the Third Ear Band in London. In 1992 Parmegiani left the GRM and set up his own studio in Saint Rémy.[clarification needed] In April 2010 he sat on the jury at the sixth Qwartz Electronic Music Awards, a promotional project and support group for electronic music artists. Parmegiani has been cited as a major influence by younger experimentalists like Aphex Twin, Autechre and Sonic Youth. Works of his were performed at the All Tomorrow’s Parties festivals in 2003 and 2008. http://boldtendencies.com/projects/2013/events/lcmf-parmegianisndraime    http://www.parmegiani.fr/


PAUL PRUDENCE http://www.paulprudence.com/    http://www.transphormetic.com/


SCANNER, DJ Robin Rimbaud For performance Scanner uses Ableton Live 9, & Logic Pro on a shiny MacBook Pro Apple Retina Intel i7 Core Macintosh computer and 27″ iMac, a MIDI keyboard, Novation Launchpad, Korg NanoKontrol, Novation ZeRO SL Mk II, Alesis AirFX, Eigenharp Pico, Korg ES1 Sampler, running NI Reaktor, Komplete 9, GForce Oddity, impOSCar 2, M-Tron Pro and some pretty fancy plugins. http://www.joydivisionreworked.com/

TOBIAS SCHMIDT Suspicion Breeds Confidence is one of Tobias Schmitt’s projects, which combines polyrhythms, Kraut-Concrete, collage and noises. His concerts are improvisational pieces that lead to a unique event. Since the beginning, at the end of the 1990s, Suspicion Breeds Confidence has been released on international labels and has been performed at numerous concerts in Europe and North America. In addition to Suspicion Breeds Confidence, Tobias Schmitt (*1975) has collaborated with many other artists and works with image and video as well as music. He is member of the board for the Verein zur Förderung von Phonographie und experimenteller Musik e.V. [Association for the Promotion of Phonography and Experimental Music], for which he has curated the series Phonophones in Frankfurt. For further information please go to: www.acrylnimbus.de

in acryl we trust

———————————————————————————————————TONE, YASUNA . Yasunao Tone is a Japanese artist who has worked with many different types of media throughout his career. He was born in Tokyo, Japan in 1935, and he graduated from Chiba Japanese National University in 1957, majoring in Japanese literature. He became active in the Fluxus movement in the 1960s and moved to the United States in 1972.[1] He organized and participated in many noise music performance groups such as Group Ongaku, Hi-Red Center, Team Random (the first computer art group organized in Japan). wikipedia. http://www.ubu.com/sound/flux_tellus.html http://ubumexico.centro.org.mx/sound/flux_tellus/Flux-Tellus_19.mp3  glitch music . manipulating sound recording technologies. CD, laser, scan, light sensors, dust, errors, audio turbulence, digital disc hacking, ghost electronics philosophy,

File:Yasunao Tone.jpg





RYAN JORDAN. diy synthesizers. Derelict Electronics. in a very poor condition as a result of disuse and neglect. In this workshop we will use a mesh of point contacts connecting to chalcopyrite and iron pyrite to make crude amplifiers out of rocks. When an electric current is sent through the rocks sporadic noise bursts from the speakers. With some fine tuning these rocks begin to behave like microphones, amplifying howling feedback and detecting subtle scratches and disturbances in their surrounding environment. Occasionally the circuit exhibits visual output coinciding with the audible in the form of small sparks and minute explosions occurring where the copper point contacts meet the surface of the rock. This crude amplifier is based on the Adams Crystal Amplifier 1933, a precursor to the modern transistor, one of the fundamental building blocks of today’s electronic and digital world. http://ryanjordan.nnnnn.org.uk/doku.php?id=derelict_electronics




JOHN LEAFCUTTERWayne McGregor | Random Dance presents Random Works with Leafcutter John & members of Aurora Orchestra Music / Saturday, 21 September 2013 – 8:00pm / Hall One. Online Price: £13.50 / £15.50 / £19.50 / £24.50 | Online Savers £9.50* Acclaimed choreographer Wayne McGregor, who like us was recently invited to present work as part of Timepiece at the Roundhouse, curates an evening of short dance pieces created by choreographers currently working closely with him. Developed in collaboration with Aurora Orchestra, the project features a brand-new score from electronics pioneer Leafcutter John and Aurora Principal Viola Max Baillie, commissioned by Kings Place. Including members of his own world class company Wayne McGregor | Random Dance. The first piece of contemporary dance to be performed in Hall One, this promises to be one of the major highlights of the Kings Place autumn season, with a feast of exciting new choreographic talent performed by dancers from Wayne McGregor | Random Dance, enriched by music from members of the UK’s most dynamic and versatile chamber orchestra. Technical description:  Wayne McGregor Curator. Robert Binet, Catarina Carvalho, Travis Clausen-Knight, Michael-John Harper, Nina Kov, Anna Nowak, Morgann Runacre-Temple, Fukiko Takase, Alexander Whitley, Jessica Wright Choreographers. Leafcutter John Composer/Electronics. Max Baillie Composer/Viola Timothy Orpen Clarinet Links randomdance.org I alexanderwhitley.com I ninakov.com I morgannrunacre-temple.com I auroraorchestra.com I leafcutterjohn.com I maxbaillie.com I Timothy Orpen


AMOROS, LOT interactive visual production  with processing He has developed works that combine individuals with digital spaces opening the doors to the amplified performance. Collaborates as VJ for different groups with software that has programmed himself: P4VJ, changing the classical loops into processing algorithms. He has developed data visualization works in occasion of the Israeli-Palestinian conflict. He works as technical support in various indymedia. Computer engineer and transdisciplinary artist. http://feenelcaos.org  tags: artista  developer software hardware  Lot Amoros develops the source P4Live and organises #1 Hackademia Drone    http://guerrilladrone.feenelcaos.org/blog/    http://flone.aeracoop.net/        – MORE INFORMATION ABOUT DRONE PROJECTS WITH ARDUINO:  http://www.bartoloilliano.com/arduino-tutorial-costruire-un-drone-con-webcam-telecomandato-da-pc-tramite-csharp.html



AMARIA NOISE A performance of (dis)integrated circuits of high energy electronics and people. produced by http://sure.cl  2008. Noisehead using 7HC14 Schmitt trigger IC solar module built from a schematic.  Designed by Ralf Schreiber. With El Santo Mask by Zosen. Built at Hangar Barcelona, 2007.  Simple oscillators built with nic Collins in workshop at OKNO, bruxelles (BE) using one cmos hex Schmitt trigger 4093 IC and one CMOS Binary counter / divider 4040 IC, 2005.  SNU Special Noise Unit built from a schematic designed by Jo Frgmnt Grys using 74HC14 IC at Hangar, Barcelona, with help from Martin Hug, 2007. VCF Analog modular voltage controled filter  with envelope follower made at Piksel XXXXX workshop with her designer Jessica Rylan, Bergen (NO).  Theremin synth, built with Martin Kuentz and Martin Howse at Pickledfeet workshop, Berlin (DE). Using two CD4069UBE CMO’S hex inverter, 2008.  El pueblo de china  http://www.elpueblodechina.org/     http://puredata.info/dev/summer-of-code    http://www.ljudmila.org/~luka/ascensores/ascensores.html


SHINTARO MIYAZAKI http://www.shintaro-miyazaki.com/index.html  investigates processes of storage, transmission & processing in informational agencements and cultures- born 1980 in Berlin from Japanese parents and raised in Basle (Switzerland). Studies in media theory, musicology and philosophy at the University of Basle (M.A.). PhD in media theory (Medienwissenschaft) at Humboldt University Berlin defended in Febr. 2012. He is currently working between Basel and Berlin as a post-doctoral researcher at University of Applied Sciences and Arts Northwestern Switzerland, Academy of Art and Design, Institute Design and Art Research and a postdoc/lecturer at University of Basel, Seminar for Media Studies, Chair for Media Aesthetics. His research is focused on conducting media and design experiments with measurable fluctuations of physical energy, such as electronic, bioelectric or electromagnetic signals. He is interested in how physical energy in combination with mathematics implemented in so called media technologies enable the storage, transmission and processing (F. Kittler) of emotion, power, culture, history and other concepts studied within the humanities. Miyazaki played violin for over 15 years and conducted a small orchestra during his high-school years. Experiments with noises as well as melodies and field recordings since 2002. Experiments with pure electronic sounds combined with non-electronic sounds like field recordings, violin sounds or voices. Used software/ hardware: pure data, supercollider 3, powerbook, game pad, arduino, selfmade interfaces, consumer electronics. In 2008 he starts to re-think his activity as a musician and decides to work also in the broader context of conceptual, installative and soundrelated art. In late 2008 he founds “Institute for Algorhythmics” an art and research project. Keywords: Sonification of data traffic, calculation processes, electro magnetic waves and other silent soundforms. From 2005-2010 Miyazaki was member of Endliche Automaten – Laptoporchester Berlin.

installations [fine art]

Shintaro Miyazaki (*1980)

“Ubiquitous oscillations or fourier changed our world” – device

Resistors, capacitors, BC547B-Transistors, AAA batterie, headphone




L’ULL CEC is a collective from barcelona working and making workshops and concerts. its specialised in diy electronics, supercollider, and other sound techniques. actually it is producing workshop with many artists: Martin Howse, Alex Mclean, Dirty Electronics, Theo Burt, EVOL / Mark Fell / Lee Gamble / Yutaka Makino, Dan Stowell , etc . . MARTIN HOWSE: Sonic archaeology, essentially, is the exploratory probing of diverse phenomena through sonic amplification, creating audible maps of otherwise undetectable events in our natural environment. Examples range from the early phonographic experiments by Thomas Edison to the more paraphysical realm of EVP (electronic voice phenomena, a modern term somehow more appropriate than “psychophony”). This workshop aims to equip the participants with a range of practical techniques for forensic examination of both the material and immaterial. To this end, a series of experimental situations will be established: probing, investigation through audible excitation, transformation and detection (ultrasound, infrasound, interference, light, surface playback, lectrochemistry). The workshop will equally examine classical techniques for the study of electronic voice phenomena, as well as new practices suggested by the detection strategies used by a range of parasciences. During the workshop participants will learn to: stage classical electronic voice phenomena detection experiments (Jürgenson, Raudive and beyond) construct a metaphase typewriter, a quantum device conceived by Nick Herbert to communicate with spirits and parallel worlds build devices to play back and decode surface marks and inscriptions on inert objects audify fluctuations in laser light as well as electrochemical reactions translate ultrasonic impulses to our hearing range work with the active construction of electromagnetic emissions. Schedule: Day #01 Examination of classical EVP techniques with an emphasis on light/provision of carrier and subsequent detection/recording, and on the practical repurposing of electronic detection hardware (radios, tape recorders, video machines). A series of experimental platforms ranging across radio, ultrasonics, white noise, light and vibration will be constructed alongside a set of experimental apparatus for use during the following days excursion. Day #02: Study fieldtrip for primary inscription and playback of the stone tape . Construction and testing of a sensitive laser interferometer . An experiment in retroactive psychokinesis . Tutor: Martin Howse . Educated at GoldsmithsCollege in the late 80s, Martin Howse has worked with conceptual imaging, film and performance, before arriving at a specific interdisciplinary artistic research using software, materials and processes. His interdisciplinary work is preoccupied with a broad questioning of the exact location of execution and of code within the world (psychogeophysics). Through the construction of experimental situations (within process-driven performance, laboratories, walks, and workshops), material art works and texts, Martin Howse explores the rich links between substance or materials and execution or protocol, excavating issues of visibility and of hiding within the world. Previous projects include the ap02 distributed code-creation software developed in collaboration with v2 labs, Rotterdam and an environmental computational work, entitled ap0201 installed deep within the Mojave desert which received first prize within the Art & Artificial Life competition VIDA 8.0, 2005. In 2005 he was responsible for the crash seminar and performances in London (ICA and ShoreditchTown Hall). In 2006 Martin Howse co-founded xxxxx, organising one large-scale conference and concert series in London (xxxxx) and publishing the acclaimed xxxxx [reader]. From 2007 to 2009 he has hosted a regular workshop, micro-residency and salon series in Berlin, under the banner of micro-research. More recently micro-research has been established as a mobile platform for psychogeophysical research with ongoing projects in Berlin, London, Suffolk and Peenemuende. Over the last ten years he has workshopped, performed, lectured and exhibited worldwide. http://www.1010.co.uk/org/ . https://soundcloud.com/martin_howse .    

ALEX MCLEAN : Drawing, Weaving, and Speaking Live Generative Music. 2013. live coding workshop. will explore alternative strategies for creating live sound and music. We will make connections between generative code and our perception of music, using metaphors of speech, knitting and shape, and playing with code as material. We will take a fresh look at generative systems, not through formal understanding but just by trying things out. Through the sessions, we will work up through the layers of generative code. We will take a side look at symbols, inventing alphabets and drawing sound. We will string symbols together into words, exploring their musical properties, and how they can be interpreted by computers. We will weave words into the patterns of language, as live generation and transformation of musical patterns. We will learn how generative code is like musical notation, and how one can come up with live coding environments that are more like graphical scores. We will visit systems like Python, Supercollider, Haskell, OpenFrameworks, Processing, OpenCV and experiment as well with more esoteric interfaces. Session #01. Symbols – This first session will deal with topics such as sound symbology, mental imagery, perception and invented alphabets. We will try out different ways to draw sounds, map properties of shape to properties of sound using computer vision (“acid sketching”,https://vimeo.com/7492566), and draw lines through a sound space created from microphone input. This will allow us to get a feel for the real difference between analogue and digital, how they support each other, and how they relate to human perception and generative music. Session #02. Words – Some more talk about strings of symbols as words, being articulations or movements, and relate expression in speech (prosody) with expression in generative music. We will experiment with stringing sequences of drawn sounds together, inventing new “onomatopoeic” words. We will look at examples of musical traditions which relate words with sounds (ancient Scottish Canntaireachd, chanting the bagpipes), and also try out vocable synthesis http://slub.org/world     or     http://oldproject.arnolfini.org.uk/projects/2008/babble/     which works like speech synthesis but uses words to describe articulations of a musical instrument. Session #03. Language – This session will explore the historical and metaphorical connections between knitting and computation, and between code and pattern. After some in depth talk about live coding, and the problems and opportunities it presents, we’ll spend some time exploring Tidal, a simple live coding language for musical pattern, and understand it using the metaphor of knitting with time. Tidal: http://yaxu.org/demonstrating-tidal/ . Session #04. Notation – Here we will look at the relationship between language and shape, and a range of visual programming languages. We will try out Texture, a visual front-end for Tidal, and try out some ways of controlling it with computer vision, that create feedback loops through body and code. Texture:  http://yaxu.org/category/texture/ Session #05. Final presentation and workshop wrap up. Level: Introductory/intermediate. Prior programming experience is not required, but participants will need to bring a laptop (preferably a PC, or a Mac able to boot off a DVD), an external webcam and a pair of headphones. Language: English. Tutor: Alex McLean. Alex McLean is a live coder, software artist and researcher based in Sheffield UK. He is one third of the live coding group Slub, getting crowds to dance to algorithms at festivals across Europe. He promotes anthropocentric technology as co-founder of the ChordPunch record label, of event promoters Algorave, the TOPLAP live coding network and the Dorkbot electronic art meetings in Sheffield and London. Alex is a research fellow in Human/Technology Interface within the Interdisciplinary Centre for Scientific Research in Music, University of Leeds. http://yaxu.org/ 

THEO BURT  (b.1979, Falmouth, UK) works with computer sound, video and light, drawing on the perceptual relationships between sound and image and exploring the aesthetic application of technology. This workshop will provide an introduction to sound synthesis and the creation of autonomous and interactive music systems. The workshop will examine what happens when we return to the sounds of classic subtractive and FM synthesis but subsitute the common MIDI interface (which is structured around traditional Western notions of music) for an alternative system. While there will still be control over the basic parameters of synthesis, this new approach will change the way we create and structure tARK he music and lead us towards new aesthetic outcomes. The workshop will combine the use of the open source software Pure Data with new software created specifically for this workshop. Concepts: Autonomous, generative composition and sound synthesis. New interfaces to structuring sound in reaction to traditional Western musical notions. Examining the interactions between the artist, the technology used and musical aesthetics.

EVOL / MARK FELL / LEE GAMBLE / YUTAKA MAKINO : PROOF OF CONCEPT #01. EVOL [ http://vivapunani.org ] . Mark Fell [ http://markfell.com ] . Lee Gamble [ http://cyrk.org/leegamble ] . Yutaka Makino [ http://yutamakino.com ] . additional sounds by: IVDB / Pato . Roc Jiménez de Cisneros and Stephen Sharp produce what they call “computer music for hooligans”. Their works can be understood as an aesthetic exploration of algorithmic composition and a deconstruction of rave culture under the light of various theories in recent metaphysics. EVOL recordings, installations and performances display a radical and playful approach to audio synthesis, full of upward spirals, trance inducing patterns and challenging temporal structures, halfway between academia and psychedelia. Their music has been published on record labels like Entr’acte, Mego, Presto!?, fals.ch or their own Alku. After studying experimental film and video art, Mark Fell reverted to earlier interests in computational technology, music and synthetic sound. In 1998 he initiated a series of critically acclaimed releases, featuring both collaborative and solo works, on labels including Mille Plateaux, Line, Editions Mego, Raster Noton and Alku. Although working in electronic and techno music traditions, Mark’s practice has become increasingly informed by non-European musics. This is evident in two recent linked works “Multistablity” and “UL8” which explore a number of unfamiliar timing and tuning systems. As well as recorded works Mark also produces installation pieces often using multispatial speaker technologies, his work in this area being characterized by “non illusion-based” approaches to surround sound environments. Lee Gamble started out as a teenager dj-ing on pirate radio and on the emerging Jungle scene, however his own approach to music has taken a more experimental direction. Lee has collaborated with composer John Wall and artists Yutaka Makino and Bryan Lewis Saunders. He has released his computer compositions on the Entr’acte and PAN labels. Yutaka Makino (1976, Japan) lives and works in Berlin. On the basis of his research into areas such as phenomenology, experimental psychology, acoustics, social science and system theory, Makino’s works probe the processes of emergence and the mechanisms of perception. His extensive use of pseudo matters, such as sound, light and fog, provides spatial gradients in flux to experience shifting modes of perception. These pseudo matters lay out the environments of which the audience becomes an active part. http://lullcec.org/      


VISNJIC, FILIP.  is an architect, lecturer, curator and a new media technologist born in Belgrade now living in London. He specialises in directing web, new media and architectural projects while also contributing to a number of blogs and magazines about art, design and technology. He is an editor-in-chief atCreativeApplications.Net, co-founder and curator of Resonate Festival, editorial director of HOLO Magazineand he lectures at a number of universities in the UK. You can find him on Twitter 1 2FFFFoundFlickr, and LinkedIn.  http://www.fvda.co.uk/index.php?/stream/


SNIBE, SCOT. boundaries. http://www.snibbe.com/projects/  1998. is one of the first models forartworks as interactive installation. We think of personal space as something that belongs entirely to ourselves. However,Boundary Functions shows us that personal space exists only in relation to others and changes without our control. Boundary Functions is a set of lines projected from overhead onto the floor, dividing people in the gallery from one another. When there is one person on its floor, there is no response. When two are present, a single line cuts between them bisecting the floor, and dynamically changing as they move. With more than two people, the floor divides into cellular regions, each with the quality that all space within it is closer to the person inside than any one else. The regions surrounding each person are referred to as Voronoi diagrams. These diagrams are widely used in diverse fields and spontaneously occur at all scales of nature. In anthropology and geography they describe patterns of human settlement; in biology, the patterns of animal dominance and plant competition; in chemistry the packing of atoms into crystals; in astronomy the influence of gravity on stars; in marketing the strategic placement of chain stores; in robotics path planning; and in computer science the solution to closest-point problems. The diagrams represent as strong a connection between mathematics and nature as the constants e or pi. By projecting the diagram, the invisible relationships between individuals and the space between them become visible and dynamic. The intangible notion of personal space and the line that always exists between you and another becomes concrete. The installation doesn’t function at all with one person, as it requires a physical relationship to someone else. In this way Boundary Functionsis a reversal of the lonely self-reflection of virtual reality, or the frustration of virtual communities: here is a virtual space that can only exist with more than one person, and in physical space. The title, Boundary Functions, refers to Theodore Kaczynski’s 1967 University of Michigan PhD thesis. Better known as the Unabomber, Kaczynski is a pathological example of the conflict between the individual and society: engaging with an imperfect world versus an individual solitude uncompromised by the presence of others. The thesis itself is an example of the implicit antisocial quality of some scientific discourse, mired in language and symbols that are impenetrable to the vast majority of society. In this installation, a mathematical abstraction is made instantly knowable by dynamic visual representation. http://www.snibbe.com/projects/interactive/boundaryfunctions


LOZANO-HEMMER, RAFAEL. Frequency and Volume enables participants to tune into and listen to different radio frequencies by using their own bodies. A computerised tracking system detects participants’ shadows, which are projected on a wall of the exhibition space. The shadows scan the radio waves with their presence and position, while their size controls the volume of the signal. The piece can tune into any frequency between 150 kHz and 1.5 GHz, including air traffic control, FM, AM, short wave, cellular, CB, satellite, wireless telecommunication systems and radio navigation. Up to 48 frequencies can be tuned simultaneously and the resulting sound environment forms a composition controlled by people’s movements. This piece visualizes the radioelectric spectrum and turns the human body into an antenna. All the receiver equipment used and antennae are exhibited in an adjacent room. The project was developed at a time when the Mexican Government was very active in shutting down informal or “pirate” radio stations in indigenous communities in the states of Chiapas and Guerrero. The question “who has access to the public space that is the radioelectric spectrum” is one that deserves attention and visualization tools not just in Mexico but also here in the developed world, where there is a remarkable assymmetry in the assignation of frequencies only to government or corporate interests to the detriment of community-building, experimental or artistic uses of the spectrum. This project was inspired by the “Manifesto for Antenna-Man” and the radio poetry experiments by the Mexican estridentista artists in the 1920s. http://www.lozano-hemmer.com/frequency_and_volume.php


JAN MECH. Playing The Stage. http://www.janmech.de/. Workshop about using the stage as an audio-visual instrument.  Starting off as a theatre maker, my work opened up during the years to the field of contemporary arts and contemporary electronic music. Already during my Theatre-, Film- and Media studies at Johann Wolfgang Goethe Universität at Frankfurt a.M. I worked as an assistant director at Staatstheater Wiesbaden und Schauspiel Frankfurt and realized early off production. The recent works still keep essential aspects of the performing arts, such as the question of the bodily aspects of perception, but use a broad range of media such as video interactive and specificly developed computer interfaces and sound. My works and compositions have shown (among others) at Artists Space (New York), HCC &, Tate Modern (London) and Yokohama.The work as a performer within the work of other artists was shown (among others) at ArtBaselMiamyBeach, U-Turn Quadrennial (Copenhagen), Skulpturprojekte Münster and Schirn Kunsthalle (Frankfurt a.M.). “Playing the Stage” 2 audio-visual media workshop by Jan Mech. “Playing the Stage” Integrating spaces, bodies and objects with audio-visual media a workshop by Jan Mech . This workshop will introduce the use of the stage/performance space and its objects as an instrument that can play and create the different technical media (audio, video) used on stage. The focus will be on both the artistic and the technical impact of this approach. The workshop addresses artist, technicians and designers with a technical interest and performance or stage-related work (theatre, dance, performance, music). Participants should have basic understanding of electronics and be comfortable in working with computers (audio and video). An in depth deep pre knowledge of working with electronic sensors is not required. As the workshop will also focus on the artistic creation it is also valuable for those who already experiences with building performance interfaces. Workshop description: Playing the stage follows a new paradigm of integration audio video and light within the use of the stage. It is addressed to all stage related professions from both the artistic and the technical side –such as dancers, chorographers, directors, actors, musicians as well as light-, video-, and sound-designers and engineers. The 80’s and 90’s stage avant-garde introduced the approach that audio, video and lighting are equal elements of the performance-stage, together with the dancers, actors and performers. We will take this approach a step further: the stage itself becomes an instrument that controls these stage media. This stage-instrument will be played live by the dancer/actor/performer though his/her gestures, movements the objects he/she moves. The touch of an object might create a sound, or the position of the dancer might dim the lights. The possibilities are multiple and versatile. In order to fruitfully transform the stage into an instrument, two fields of knowledge must be combined: the technical knowledge on how to use all kind of sensors to control and create images and sounds, and, of course, the knowledge of the requirements for a performer/actor/dancer on stage. Both sides need a deeper understanding of each other’s work. Therefore, this contents will be divided into two workshops (of two weekends each): Playing the Stage I will teach how to technically create a stage instrument. We will design and build our own instruments, controlling audio, video or lights under the use of the open source platform Arduino. It introduces different kind of sensors that are available to capture all kind of parameters (i.e. movement, temperature, light, sound and so on) and will focuses on the question of how to generate useful signals from those sensors. Playing the Stage II has its focus on the artistic creation. We will work on performance scenes using the stage instruments. The scenes will be developed in regard to the interests of the participants and explore the conditions and possibilities of working with interactive technology. http://hangar.org/en/news/playing-the-stage-2-tallers-descenografia-multimedia-a-carrec-de-jan-mech/


MINDBOX. http://mindbox.humatic.net/ interactive installations . MindBox (Information for Festival Partners & Collaborators). With the audio-visual triptych MindBox Christian Graupner & partners created an audience reactive installation and an electro acoustic music instrument using the body of a ‘one armed bandit’ as an user interface. MindBox is a part of the work cycle H.RP [Humatic Re-Performing] . The installation attracts visitors’ senses offering a joyful gambling- game around musical, choreographical and cinematographical elements as dance & beat-boxing. The latter expression describes a form of vocal percussion from which the installation derives its title. MindBox is a triple-channel ‘media catapult’ to be touched.The arm and buttons of the modified fruit machine function as a tactile interface to the actions of a filmed character whose vocal- & movement clusters can be re-composed and re-performed by the audience. Related Works (CG): 2LivesLeft feat. Tuna Trigger. Don’t Dance feat. eLBee Bad
BorderLands (currently in production) . BadCon (currently in production) . Touch/Tactim by Gwendaline Bachini & Humatic. Radio G (prototype) . 
Video clip : Not Alone  http://video.google.com/videoplay?docid=-4826553005157834010#   Archive : http://worx.humatic.net/p/61inst_art.htm


QUAYOLA. is an interactive design studio based in london. it has been recognised in the major awards, prizes and festivals in europe and america such as offf barcelona and others. quayola is now participating at the nike launch “feel london” project. A series exploring running and feeling launches from Nike’s experimental London space.  From 11th to 20th October, Nike’s 1948 space in Shoreditch will turn into a space where art and science come together for “Feel London,” a series of workshops and events inspired by the Nike Free Hyperfeel. The programs include work by musicians, visual artists, and technologists, from Universal Everything to Daniel Widrig, Quayola, Natan Sinigaglia and Rhizomatiks, who have made interactive, digital pieces articulating feeling, comfort, design, freedom and connectivity. The workshops include one-of-a-kind activities, like creating a tactile foot casting based on a run around East London with designer Shamees Aden and barefoot runner Kris Rai (14th October), designing “skin” fabrics based on another run around East London (15th October) and composing a running performance with graphic artist Ben Drury and sound artist Yuri Suzuki (16th October). On 12th October (1 to 2 p.m.), the Nike Innovation Kitchen, Rhizomatiks, and Universal Everything will have a debate about the innovation of the Nike Free Hyperfeel from the perspectives of art and science, and on 14th October (7 to 8 p.m.), barefoot runner Kris Rai will be in conversation with an elite Nike athlete. On 17th October, Hellicar & Lewis (Pete Hellicar and Joel Gethin Lewis, who are also hosting a workshop with Nike Innovation Kitchen on 20th October) are debuting FEEL.TV, which allows the public to attend and influence an event at 1948 through a live interactive online broadcast, which will be hosted on Dazed Digital. Associate Artists of the English National Ballet, the London Contemporary Orchestra, Redlight, Run Dem Crew, and other guests will host, perform and interact with viewers both in person and digitally, bringing online and offline together in an unprecedented way. The 10 days of workshops and performances are open from 10 a.m. to 6 pm. on weekends and 10 a.m. to 8 p.m. on weekdays. On 11th October, the space opens at 1 p.m., and on 17th October, the space closes at 4 p.m. Book your spot for the workshops, workouts, and talks on www.nike.com/FeelLondon and visit the exhibition anytime without a reservation. Look forward to more online stories about “Feel London” and the Free Hyperfeel on Dazed Digital. http://www.1948london.com/


——————————————————————————————————–AMON T
OBIN. ISAM. mapping.  Brazilian-born Amon Tobin first emerged between 1994-1995 with a string of 12″ singles on the small London-based record label 9Bar Records. The album that followed, Adventures In Foam, paved the way for a whole generation of electronic productions and prompted his signing to the prodigious Ninja Tune in 1996. He has since gone on to record seven critically- acclaimed albums under his own name on Ninja that have since helped define the label as a force in musical innovation and diversity. In addition, Amon has produced a small number of radically diverse original scores ranging from George Palfi’s cult cinema oddity Taxidermia to Tom Clancy’s video game blockbuster Splinter Cell: Chaos Theory.      An Acronym for “Invented Sound Applied to Music”, ISAM was an experiment in synthesizing field recordings and transforming them into new physically playable instruments to create unique sound palettes. From Amon’s own voice gender-modified to the sound a of a creaking chair mutated into a string ensemble, ISAM directs an academic approach in audio manipulation to a purely emotional musical context. This contrast is central to the album and represents a pivotal moment in Amon’s personal musical development. Sound design techniques previously used in film, as pioneered by the likes of Ben Burt (Star Wars, Wall-E) were utilized along side new ones Amon developed specifically for ISAM and applied in an unprecedented approach to music production.  The specific nature of the album demanded new thinking in terms of how to present it live and this in turn lead to an entirely new kind of music performance. ISAM Live is a hybrid of interactive cinema and a concert experience in which sound determines a narrative. Much like the album, the live show adapted existing and emerging technologies to new contexts. Projection mapping, which had up to then been largely the domain of static mostly corporate visual showcases, was configured for the first time to narrate the musical performance of an entire album. A giant cubic structure was built housing a control booth from which Amon could perform while providing an intricate canvas on to which a story was told as an audio reactive, three dimensional visual interpretation of the music being played.  ISAM Live reshaped audience’s expectations of electronic music concerts for years to come selling out the worlds most prestigious venues. From the Sydney Opera House to the Olympia in Paris to the London Hammersmith and LA’s Greek Theater ISAM Live received universal acclaim as a landmark in audio visual performance.

http://www.amontobin.com/   http://vimeo.com/47216543

——————————————————————————————————–FEEDBACK5 Media Installation by Gleeson / Graupner & Partners .  
Jimi Hendrix popularised controlling sonic chaos, Robert Palmer ‘s 1980’s ‘Simply Irresistible’ video parodied iconic imagery and stereotypes, the multi-screen environment *FeeedBack5* extensively celebrates the female feedback guitar. Exploring the edge between cliché and expressive language the installation FeeedBack5 opens up a field of experimentation to create a new form of inter-connectivity between video characters, sound generators and visitors / players. ‘….bodily stimulation, as intermedial transposition and as a method of conveying music-making behaviour in the context of visual arts, are notions that were not only realized but also popularized by J. Hendrix in his body-regulated play with feedback. It was ultimately pop music that realized the notions of bodily music making and of bodily reception of music on a large scale….Prof. Dr. Werner Jauk, Graz. The multi-channel installation FeeedBack 5 relies on the stimulating effect of the guitar-feedback sound and beauty – focussing on pure bodily excitement in aesthetic and social contexts – before becoming meaningful . It places the audience in a situation to close and manipulate inter-media feedback loops and to become an integral part of a complex musical circuit. more. FeeedBack5 Concept & Visuals : Christian Graupner (Humatic Berlin). Sound / Music & Programming : Alan Gleeson (Berln / Dublin)


FeeedBack5 Media Installation TECHNICAL RIDER T
please follow the updates according to production progress on this site and don’t hesitate to contact in case of questions
Full 5 channel version FB5 in its final version is a full featured reactive audio-visual intallation consisting of
to be provided by the exhibition organizer:- five vertical 16:9 screens ( letting the protagonists appear in live size) at least 55″ better 65″
– minimum 5 channel audio-system as genelec 1029 a or better plus subwoofer(s) and stands
( We were thinking of smoke machines and stobe lights but this needs to be tested with camera motion tracking on location)(provided by the artists:)
– up to three fast PCs and tracking devices fast network gear.
3 subscreen triptych For smaller venues and lower budgets we might offer a triptych ( 3 subs screens) version which can run on a single machine .to be provided by the exhibition organizer:- 1 horizontal mounted full HD screen or back projection of min 65″
– 5 channel audio-system as genelec 1029 a or better plus subwoofer(s) and stands(provided by the artists)
-one PC and Kinect tracking device( this version might save costs because it can run on existing hardware … but doesn’t offer the full immersive augmented bla bla:) user experience)
Linear version In venues where the interactivity is not important or needed we can present a linear version, which runs on 3- 5 syncronized media players as a 20 minutes loop .
– 3- 5 vertical 16:9 screens ( letting the protagonists appear in live size) at least 55″ better 65″
– 5 channel audio-system as genelec 1029 a or better plus subwoofer(s) and stands
– 3 – 5 full HD frame-sync(!) media playes as adtech signedje( this version might save costs because it can run on existing hardware … but doesn’t offer any external control by visitors)
We recommend to festival / museums partners to contact us for further details and adjustments. Technical details incl. possible updates are available at http://fb5.humatic.net/techrider

http://fb5.humatic.net/       http://www.humatic.net/art/images/fb5shots/FB5_qt.html



CHRIS ZIEGLER. SwarmLake. 2013. Interactive Dance Performance by Chris Ziegler (D), Kenneth Flak (NO/EE), Külli Roosna (EE) with Daniel Bisig (CH). ZKM_Cube, admission 10/7 €, plus charge, Premier: Fri, Sept. 6, 2013, 8 p.m., Performance: Sat, Sept. 7, 2013, 8 p.m., Dance meets media art: Karlsruhe media artist Chris Ziegler presents his new dance production with the Norwegian/Estonian dance duo Kenneth Flak and Kolli Rossna. The basis of the dance performance is the system of movement elaborated by the dance duo entitled “Response Body − Responsive Space”. This system conceives of the body as a system, which seeks the connection of space, audience and media on stage. In collaboration with Swiss scientist Daniel Bisig, Chris Ziegler designs a “Corps de Ballet”, a computer generated swarm of agents which dance like fish around visitors’ feet. design, choreography/production: Kenneth Flak, Külli Roosna, Chris Ziegler. Dance: Kenneth Flak, Külli Roosna. Music: Kenneth Flak . Stage, software: Chris Ziegler . Swarm algorithms, software: Daniel Bisig   . The interactive dance performance is supported by Norsk kulturråd Ny teknologi Norwegen, LAFT (Landesverband Freier Theater Baden-Württemberg) with funding from the Ministry of Science, Research and the Arts of the state of Baden-Württemberg, Sõltumatu Tantsu Ühendus (STÜ), Tallinn and the ZKM. For further information, please go to: www.movingimages.de     http://www.movingimages.de/?type=performing&txt_id=113&lng=eng     http://www.movingimages.de/?type=performing&txt_id=113&lng=eng


RANDOM DANCE Wayne McGregor 1992 and became the instrument upon which McGregor evolved his fast and articulate choreographic style. With collaboration at the centre of his practice, McGregor has innovated new work with world class artists including composers Scanner, Jon Hopkins and Ben Frost; visual artists Mark Wallinger and rAndom International; and film-makers Jane and Louise Wilson and Ravi Deepres. Collaboration with science and technology communities has also fuelled choreography mined from radical cognitive research processes. This unique, tenacious questioning between artists and artistic mediums, across the interface of science and art, through the body and mind, has ensured that Wayne McGregor | Random Dance has remained at the forefront of contemporary arts for the past 20 years. Wayne McGregor | Random Dance is Resident Company of Sadler’s Wells, London. Wayne McGregor is Resident Choreographer of The Royal Ballet. In January 2011, McGregor was awarded a CBE (Commander of the Order of the British Empire) for Services to Dance.




MARINA ABRAMOVIC http://www.marinaabramovicinstitute.org/


JUDSON DANCE THEATRE: Yvonne Rainer, Tricia Brown, Yoko Ono. 1962. Performers, dancers, artist, collaborations with filmmakers. Post-modern. Yvonne Rainer‘s ‘no manifesto’. Rainer focused on sounds and movements, and often juxtaposed the two in arbitrary combinations. Somewhat inspired by the chance tactics favored by Cunningham, Rainer’s choreography was a combination of classical dance steps contrasted with everyday, ordinary, pedestrian movement. She used a great deal of repetition, and employed narrative and verbal noises (including wails, grunts, mumbles, squeaks, and shrieks, etc.) within the body of her dances.  Meredith Monk, (b. November 20, 1942, New York, NY) is a composer, singer, director/choreographer and creator of new opera, music-theater works, films and installations. A pioneer in what is now called “extended vocal technique” and “interdisciplinary performance,” Monk creates works that thrive at the intersection of music and movement, image and object, light and sound in an effort to discover and weave together new modes of perception. Her groundbreaking exploration of the voice as an instrument, as an eloquent language in and of itself, expands the boundaries of musical composition, creating landscapes of sound that unearth feelings, energies, and memories for which there are no words. Over the last five decades, she has been hailed as “a magician of the voice” and “one of America’s coolest composers”. Carole Schneemann, Trisha Brown. Yoko Ono, wife of john lennon, conceptual artists, pioneer of electronic art, participated in major exhibitions and international art events  http://www.meredithmonk.org/about/bio.html    http://www.caroleeschneemann.com/   http://www.trishabrowncompany.org/


JAN FABRE. – Spill Festival. Paccitti Company. QEH. Orgy of tolerance  – In Orgy of Tolerance, Jan Fabre explores the boundaries of what is considered normal through a series of absurd sketches that interrogate a society that has become excessively tolerant. Using actors, dancers and musicians, Fabre mocks a world where excess is normal, everything is possible and everything is available according to the credit cards in our pockets and 24 hour access, and any deviation from the norm is considered unacceptable – whilst also coming to the numbing realisation that nothing has the power to shock anymore.   http://janfabre.be/troubleyn/   http://www.spillfestival.com/performance/orgy-of-tolerance/


ROSEMARY BUTCHER.  Dancer. Performed at Judson Group. 1970’s. “This British artist is an icon of the New Dance movement, radically uncompromisingly and indefatigably expanding the limits of dance” http://rosemarybutcher.com/


ROMEO CASTELLUCCI. Inferno, Purgatorio et Paradiso, adapted from Dante’s works (2008). Performed at Spill Festival, 2011, at Barbican Theather. Is a 3 different operas. Played in 3 different times. He directs too raffaello sanzio company. http://www.raffaellosanzio.org/http://www.youtube.com/watch?v=LOv3QsyJG2I


VANDEKEYVUS, WIM. http://www.ultimavez.com/  Wim Vandekeybus is a Belgian choreographer, dancer, film director and actor. His dance company is based in Brussels, and is called Ultima Vez. He directed several shows, since his first piece in 1987, What The Body Does Not Remember.

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