|Cartografia Sonora Antartica, (Noise Lecture Performance)It uses sound recordings and footage from expedition to Antartica in
Very Low Frequencies and transduced hydrophone sound from Wedell seals
were recorded during 10 days journey in an icebraker. The project collects
sounds in remote places, antartica, atacama and isla robinson crusoe
(previous to feb2710 tsunami).
|UKI is a sequel to my scifi cyberpunk film I.K.U. [http://www.i-k-u.com], produced by Tokyo’s Uplink Co., premiered at Sundance Film Festival 2000. I.K.U. sets up GENOM corporation as Net sex data empire which dispatches IKU (orgasm in Japanese) coders to collect human orgasm data. Made into I.K.U. chips for mobilephone plug in, GENOM introduced orgasm on the go and made a huge profit. The year 2030 brings down the NET, GENOM takes up human body for BIONET construct, yet another orgasm scheme for the bio-trend ORGANISMO. The IKU coders from I.K.U., sex data retrieved were retired and dumped at E-trashscape where coders, open source networkers inhabited. Trading sex for codes to reboot their hard drive bodies, UKI, borne out of E-trashscape, emerge as infectious virus.UKI – a viral performance
Shu Lea Cheang with Martin HowseSonicscape with participation of Piksel10 artists
oscar martin correa, marco donnarumma, Joachim Montessuis, Alejandra Perez, Eleonora Oreggia, Julien Ottavi
|Hylics, of matter; “Can be thought of as a level of thinking, dealing with the
lowest portion of human nature. It is considered living by instinctual
drives with no sublimation. Hylics, choikus, sarkics, etc. are said to
be below Psychics which are below Gnostokoi, the highest order of
A modern day witchcraft, techno-mysticism, electro-hallucination; electronic alchemy.
Hylics use base materials such as the body, wood, and metal, feeding them with electricity, home-made circuitry, and pure data, to control brutal sound objects colliding through the ether.
|Phantasmata = n. pl. phan ·tas ·ma ·ta, from Greek phantasma.Images of the soul, mental images, something existing in perception only.
Mental imagery (varieties of which are sometimes colloquially refered to as ‘visualizing,’
‘seeing in the mind’s eye,’ ‘hearing in the head,’ ‘imagining the feel of,’ etc.) is quasi-perceptual
experience; it resembles perceptual experience, but occurs in the absence of the appropriate external stimuli.Description = Empiric noise-at-a-distance, electronic circuits, pulsating lights.
Instructions = Beware of your ears, close your eyes.
Disclaimer = If you think this performance may offend you, please call an Immortal.
|Audio performance using two identical 4track tape machines and home made electronics|
|A/V is an audiovisual performance with found, hacked and handmade hardware. It uses radios, 78 RPM (shellac) records, old telephones, motors, and different materials (amplified via piezo) as audio source, all of them controlled by an electromechanical sequencer I’ve designed and built. It focuses on a search of balance between randomness and rhythm. A/V set doesn’t include digital sound processing (with the exception of a simple 1-channel sampler from the hacked mixer), computers, or any kind of professional musical hardware. A handmade robotic camera (also controlled by the performed) shows the activity over the table. The (also found) turntable had to be hacked in order to play shellac records. It now has speed and direction control (PWM & H-Bridge). Portable radios offer music, speech and noise and leave many of the sound moments of the performance at random.|
|A group of international writers work for eight hours generating text-prompts, text and edit software in unrelenting micro-sessions to create a cadaverous exquisite_code life-document. Text is produced in response to prompts conspired by the writers at the end of each aperiodic session. For the performance at Piksel 2010 we execute a new distributed parallel algorithm where the writers are dispersed around Bergen within and without the festival space. Analog lookup tables dictate the physical routing or dead-drop of text-chunks. At all times all participants are available for public scrutiny and interaction and writing is made visible via periodic reading machine interrupt processes which rupture the pedestrian life-program flow.http://exquisite-code.com|
|Slub sound emerges from slub software; melodic and chordal studies, generative experiments and beat processes. Process-based sonic improvisations; live generative music using hand crafted and live coded apps, scripts and l-systems in networked synchrony. With roots in UK electronica and tech culture, slub build their own software environments for creating music in realtime. Only custom composition and DSP software is used. Everything you hear is formed by human minds.Slub project their screens so that the audience are able to appreciate their live software development process, which does not adhere to industry quality control standards.|
|RDEX (reaction-diffusion explorer) is a piece that explores an autonomous hyperspace mathematical model, searching for interesting emergent behaviour (life-alike, alife).The model is a kind of continuous non-linear cellular automaton, based on partial differential equations representing chemistry of two reagents involving reaction and diffusion.RDEX analyses the behaviour that emerges from the system, moving on to a new set of parameters if it fades into unchanging uniformity or explodes into erratic numerical instability. Much more time is spent evolving the cellular automaton when neither of those alternatives occurs: when it finds something really quite interesting…
RDEX for live audio-visual performance has a sequencer to choose 4D parameter points from the database, with the resulting evolving patterns converted to sound using a variant of wave-terrain synthesis.
Project website: http://rdex.goto10.org/
|Is an audiovisual performance that uses unique electronic instruments, delicate and unstable, built by the combination of assorted materials found at electronic debris, using Circuit Bending. These devices when played together generate electrical signals that reach a wide range of frequencies (from audible to ultrasonic). Depending on the combination of these signs, to locate its source is impossible, because the space is filled with this mass of sound that resonates in our body.The instruments are unstable, sometimes they can simply stop, creating a constant risk during the presentation. All these malfunctions or glitches turn part of the improvisation.|
|The feeling of having something stuck in your throat is that of not being able to express yourself properly. Most of all feelings of anguish and frustration are depicted in the performance. The performer’s mouth is also covered with duct tape. This increases the visual tension, and restricts the sounds to be solely produced by the the throat, and to be captured by the cheap Piezo microphones. Final visual elements of the performance are yet more restrictions to the performer’s body and senses. Black Duct tape is also covering the eyes, and the body is partially tied to restrict movements, as he sits on a chair. This is all thought to be a development of the concept of having something stuck on your throat, the sensation of not being free, and struggling to do so. During the performance, we witness the performer trying to make the most out of this limitation, trying to outcome the feeling of having something stuck on the throat, taking it out!
|Based on radio hacking devices, Radio Noise Interferences Collective extracts the essence of radio waves through unexpected revelations of their micro-activities. The combination of electricity and electromagnetic resonances, through the interaction of bodies and machinic connections, reveals the invisible fluidity within a noise-cloud. The participant/performers are picked at random at the beginning of the Live Performance. The Performers are asked to interpret a noise-cloud, all acting as a modulation of the same organism, decoding and recoding the universe in one movement. Detuning the radio frequency, playing with the fundamental lights of our life, interlayering of world sounds and using flesh to connect to an alternate sound world.
|The cartographer is a performance proposal about the power of cartography, the possibility through map visualization to colonize mental-space. It’s a 20 minutes long experimental live-coding documentary using puredata language as a mind-Maps tool.|
|Realtime audio-performance (30 min)Is sound work containing materials originated by playing and experimenting with (bash) linux console and using one simple command:cat /dev/mem >> /dev/dsp.
This action will dump a file (in this case a file like “/dev/mem” which is related to the computer memory) towards our sound device “/dev/dsp”. It will start then interpreting this input data transforming them into sounds.A raw and 8-bit sound is generated containing its evolutions,dynamic changes, rhythms, silences, textures, etc. Sometimes it sounds like loading old fashioned spectrum cassette games.
|This is a piece i started to create this year, an audiovisual visual psycho-poetry de/generative work using PD and IanniX and wireless sensors.The aim of my performances is usually to use the what is called sound and visual “poetry”post avant garde system, to create and reach a trance state – at least for the performer, then for the public to feel how voice, computer processes, sound, text and video flickerings can bring together a higher state of consciousness by experiencing directly some subtle perceptions of our multi-dimensions experience through a vibratory shock possession. This awareness process is the core of my work for the last 15 years.|
|Cities lie and die. Buildings are built, destroyed and rebuilt, like respiration. People are stacked up in layers, living their lives on top of each other, in their own office or apartment. Living or working in a space that is being constantly torn apart and reconfigured has an intense impact on one’s psyche. The dust and noise are so habitual that it becomes hard to imagine life without them.In Dystophonia, two musicians, artists and developers offer you an experience with noise and light. Their live sampling of music involves atonal clusters, dissonant runs and contrary movement. The images are sampled with Toonloop and the sounds with Sooperlooper.Toonloop is a live stop-motion animation system created by artist and developer Alexandre Quessy. It consists of a free software suite for video performance which shows the audience the creation process as well as the results. The Toonloop project has benefited from the support of the Society for Arts and Technology and the Université du Québec à Montréal.
|f(x) is an audiovisual exploration of 3-dimensional continuous spatial functions derived from the concept of continuous valued cellular automata. The functions form the basis for sound and visual synthesis mappings that create a complex and dynamic parameter network. The audio and the visuals are independent from each other both physically and conceptually and the reciprocal influence flows in boths ways in a non-linear manner. The segmentation of the visual space and acoustic time is controlled in the performance by affecting the behavior of the automata world in real time to reveal the complex, organic three-dimensional patterns that emerge and modifying the mapping space in response to them. The spatialization concentrates on composition and transformation of ambisonic fields rather than point sources. The audio and visual synthesis as well as the performance interface have all been developed and implemented in open source software (SuperCollider, liblo, OpenGL). The piece is comprised of 4 distinct audiovisual zones.|
|During six hours within an open space, the construction of situations
proposes the destruction of software as architecture (of
abstractions), environment, and language (a conversation) which
describes and constructs the systematic world. The unknown and
programmed event bears witness to the expansion of re-constructed code
as a new framework of discussion within the creation and organisation
of moments.A situation is constructed starting from this description, a large
room with people, a few tables and chairs, drinks, audio equipment,
esoteric technologies; the symbolic destruction of any framework as
new codes work towards the collective initiation and fragile
construction of a truly unforeseen site of execution.
|Lidén and Kindernay makes metal sing and moments of momentum seeable. The installation is built up by resonated metal objects embodied by strips of interacting images. The objects are both microphones and speakers and their feedback agitates continuously new layers of sound. The singing, hauling, droning scrap metal modulates numerous of moving pictures that are projected on the objects. Natural patterns mutating in abstract generative forms. Sometimes the sound draws and the image sounds. Tiny granular insects revive contemplative wired environment.|
|CELLULOSE (NO) is a duo consisting of Audun Eriksen and Arnfinn Killingtveit exploring the psychoacustic tangents of new and old technology through th use of acoustic and digital didgeridoo. The didgeridoo is used as a transcending tool for connecting the inner self to noise.|
|“Although a computer seems very rich of possibilities, most of computer
is always made of the same subset of its possibilities,
what people think that it is convenient enough to be called tricks,
we’d rather called them traps, because it always limits
the possibilities to the same temporal structure ( trackers, loops, …)
or texture ( granular synthesis, frequencies, white noise, .. )
or melodic and harmony ( algorithmic composition, fibonacci numbers, … ).
So, here, not of these tricks will be used
but rather a venture into a soundscape
of post-indutrial noise, open to improvisation
and with a fascination for unstable and
almost crashing systems, like the destruction
of the system was once tested
with the ‘/bin/rm -t /* : f*** the system’ performance.
Link : http://ydegoyon.free.fr