PIKSEL

Audio Blast Festival is a no-festival within festivals. It’s a new invitation for musicians, sound artist and others noise makers to play live through the internet. This live music will be experienced in 2 venues, one in Bergen for the Piksel festival and the other one in Nantes at the Plateforme Intermedia / Fabrique as a physical node of Piksel festival.

For decades now, experimental music has been seeking its own positioning, through different names, genres and sub-genres, where artists constantly strive to renew themselves. We are facing a mise en abyme of what could be called music so far: there is no more music as such, neither academic, nor popular, we are at the end of an era when music used to be embodied. Post-music no longer bothers with “objectification”, it is constantly being diffused though the extra-sensory ubiquity of its digitisation, of real-time sound and distanced listening.

A chance to experience new forms of music created through Networked Performanes. 8 hours of intensive live audio flowing via Nantes to Bergen over 3 days of the Piksel Festival. more than 30 hours of music Including works from Sound artists, composers, musicians from around the world.

All the live performance will be played on a quadriphonic sound system in both country. Audio Blast Festival is curated by Julien Ottavi and organised by APO33. www.apo33.org

Live CHAT

THENOISER, Jason Kahn, VOMIR, cdrikcroll, STROM VARX, Alex Mclean, th-th, Brice Jeannin, Emmanuelle Gibello Scenophonie, Robert Piotrowicz, Roel Meelkop, Philippe F Roux, Shoï Extrasystole, Romain Zigani, Luc Kerleo, Julien Poidevin, Francisco Meirino, Benjamin Cadon, Zenial, pizMO, Carl Stone, Jenny Pickett, Francois Martig, PifPaf (Avatar), Joachim Montessuis, Marinos Koutsomichalis, Seth Cluett, Raphaël Ilias & Florian Tositti, Oscar Martin (Noish), Kazuyki Kishino (KKNULL), Mattin..

Direct link for VLC/Mplayer etc. : http://apo33.info:8000/audioblast.ogg

Corazón de robota is a musical project composed only by handmade analog synthesizers and sequencers which are crafted from different materials like fabrics, electronic waste and chocolate boxes. These devices generate different frequencies which play randomly, exploring the rhythmic dimensions of noise.

Antonio Cavadini aka Tonylight lives and works in Milano. As a musician and explorer, he has been fascinated by 8-bit music since the beginning and joined the community. He plays the Game Boy and old computers like NES and Atari ST since 2001.Due to the simplicity of the applied tools, he finds lightness and freshness in the 8-bit scene. He feels particularly attracted to the project micromusic.net, a community where he finds friends with similar interests.

Do You want to see the invisible Do You want to hear the inaudible?

BAT is an audiovisual performance which happens in the darkness.
It is all is about what we can’t see and what we can’t hear.
Kasia Justka uses prerecorded takes, which shei recorded in a bat park in Poland this summer, playing live using free software.

It also includes ultrasounds, made using home made circuits.
The performance aims to create the same atmosphere as she experienced during spending time in a cave full of bats. Playing inaudible sounds and invisible images.
Recorded all in darkness, using home made infrared light and a batdetector for ultrasounds.
We all are like these beautiful and scary mammals. All we use is senses, this is what we need to live our life.

Pulse Shape 22 is an improvisational audiovisual performance featuring shortwave radio transmissions as the sole source material for realtime audio processing alongside video of the sun captured through cast glass lenses designed specifically for this piece. Pulse Shape 22 utilizes Gnu Radio software in conjunction with Ettus Research LLC’s Universal Software Radio Peripheral for realtime data acquisition and demodulation, as well as custom software built in SuperCollider and C++ / OpenFrameworks for live signal processing and video manipulation. The structure of the piece is derived from metrics on energy accumulation over a period of 2.2 nanoseconds resulting from the targeting of sixty lasers on a single tetrahedral hohlraum in weapons testing experiments as carried out at the Los Alamos Inertial Confinement Fusion Unit’s Omega laser facility, and its spatialization engine is driven using the pointing parameters for the laser beams from these experiments. Pulse Shape 22 is an exploration of architectural space through the use of site- and time-specific information found in regions of the electromagnetic spectrum outside of the reaches of the human sensory apparatus. It is an attempt to alter the audience’s perceptions of their surroundings and create a moment of rupture from hidden worlds found in our local environment.

Heroína is a work that involves designing and implementing a series of devices made ​​from textiles and electronics, which will use the human body as support. These devices operate as technological prostheses, being reactive to movement of the body as well as stimuli received from the environment.

This work, from the female body, proposes a prototype of increased body through artificial layers that form a second skin. These layers allow to extend the possibility of biological body interaction with the environment, referring to the imagery of the superhuman qualities of a superhero.

From the intimate scale of the human body, Heroina reflects on the incorporation of gadget and technological prostheses that merge the human body and machine.

Megatsunami is a live performance that has been realized using Lumanoise (a self-built instrument), strobe lights, laser and cold or incandescent lamps.
Modulating the diverse lighting sources largely through improvisation, the performers stratify sound and light waves and organize a rhythmically obsessive liveset characterized by an electrical, noise and industrial sound.
The outcome is a powerfully sensorial synaesthetic experience, both hypnotic and perceptively stimulating through the perfect synchronization between sound and light.

Live A/V Performance
knifeloop + hexler
2012

The sound of objects (often selected on the day of the performance) are relayed, through contact microphones, to a multi track looper and digital delay and then fed into a custom GPU live-coding software for on-the-fly programmed, visual synthesis.

With these tools the sound waves of different elements are discovered and exploited and made visual in the moment. The materials themselves are not what is important but the procedure that their sounds are put through in the act of their creation, sonification and impromtu re-interpretation on the screen.

With this in mind the work process will be an inherently open one. The frankness of the techniques shown in the work enables the audience to easily understand the relationship between the physical, the sonic and the visual. And so enhance the subjective perception of the moment.

This duo plays improvised music; Hvizdalek uses only voice and microphone, although with her voice techniques it may sound like something else entirely, while Fetveit uses primitive electronics, as the voice can sometimes sound like. Their playing with the similarities between pure voice and pure electronics gives a musical tension and a distinctive sound.

The couple is happy to go to the extreme, either reducing or exploding soundwise. Not so easy to say what happens before it happens, but easy to say that it does not happen with a four quarters beat.

Hvizdalek originates from Vienna’s improv-environment, while Fetveit started his noise experiments in Oslo in the early eighties.

Live versión of my last release “Black Nature”.

Exploration of the sound posibilities of the of the “boids algorithm”.

Boids is a bird flight and animal flock simulator. It is based on the same algorithm which was used in Jurassic Park for the herding dinosaurs.

Based on Simon Fraser’s implementation of Craig Reynolds’ Boids algorith. Boids is free for non-commercial use.

I used the boids lib from Pure Data and some [phasor~] audio generators. (c) 1995-98 Eric L, Singer float/2d/3d adaptation by a. sier / jash

The code developed ( Pure Data ) and the audio is avaible at http://humrec.org/

The release inagurates HUM.RECHum.rec label which will support experimental sounds made from the open source philosophy. (Free / Libre and Open Source Software) and in which “releases” also include the source code. Each release will be available or free download – high-quality FLAC and also in physical format, in this case in cassette 40 minutes.

noish web >> http://noconventions.mobi/noish

Restlichtverstärker is a Berlin music duo of Servando Barreiro and Malte Steiner, working together since 2011.They created a complex stepsequencing and soundsynthesis patch for Pure Data and work with two synchronized laptops via OSC. They augmenting their performances with generative visuals since 2012, also done in Pure Data. The music can be described as rhythmical Clicks And Cuts or IDM. With the open source Pure Data they found their ideal platform to collaborate, exchange and explore sequencing and synthesis concepts plus are able to include easily stock and custom hardware controllers.

The concerts build up from scratch, nothing is stored and each performance is unique.

http://restlicht.hotglue.me

This is a live audiovisual work in progress, utilising puredata and processing. This work represents a departure from my previous work in that it uses sonic material entirely synthesised live in puredata as opposed to working with found sound or recorded source material, and is consequently more directly reflective of my visual practice.

The project is a live, audiovisual, beat-and-noise-based performance work utilising processing and puredata communicating live via osc. The intention is to create a symbiotic system, in which live decision making by the performer impacts on both the audio and visual components of the work but also in which both the audio and visual components can interact with one another, causing behaviours which are not directly controlled by the system performer. There is also an element of chaotic behaviour built into the system, causing unpredictable audio and visual outcomes.