Sagaan_incoherent scatter // live performance – Sagaan collective
Sagaan_experimental audiovisual collective with roots in industrial and dark techno, broken beats, black and white visual patterns from the magnified observation of nature and analog video synthesis made with self-designed devices. The live performance mixes analog synthesis with live modulation of electromagnetic waves picking up sounds from the satellites with different antennas and GNUradio Companion .Sagaan_based on Cantabria-Berlin is part of the collective working group MP19, focusing on providing theoretical and practical workshops on free hardware-software, analog / digital electronics, working with Puredata, Supercollider, and different microcontrollers like arduino for video and audio synthesis.

Based on the colective imaginary of the SPACE and the memories of the space race during the 60`s to mid 70`s MP19 has created an A/V Live Performace of 45/60 mins is developed using live audio/video synthesis and free open source software & hardware.

Thanks to GNUradio developers (Eric Blossom & team) & Gpredict (Alexandru Csete a.k.a 0Z9AEC & the previous work of John Magliacane)


Restlichtverstaerker – Servando J Barreiro, Malte Steiner
Duo based on Pure Data sequencers and synths and interaction based on light sensors.


Sublimation Revision – Wanda and Nova deViator
“Sublimation Revision” is an experimental audio-visual performance that utilises modulation, granulation and feedback loops on sonic and visual material to arrive at electrifying blend of gentle and brutal always on the border between the abstract and conrete. It draws material from experiements with a/v compression algorithms and custom digital signal processing using free software tools (Linux, Pure Data). Thematically it deals with notions of shame and beside-ness in immersive techno-society and its ethical implications.


Noise Make-up Language – Alejandra Maria Perez, Luka Frelih
NML is a noisemaking propaganda network of browsers, DIY electronics, pure data and activist collaboration.In noise we perform an environment to manifest a display of forces, it’s an environment more than a discourse, a space, or many spaces for noise to occur – a meta-discourse. Noise may still be occurring when there is sudden silence. Noise is similar to games. Noise is a sort of gaming environment where organization alternates with entropy.

Using the web as a dynamic visual composition canvas lets us bring the performance to the many networked screens the audience has and establishes a game field where confrontations can be enacted by moving and transforming visual and textual elements under combined human and algorithmic control.

The web is not only the lowest common denominator of today’s wide spectrum of computers, it is also an excellent vehicle for getting open source software on many of them – increasingly designed as appliances where programmability by the user is seen as a risk and not a desired feature.

NML was designed to also work on the web as an easy way to publish an audiovisual call. Our first try was made to help to call out for people in Valparaiso to join a demonstration to protect funiculars, the town’s unique industrial heritage, from disappearing.


Computer Music is Dead – Christian Galarreta
Catching the magnetic fields of broken computers component and electronic trash to generate a sound experience“ The computer is only used as a source of electromagnetic energy captured as noise and drones, Software is not even used until the album´s coda, which sees the Peruvian monitoring the electrical field as he performs various programming tasks unrelated to audio processing. Bizarrely, it´s by far the most musically enjoyable of the three releases even as it seems to question the validity of its own existence” (Keith Moliné, The Wire, December 2010)

” Defines a suitable digital set, amplifying the magnetic fields caused by disordered electric parts, obtained by dissecting normal computers and using appropriate sensors for recording. The responsibility of such an enigmatic and provocative title, “Computer Music Is Dead”, is well balanced even in the second execution – which follows the same procedure – and is run under Apodio GNU/Linux: forcibly manipulating the graphical user interfaces of software like Mozilla Firefox, Qjackctl and Pure Data. There’s an indirect reference to a form of musical otherness that computer music, is doubly dying: as a medium reduced to mere loose parts, in the theory that “pushed” to its most radical consequences, it is protected from any “aesthetic” and “usability” sophistication. ” (Aurelio Cianciotta, Neural Magazine, December 2010)




An inter-cities sound performance spatialization through a free-multi-directional net-radio system. Using Icestream to perform and mix different audio streams, The Great international Audio Streaming Orchestra perform new ways for orchestra composition where the composer become a virtual entity that emerges from a community of audio explorers/nodes.

Nodes participants:

Emiliano Hernandez Santana (Merida-Venezuela/Barcelona-Spain)

Fak.Apdayc (Arequipa/Cusco-Peru)

Gabriel Castillo (Lima-Peru)

Julien Ottavi + Jenny Pickett (Nantes-Francia/UK)

Sebastian zvook (Bogota -Colombia)

Omar lavalle (Lima-Peru)


Thierry Heinz (Strasbourg -France) > Processing code catching on live aleatory pics from public web cams from the cities of the GISO 2 participants.It would be played on the PIKSEL-LOGO Stream Machine

In situ: Roman Papion, Christian Galarreta and Julien Poedevin


karimbo 555 – Cristiano Rosa, Daniel Llermaly
After crossing into different parts of South America as part of the tours dictation workshops, organizing concerts and laboratories for the development of audio and video projects DIY, Daniel Llermaly and Cristiano Rosa. Start the Karimbo 555, the audiovisual project which proposed to develop through use and real-time manipulation of the devices produced. Thus Karimbo audio and image 555 is handmade electronics. The same pulse triggers sequencers, which in turn give rhythm to oscillators, effects, ataris hacked punks and toys, which ultimately are mixed with the reception of local radio stations and all kinds of sound sources that can find its way. 
EETZ – oscar martin correa
“ EETZ” live audio performance by oscar martin (noish) time: 30-35 minutescaos audio teorie – extrange attractors–[from mathematical functions to organic jungle sounds]

Audio generated from the heretical use and the experimentation with the sonic possibilities of the iterative function “logistics” in a “complex number” versión [real+imaginary]. Inspirated but desviated from the research and work by
“Elaine A. Walker”

f(xn+1) = 1 – rxn2

adding chaos to the chaos
jumping from attractor to attractor
eternal instability
3d Fractals modulate the temporal frequency of the iterations (Chaos PD external by Ben Bogart)

Audio generators : I used [polywavesynth] a polyphonic synthesizer for Pure Data by Phil Stone

and some other more simple oscilator, [nqsint] + FM-AM .



baudi(o) painting – Jason Glen Levine
Baudi(o) Painting is a high-energy new media performance where the performer paints his body and the stage with his voice. Virtuosic beatboxing, ecstatic chanting, and deep meditative throatsinging generate abstract graphics that are projection-mapped onto and around his body as he dances through the space. These complex geometries filled with nervous energy escape their creator and take on a life of their own. These newly born digital organisms represent fragments of the performer’s aura fractured by the visceral sounds of the performer himself.Baudi(o) Painting teeters between attempted meditation and emotional explosion. Being an improvised act, the narrative is constantly evolving leaving no two instances of the act the same.


Channelling Interference – Ryan Jordan
The audio static buzz and noise is momentarily hijacked as stray pirate radio frequencies are channelled and received through human flesh and bone. The squawks of voices and distorted rhythms of music below out as the interference is carried inside the system. Approaching the phosphor coated television screen noticeable patterns begin to form and change with the bodies proximity to the radioactive, electromagnetic device. Upon contact with the screen and the skin electrons shoot from the cathode ray tube sending painful static pulses racing out into the ether, hurtling towards the earth. The body absorbs them willingly channelling them through the circuit. Oscillations of bioelectrical feedback. The body is integrated.


Headcleaner – Gisle Fr0ysland
HeadCleaner is an audio performance using custom built instruments made from obsolete computer parts.Headcleaner explores the electromechanical soundscapes of the early days of computing. The buzzes and whizzes of spinning drives and clicks of loading media forms the basis of an improvised performance building multiple layers of sound resulting from pushing the hardware beyond the boundaries of it’s original purpose.


Text-n-FX – Brendan Howell
What would happen if the DJ’s who were inventing hip-hop in the 70s and 80s were mixing text instead of phono records?Text-n-FX is media-archeological fiction that asks and attempts to answer this question. The central component of the performance is a device that looks like a piece of cheap 80s DJ equipment. It has two 5.25″ floppy drives and a set of faders. The operator or “TJ” controls the speed, direction and reading method along with a crossfader to manipulate the mixing algorithm. The TJ can choose between various parsing techniques culled from Natural Language Processing, experimental fiction and statistics. What comes out is like the love child of Afrika Bambata, William Burroughs and a Spammer.



Music for Flesh II – Marco Donnarumma
Music for Flesh II (Marco Donnarumma, 2011) 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 diffuses it through a variable set of loudspeakers.

The neural and biological signals that drive my actions become analogous expressive matter, for they emerge as a tangible sound.


Notstandskomitee: Thermal Explosion Machining – Malte Steiner
The base is a looping patch done in Csound which plays multitrack audioloops created by Steiner in his studio with hardware and software synthesizers and samplers. The performing musician can switch through different scenes and songs with a midicontroller and Csound provides also the midi data for a visual feedback on a Behringer motorfader device.Additionally to some processing,that patch provides live synthesis for keyboard soli.

On the same Linuxlatop with the Archlinux destribution, Pure Data / Gem is running, providing the beatsynchronized visualization with realtime 3D graphics which is triggerd via OSC messages from Csound.

Notstandskomitee is Steiners soloproject which he started 1991 additionally to his work with the band Das Kombinat. It started as an Electro Industrial project but developed soon its own quirky electronic style. Several tape cassettes have been released, later CDs and vinyl. Latest release is Thermal Explosion Machining and released digital only through Bandcamp.


Dante Alighieri on the edge of times. Visions of the Divine Comedy in Bergen. – Agnese Trocchi, Tora Marie Krogh, Federico Bonelli
The timeless Divine Commedy by Dante Alighieri is the raw material of our work.We think that the Divine Commedy by Dante Alighieri is a never ending source of inspiration to inquire on human condition always hovering between hell, purgatory and heaven.

We will film nine “tableau vivant” inspired by nine chants of the Divine Commedy. 

We will make a casting in Bergen and we will choose places and situations “in situ” that will interact and vibrate togheter with the essence of the Dante’s visions.

With this project we want to look at Bergen in a perspective that include a vision of our condition today, on the edge of times. We step through the poetry of times to follow the paths of humanity.



Filtered Intimacy – Wendy Ann Mansilla, Paula Pin, Maria Mitsopoulou
Filtered Intimacy is a performance piece that experiments and explores the physical and virtual connection of the body. This relationship of the body to the physical stage and online is realized by using sensors and circuits attached on the skin. Through the physical movements of the bodies, the artists seeks to examine the potential synchrony produced in activating the digital slaves to generate a concert of noise and harmony. While at the same time, a visual composition is shown on screen gathering new data from a variety of social network sites every few minutes. The system searches these sites for dialogues between the interpretation of the actual body performing on-stage, the technology and the ecosystem; collects and stores them in a computer. Every movement and image that appears is creating a harmony of sound. In Filtered Intimacy, the potential of using various sources of sounds are explored, from the live physical bodily performance and from the networks` live performance.Filtered Intimacy explains the state of the body as being filtered online. By performing Filtered Intimacy, the artists interprets the cyberspace as being abode of bodies that are pursuing to understand and achieve the perfect state. There, our bodies are seeking ways to break out of reality only to be confronted with failure. The very moment that our bodies enter the intimate lives of others through computers and communication space, we are losing parts of our flesh. In the electronic space, we are leaving fragments of our bodies behind. We are unaware that the energies in our body can pass through the network cables and affect another entity. Beyond thinking, our body is speaking in the interconnected universe. The body and the universe are inseparable, and in the darkness they are in union, reproducing an infinite amount of light and sound. Continuously searching perfect flows to the point of disfunction. When disorder happens, concrete landscapes are married with abstract images where flesh and circuits are made one.


Silicone bake – Alex McLean, Jake Harries
A new collaboration between singer/guitarist Jake Harries and live coder Alex McLean, a bridge between semi-improvised pop and live coded techno, brought to life with unsolicited tales of sex, death and capitalism.With live coding increasingly widespread in arts festival calls, live coders must confront the new normality of their practice. Live coders have always argued for focus on the human role in the algorithm, but now they leave the comfort zone of the radical, they find themselves at last on equal terms with traditional musicians who can touch and resonate with their instruments rather than try to weave their music from the functional compositions of computer language.

Through this collaboration ‘Silicone bake’, Jake and Alex explore the algorithmic limits of the 3.5 minute pop song, distracting themselves from the task with the constraints of spam, ignoring the question of the human in the algorithm to celebrate love, death and counterfeit watches.

All lyrics will be taken from spam emails and sung live. All guitars will be plucked and strummed live. All generative algorithms will be edited live. Nobody will die.



din is noise / live coding – S Jagannathan, Alex McLean
In this fully improvised, audio-visual performance, I use din (, a free software musical instrument exclusively for the GNU/Linux operating system. At the start of the performance, I set the scale (chosen to suit the time of the performance), the key of the music and set some drones on the tonic, 5th and/or 4th notes. As the performance proceeds, we move inexorably towards total noise by modulating keys to microtonal pitches, reinterpreting the scales with aggressive FM & changing the timbre of the instrument live thru Bezier curve waveform editing.