#LightHackSculptures by Pia MYrvolD at Piksel Studio 207

#LightHackSculptures by Pia MYrvolD
at Piksel Studio 207

Official opening
26th of May at 18:00 – 22:00
Exhibition dates: 26th of May – 24th of June
Opening hours: 15:00 – 18:00

Piksel Studio 207
Strandgaten 207

#LightHackSculptures by Pia MYrvolD  at Piksel Studio 207

Festspillutstilling Bergen 25 Mai – 24 June 2018
The #LightHackSculptures use of every day “over the counter” electronics as well as cast away digital gadgets that reflect the overproduction of cheap and meaningless products geared toward consumer society.

With the scribbles of electric cables, extention cords, a new kind of anti-aesetics emerge where we usually associate these materials as something we want to hide, but cannot, we surround ourself with them out of necessity.

The sculptures serve as “projectors” both in terms of lighting, lamps, videos and machines that cast light and contrast shadows into the surroundings and as a metaphor, projecting a contemporary reality of global behaviour in production, consumption and electronic waste, here transformed into objects of beauty.

About Piksel
Piksel is a network of artists and an annual event for electronic art and technological freedom. Part workshop, part festival, it is organised in Bergen, Norway, and involves participants from more than a dozen countries exchanging ideas, coding, presenting art and software projects, doing workshops, performances and discussions on the aesthetics and politics of free technologies.

Piksel is focusing on the Free/Libre and Open Source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention to the close connections between art, politics, technology and economy.

Piksel Studio 207 is Piksel’s new project in Bergen. A space for experimental media to expose innovative methods for expanding artistic opportunities and new creative tools based on free technologies. Piksel Studio 207 is established in a 130 m2 room where we create an annual program for artists, children and young people, cultural institutions and the general public.

AUDIO BLAST FESTIVAL – Online audio performance – Piksel Festival (Node)

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.


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. :

11:00 luc kerleo Roel Meelkop william nurdin
12:00 Zenial Marinos Koutsomichalis Thomas Dimuzio
13:00 Goh Lee Kwang Raphaël Ilias & Florian Tositti Michael Gendreau
Jenny Pickett
Romain Zigani
Francisco Meirino John Bischoff
15:00 Jason Kahn pizMO Julien Poidevin
16:00 Francois Martig Oscar Martin (Noish) Shoï Extrasystole
17:00 Carl Stone Seth Cluett Brice Jeannin
18:00 Benjamin Cadon Jorge Ramirez cdrikcroll
19:00 STROM VARX™ Emmanuelle Gibello piotrowicz
20:00 Philippe F Roux Joachim Montessuis alex mclean

Energy Bank – Amanda Steggell

Energy Bank: Prototype tests at Piksel[X],
Amanda Steggell (NO) with Kristine Øren (NO)

Since 2009 I’ve been working on various prototype ideas for charging stations in public places.
For the Piskel X event the latest version will be tested; a hand-cranked mobile charging station worn as a backpack with an audio feedback system. Operating from a base station, we will make several field trips into the city of Bergen to test the functional and communicative aspects of Energy Bank with a public in various ways. Information about the field trips will be available at a physical base, and via <>.

Developed with assistance from Servando Barreiro (sp/de), Espen Samuelsen (no), Simon Steggell(no), Roman Minaev (ru/de) and Trygve Laugstøl (no).
Supported by KORO, Arts Council Norway, PNEK and Atelier Nord.

Instrumentation – Peter Flemming

All things have a natural resonant frequency. This intriguing idea suggests a baseline connection between just about everything, but I’ll keep to the physical for now. My old car would vibrate intensely when reaching certain speeds. Our bodies have resonant frequencies. As does the stapler on my desk, as do skyscrapers, bridges, tectonic plates…

Instrumentation is an electro-mechanical sound installation inspired by resonance. The gallery installation preserves a sense of the makeshift, having evolved from studio experiments, using a limited palette of tools and readily available materials. Instrumentation is more like a framework or schematic, rather than a pre-determined finished work. Structured, but not scripted, the work contains a high level of improvisation and varies significantly from implementation to implementation.

Instrumentation has involved unlikely loudspeakers cobbled from buckets, drums, salvaged windows and hand-wound electromagnetic coils. These found-object resonators amplify other parts of the installation. For example, a plywood work-table serving as an acoustic transducer for electromagnetically activated piano wires, and as a stage for an assembly of machine ‘performers.’ Each lethargically performs a repetitive task, contributing to an endlessly fluctuating sound track of shimmering harmonics, sudden crescendos and arrhythmic beats.

By letting machines run the show, I hope to open up a temporary space for contemplation of the forces at work in the environment around us. Exploring the basic physical ‘magic’ of resonance, present within our everyday machines, structures and systems, reveals that we are subject to material laws that are fundamentally mysterious and outside of our absolute command. This elusive ‘magic’ is a worthwhile reminder that we are not in total control in a digital-technocratic world where total control seems to be a goal.

Downtime (Post-domestic fiction) – interactive installation – DamnLab .

Downtime (post-domestic fiction) refers to the representation of a system comprising of obsolete electric appliances. Through hacking methodology, the redefinition of their original identity is investigated, thus giving them new uses. The post-use of existing objects extends beyond the system’s practical everyday life applications and become part of a new system. This system is a hybrid of analog and digital technologies, faces the depreciation of units not as a conclusion but rather as an opportunity to review their functional capabilities While the electric appliances are the composers which produce live audio and video, the viewer’s subjective presence is crucial for the development of the project. Through his/her interaction with the objects, his/her personal intervention to the narrative produced, provides a constant influx of new material. Thus the experience evolves rather as a perceptual than a conceptual one. The project served as a collaborative platform, through which the multilevel reading of the dynamic new system is ensured. Starting from DIY methodologies the project is completed into a DIWO (Do It With Others) ethics.

Whatever happend, Happened – Daniel Palacios Jimenez

This installation tracks the audience movements on the gallery and translates them into a data visualization graphic that is drawn in real time, which means that the graphic will need as much time to be realised as the exhibition will be running, evolving from its own shape by audience movements to a visualization of the exhibition life itself.

One wood section which shows the growth rings of the tree from which it was extracted is an image that helps our understanding of time and change itself, without the need to operate on it. If we were able to see the creation of this image in real time and not once the process has stopped, to see it as it is created, it would force us to reconsider how we perceive our surrounding environment.

‘Whatever happened, Happened, is a machine which creates growth rings in a section of virgin wood, so that we may be part of a process which we believed before to be foreign to us, because we weren’t capable of perceiving it.

The machine engraves concentric rings in the wood surface by laser, so that the result is closer to reality than a computer-generated graphic. It is just as important that the graphic is realised slowly over time, involving external factors which could affect the process, separating us from the instantaneousness of a printer in order to understand the process that it is giving at that exact instant, while confronting the vision we are accustomed to, because we will always be able to make a comparison with the rings that it already drew at the moment of our visit.

Every day the machine begins drawing a new rings group, taking as a reference point the shape of the previous one from the day before. However, the distance of this and variation of its perimeter with be directly tied to the number of people in the hall and their movements; this will also affect the number of passes the machine makes over the ring throughout the day, thus influencing its thickness and depth.

Just as a tree takes its shape from the action of external factors and forces, with details of its surrounding environment engraved in its internal structure, the exhibition itself and its audience are the one who really create the work. The machine will produce a sheet with as many ring groups as the number of days the exhibition runs, creating in the end a ‘legible’ graphic of the changes in its surrounding environment, the hall, which will be as natural as a section of a trunk

{RdEs} Sonic/Light Emergency Distributed Network – oscar martin correa

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.

RdeS {} is a project developed with the support of:

PHONOS-IUA GRANT and with the collaboration of Interaction Lab – HANGAR.ORG

The SKOR Codex – La Societe Anonyme

The SKOR Codex is a printed book which will be sent to different locations on earth. It contains binary encoded image and sound files selected to portray the diversity of life and culture at the Foundation for Art and Public Domain (SKOR), and is intended for any intelligent terrestrial life form, or for future humans, who may find it. The files are protected from bitrot, software decay and hardware failure via a transformation from magnetic transitions on a disk to ink on paper, safe for centuries. Instructions in a symbolic language explain the origin of the book and indicate how the content is to be decoded. La Société Anonyme noted that “the package will be encountered and the book decoded only if there will be advanced civilizations on earth in the far future. But the launching of this ‘bottle’ into the cosmic ‘ocean’ says something very hopeful about art on this planet.” Thus the record is best seen as a time capsule and a statement rather than an attempt to preserve SKOR for future art historians. The SKOR Codex is a project by La Société Anonyme.

!Linear – Malte Steiner

This is one of the first, possibly the first interactive media art piece for e-reader. I am fascinated by the esthetics of the electronic ink which is different from the usual backlit color screens. After several years working with projections this is first of my artworks which needs a proper lighting. It is also interesting to work with and around the inherent limitations like the latency in the response and switching of the screen, complex animations are not possible without flickering.

!Linear (pronaunced nonlinear) is about interactive storytelling from user generated content, a mashup. Pictures are taken and processed from Flickr and their tags are displayed, user can choose from the provided tags how the next image will be searched. The selected tags combined form a sentence and creates with the images a non linear story.

To create this it was necessary to find an e-ink e-reader which is rather accessable. Amazon provides a SDK for Kindle but its necessary to write them an email and ask them. The Sony e-reader runs on Android and needs only to be rooted to access the underlying operating system. It provides a usual Android system with multitouch screen, Wifi connectivity and sound output, unfortunately no speech synthesis which was one part of the concept but it seems not to be possible. The software could be programmed as a normal Android Java application.The e-reader is meant to hang on a wall during exhibtion, together with small speaker for the sound because it didn’t have builtin ones.

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