performance

WORKSHOP Dance through robots Choreographic creation with the help of robots by Ugo Dehaes (BE)

Dance through robots

Number of Participants: 15
Place: Bergen Dance Center, Georgernes Verft 12, 5011 Bergen
Time: Friday 19th of November from 11-15h
Duration: 4 hours

This workshop is part of the Performing Arts Workshop program, electronics and free/libre technologies applied to the performing arts. It is a Piksel initiative in collaboration with Bergen Dansesenter – resource centre for dance in Vestland.

To register please send an email to: piksel21@piksel.no with your name and the name of the workshop you want to attend.

Dance through robots
Choreographic creation with the help of robots.

The workshop intends to be a collective research-moment where he choreographer Ugo Dehaes will bring a couple of robotic sculptures that will act as the inspiration for dance movements. The goal is to act as a first rehearsal for a future performance.

Together with the participants we will explore how we can move these robots by physically manipulating them, and how we can train their AI so they can move on their own.

We try to make small choreographies for these machines and discover how they can dance based on our input.


In a next step, some of the participants can try to translate these robotic movements into human dance, while others take care of the movements of the robotic sculptures.

The aim is to develop a new tool to create movements, starting form the robot’s inherent way of moving.


Finally, by attaching the robots to humans, we can create small duets between dancers and machines.

We create duets between human dancers and robots that are remote-controlled by other humans, or robots that create movements autonomously.


The overall goal is to explore how objects, or in this case robotic sculpture can act as an inspiration for movement-creation and what place robots can have on stage. 

For whom?
If you are a dancers and want to explore a new way to create movements 

If you are a choreographer and want to spice up your tools with technology 
If you are interested in the technology of robots
If you are curious and want to play with robots.

About Ugo Dehaes
www.ugodehaes.be

Ugo Dehaes [1977, Leuven] started to dance at the age of 18. During a year he took ballet classes, followed contemporary dance with teachers like David Hernandez, Benoît Lachambre and Saburro Teshigawara and attended a half-time theatre education at De Kleine Academie. The following year he started his full-time dance education at P.A.R.T.S., the international school for dancers and choreographers directed by Anne Teresa De Keersmaeker.

In 1998 Ugo started to work as a dancer for Meg Stuart/Damaged Goods. During three years he collaborated on the pieces appetite and Highway 101.

In 2000 he founded the company kwaad bloed [www.kwaadbloed.com] together Charlotte Vanden Eynde. Their first piece, lijfstof, premiered at Kaaitheater before starting an international tour to Vienna, Salzburg, Berlin, Paris, etc.

From that moment onwards Ugo created regularly new choreographies.
A first phase was inspired by the visual and mechanical aspects of the human body. He investigates the body as an object, how it grows older and how it can be transformed.
The second phase consisted of very physical work. He investigates what happens when two bodies occupy the same space, or how bodies can invoke emotions without the help of music or visual aids. This phase concluded with urban dance morphing into contemporary dance in a piece with youngsters and 6 autonomous drones.

Parallel a third phase aroused in which science takes an important role: from very visual choreographies inspired by the universal forces that keep our world together, to an investigation into the mind of persons living with dementia.

Since 2018 Ugo shifted his focus and became a choreographer of things. Ugo made the moving sculpture Stalactiet (2018) for Tweetakt Festival (NL), Forced Labor: Arena (2020), an installation with 8 interactive robots, Forced Labor (2021), a lecture-performance with small robots, Runner (2020), a self-learning robot, Pickled Punks (2021), a series of robots in jars of formaldehyde, commissioned by KIKK, and started the research for LIMP, a collaboration with Prof. Geraint A. Wiggins (Computational Creativity) and Axiles Bionics (AI robotized foot-protheses).

Next to his choreographic work, Ugo also made Coupure, a permanent, moving sculpture for the city of Bruges.

As a member of the Flemish Young Academy (www.jongeacademie.be) Ugo has a direct contact with numerous important young scientists and researchers in Belgium.

In the meanwhile Ugo gave numerous workshops and masterclasses and worked for other artists amongst which Stijn Grupping (Post Uit Hesdalen), Ehsan Hemat, Samah Hijawi, Stéphane Arcas, Sachiyo Takahashi, Emil Hrvatin, Arco Renz, Gisèle Vienne & Etienne Bideau-Rey, Kataline Patkaï, Nada Gambier, Antonin De Bemels, Heine R. Avdal,…


WORKSHOP You and I, You and Me by Mindaugas Gapsevicius (LT) and Maria Safronova Wahlström (SE)

You and I, You and Me

Number of Participants: 15
Place: Bergen Dance Center, Georgernes Verft 12, 5011 Bergen
Time: Thursday 18th of November from 12-14h
Duration: 2 hours

This workshop is part of the Performing Arts Workshop program, electronics and free/libre technologies applied to the performing arts. It is a Piksel initiative in collaboration with Bergen Dansesenter – resource centre for dance in Vestland.

To register please send an email to: piksel21@piksel.no with your name and the name of the workshop you want to attend.

You and I, You and Me
by Mindaugas Gapsevicius (LT) and Maria Safronova Wahlström (SE)
http://triple-double-u.com/you-and-i-you-and-me/

Imagine the future. Humans, computing machines, and various types of hybrids share the space they live in. Senses are altered, some are inextricably linked to computing devices. Electricity is used to control the space and beings living in it. Humans take responsibility to reshape social ties to avoid being controlled by corporations and machines.

The project You and I, You and Me explores the impact of the environment through electricity. How far could electricity help in understanding the other? Is there a possibility to alter human senses by electric impulses? During the participatory event, the audience is invited to experience the environment, including other humans, by wearing jewellery, shoes, and headwear.

The project production was supported by the Lithuanian Council for Culture, and the Nordic Council of Ministers
https://youtu.be/NmVE_78Y43o

The workshop will guide through the different wearables objects: jewellery, headwear and shoes which leads to different public interactions:

Collection of wearables

Jewellery
The collection of jewelry questions the impact of differently charged ions on humans. By definition, an ion is an electrically charged particle produced by either removing or adding electrons from or to a neutral atom being in every solid, liquid, gas, and plasma. These differently charged subatomic particles, while interacting, generate electric current. Consequently, humans also generate electric current. What are the abilities of humans to generate electric current and, while using it, experience the environment?

The jewelry pieces hold within it a small LED powered by the human body. Being very sensitive, the flashing of the LED depends on humidity, temperature, contact to the body, and other parameters that affect the components used for the circuit.

Headwear.
The project was inspired by research on brain-to-brain interfaces, including the study “A Brain-to-Brain Interface for Real-Time Sharing of Sensorimotor Information” by Miguel Pais-Vieira et al. Following the research, the collection of wearables questions the boundaries of empathy. Aesthetically, the project refers to traditional headwear and the role of headwear in signalling human identity to others.

The headwear uses medical strategies based on brain cell communication: the electrical impulses are detected while using electroencephalography (EEG), and brain stimulation is triggered by passing DC current through electrodes (tDCS), a non-invasive method to treat depressive disorder, increase empathic abilities, or decrease antisocial behaviour in violent offenders.

Shoes
The collection of shoes uses excess human heat, which is turned into electricity to generate sound. At the same time, shoes refer to daily clothing, something humans wear to protect themselves from unexpected environmental obstacles, including other organisms that are not necessarily always friendly to humans as well as cold. While being affected by the ambient temperature, light, and movement, the shoes suggest rethinking human’s relationship with nature.

Furthermore, the collection critiques the hype surrounding renewable energy, which often pollutes the environment no less than the energy obtained from burning gas or coal. Could excess human heat be considered renewable energy?

About Mindaugas Gapševičius
http://triple-double-u.com/you-and-i-you-and-me/

Mindaugas Gapševičius (born 1974) lives and works in Berlin, Weimar and Vilnius. His workquestions machine creativity without presuming that the human being is the sole creative force. He has completed MA studies at the Vilnius Academy of Arts in 1999 and received a Master of Philosophy degree from the Goldsmiths University of London. He is a creative fellow at the Bauhaus University in Weimar since 2015. Gapševičius was one of the initiators and founders of Institutio Media, the first Lithuanian media art platform (1998), as well as the European Migrating Art Academies network for emerging artists (2008). Along with colleagues from the TOP association, he initiated the first TOP community biolaboratory in Berlin (2016). In 2019 he established Alt lab, a laboratory for non-disciplinary research in Vilnius. Gapševičius’s works have been shown at the Ars Electronica festival in Linz (2019, 2020), the National Gallery of Art and MO Museum in Vilnius (2019), Piksel festival in Bergen (2018), RIXC art and science festival in Riga (2016), Pixelache festival in Helsinki (2015 and 2016), Pixxelpoint festival in Nova Goritsa (2014), KUMU Museum in Tallin (2011).


WORKSHOP Responsive Body | Responsive Technology by Kenneth Flak and Külli Roosna (NO, EE)

Responsive Body | Responsive Tech

Number of Participants: 10-15
Place: Bergen Dance Center, Georgernes Verft 12, 5011 Bergen
Time: Saturday 20th of November from 10-14h
Duration: 4 hours

This workshop is part of the Performing Arts Workshop program, electronics and free/libre technologies applied to the performing arts. It is a Piksel initiative in collaboration with PRODA-professional dance training/Bergen Dansesenter – resource centre for dance in Vestland.

To register please send an email to: piksel21@piksel.no with your name and the name of the workshop you want to attend.

https://www.roosnaflak.com/

Responsive Body is a dynamic system created by Roosna & Flak based on listening to yourself and the environment, training sensitivity and coordination as well as strength and stamina. Its purpose is to develop a strong, resilient and intelligent body that is open to internal and external impulses.

Roosna & Flak created the training from a need to prepare for a wide range of challenges. The system is under continuous evolution as a result of an ongoing movement practice and teaching.

The training starts with a gentle warm-up to access the breath and the joints, before bringing up the pulse and working through the major muscle groups. This is followed by a section focusing on more complex coordination and use of space, preparing for individual and partnering work, where the focus is on creating movement material based on listening to impulses from both outside and inside the body. This leads to more in-depth investigation into both creating and organizing material into choreographic structures.

Towards the end of the workshop sensor technology is brought into the game, enabling the research of a new set of connections between movement and sound. For this we use our own set of sensors.

Workshop leaders would offer a hands-on introduction to performing physically with movement sensors, developing the necessary sensibilities for producing sound and movement as an integrated whole.

About the dancers and choreographers:
https://www.roosnaflak.com/

Internationally active choreographers and dancers Külli Roosna (Estonia) and Kenneth Flak (Norway) have been collaborating since 2008. Whether they are creating their own choreographies or collaborating with others, their work deals with the narratives and technologies of the body. They have explored a wide range of themes, including deep ecology, Viking mythology, totalitarianism and internet culture. The core of their work is human experience in interconnected realities. This is often explored through the dancing body’s possibilities and limitations, in a constant dialogue with the digital technologies and discourses that extend and counterpoint it.

They have performed their works all over the world. Additionally, they teach Responsive Body movement technique, composition, and sensor programming at various universities and festivals, adapting their methodology and content to different contexts.

Their interactive music and dance performance Blood Music was nominated for the Estonian Dance Awards 2015; Stalking Paradise, a commission work for Lublin Dance Theater, was selected for the biannual Polish Dance Days. Prime Mover (2018) and Two Body Orchestra (2020) were nominated for the Estonian Dance Awards.

Külli Roosna (EE)

Born 1981, is an Estonian dancer, choreographer and teacher. She graduated Tallinn University in 2005 as a choreographer/dancer and continued her studies in Rotterdam Dance Academy in the Netherlands, obtaining her second bachelor degree in 2007.

In 2013 she obtained an MA of choreography at Tallinn University.

She has worked with international choreographers Stian Danielsen, Karen Foss, Kari Hoaas, Cid Perlman, Richard Siegal, Dylan Newcomb, Fine5 Dance Theater, and many others.

In 2010 her solo performance Circle Through was awarded the First Prize at the International Festival of Modern Choreography in Vitebsk, Belarus. She is the recipient of the 2017 Pärnu City Creative Stipendium.

Her teaching and performing has brought her to festivals, universities and theaters in Estonia, Norway, The Netherlands, Poland, Jordan, India, Japan, Ukraine, Hungary, Czech Republic, Sweden, Germany, France, Russia, Finland, Lithuania, Belarus, and South Korea. In 2014-15 she was board member of Estonian Dance Artist Union and head of its Stipendium commission.

Kenneth Flak (NO)

Born 1975, is a Norwegian dancer, choreographer, composer and teacher. He has performed in the works of André Gingras, Dansdesign, Richard Siegal, Kari Hoaas, Preeti Vasudevan and many others.

He is educated at the National Academy of Dramatic Arts in Norway and the Amsterdam Arts School in the Netherlands.

In 2007 he received a Bessie Performer’s Award in New York for his interpretation of Gingras’ solo CYP17. In 2010 he was nominated for the BNG Award in Amsterdam for his choreography Of Gods and Driftwood.

Flak has taught contemporary dance and sound design at universities and festivals around the world.

A self-taught composer and creative coder, he makes music and interactive tools for live choreographies and dance films.

He was chair of Norwegian Arts Council Commission for Dance 2018-2020.

Press
Kahe keha orkester, Anu Jurisson, Pärnu Postimees, 26 March 2021.
Post-dramaatiline tantsu-uurimus ja numbriballett, Heili Einasto, Postimees, 12 November 2020
Kehad tehnoloogia ja tantsu puutepunktis, Iiris Viirpalu, Sirp, 23 October 2020
Video: Sõltumatu Tantsu Laval kohtuvad kehad ja tehnoloogia, ERR kultuur, 6 Oktober 2020
Olemise protsess, Eline Selgis, STL, 29 September 2020

Media
11 January 2019: Elu pingeväljade liikumapanev jõud (Marie Pullerits, Sirp)
13 November 2018: [Külli Roosna rääkis tantsulavastusest “Prime Mover”](https://treraadio.bandcamp.com/track/1 November 018-k-lli-roosna-r-kis-tantsulavastusest-prime-mover) (Tre raadio)
12 November 2018: Külli Roosna lavastusest “Prime Mover”: see sündis meie endi elust (Ester Vilgats, ERR)
12 November 2018: Endlas esietendub pärnakate rahvusvaheline tantsulavastus (Anu Jürisson, Pärnu Postimees)
12 November 2018: Endla Teatris toimub tantsulavastuse “Prime Mover” Eesti esietendus (ERR)
5 November 2018: Video: katkend Külli Roosna ja Kenneth Flaki uuslavastusest “Prime Mover” (ERR)
2 November 2018: Tütrekese sünd ärgitas looma Endla Küünis tantsulavastust (Anu Jürisson, Pärnu Postimees)


Live coding Algorave performance Antonio Roberts, Alex McLean.

Live coding Algorave performance Antonio Roberts, Alex McLean.

Piksel Fest Spill 2020
29th of May – 23:00 – 24:00
Live coding Algorave performance by Antonio Roberts, Alex McLean.

Venues:
Studio 207, Strandgaten 207, BERGEN
Piksel Cyber Salon -https://hubs.mozilla.com/qpMLs2c/piksel-fest-spill/

Live coding Algorave performance Antonio Roberts, Alex McLean.
Live coding is a performance practice that revolves around the creation and modification of code and algorithms in real-time. This kind of events are also named ALGORAVE, joining the words algorithm and rave. The 29th of May we welcome the artists Antonio Roberts and Alex McLean and their live audiovisual performance, taking place in parallel at the Studio 207 and at the Cyber Salon.

The venues

  • Piksel Cyber Salon. Piksel invites you to have a cyber experience and to join us at our hybrid activities. Piksel Cyber Salon will host part of the Copy Paste exhibition, workshops, performances and lectures. Join us!
  • Piksel youtube@Piksel Produksjoner
  • Studio 207, Strandgaten 207, BERGEN The new Piksel/Borealis space in town for electronic art, experimental music and adventurous listening.

Piksel Fest Spill is supported by the Municipality of Bergen, Arts Council Norway and ProHelvetia.


PIKSEL e/co,li:b-re.bel PIKSEL VENUES PROGRAM AV Concerts Exhibition PikselSavers Talks Workshops Projects PROGRAM

PIKSEL e/co,li:b-re.bel PROGRAM Download the PDF

PROGRAM

Thursday 21st Nov

16:00 – 18:00 AV performance – Piksel Music Pavilion

18:00 – 20:00Installation and Piksel DJ’s – Piksel Hut // Utestuen i Skostredet

20:00 – 24:00Exhibition Opening – S59 + Piksel Studio 207

Friday 22nd Nov

11:00 – 17:00 – Exhibition – S59 and Piksel Studio 207

11:00 – 13:00 – Workshop EXCERPT video manipulation software Gregoire Rousseau, Piksel Studio 207

11:00 – 13:00- Workshop Environmental / Biological sensing using Arduino and other open source approaches, Cy Keener, Piksel Studio 207

15:00 – 17:00 – Workshop Sounding Feet by Instituto Stocos: Pablo Palacio, Daniel Bisig, Muriel Romero, Piksel Studio 207

15:00 – 17:00 – Installation and Piksel DJ’s + Special guest – Piksel Hut // Utestuen i Skostredet

16:00 – 17:00 – Lecture Post-news journalism: Art meets journalism talk, Hossein Derakhshan, Bergen Public Library

19:00 – 21:00 – Installation and Piksel DJ’s – Piksel Hut // Utestuen i Skostredet

21:00 – 03:00 – AV Performances – Østre
Invisible Ecologies, Gabriela Munguía (MX)
Jana Jan vs. čirnŭ (NO/ES)
ALOES: The Road, Alex van Giersbergen, Marloes van Son (NL/FI)
Juan Antonio Nieto (ES)
Limit of the Off-limit, Nnja Riot, Lisa McKendrick (UK/NZ)

Saturday 23rd Nov

11:00 – 17:00 – Exhibition – S59 and Piksel Studio 207

11:00 – 13:00 – Workshop Invisible Ecologies Lab: wind instruments, Gabriela Munguía (MX), Piksel Studio 207

11:00 – 13:00 – Workshop Mapping Smart Futures, Andreas Zingerle, Davide Bevilacqua, Linda Kronman, Piksel Studio 207

15:00 – 17:00Installation and Piksel DJ’s + Special guest – Piksel Hut // Utestuen i Skostredet

19:00 – 21:00 Installation and Piksel DJ’s – Piksel Hut // Utestuen i Skostredet

21:00 to 03:00 – AV Performances – Østre
OECUMENE, Pablo Palacios, Muriel Romero, Daniel Bisig (ES) Crystal Moss Core Force, Noish (ES)
Jukka Hautamäki (FI)
Transduction, Matt Spendlove (UK)
Agnes Pe (ES) + Aleksandar Bradic (US)

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Piksel is supported by the Municipality of Bergen, Arts Council Norway, Hordaland Kommune, Community of Madrid, Austrian Embassy, Acción Cultural Española, Inaem, Pro Helvetia and BEK.


AV Performances. Piksel19 – e/co,li:b-re.bel

AV Performances nights Download AV Performances PDF program
Interactive dance, laser performance, opti-sonic intervention, live coding muscles controlled, extreme computer music, electronic performances, voice and noise, psychoacoustic effects and environmental magnitudes into sound, light and movement.

PIKSEL19 – e/co,li:b-re.bel
The 17th annual Piksel Festival for Electronic Art and Free Technologies is hosting three performance days. Thursday at the Piksel Pavilion from 4pm to 6pm. Friday and Saturday at Østre from 21:00 to 24:00, Piksel resident DJs will be playing until the very end of the night. Along the three days, Piksel Hut, the Utestuen i Skostredet will serve as a Piksel meeting point with installations and special guests from 15:00 to 17:00 and 19:00 to 21:00.

Audiovisual Performances PROGRAM

Thursday 21st Nov
—————————————————————————————

16:00-18:00 – AV performance
Piksel Music pavilion

18:00 – 20:00 – Installation and Piksel DJ’s
Piksel Hut // Utestuen i Skostredet

20:00 – 24:00 – Exhibition Opening
Piksel Studio 207 + Strandgaten 208

Friday 22nd Nov
—————————————————————————————-

15:00 – 17:00 – Installation and Piksel DJ’s
Piksel Hut // Utestuen i Skostredet

19:00 – 21:00 – Installation and Piksel DJ’s + special guest
Piksel Hut // Utestuen i Skostredet

21:00 to 03:00 – AV Performances
Østre
Invisible Ecologies, Gabriela Munguía (AR)
Jana Jan vs. čirnŭ (NO/ES)
ALOES: The Road, Alex van Giersbergen, Marloes van Son (NL/FI)
Juan Antonio Nieto
Limit of the Off-limit, Nnja Riot, Lisa McKendrick (UK/NZ)

Saturday 23rd Nov
—————————————————————————————–

15:00 – 17:00 – Installation and Piksel DJ’s
Piksel Hut // Utestuen i Skostredet

19:00 – 21:00 – Installation and Piksel DJ’s + special guest
Piksel Hut // Utestuen i Skostredet

21:00 to 03:00 – AV Performances Østre
OECUMENE, Pablo Palacios, Muriel Romero, Daniel Bisig (ES)
Crystal Moss Core Force, Noish (ES)
Jukka Hautamäki (FI)
Transduction, Matt Spendlove (UK)
Agnes Pe (ES) + Aleksandar Bradic (US)

Thursday 21st Nov 16:00-18:00

at the Piksel Music pavilion

From 16:00 to 18:00, the music pavilion in Bergen will be known as the Pixel Pavilion, flooding the city center of Bergen in light and sound. Always updated on the latest and greatest in electronics, the pavilion will play host to the music of Agnes Pe along with the stunning visuals of Aleksandar Brandic, two Piksel artists doing high impact performances guaranteed to make you want to explore the entire Piksel festival program this year. 

Bleep: A visual detour in Synthetic Biology
Aleksandar Bradic
https://bleep.live

Bleep is a new Open Source MIDI-driven browser-based vector graphics live coding framework, and is being used to create a event-specific visual narrative exploring the topic of Synthetic Biology. This visual work is based on the recontextualization of SynBio visual language, as well as the relevant data and research content from the field, to create a high-information-density abstract narrative posing questions at the intersection of biology, knowledge, and computation. The piece represents a kind of a random walk through synthetic, algorithmically generated design spaces, which are controlled and modulated in real-time by muscle actions of the performer. In this way, the work questions the relevance of human action in our increasingly algorithmically determined reality. All code and visual assets created for this work, as well as the hardware controller used for the performance, is entirely Open Source Software/Hardware.

Friday 22nd Nov 21:00 to 03:00

At Østre

Invisible Ecologies
Gabriela Munguía (AR)

http://www.gabrielamunguia.com

Invisible ecologies is the result of a series of sensing and amplification devices of different environmental magnitudes such as wind speed and the process of mineral erosion. From the construction of various open source technologies, a series of machinery articulate different geological natural processes in the form of sound, light and movement. From a poetic and philosophical study on the possible processes of co-creation with nature, I am interested in the metamorphic relationship between scientific representation and artistic creation through technological experimentation.

Jana Jan vs. čirnŭ
Ivan Andre Paulsen, Itziar Markiegi (NO/ES)

Loud, extreme and unrepentant; both čirnŭ and Jana Jan are known for uncompromising and intense live-sets. After being thrown together for the first time at the Bruital Furore festival in 2019, finding their individual styles resonated quite nicely with each other – they decided to join forces again.

ALOES: The Road ((NL/FI)
Alex van Giersbergen, Marloes van Son

http://marloesvanson.nl/aloes/aloes.php

The audiovisual composition ‘The Road’ is inspired by endless bus-trips on winter roads and the ambiguous feeling of being away from home. ALOES moves along an abstract road through a computer generated landscape of ghostly visuals. They translate their travels into melodic soundscapes with self-built digital synthesizers, field recordings and voice. The sound is created using Arduino-based instruments, field recordings, a looper and voice. The accompanying visuals are live generated with custom made software.

Juan Antonio Nieto (ES)
https://pangea-juanantonionieto.blogspot.com/

Juan Antonio Nieto is a Spanish experimental musician. He plays live electronics using field recordings as a raw material. His records have been published on labels as Moozak, Trente Oiseaux, Mandorla, Experimedia, Impulsive Habitat, Plus Timbre, Test Tube, A.M.P., and Luscinia among others. He has won the Radical dB award in the category audio/performance in 2016.

Limit of the Off-limit
Nnja Riot, Lisa McKendrick (UK/NZ)

http://www.listenlisse.co.uk/nnja-riot.html

Nnja Riot’s music is an exploration into the possibilities of instruments, electronics, collected sounds and the human voice. She performs with a combination of instruments, self-built synths and video synths. She has co-designed the Fort Processor which is a stand alone oscillating synth.  Nnja Riot is the solo project of Lisa McKendrick who is based in London and born in New Zealand. Recently she has performed at Noise Shed, Sound Art Improv Electronics – Salon de Refuses, The Intimate Space at St Mary’s Tower, Classical Enemy in Noise Waters (The Golden Hinde), Skronktronic, Dronica Festival, Queer+_ Noise, Common Ground, Berlin, Liminality – Gallery 46, ELECTROLIGHTS AV, Gleetch, EVTV, EAM Experimental Electronics, Sotu Festival Amsterdam, Supernoise Festival Aarhus. She was featured in MusicTech magazine January 2019, The Sunday Tribune May 2019, Loose Lips blog, Noods Radio, Dronica Podcast, Resonance FM, Female Pressure Radio podcast and ZRadio.

Limit of the Off-limit
Nnja Riot, Lisa McKendrick (UK/NZ

Saturday 23rd Nov 21:00 to 03:00

Special event, interactive dance
OECUMENE
Pablo Palacios, Muriel Romero, Daniel Bisig (ES)

https://www.stocos.com/

Oecumene is an interactive dance and music piece that reflects on the role of the individual in the world, expanded through technology beyond the limits of her geographical birthplace or cultural identity of origin. The piece employs an original technology that allows the dancer to interact in real time with lights and a sound reflection of the multidimensionality of the world that surrounds us.

The piece employs real-time analysis of movement qualities, generative algorithms to create musical structures and control the synthesis of sound and light. In addition several types of sensors and hardware have been specially designed for the piece: pressure sensitive shoes, inertial Movement Units ( IMU) and Interactive Lasers.

Crystal Moss Core Force
Noish (ES)

https://crystalmine.bandcamp.com/album/crystal-moss-core-force
[noish] audio> http://noconventions.mobi/noish/hotglue/
[noish] audio> http://noconventions.mobi/noish/hotglue/

Extreme computer music that explore chaotic and generative territories. Software under linux ubuntu; pure data, supercollider. Hardware: axolot and attack delay. Design of the release by Carlos Valverde and text by Lucia C Pino.

Live electronics sound performance.
Jukka Hautamäki (FI)

http://jukkahautamaki.com/

Hautamäki’s sound performances are microscopic studies into electronic sound picking up electromagnetic radiation and interference from under-hood work lights, electromagnetic sources, coil mics, diy amps, radio waves, fluorence lights,… Hautamäki addresses the concept of “forced” improvisation using difficult interfaces, and turning chaos and trash-aesthetics into instruments of live electronics.  In his live electronics performance practice he experiments with interfacing, by integrating bodily performance with media technology.

Transduction
Matt Spendlove (UK)

http://spatial.infrasonics.net/transduction

Transduction is a performative opti-sonic intervention designed for projection and multi-channel sound. Presented as an abstract animation of visual music, illusory visual and psychoacoustic effects probe perception via experimental psychological processes and kinetic optical techniques. The performance is algorithmically generated and manipulated in realtime via live coding.

SNUFF
Agnes Pe (ES)

https://www.agnespe.com/

SNUFF !! It is the parasitic kidnapping of live radio broadcast to turn it into a single sound matter: no interviews, no news, no music, no announcements, without all those conventions that have been generated around the radio medium. The sound planes disappear.

Piksel19 is supported by the Municipality of Bergen, Arts Council Norway, Hordaland County, Community of Madrid, Austrian Embassy, Acción Cultural Española, Inaem, Pro Helvetia. and BEK.


Oecumene. Piksel19 – e/co,li:bre special event.

PIKSEL19 – e/co,li:bre
The 17th annual Piksel Festival for Electronic Art and Free Technologies, is pleased to announce OECUMENE, an interactive dance and music piece premiering in Bergen as an special event by Piksel19 Festival.

OECUMENE reflects on the role of the individual in the world, expanded through technology beyond the limits of her geographical birthplace or cultural identity of origin.

Oecumene is a piece that explores the creative possibilities of interactively controlling sound and light synthesis models. In this piece, a dancer experience through improvisation the relationships between their expressive movement qualities, and their translation into sound and light entities To relate the qualities of expressive movement of a dancer with the creation of musical and light material, the piece employs real-time analysis of movement qualities, generative algorithms to create musical structures and control the synthesis of sound and light. In addition several types of sensors and hardware have been specially designed for the piece: pressure sensitive shoes, inertial Movement Units ( IMU) and Interactive Lasers. These sensors and systems have been manufactured by the technical team specifically for this production.

The Oecumene is a term that comes from the Alexandrian ideal of Cosmopolis: the world inhabited as a whole, as the common possession of the civilized humanity of free men and women. A concept developed in this creation for a dancer and immersive sound and visual design, in which she enters and interacts with visual simulations of natural phenomena and sonic landscape composed of thousands of sounds coming from multiple places on the planet. The development of the expressive qualities of dance in relation to this tapestry of universal sounds and visuals in constant transformation, work as an organism that mirrors the trans-cultural syncretism of the world that we have to live.

Oecumene is a piece that explores the creative possibilities of interactively controlling sound and light synthesis models. In this piece, a dancer experience through improvisation the relationships between their expressive movement qualities, and their translation into sound and light entities To relate the qualities of expressive movement of a dancer with the creation of musical and light material, the piece employs real-time analysis of movement qualities, generative algorithms to create musical structures and control the synthesis of sound and light. In addition several types of sensors and hardware have been specially designed for the piece: pressure sensitive shoes, inertial Movement Units ( IMU) and Interactive Lasers. These sensors nd systems have been manufactured by the technical team specifically for this production.

Dance Technology, Interactive Sonification, Music and Movement

CHOREOGRAPY: Muriel Romero
MUSIC : Pablo Palacio
INTERACTIVE VISUAL SIMULATION : Daniel Bisig
INTERACTIVE SONIFICATION : Pablo Palacio
PERFORMANCE: Muriel Romero
SOFTWARE AND INTERACTIVE TECHNOLOGY: Instituto Stocos, Daniel Bisig and Pablo Palacio.
LIGHTING: Juan Carlos Gallardo
PRODUCTION: Instituto Stocos.
SUPPORTS:Comunidad de Madrid, Inaem, Beirut

Piksel19 is supported by the Municipality of Bergen, Arts Council Norway, Hordaland County, Community of Madrid, Austrian Embassy, Acción Cultural Española, Inaem, Pro Helvetia and BEK.


Live Coding Piksel Pavilion at the Musikkpaviljongen in Bergen

Piskel Fest Spill 2019 program

30th of May AV Performance @Piksel Pavilion from 21:00 – 23:00
LIVE CODING Music, Toccata for two keyboards Hlöðver Sigurðsson (IS)
LIVE CODING Visuals with Visual Hifa, Valentín Vago (CH)

Piksel Pavilion – The central info point for Piksel Fest Spill

The 30th of March, Piksel comes back to the Music Pavillion in Bergen with 2 hours of audiovisual live performances. The music pavilion will be electronically updated to host different Piksel artists doing high impact performances as a preview of what is going to happen at the Piksel Festival.

Piksel Pavilion are LIVE CODING sessions focused on sound and visuals.

Hlöðver Sigurðsson (IS) is a computer musician and composer from Reykjavik. His performances has been seen at the Spektrum (berlín), Piksel Festival (Bergen) and Sonic Code Sessions Showcase, part of vorspiel of Transmediale 2017.

Valentín Vago (CH)
In 2016 I decided to create a new software called Visual Fiha which allows the generation of visuals based on live coding and real time audio analysis. I have been performing alongside with international DJs and producers.


Visual live coding in the browser with Visual Fiha by Valentin Vago (CH)

31st of May Workshops @Piksel Studio 207 from 14:00 – 18:00

To sign up send and email to piksel19(at)piksel(dot)no with the subject Live Coding Visuals

Visual live coding in the browser with Visual Fiha by Valentin Vago (CH)

The Visual Fiha web app is a personal and non-commercial project from Valentin Vago (zeropaper) aimed for him to experiment with web related technologies.

It is a free VJing software that runs in browsers. The development of the first version of Visual Fiha begun in October 2016. That first version was based on the amazing AmpersandJS library, it supported live manipulation of THREE.js scenes, HTML5 canvas, SVG, HTML with CSS, integrated the P5 library as well and implemented the concept of signals.Visual Fiha was first used for a live performance in December 2016 and a first workshop took place in May 2017 in Moscow.

Valentín Vago (CH)

In 2016 I decided to create a new software called Visual Fiha which allows the generation of visuals based on live coding and real time audio analysis. I have been performing alongside with international DJs and producers.


Live Coding, Interfacing Csound with clojure, python, nodejs or the web-browser; workshop on live-coding and embed-able music systems by Hlöðver Sigurðsson (IS)

31st of May Workshops @Piksel Studio 207 from 14:00 – 18:00

To sign up send and email to piksel19(at)piksel(dot)no with the subject Live Coding Music

This workshop is an introduction to real-time music creation with emphasis on Csound and Supercollider to a lesser extend. Csound has the ability to run everywhere and on every platform (eg. android, raspberry-pi, Bela, iOS or web-browser) and is relatively easy to learn compared to other computer music languages. I will introduce my own live-coding system Panaeolus as well as other live coding platforms which I have used. Participants will create their own web-based instrument or web-based installation (webstallation), which will be hosted online.

Hlöðver Sigurðsson (IS) is a computer musician and composer from Reykjavik. His performances has been seen at the Spektrum (berlín), Piksel Festival (Bergen) and Sonic Code Sessions Showcase, part of vorspiel of Transmediale 2017.


Expirator and Touching sound, performance and workshop by Pierre Berthet (BE)

26th of May Performance @Piksel Studio 207 – At 20:00

Expirator (reversed vacuum cleaner) by Pierre Berthet (BE)

27th of May Workshop @Piksel Studio 207 from 14:00 – 18:00

Touching Sound by Pierre Berthet (BE)

To sign for this workshop write an email to piksel19(at)piksel(dot)no

WORKSHOP

Touching Sound, a workshop by Pierre Berthet (BE)

Listen what we touch

touch what sounds

sounds knead ears

ears catch time

Ingredients:

tin cans, water, steel wires, bamboo, plastic bags, tubes, dead plants, D.C. motors, sea shells, snail shells, stones, buckets, filter queen, hooks and gloves, balloons, straws, bottles…

Things own time are objects

they own space, they own time.

We walk with sounds in our hands

on our head

in our mouth, moving tongues while singing

moving lips while blowing

blow blow blow


SIGNAL TO NOISE, Curator: Tincuta Heinzel Exhibition program 2019 Piksel Studio 207

Official opening 24th of May from 19:00 – 23:00

Exhibition dates: 25th of May – 16th of June (Mondays closed)

Opening hours: 15:00 – 18:00

Bergen 2019

“I remembers the radio broadcasts from London during World War II and Norway’s king stiffening the resolve of his subjects under German occupation. ”
Judith Haaland, 98

The Paraset (Paratrooper radio set) was one of the most notorious of all the transceivers used by the partisan clandestine radio operators during WWII. Often transported in food baskets, suitcases, and other obscure places, it was used for clandestine radio communication primarily in Norway and Europe. The equipment is known as the “Paraset” because it was dropped by parachute for field agents. A fascinating piece of history.

With this exhibition Piksel wants to make an homage to the radio as a device and also to the importance of the listeners. In a historical moment where the FM analogue radio has been shot down and there are voices that claims that “Norway is not prepared for this.” and “Of course there is a lot of nostalgia in radio. That’s one of the reasons this switch is so controversial.” Piksel wants to bring some fresh air doing both, recalling the analogue radio and bringing new low-cost digital technologies to the people, radio-makers and emitters.

SIGNAL TO NOISE
One of the well known examples of Victor Papanek’s “designs for the real world” is that of a radio receiver for the third world. Produced from very simple, “cottage” like materials, such as an used juice can, paraffin wax and a wick as power source, the radio was non-directional, receiving any and all stations simultaneously. “But, as Victor Papanek will comment, in emerging countries, this was then of an importance: there was only one broadcast (carried by relay towers placed about fifty miles apart”. And, as Papanek continues, “It was much more than a clever little gadget, constituting a fundamental communication device for preliterate areas of the world. After being tested successfully in the mountains of North Carolina (an area where only one broadcast is easily received), the device was demonstrated to the Army. They were shocked. “What if a Communist”, they asked, “gets to the microphone?” The question is meaningless. The most important intervention is to make information of all kinds freely accessible to people.”

This story of the non‐expensive, locally adapted produced radio receiver is the starting point for an exhibition and a workshop which deals with different aspects of radio broadcasting: From the way a radio receiver and a radio transmitter are produced to radio infrastructure, and from the delivered information to the means of questioning its accuracy and validity. The exhibition will consider a historical perspective, but will mostly bring into discussion researches related to the present forms of radio infrastructure and radio phenomena, as well as strategies and tactics of radio‐based interventions.

List of works and artists:
Repertories of (in)discreetness
Tincuta Heinzel & Lasse Scherffig

∏‐Node Platform

Embodied RF Ecologies
Afroditi Psarra

Workshop
Do your own radio!
∏-box : streaming and local FM radio broadcasting with a raspberry pi
∏‐Node

Piksel Fest Spill is supported by the Municipality of Bergen, Arts Council Norway, the Wallonie-Bruxelles International and Rumanska Kultur Institutet.

Repertories of (in)discreetness
Tincuta Heinzel & Lasse Scherffig

Largely used during the Soviet Revolution, the “new” communication mediums of the beginning of 20th century’s played an important role in the Soviets’s propaganda strategy during the 1917‐1918 revolution [3]. The same strategy was equally adopted during the installation of the communist regimes in Eastern Europe. The policies at the time have encouraged the production and the acquisition of radio devices by a large number in order to ensure the impact of the propaganda, while in the same time, the content of the broadcasting was subjected to a strict control.

Using this infrastructure, the USA and their Western alliances were trying to counter the communist propaganda. The creation of Radio Free Europe aimed to deliver “truth” and “objective” information. In the same way, radio phenomena (like interference) were used as technical interventions.

Repertories of (in)discreetness project has its starting point in the archives of Radio Free Europe from the Open Society Archives in Budapest. It questions the act and mechanisms of archiving “the Other”, with a focus on the European “East”. The project discusses the ways in which information is collected and transferred, the ways in which the East has gained an epistemic body through refraction. Thus we would like to point out the relation between nature of the information, the production of knowledge and its reception.

Radio Free Europe is considered unique in the annals of international broadcasting: acting as surrogate domestic broadcaster for the nations under Communism. It also relied on local official media and informal news in order to broadcast what was considered objective information. Due to their wish to outline an exhaustive portrait of the world behind the Iron Curtain, Radio Free Europe Archives give way to a series of questions:

What did the archives not capture and what rests uncatalogued and unverified? And, if something was indeed captured, how was it transformed through archiving? What parts of this composite portrait sketched by Radio Free Europe still survive today? And is this portrait only a mirror image resulting from the media war between East and West? By raising these questions, our project looks to divert and to put into a sensible perspective the act of collecting, organizing and using information, in order to question the nature of the information itself.

Documentation link: http://ro.tranzit.org/en/exhibition/0/2015-03-18/repertories-of-indiscreetness References: 3. Nicholas Reeves, The Power of Film Propaganda: Myth or Reality (London: A&C Black, 2004).

∏‐Node Platform

Fig 5. ∏-Node Installation, Orleans (2015).

∏-Node is an experimental platform for hybrid Web/FM radio-phonic composition. As a multi‐dimensional radio infrastructure platform, ∏-Node explores the narrative, involves participation, and imaginary possibilities of radio through the use of both historic and new, digital technologies.

∏-Node aims to explore the many dimensions of radio’s format and diffusion: its physicality (ether, radio waves, and the electromagnetic spectrum), its spatiality (bandwith, frequencies), its infrastructure (network of radio receivers/emitters), its methods of creation and editorial content management (programming boards/teams, recording studios), its methods of metadata reception (RDS/SDR), its history (radios libres and pirate radio movements), its legislation. Most importantly, ∏-Node also wishes to examine radio’s future at a time when everything is moved towards “the digital”.
The interconnectedness of these various dimensions, tools, and networks allow for the establishment of a decentralized and hitherto unseen diffusion structure, where each of the network’s nodes serve to both receive and diffuse information. Such a structure creates a break with the classic one-way radio format, substituting it with a horizontal peer‐to-peer model that creates room to play with new potentials for multi‐ diffusion and superposition, as well as room to rethink the radio network’s topology.

Embodied RF Ecologies
Afroditi Psarra

E-textile installation and sound performance

Following my quest to embody the invisible transmissions that surround us, in this wearable I explore the use of an IC mixer circuit to down convert the emissions from the NOAA weather satellite and make them audible. By continuing my research into textile antennas and fractal geometry as a means to detect radio-frequency (RF) transmissions, I aim to speculate about the body as an agent of power in a post-capitalist world, and to re-interpret transmission technologies through handmade crafting techniques.

Teaser video here: https://vimeo.com/326116349


  • 2 days ago

    Piksel
    For the first time, the Critical Engineering Working Group are opening their workshops to the online realm. It is a unique opportunity to join Danja Vasiliev and Sarah Grant this Friday and Saturday for the hands-on workshop using Hotglue. On the 10th and 11th of December Bengt Sjölén and Danja Vasiliev will work together again to lead the workshop Selfhosted. Join us sending an email to piksel21(at)piksel(dot)noWeb-pages made with HOTGLUE never look the same - each page is a new creation of its author.Hotglue by Critical Engineering Working Group / Danja Vasiliev and Sarah Grant3-4 December 2021 – 15:00-17:00 hours.piksel.no/2021/05/19/hotglueBuilding websites using Hotglue is fun – and a great, hands-on way to learn about visual design, markup language and hyper-links that power the web. But to do so, one – more so than ever – needs proficiency in the language of the web (HTML, CSS and JavaScript) in order to participate.Hotglue is a FOSS “What you see is what you get” editor for the web. At the workshop a free-to-use grass-roots service Hotglue.me will be used to allow quick hosting of webpages.HOTGLUE Content Manipulation System is a unique tool for DIY web-design and Internet samizdat. System design is based on several fundamental rules primarily aimed at preserving visual homogeneity between editing and viewing modes. This structural transparency of HOTGLUE UI permits its users to disregard any separation of Content and Design and /ultimately/ to remove Design as such from their creative practice.Danja Vasiliev and Gottfried Haider believe that modern web-users shall be given an easy yet powerful, online (in-browser) authoring tool for making exciting, personally distinct and otherwise odd web-pages. Page contents suddenly become something more then only text blocks and images; user begins to construct web-pages as multi-layered collages where textual is visual and vice versa. Web-pages made with HOTGLUE never look the same - each page is a new creation of its author. ... See MoreSee Less
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    2 days ago

    Piksel
    Did you know that you can still visit the Critical Engineering Working Group Exhibition `Decoding Black Magic; Interventions in Infrastructure´ at Kulturhuset 2, C Sunds Gate, every day 13-18h (apart from Mondays)?We will also allow private visits at other times with selected appointments. Let us know when is a good time for you to visit, and the bogeyman will be here waiting for you.Email for more detailspiksel21(@)piksel(.)no ... See MoreSee Less
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    2 days ago

    Piksel
    3-4 December 2021 – 15:00-17:00 hours.Web-pages made with HOTGLUE never look the same - each page is a new creation of its author.JOIN us at the HOTGLUE workshop by Danja Vasiliev and Sarah Grant this Friday and Saturday! We will learn to build decentralized websites using Hotglue. It is fun - and a great, hands-on way to learn about the otherwise hidden structures and exchanges that power the web. HOTGLUE developers believe that modern web-users shall be given an easy yet powerful, online (in-browser) authoring tool for making exciting, personally distinct, and otherwise odd web-pages. Page contents suddenly become something more than only text blocks and images; user begins to construct web-pages as multi-layered collages where textual is visual and vice versa. Web-pages made with HOTGLUE never look the same - each page is a new creation of its author.To attend send us an email to piksel21(at)piksel.no. The workshop will be online through a BBB video chat. We will send the information on how to connect. ... See MoreSee Less
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    3 days ago

    Piksel
    “Samizdat: I write it myself, edit it myself, censor it myself, publish it myself, distribute it myself, and spend time in prison for it myself”, Vladimir BukovskyThe term ‘samizda’ was coined as a word game by the Russian poet Nikolai Glazkov in the 1940’s. He included the note ‘samsebiaizdat’ (self-published) in the copies he types of his poems. HTML SAMIZDAT is a web creation proposal made directly from the browser, collective, open and instantly visible. Using the web as a support and canvas, it is proposed to create a joint site, a samizdat, through the appropriation of html code and multimedia objects. To do this, we will use the Hotglue tool, developed by Gottfried Haider and Danja Vasiliev, and worm.org.You only need a computer with Firefox browser installed to participate. Programming and code skills are not required.To attend send us an email to piksel21(at)piksel.no. The workshop will be online through a BBB video chat. We will send the information on how to connect. ... See MoreSee Less
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