2010 Earzoom

Transcription

2010 Earzoom

Earzoom 2010
2. - 7. oktober 2010
Ljubljana, Slovenija
Earzoom
Festival ZvoËnih Sonic Arts Festival
Umetnosti 2010
Inštitut za Raziskovanje Zvočnih Umetnosti (IRZU)
je bil ustanovljen leta 2008 z namenom zapolnjevanja
manka vsebin na interdisciplinarnem področju sodobnih
zvočnih umetnosti v lokalnem okolju. Tri osnovna
področja delovanja inštituta so: raziskovanje in razvoj
na področju avdio tehnologij (digitalna obdelava/
analiza signalov, oblikovanje interaktivnih vmesnikov,
nelinearna akustika, idr.), umetniška produkcija (razstave,
Instalacije, performansi, filmi) ter izobraževalne
dejavnosti (predavanja in delavnice), ki so namenjene
predvsem opismenjevanju mladih skladateljev ter intermedijskih umetnikov na področju digitalnih tehnologij in
konceptualnih pristopov v sodobnih zvočnih praksah.
IRZU – the Institute for sonic Arts Research was
founded in 2008 in Ljubljana with the aim of filling
a local content gap in the interdisciplinary field of
contemporary sonic arts. Our activities cover the
following three main areas: audio technology research
(digital signal processing, sonic interaction design, music
information retrieval, non-linear acoustics, etc.), artistic
productions (performances, exhibitions, installations,
films) and educational projects (lectures, workshops),
which are mostly aimed at transmitting basic knowledge
on the use of digital technologies and conceptual
approaches in sonic arts, to local composers and intermedia artists.
Festival EarZoom organiziramo že drugo leto zapored
v sodelovanju z mnogimi vladnimi in nevladnimi
organizacijami, ki so aktivno vpletene v produkcijo,
tako da prispevajo posamezne vsebine ali infrastrukturo.
Namen festivala je vzpostavitev referenčne mednarodne
platforme za dialog o napredku tako v polju tehničnega
razvoja kot tudi umetniških prijemov znotraj sodobnih
zvočnih praks.
In its second year, the EarZoom festival is being
produced in collaboration with several governmental and
non-governmental institutions, which are contributing
individual program segments as well as the infrastructure
for its realization. The aim of the festival is creating a
referential international platform for discussing the latest
developments within audio technology research and the
artistic trends of sonic practices.
Festival predstavlja koli štirideset umetnikov in
znanstvenikov - predstavnikov raziskovalnih inštitutov
z vsega sveta - ki preko konkretnih primerov oz. lastnih
projektov, ponazarjajo stanje razvoja na posameznih,
trenutno aktualnih področjih kot so: strojno poslušanje,
algoritmična kompozicija, novi vmesniki za glasbeno
izražanje, kodiranje telesnih gest, ubikvitarno
procesiranje, ambisonic sistemi za sintezo virtualnih
zvočnih okolij, itd. Ker ta področja v Sloveniji še niso
razvita in ker je IRZU ustanovljen prav s tem namenom,
da prične z razvojem in promocijo teh vsebin v lokalnem
okolju, je organizacija festivala kot je EarZoom za
uspešno implementacijo naših idej v praksi ključnega
pomena. S festivalom si ustvarjamo širši, mednarodni
kontekst, ki je nujno potreben za prepoznavanje
namena našega delovanja na lokalni ravni, kjer smo
kot mlada nevladna organizacija - brez zagotovljenih
finančnih sredstev - nenehno primorani argumentirati
svoje programske cilje in se tako boriti za obstoj. Za
EarZoom 2010 is featuring around forty international
artists and scientists presenting state of the art research in
exciting disciplines like machine listening, algorithmic
composition, new interfaces for musical expression,
gesture recognition, ubiquitous computing, ambisonic
systems for virtual sound environment synthesis, etc.
In Slovenia, these research areas are not yet developed,
which was also one of the main reasons for establishing
an Institute for Sonic Arts Research. Since IRZU is
a private initiative, the successful implementation
of its program agenda as a research, production and
education institute, relies strongly on the EarZoom
festival, which has a crucial function in promoting the
importance as well as creating an international context
for IRZU’s activities within the local environment. As
a non governmental organization, IRZU is constantly
required to legitimize its existence and fight for securing
the financial means required for running its program.
In order to operate, we needed to develop several
zagotavljanje delovanja inštituta se poslužujemo številnih
strategij, in ker po dveh letih delovanja ugotavljamo,
da večino energije vlagamo prav v ohranjanje samega
obstoja, namesto v programske vsebine, smo se odločili,
da vpeljemo v letošnji festival tudi to problematiko.
Vprašanja, ki določajo širši kontekst letošnjega festivala
in ga umeščajo še v nekoliko širše polje sodobnih
umetniških praks, so povezana s preživetvenimi
strategijami in vzpostavljanjem identitete v sistemu
nevladnega sektorja.
V sodelovanju z vrsto evropskih institucij: Transcultures:
center za inter-medijske in zvočne umetnosti (Mons,
BE), Nida Art Colony: interdisciplinarna umetnost,
izobraževanje in center za rezidence (Vilna/Nida, LT),
Kitchen Budimpešta: med-disciplinarni laboratorij za
nove medije (Budimpešta, HU), Pixelache: Festival
elektronskih umetnosti in sub-kultur (Helsinki, FI),
MigAA: Migrating Art Academies (Köln/DE, Vilna/LT,
Poitiers & Angoulême/FR) smo se povezali v mrežo,
oz. ustanovili projekt T.R.A.C.E.S. Ena izmed osnovnih
idej projekta je raziskovanje razmerij med uporom,
ki ga manjše organizacije v vsebinskem smislu gojimo
do institucionaliziranih praks ter adaptacijo lastnih
interesov oz. afirmacijo dominantnih programskih
direktiv, nastavljenih s strani državnih in zasebnih teles,
ki financirajo naše programe. T.R.A.C.E.S. pa odpira
tudi prostor za refleksijo umetniških in kuratorskih
praks ter ustvarja platformo za izmenjavo izkušenj in
znanja. Jedro festivala EarZoom je tri-dnevni simpozij,
na katerega smo povabili predstavnike tako vladnih kot
nevladnih organizacij ter inštitutov iz mednarodnega
prostora. Primarni namen simpozija je sicer predstavitev
raziskovalnih smernic v polju tehnoloških in umetniških
praks, posebna pozornost pa je letos namenjena
tudi umeščanju le-teh v sisteme delovanja institucij.
Izpostavljeni so lokalni politični konteksti, kot pogoji
na osnovi katerih so se skozi leta vzpostavljale različne
oblike interdisciplinarnih inštitutov in produkcijskih
platform. Cilj projekta T.R.A.C.E.S. je spregovoriti o
problemih in vprašanjih, ki se običajno odvijajo v ozadju
programskih vsebin, ki pa vendarle okupirajo dobršni del
delovnih resursov posameznih organizacij. Z izmenjavo
izkušenj iz različnih lokalnih kontekstov, želimo
vzpodbuditi pretok informacij o ključnih strategijah
pri vzpostavljanju in delovanju inštitucij, ki prinašajo
alternativne in inovativne vsebine. Na tak način lahko
recikliramo informacije ter razmislimo o možnostih
prenosa in re-kontekstualizacije nekaterih uspešnih
razvojnih taktik, kar bi v prihodnje lahko koristilo
nadaljnjemu razvoju posameznih „neodvisnih“ iniciativ.
different fund-raising strategies and after two years of
existence, it can be said that the efforts towards keeping
the institute alive and functioning are still exceeding the
efforts towards developing professional contents. For
this reason we decided to put these and other questions,
concerning survival and identity creation within the
institutional landscape, in the focus of this years festival
edition. This kind of perspective extends the scope of
the festival and opens a discussion concerning a broader
range of cultural workers sharing a similar situation.
In collaboration with several European institutions:
Transcultures: Centre for Intermedia and sonic arts &
cultures (Mons, BE), Nida Art Colony: Interdisciplinary
art, education & residency center (Vilnius/Nida, LT),
Kitchen Budapest: Cross-disciplinary new media lab
(Budapest, HU), Pixelache: Festival of electronic art
and subcultures (Helsinki, FI), MigAA: Migrating
Art Academies (Cologne/DE, Vilnius/LT, Poitiers &
Angoulême/FR) we created a network project called
T.R.A.C.E.S. - Transcultural Research, Artist, Curator
Exchange Series. One of our main ideas was to trace and
analyze the balance between the amount of resistance of
alternative institutions - proposing innovative contents
- towards established institutions and the amount of
adaptation of their original agendas in order to conform
with the program directives set by the funding bodies.
T.R.A.C.E.S. also extends a space for reflecting on artistic
and curatorial practices, while creating resources to share
our skills and knowledge. The core of EarZoom is a threeday symposium featuring artists, researchers and curators
representing governmental- and non-governmental
institutions from all over the world. The main aim of
the symposium is still the presentation of contemporary
trends in technology based art practices, but furthermore,
a critical reflection on how these particular contents are
interwoven with local institutional systems are being
encouraged. The task is to identify local political contexts
that represent the basis on which the evolution of research
and educational institutions, as well as production
platforms was taking place throughout the years. The
purpose of T.R.A.C.E.S. is to speak out about the internal
working concepts and questions which are usually
unfolding behind the scenes. Nevertheless these survival
strategies occupy a large portion of an organization’s
working resources and what is more, they even exhibit a
strong correlation with its actual program/content outputs.
Through exchange of individual experiences from local
environments we would like to encourage the information
flow on key strategies of establishing new / alternative
institutions. In this way we can re-cycle information
and consider the re-contextualization of successful
solutions and development tactics in order to improve the
Miha Ciglar Festival Director sustainability of different local initiatives.
Artists
Peter Ablinger
Álvaro Barbosa
Marko Batista
Bent Leather Band
Balinese Beast
Projekt BOKS
Rob Canning
Clay Chaplin
Marek Choloniewski
Nick Collins
Jurij Dobriakov
Arthur Flexer
Philippe Franck
Henrik Frisk
Thomas Grill
Tomaž Grom
Martin Kaltenbrunner
Marko KarlovËec
Lionel Marchetti
Scott McLaughlin
Vytautas MichelkeviËius
Norbert Möslang
Agoston Nagy
Jaime Oliver
Pedro Rebelo
radioCona
Winfried Ritsch
Jodi Rose
Martin Rumori
Matija Schellander
Norbert Schnell
Hans-Christoph Steiner
Carl Stone
Eric Thielemans
Jan Trützschler von Falkenstein
Marcelo M. Wanderley
Richard Widerberg
Rojen 1970 v Angoli. Je profesor na Portugalski katoliški
univerzitetni šoli umetnosti v Portu (Portugalska).
Ima doktorat iz informatike in digitalne komunikacije
univerze Pompeu Fabra iz Barcelone ter diplomo iz
elektronike in telekomunikacijskega inženiringa univerze
Aveiro iz Portugalske. Na področju razvoja glasbene
tehnologije pet let deluje kot rezidenčni raziskovalec pri
Music Technology Group (MTG) iz Barcelone. Trenutno
raziskuje v UCP – Znanstveno-raziskovalni Center za
Tehnologijo in Umetnost (CITAR) in je usmerjen v študij
in razvoj eksperimentalnih mrežnih glasbenih sistemov ter
interaktivnega zvočnega oblikovanja. Razvil je številne
umetniške projekte na področju glasbene kompozicije,
interaktivnih inštalacij in računalniških animacij. Kot
raziskovalec in umetnik je publiciral mnogo člankov v
mednarodnih revijah. Trenutno je na študijski izmenjavi
v Center for Computer Research in Music and Acoustics
(CCRMA) na univerzi Stanford, v ZDA.
Alvaro Barbosa (Angola 1970) is an Associate Professor
at the School of Arts from Oporto’s Portuguese Catholic
University (UCP). He holds a PhD degree in Computer
Science and Digital Communication from Pompeu Fabra
University in Barcelona, Spain and a Graduate Degree in
Electronics and Telecommunications Engineering from
the Aveiro University in Portugal. His activity is mainly
on the field of Music Technology, in which he worked
for five years as a resident researcher at the Barcelona
Music Technology Group (MTG). His recent research
has mostly been developed at the UCP’s Research Center
for Science and Technology of the Arts (CITAR) and is
focused on the study and development of experimental
Network Music Systems, as well as in Interactive SoundDesign. He has also developed several artistic projects
with special emphasis in Music Composition, Interactive
Installations Design and Computer Animation. His
work as a researcher and an Artist has been extensively
published internationally. Presently He is undertaking
a Visiting Scholar Position at the Center for Computer
Research in Music and Acoustics (CCRMA) from
Stanford University.
Presentation
Álvaro Barbosa Public Sound Objects:
From the web to the
real world
Predavanje
AO/PT
www.abarbosa.org
Public sound objects: Od svetovnega spleta
do realnega sveta
The Public Sound Objects (PSOs) project consists of the
development of a networked musical system, which is
an experimental framework to implement and test new
concepts for on-line music communication. The new
project of a Public interactive installation based PSOs
system was commissioned in 2007 by Casa da Musica,
the main concert hall space in Porto and it was installed
permanently in 2009. It resulted in a distributed musical
structure with up to ten interactive performance terminals
distributed along the Casa da Musica’s hallways,
collectively controlling a shared acoustic piano. The
installation allows the visitors to collaborate remotely
with each other, within the building, using a software
interface custom developed to facilitate collaborative
music practices and with no requirements of previous
knowledge of musical performance.
Projekt Public Sound Objects (PSOs) se ukvarja
z razvojem med-mrežnega glasbenega sistema
eksperimentalne narave, ki preizkuša nove koncepte
glasbene komunikacije preko svetovnega spleta. 2007 je
bila naročena javna interaktivna instalacija PSOs sistema
v Casa da Musica, glavni koncertni dvorani v Portu, ter
dokončno postavljena leta 2009. Realizirana je bila kot
porazdeljena glasbena struktura oz. glasbeni inštrument
z do 10-imi interaktivnimi terminali, nameščenimi po
hodnikih Case da Musica. Preko posameznih terminalov
lahko več performerjev hkrati upravlja oz. igra na en
akustični klavir. Instalacija omogoča obiskovalcem
da performirajo skupaj s tem, da se hkrati nahajajo v
različnih prostorih v isti stavbi. Razvit je bil poseben
vmesnik, ki uporabniku omogoča skupno upravljanje
tradicionalnega glasbenega inštrumenta brez predhodnega Produkcija / Production:
znanja o muziciranju. IRZU, Galreija Kapelica, Moderna galerija
Rojen 1959 v Schwanenstadt, v Avstriji. Po prvotnem
študiju grafične umetnosti se je navdušil nad Free
Jazzom. Konča študij kompozicije v Gradcu in na Dunaju
pod mentorji: Gösta Neuwirth in Roman HaubenstockRamati. Od leta 1982 živi v Berlinu, kjer je iniciral in
realiziral številne festivale in koncerte. 1988 ustanovi
zasedbo “Zwischentöne”. 1993 je bil gostujoči profesor
na Univerzi za Glasbo v Gradcu. Kot gostujoči dirigent
je vodil zasedbe: ‘Klangforum Wien’, ‘United Berlin’
in ‘Insel Musik Ensemble’. Od leta 1990 deluje kot
samozaposleni umetnik – glasbenik. Je eden redkih
umetnikov, ki danes uporabljajo hrup brez kakršnegakoli
simbolizma, torej zgolj hrup sam po sebi, kot glasbo.
Zanimajo ga vprašanja o naravi zvoka, časa in prostora.
Njegova dognanja so z vpogledi v repeticijo/monotonijo,
redukcijo/odvečnost, gostoto/entropijo itd. postavila na
glavo mnoge temeljne predpostavke v glasbi.
Peter Ablinger was born in Schwanenstadt, Austria in
1959. He first studied graphic arts and became enthused
by free jazz. He completed his studies in composition
with Gösta Neuwirth and Roman Haubenstock-Ramati
in Graz and Vienna. Since 1982 he has lived in Berlin,
where he has initiated and conducted numerous festivals
and concerts. In 1988 he founded the Ensemble
Zwischentöne. In 1993 he was a visiting professor
at the University of Music, Graz. He has been guest
conductor of ‘Klangforum Wien’, ‘United Berlin’ and
the ‘Insel Musik Ensemble’. Since 1990 Peter Ablinger
has worked as a freelance musician. Peter Ablinger is
one of the few artists today who uses noise without any
kind of symbolism - not as a signifier for chaos, energy,
entropy, disorder, or uproar; not for opposing something,
or being disobedient or destructive; not for everything,
for eternity, or for what-have-you. As in all these cases
of music deliberately involving noise, noise is the case,
but for Ablinger: this alone. Peter Ablinger has also
come a long way in questioning the nature of sound,
AT time, and space (the components usually thought central
to music), and his findings have jeopardized and made
dubious conventions usually thought irrefutable. These
ablinger.mur.at insights pertain to repetition and monotony, reduction and
redundancy, density and entropy.
Installation
Peter Ablinger
Instalacija
Deus Cantando
From the series Quadraturen:
For computer-controlled piano and screened
text - “Declaration of the International
Environmental Criminal Court”
Iz serije Quadraturen:
Za raËunalniško upravljan klavir in projeciran
text - “Deklaracija mednarodnega sodišËa za
okoljske zloËine”
Produkcija / Production:
IRZU, ŠKUC
Računalniško upravljan klavir: Winfried Ritsch Computer-controlled piano-player: Winfried Ritsch
Quadraturen je serija instalacij, elektro-akustičnih in
koncertnih del, oz. eno delo, ki se pojavlja v različnih
instancah kot simfonični orkester, instalacija, ali kot
računalniško upravljan klavir.
1. Zmeraj se izhaja iz „akustične fotografije“ oz.
fonografa. To je lahko zvočni posnetek česarkoli: govora,
cestnega hrupa, glasbe, itd.
2. Časovna in frekvenčna os izbranega „fonografa“ se
nato kvantizirata v mrežo diskretnih enot - „kvadratov“, ki
so lahko reprezentirane/i skozi, npr. sekunde v časovni- in
pol-toni v frekvenčni domeni.
3. Tako dobimo mrežo oz. partituro, ki jo lahko
reproduciramo v različnih medijih, kot so npr.
Tradicionalni instrumenti, računalniško upravljan klavir,
ali beli šum.
Quadraturen (“Squarings”) is a cycle of installation-,
electroacoustic-, and concert-pieces, or, one work that
appears in one instance as symphony orchestra, in another
as sound installation and in the next as a computercontrolled player piano.
1. The first step is always an acoustic photograph
(“phonograph”). This can be a recording of anything:
speech, street noise, music.
2. Time and frequency of the chosen “phonograph” are
dissolved into a grid of small “squares” whose format
may, for example, be 1 second (time) to 1 second
(interval).
3. The resulting grid is the score, which is then to be
reproduced in different media: on traditional instruments,
computer controlled piano, or in white noise.
Reprodukcijo „fonografov“ s pomočjo akustičnih
inštrumentov Ablinger primerja s foto-realizmom v
slikarstvu. Tehnični aspekt serije „Quadraturen“ primerja s
postopki, pri katerih se uporablja tehnika mreže za prenos
fotografij. Kadar uporabljamo inštrumente na katere igrajo
ljudje, je potrebno mrežo razširiti (upočasniti), zato, da
je interpretacija sploh možna. V tem primeru rezultat
transformacije, ni toliko reprodukcija originala, pač pa
je zgolj neke vrste poskus grobe primerjave originala
z reprodukcijo ustvarjeno s pomočjo inštrumentalnih
zvokov. Z uporabo manjših zvočnih zrn pri reprodukciji,
npr. 16 enot na sekundo (to je meja zmogljivosti repeticije
akustičnega klavirja), se je originalu možno približati do
meje prepoznavnosti. Z nekoliko prakse pri poslušanju
računalniško upravljanega klavirja, je možno prepoznati /
dekodirati celo govorjene besede, stavke.
The reproduction of “phonographs” by instruments can
be compared to photo-realist painting, or - what describes
the technical aspect of the “Quadraturen” more precisely
-with techniques in the graphic arts that use grids to
transform photos into prints. When using humanly played
instruments the grid has to be enlarged
(slowed down) to remain playable - thus the result of
the transformation is not so much a reproduction of the
original but an approach to, or a situation of comparison
between instrumental sounds and the original sound
source. Using a smaller grain, e.g. 16 units per second
(about the limit of the player piano), the original
source approaches the border of recognition within the
reproduction. With practice listening the player piano can
even perform structures possible for a listener to transpose
into/understand as spoken sentences.
Glavi namen projekta vsekakor ni avtentična reprodukcija
originala, temveč raziskovanje meje med abstraktno
glasbeno strukturo in nenadnim prestopom v popolno
prepoznavnost. Izpostavljeno je razmerje med glasbenimi
kvalitetami in „fono-realizmom“, oz. opazovanje realnosti
skozi glasbo.
Actually however, my main concern is not the literal
reproduction itself but precisely this border-zone between
abstract musical structure and the sudden shift into
recognition - the relationship between musical qualities
and “phonorealism”: the observation of “reality” via
“music”.
Marko Batista je v Ljubljani diplomiran akademski
slikar, ki je magistriral na University of the Arts
London / Central Saint Martins v Londonu (20062007). Je so-ustanovitelj multimedijske skupine
KLON:ART:RESISTANCE. Z AV performansi in
video deli se je udeležil preko štirideset festivalov in
skupinskih razstav, kot so 10. Bienale mladih ustvarjalcev
Evrope in Mediterana v Sarajevu; razstava »95-05« v
Moderni galeriji Ljubljana; Center za sodobne umetnosti
v Glasgowu; festival Izolenta 07 v St. Petersburgu; 10.
Istanbul Bienale, Turčija; Media Art Friesland Festival
2007 na Nizozemskem; Visual Deflection festival,
London; BIXFacade Kunsthaus Graz; Ars Electronica,
Linz. S samostojno razstavo je sodeloval na letošnjem
Transmediale.10 v Berlinu.
Marko Batista is Ljubljana based tech-mixed-media
artist, sound researcher, video experimentalist and AV
performer, born in Tito’s Yugoslavia. Batista focuses
on themes such as displaced sound-scapes, video
transformation processes, networking data, collaboration,
linking concepts, hybrid spaces, politics of art and
other fields of contemporary media art. Graduated from
Academy of Fine Arts in Ljubljana and finished Master of
Arts degree from Central Saint Martins in London. Marko
Batista is a founding member of experimental multimedia
group Klon:Art:Resistance. In 2003 he collaborated on
a project for 50th LA BIENNALE DI VENEZIA: VV2
<Recycling the Future>. His works have been presented
at ARS ELECTRONICA-Featured Art Scene in 2008,
10th INTERNATIONAL ISTANBUL BIENNIAL, BIX
Facade KUNSTHAUS GRAZ, Cellsbutton#3- Indonesia,
VIENNABIENNALE 2008, ELECTRONIC CHURCH
Berlin, CCA Glasgow, SLOWTIME 2007, Museum
of Modern Art-Ljubljana, PIXXELPOINT 2005, 15th
International Festival of Computer Arts-Maribor, ZERO
Gallery/TRANSMEDIALE.10-Berlin.
Performance
Marko Batista H220
Performans
SLO
www.project-data.info
www.aksioma.org/h220
V performansu H220 Marko Batista nadaljuje
eksperimentalna zvočno-vizualna raziskovanja iz serije
projektov z naslovom ‘Hibridne strukture in dislocirani
objekti’. S pomočjo tehnologije se avtor osredotoča
na oblikovanje hibridnega okolja ne-linearnih struktur
in dislociranih matric. Partikularni zvočni sistemi
oblikujejo tako imenovano mrežo potujočih objektov ter
se s pomočjo realtime sodobne tehnologije prepletajo
z začasnimi digitalno generiranimi vizualnimi procesi.
Intermedijski performans ponuja gledalcu poleg
eksperimentalnega pristopa ter nizanja vizualnih podob
specifično prostorsko izkušnjo zvočnih sekvenc, ki so
kompleksno prepletene in generirane iz nizko frekvenčnih
elektromagnetnih spektrov. Avtor z uporabo posebej
izdelanih elektronskih orodij in kontrolnih elementov
tvori platformo, ki omogoča rizomatsko okolje hibridnih
dislociranih enot.
Marko Batista continues his experimental audio-visual
explorations from the series of projects entitled “Displaced
Objects and Hybrid Structures”. Using technology, the
author focuses on shaping a hybrid environment of
nonlinear structures and displaced matrixes. Particular
audio systems form a so-called network of travelling
objects and, through the use of modern realtime
technology, intertwine with temporary digitally generated
visual processes. Besides an experimental approach
and a succession of visual images, Batista’s intermedia
performance offers a specific spatial experience of audio
sequences that are intricately intertwined and generated
from low-frequency electromagnetic spectres. Using
specially made electronic tools and control elements,
Produkcija / Production: the author forms a platform that enables a rhizomatic
Aksioma, ŠKUC environment of hybrid displaced units.
1 -BOKS je študentska platforma v Ljubljani in je
namenjena vzpostavljanju kritičnega dialoga in refleksije
študijskega sistema, umetniškega sistema in družbe.
Zapolnjeval naj bi manko vsebin (teoretičnih, praktičnih,
delavnic in družbenih iniciativ) na vseh treh področjih.
Z vključevanjem študentov različnih strok v usmeritev
v oblikovanje progama, se projekt BOKS fokusira na
povezovanje študentov umetnosti s študenti drugih
fakultet. Študente umetnosti poskuša pripraviti na sistem,
v katerega bodo vstopili po končanem izobraževanju,
ter odpreti umetniško prakso drugim družbenim poljem.
BOKS želi vzpostaviti točko za izmenjavo kritične in
kreativne mlade misli, ki potencialno lahko ponudi nove
odgovore na družbena vprašanja. V interesu BOKS-a
je delovanje, ki spodbuja iskanje in vzpostavljanje
manjkajočih členov med umetnostjo in družbo.
2 -BOKS je objekt- prostor za izvajanje programa.
3 -BOKS je društvo, ki upravlja z objektom in izvaja
program
1 -BOKS is a student (art) platform in Ljubljana intended
to establish a critical dialogue and reflection of the
educational system, art system and society in general.
Its purpose is to fill in the shortage of such contents
(theoretical, practical, workshops and civil initiatives
in all three above-mentioned domains. Incorporation of
students of various expertise into the designation of the
programme the BOKS project focuses on networking
of art students with the students of other faculties. Its
objective is to prepare the current art students for the
system they are to enter after they finish their studies
SLO
as well as to open up the artistic practice to other social
fields. BOKS wishes to establish the point for the
www.boksproject.org mutual exchange of critical and creative young thought,
potentially offering new answers to social questions. It is
of crucial importance for BOKS to encourage the search
as well as establishment of the missing links between the
art and society.
2 -BOKS is a space to enact the programs / execution of
programs
3 -BOKS is an association managing the premises and
executing programs.
Presentation
Projekt BOKS
Predavanje
IRZU, Projekt BOKS, Moderna galerija
Avstralski dvojec Band Leather Band se posveča
izvajanju elektronske eksperimentalne glasbe.
Joanne Cannon in Stuart Favilla razvijata unikaten
Avstralski [prost] pristop k muziciranju, pri čemer
združujeta virtuoznost improvizacije s vizualnostjo
njunih spektakularnih inštrumentov. V sodelovanju z
tasmanskim umetnikom usnja Garryjem Greenwoodom
so nastali pihalni inštrumenti v oblikah kač, pošasti ter
svetlobna harfa z zmajevo glavo. Njihovo delo temelji
na renesančni, baročni ter indijanski tradiciji izdelovanja
inštrumentov, katero razširi s sodobnimi tehnologijami
senzorjev ter digitalne sinteze in obdelave signalov, s
čimer dosežejo visoko stopnjo diferenciacije v zvočni
izraznosti. Stuart in Joanne se posvečata umetnosti
računalniške glasbe. Unikatno glasbeno govorico
razvijata okoli paradigme žive skupne improvizacije, ki
jo gojita na osnovi dolgoročnega raziskovanja izraznih
posebnosti novih glasbenih inštrumentov. Bent Leather
Band z improvizacijskim pristopom raziskuje koncept
„Proste Glasbe“ (Free Music) Percyja Graingerja, za
kar leta 2004 prejme Karl Szucka Preis in leta 2006
IAWM New Genre Prize. Nastopajo po Avstraliji, Evropi
[Aarhus, Barcelona, Basel, Belfast, Paris, Genova,
Padova] in Aziji.
Performance
Workshop
Presentation
Bent Leather Band
Australia’s premiere experimental electronic instrument
duo, the Bent Leather Band has developed a uniquely
Australian [Free] approach to music making. Joanne
Cannon and Stuart Favilla’s music sets virtuosity
and duo improvisation against a visual spectacle of
electronic leather Stradivari. These instruments, made
in collaboration with Tasmanian leather artist Garry
Greenwood, include the dragon headed light-harps,
serpents and monsters. Inspired by the instrument making
traditions of the Renaissance, Baroque and Indian music
traditions, their work embodies sensor technologies,
synthesis and signal processing techniques, which
achieve a fine degree of expressive refinement.
Dedicated to the art of computer music, their unique
perspective encompasses the paradigm of live ensemble
improvisation and the nature of playability [developing
expressive practicable instruments] and considers that
these two elements should be in governance with a
musical language. Bent Leather Band’s improvised
explorations of Percy Grainger’s Free Music have been
recognized by a number of International prizes including
the 2004 Karl Szucka Preis and the 2006 IAWM New
Genre Prize. They have performed regularly throughout
Australia, Europe [Aarhus, Barcelona, Basel, Belfast,
Paris, Genova, Padova] and Asia.
Delo raziskuje koncepte „Proste Glasbe“ (Free Music)
Percyja Graingerja „polzeči toni, mikro intervali,
nepravilni ritmi“ [Grainger, 1951], ki jih zoprestavlja s
koncepti muziciranja 21. Stoletja. Skladba sestoji iz solo
in duo delov, odigranih na elekro-usnjenih glasbenih
inštrumentih: Svetlobna harfa, Serpentinski fagot in
Contra-monster.
Children of Grainger
Vstopnice / Tickets:
10 / 8 Evro
Glasbeniki, prinesite svoje inštrumente in se pridružite
muziciranju! V okviru delavnice bomo raziskovali
pristope k interaktivni improvizaciji ter predstavili
koncepte avtomatskega sledenja/prepoznavanja glasbenih
struktur [machine-listening] ter koncepte generativnega
komponiranja. Predstavljene bodo tudi nekatere tehnike
obdelave in sinteze zvoka v realnem času ki uporabljajo
naslednje vmesnike: MaxMSP, MIDI, Open Sound
Control.
Predavanje
AU
home.mira.net/~favilla
Interact
Cena paketa delavnic / Workshops package: Bent Leather Band, Nick Collins,
Hans Christoph Steiner, Norbert Schnell, Rob Canning: 56 Evro
Prijave pošljite na / Apply at: info@irzu.org
Predstavljeni bodo raziskovalni projekti Bent Leather
Band-a, ki se nanašajo na aplikacije večkanalnega sistema
„Ambisonics“ v realnem času, in sicer, v kontekstu
velikih skupin digitalnih-glasbenih inštrumentov. Pristop
igranja projekcije sistema Ambisonic v živo temelji
na delu Trevorja Wisharta in predstavlja sistematično
raziskavo potencialov improvizacije s prostorskim
premikanjem virtualnih zvočnih virov.
Izraznost in
prostorski
premiki: “Playable
Ambisonics”
IRZU, Moderna galerija, Cankarjev dom
Musicians! Bring your instruments and be ready to
play. Interact explores interactive improvisation and
will introduce concepts of live performance tracking
[machine-listening] and generative music making. The
workshop will also demonstrate live signal processing/
synthesis techniques, MaxMSP, MIDI, Open Sound
Control interfaces and more.
Cena delavnice / Workshop fee: 10 Evro
Performans
Delavnica
Bent Leather Band presents Children of Grainger a
concert/exhibition work exploring Percy Grainger’s
free music life and legacy. Grainger’s free music; i.e.
“music using gliding tones, very small intervals and
irregular rhythms” [Grainger, 1951] is juxtaposed within
the context of 21st Century music making. Children of
Grainger features solo and duo performances of by the
Bent Leather Band showcasing their incredible electronic
leather instruments including the Light-harp, Serpentinebassoon and Contra-monster.
This lecture presents research undertaken by the Bent
Leather Band investigating the application of live
Ambisonics to large digital-instrument ensemble
improvisation. Their playable approach to live ambisonic
projection is inspired by the work of Trevor Wishart and
presents a systematic investigation of the potential for
live spatial motion improvisation.
Expression and Spatial
Motion: Playable
Ambisonics
Rob Canning je skladatelj in zvočni umetnik, ki skuša v svojem
delu združevati intuitivni/improvizirani umetniški pristop s
komponiranjem glasbe na osnovi algoritmičnih sistemov.
Sodeloval je že s orkestri kot so London Sinfonietta, The
Concorde Ensemble, The National Chamber Choir of Ireland
med ostalim. Njegove skladbe so bile izvajane in predvajane
mednarodno, prav tako so se njegova večkanalna elektronska
dela ter instalacije predstavile na številnih razstavah ter bile
del plesnih in gledaliških predstav. Trenutno se posveča
doktorskemu študiju na Goldsmiths College v Londonu, s
poudarkom na računalniško podprtih strategijah skladanja
s free/libre/open source software-om. Je član kolektiva
GOTO10.
Workshop
Rob Canning
Rob Canning is a composer and sound artist. His work focuses
on finding a dialogue between algorithmic system based
composition strategies and intuitive/improvised approaches.
He has worked with ensembles such as the London Sinfonietta,
The Concorde Ensemble, The National Chamber Choir of
Ireland amongst others. His composed works have been
performed and broadcast internationally along side his
multichannel electronic and installation works which have
appeared in a number of contexts including exhibitions, dance
performances and theatre. He is currently pursuing a Ph.D in
Goldsmiths College London with a focus on computer assisted
composition strategies using free/libre/open source software.
He is a member of the GOTO10 collective.
Delavnica
rob.goto10.org
Spoznavanje z uporabo FLOSS (Free Libre in Open
Source Software) orodij za povezovanje algoritmičnih
procesnih moči računalnika in performativnega potenciala
ustvarjanja glasbe ki je berljiva ljudem. Delavnica se
osredotoča na združevanje jezikov računalniške glasbe, kot
so pure - data z orodji za notacijo abcmusic, Rosegarden in
Lilypond. Poslužili se bomo nekaterih preprostih skriptov,
izdelanih z uporabo bash, sed, python in ImageMagick.
Delavnica bo potekala na GNU/Linux distribuciji puredyne
- multimedijski distribuciji, ki so jo umetniki ustvarili za
umetnike. http://puredyne.goto10.org
Composing for Instruments
with FLOSS Tools
Skladanje za instrumente s FLOSS orodji
An Introduction to using an array of Free Libre and Open
Source Software tools to combine the algorithmic processing
power of computers with the performative potential of
making music that can be read by humans.
The workshop shall focus on combining computer music
languages such as pure-data with the notation software
abcmusic, Rosegarden and Lilypond also calling on tricks
using some simple scripts made using bash, sed, python and
Razstava
imagemagick. The workshop shall be given on the GNU//
Instalacijska projekcija Kyklos (κύκλος = “cikel, krog”) Linux distribution puredyne, a multimedia distribution made
je delo za 6 melodičnih inštrumentov. Lahko se izvaja v for artists by artists. http://puredyne.goto10.org
živo, predstavi kot šest-kanalni surround zvočni posnetek,
kot delo za melodične instrumente in posnetek ali kot
instalacija. Konvencionalni notni zapis na papirju za to
delo ne obstaja. Notni zapis za Kyklos je video datoteka,
ki ustreza 17 metrov dolgemu zapisu na papirju v šestih Installation projection of the Kyklos (κύκλος = “cycle,
delih. Ta se v celoti odvije v 18 minutah. Izvajalec/ci igrajo circle”) is a work for 6 melody instruments, it can be
iz projekcije tega zapisa, ki ga lahko vidi tudi občinstvo. performed live, presented as a six channel surround sound
Notni zapis uporablja vrsto proporcionalne notacije. tape piece or as a piece for melody instruments and tape or
http://rob.goto10.org/blog/kyklos/ as an installation. There is no conventional hardcopy score
for this piece. The score for kyklos exists as a video file
Produkcija / Production: which is equivalent to a 17 meter long score in six parts.
Ljudmila pri KUD F. Prešeren, ŠKUC This is scrolled through over the duration of 18 minutes.
The performer/s play from a projection of this score which
Cena delavnice / Workshop fee: 20 Evro may also be visible to the audience. The score is written in
a form of proportional notation.
Prijave pošljite na / Apply at: info@irzu.org http://rob.goto10.org/blog/kyklos/
Clay Chaplin je skladatelj, improvizator, video umetnik,
zvočni inženir iz Los Angelesa. Raziskuje na področju
avdiovizualne improvizacije, zvočne sinteze, terenskih
posnetkov zvoka in računalniške obdelave signalov.
Sodeloval je v mnogih projektih eksperimentalne glasbe,
videa, avdio snemanja in interaktivnih računalniških
sistemov. Njegova dela so bila izvedena v mednarodnem
prostoru med drugim na: San Francisco Electronic
Music Festival, Bent Festival, Pusan International
Computer Music Festival, Deutsche Gesellschaft fur
Elektroakustiche Musik (DEGEM) studios, Studio for
Electro-Instrumental Music (STEIM), New Interfaces
for Musical Expression (NIME) conferences, Center
for Contemporary Music at Mills College (CCM),
Lincoln Center Out-of-Doors Festival, in mnogih drugih.
Trenutno je predstojnik studiev za računalniško glasbo in
eksperimentalne medije, glasbene šole na CalArts, kjer
poučuje tudi predmet: „Prakse eksperimentalnega zvoka“.
Performans
Performance /
Presentation Audio-Visual
Clay Chaplin Improvisation with
Stupid Thing
Predavanje
US
music.calarts.edu/~cchaplin
Avdio-vizualna improvizacija s “Stupid Thing”
Exhibition
Kyklos
Clay Chaplin is a composer, improviser, video artist,
and audio engineer from Los Angeles who explores the
realms of audio-visual improvisation, sound synthesis,
field recording, electronics, and computer processing
for creative sonic expression. Clay has worked on many
projects involving experimental music, video, audio
recording, and interactive computer systems. Clay’s
works have been performed internationally including
performances at the San Francisco Electronic Music
Festival, the Bent Festival, the Pusan International
Computer Music Festival, the Deutsche Gesellschaft fur
Elektroakustiche Musik (DEGEM) studios, the Studio for
Electro-Instrumental Music (STEIM), the New Interfaces
for Musical Expression (NIME) conferences, the Center
for Contemporary Music at Mills College (CCM), the
Lincoln Center Out-of-Doors Festival, and many others.
He is currently the Director of the computer music and
experimental media studios at the School of Music at
CalArts where he teaches in the Experimental Sound
Practices program.
„Stupid Thing“ je posebej prirejen brezžični, avdiovizualni inštrument v obliki rokavice. Razvoj vmesnika
je potekal več čet, trenutno so ga posodobili na institutu
STEIM v Amsterdamu. Predstavljen bo kratek pregled
zgodovine razvoja inštrumenta ter trenutno stanje strojne
in programske opreme, kar se navezuje tudi na metode
mapiranja podatkov na avdio-vizualne signale, ki jih z
inštrumentom/rokavico lahko generiramo.
Stupid Thing is a custom built wireless glove instrument
for audio-visual performance. The instrument has
evolved over many years and was recently overhauled
with the help of STEIM in Amsterdam. Clay will present
a brief overview of the instrument’s history, a look at
the instrument’s current hardware and software, and
programming techniques for computer-based audio-visual
improvisation.
IRZU, Moderna galerija, ŠKUC
Nick Collins je skladatelj, performer in raziskovalec
na področju računalniške glasbe. Predava in vodi
raziskovalno skupino glasbene informatike na University
of Sussex, UK. Njegovo raziskovalno delo je usmerjeno v
področje strojnega poslušanja, interaktivne in generativne
glasbe ter avdiovizualnega performansa. Je sourednik
publikacije „Cambridge Companion to Electronic
Music“ (Cambridge University Press 2007), je avtor
knige „Introduction to Computer Music“ (Wiley 2009),
trenutno pripravlja publikacijo „The SuperCollider Book“
, ki bo izdana pri založbi MIT Press. Napisal je naslednje
aplikacije za iPhone: iGendyn (breplačna), TOPLAPapp
(brezplačna, odprta koda) in Contact (plačljiva vendar ne
draga). Nedavni performansi: „live coding“ v vinogradu
v Corfu, padanje s klavirskega stolčka v Sydneyu, petje
100 metrov v Brightonu in igranje čembala v Wirralu.
Včasih piše o sebi v tretji osebi, vendar se trudi da bi to
opustil. Vse podrobnosti o njegovih publikacijah, glasbi,
kodi in ostalih projektih so dostopne na: http://www.
informatics.sussex.ac.uk/users/nc81/
Nick Collins is a composer, performer and researcher in
the field of computer music. He lectures at the University
of Sussex, running the music informatics degree
programmes and research group. Research interests
include machine listening, interactive and generative
music, and audiovisual performance. He co-edited the
Cambridge Companion to Electronic Music (Cambridge
University Press 2007), wrote the Introduction to
Computer Music (Wiley 2009), continues to edit The
SuperCollider Book (forthcoming, MIT Press). iPhone
apps include iGendyn (free), TOPLAPapp (free, open
source) and Concat (not free, but not expensive). Recent
concerts include live coding in a vineyard in Corfu,
falling off a piano stool in Sydney, singing the 100
metres in Brighton, and playing harpsichord in Wirral.
Sometimes, he writes in the third person about himself,
but is trying to give it up. Further details, including
publications, music, code and more, are available from
www.informatics.sussex.ac.uk/users/nc81
Presentation There’s More Where
Nick Collins That Came From: The
fecundity of futures in
electronic music
Predavanje
UK
Veliko je še na zalogi: bogata prihodnost
raËunalniške glasbe
Ko rečemo, da se tehnologija razvija hitro s tem izgubimo
že dragocen čas. Mar bi ga bili porabili za dohajanje in
razumevanje vsega tega razvoja. Milijarda računalnikov
in tri milijarde mobilnih telefonov so le začetek masovne
produkcije in konzuma vsebin, ki sproža konflikt med
pasivnostjo in aktivno interakcijo uporabnikov. V
generativni glasbi lahko zgolj en sam proces pripelje
do neštetih glasbenih rezultatov. Razsežnosti produktov
enega glasbenega stroja lahko zlahka presežejo kapacitete
človeške percepcije in razumevanja. V dobi obsesivnega
spreminjanja se delo s stabilno tehnologijo morda zdi
nedosegljivo razkošje, digitalno arhiviranje pa se bo
morda izkazalo le kot jalovo prizadevanje. A bodo
medijski arheologi utegnili ohraniti „Lyre Hero“, ali pa
bodo preveč zaposleni z delom na lastnih umetniških
projektih? V prezentaciji bomo deležni obilice elektronske
glase in glasbene tehnologije, obdelali bomo prihodnost
izvajalcev in raziskovalcev ter povzeli nekatere
spekulacije izbranih avtorjev znanstvene fantastike.
To say that technology was fast moving would already
have wasted precious moments that might be better spent
catching up. One billion computers and three billion
mobile phones are just the beginning of mass content
creation and consumption, with the balance of our
time between passivity and active interaction a zone of
dispute. In generative music, even a single process can
lead to innumerable musical products; understanding the
scope of the outputs from a musical machine can take
lifetimes. In the face of obsessive change, working with
a stable musical technology can seem an impossible
luxury, and digital archiving a futile pursuit. Will media
archaeologists preserve Lyre Hero, or be too busy
working on their own art projects? In this presentation we
will encounter the fevered outpouring of electronic music
and music technology, the futurology of practitioners and
researchers, and even the speculations of selected science
fiction authors.
Delavnica
Workshop
SuperCollider is an environment and programming
language for real time audio synthesis and algorithmic
composition, and lots of fun. It provides an interpreted
object-oriented language which functions as a network
client to a state of the art, real-time sound synthesis
server. You can live code it as you perform, or use it to
build interactive systems for concerts and installations
(it’s free to download and cross-platform: supercollider.
sourceforge.net)
SuperCollider je programsko okolje in orodje za sintezo
zvoka in algoritmično komponiranje v realnem času.
Zajema interpretiran, objektno orientiran programski
jezik, ki deluje kot omrežni client za strežnik, ki
sintetizira zvok v realnem času. Medtem, ko performirate
lahko v živo pišete - dodajate in spreminjate - kodo.
Program lahko uporabljate tudi za oblikovanje
interaktivnih sistemov za koncerte ali instalacije. Deluje This workshop will provide a friendly introduction to
na vseh operacijskih sistemih in je na voljo brezplačno: SuperCollider aimed at artists and musicians. The aim is
http://supercollider.sourceforge.net/ to get you creating music live with SuperCollider within
a short space of time; the emphasis will be on practical
Delavnica je zasnovana kot prijazen uvod v music making to help motivate your learning, and the
SuperCollider in je namenjena umetnikom in central theme will be live audio processing and analysis.
glasbenikom. Namen delavnice je v najkrajšem času Aside from a little familiarity with the digital arts, no
posredovati osnovna znanja, ki bodo udeležencem prerequisites, though some prior exposure to computer
omogočila uporabo programa in živega izvajanja music (perhaps through Max/MSP, PD or Csound) may
glasbe. Poudarek bo na praktičnem muziciranju, kar bo be helpful.
udeležence motiviralo pri učenju, centralna tema pa bo
živo procesiranje in analiza digitalnega zvoka. Razen The courses will adapt smoothly to the level of
minimalnih izkušenj z digitalnimi umetniškimi praksami, participants. Split over two sessions, session 1 will deal
nikakršno predznanje ni potrebno, vsekakor pa bodo with SuperCollider from the beginning, and set you up to
predhodne izkušnje s podobnimi programi (Max/MSP, continue with session 2.
PD ali Csound) prišle prav.
Tech requirements: Participants are expected to bring
Delavnico bo prilagojena nivoju znanja udeležencev. their own laptops. The instructor will have a USB stick
Razdeljena bo na dva dni. Prvi dan bomo obravnavali with latest versions of SuperCollider and any workshop
osnove (instalacijo in osnovne koncepte funkcionalnosti) materials, though feel free to obtain SuperCollider in
programskega okolja, ki jih bomo z omenjenimi advance.
vsebinami nadgrajevali drug dan.
Tehnične zahteve: Udeleženci naj prinesejo svoje
prenosnike. Na delavnici bodo dobili vse potrebne
materiale (instalacijske datoteke in nekatere izbrane
primere kode). SuperCollider si lahko tudi sami
predhodno namestite.
An Introduction to
Sound Processing and
Machine Listening in
SuperCollider
Uvod v obdelavo zvoka in strojno poslušanje v
programu SuperCollider
Kiberpipa / Zavod K6/4, Moderna galerija, ŠKUC
Choloniewski je rojen 1953 v Krakovu na Poljskem.
Študiral je orgle (mentor: L.Werner), kompozicijo,
glasbeno teorijo (mentor: B.Schaeffer) in elektronsko
glasbo (mentor: J. Patkowski) na Akademiji za glasbo v
Krakovu. Od leta 2000 je direktor Elektro-akustičnega
glasbenega študija. Je (so)-ustanovitelj mnogih glasbenih
skupin in društev: Muzyka Centrum Art Society, Freight
Train, Studio MCH, DoubleMark, CH&K&K, mc2
duo, Infinity Quartett, Kinetic Trio in dizzy kinetics.
Choloniewski piše instrumentalno in elektro-akustično
glasbo za gledališče, film in radio, je avtor zvočnih in
video inštalacij ter avdio-vizualnih, ‘outdoor’ in ‘net’
projektov. Je svetovno znan predavatelj, skladatelj, zvočni
umetnik in ‘live art’ performer. Marek koncertira, predava
in vodi delavnice po Evropi, Severni in Južni Ameriki ter
Aziji. Je avtor ustanovitelj, umetniški vodja koordinator
in sodelavec mnogih mednarodnih projektov:„audio art“
series (1987), Audio Art Festival (1993), International
Workshops for New Music Cracow/Stuttgart (1993).
International Academy for New Composition and Audio
Art in Tirol (1993–1999), Silent Films with Music Live
(1994), Global Mix (1998), Art Boat (2000), GPS-Art
(2000), Ensemble Spiel (2003), Bridges and European
Modern Orchestra (2003-2008), Polish Society for
Electroacoustic Music (2005), Polish Sound Art in
China, Chinese Sound Art in Poland (2006), PAFME
(2006), European Course for Musical Composition and
Technologies (2006-2008), Festival for Polish Culture in
Luxembourg (2008), dizzy kinetics concert tours in South
America (2007-2010). Prejel je častno nagrado Poljske
zveze skladateljev, nagrado Ministrstva za kulturo.
Projektne dotacije Nacionalna dediščina in CEC ArtsLink
New York. Od 2008 je sekretar mednarodne neodvisne
konfederacije elektro-akustične glasbe (ICEM/CIME).
Born 1953, in Krakow, Choloniewski studied organ
(with L.Werner), theory of music and composition (with
B.Schaeffer) and electronic music (with J.Patkowski) at
the Krakow Academy of Music, since 2000 the director
of the Electro-acoustic Music Studio. He is the founder
and co-founder of many groups and societies: Muzyka
Centrum Art Society, Freight Train, Studio MCH,
DoubleMark, CH&K&K, mc2 duo, Infinity Quartett,
Kinetic Trio and dizzy kinetics. Choloniewski writes
instrumental, electroacoustic, music for theater, film
and radio, is the author of sound and video installations,
audio-visual, outdoor and net projects. A world renown
lecturer, composer, sound artist and live art performer.
He has been giving concerts, workshops and lectures
in Europe, North and South America as well as Asia.
Author, founder, artistic director, coordinator and
cooperator of many international projects: „audio art“
series (1987), Audio Art Festival (1993), International
Workshops for New Music Cracow/Stuttgart (1993).
International Academy for New Composition and Audio
Art in Tirol (1993–1999), Silent Films with Music Live
(1994), Global Mix (1998), Art Boat (2000), GPS-Art
(2000), Ensemble Spiel (2003), Bridges and European
Modern Orchestra (2003-2008), Polish Society for
Electroacoustic Music (2005), Polish Sound Art in
China, Chinese Sound Art in Poland (2006), PAFME
(2006), European Course for Musical Composition and
Technologies (2006-2008), Festival for Polish Culture
in Luxembourg (2008), dizzy kinetics concert tours in
South America (2007-2010). He received Honorable
Award of the Polish Composers Union, Award of the
Ministry of Culture and National Heritage, as well as the
Independent Project grant of the CEC ArtsLink in New
York. Since 2008 he is the Secretary of the International
Confederation of Electroacoustic Music (ICEM/CIME).
Performance
Marek Choloniewski
Performans
PL
www.studiomch.art.pl
Produkcija / Production: Vstopnice / Tickets:
Aksioma, Cankarjev dom, Moderna galerija 10 / 8 Evro
Jurij Dobriakov je neodvisni kulturni delvaec, publicist,
in prevajalec. Zanima se za sodobne kulturne pojave,
fotografijo kot fantazmatski stroj, alternativno kulturo,
jezik in moč, probleme kulturne identitete v mejnih
regijah, spomin in nostalgijo, generacijsko identiteto,
javni prostor in psiho-geografijo. Redno piše članke za
tiskane in spletne publikacije. Je soustanovitelj spletnih
platform posvečenih vprašanjem med-kulturne identitete
in osebnega / kolektivnega spomina.
Jurij Dobriakov is an independent contemporary culture
commentator, author, speaker and translator. His current
interests include everyday culture, photography as a
phantasm machine, outsider culture and the periphery,
language and power, cultural identity problems in border
territories, memory and nostalgia, generational identity,
public space and psychogeography, etc. He regularly
writes texts for printed and online publications and
is a co-founder of several online collective authoring
platforms dedicated to issues of (trans-)cultural identity
and personal/collective memory.
Presentation
Jurij Dobriakov Imagining Outsider Culture
in Today’s Lithuania
Predavanje
LT
Sodobna ideja alternativne kulture v Litvi
As contemporary culture becomes increasingly projectbased, funding-oriented, and intertwined with institutions
of power and their agendas, there emerges a certain
longing and desire for a more communal, remote,
sectarian – in short, outsider brand of culture. For several
years already, a peculiar trend of moving out of the urban
centre in the direction of the rural periphery with the
aim of establishing independent artistic communities,
alternative culture centres, semi-fictional secretive
organizations and even remote family compounds has
been observable in Lithuania, yet it remains poorly
researched and discussed as a phenomenon. Are we
witnessing a re-incarnation of the 1960s-1970s’ “outsider
culture”, or is it rather largely a product of imagination?
Furthermore, can authentic outsider culture exist today
at all, both ideologically and economically? What are the
possible scenarios of “opting out” of the official culture in
a country like Lithuania?
Med tem, ko sodobna kultura postaja zmeraj bolj
usmerjena v projektno delo, pridobivanje subvencij ter
v povezovanjem z močnimi institucijami in njihovimi
agendami, se pojavlja tudi potreba in želja po bolj
alternativnih oblikah kulture. Že več let lahko v Litvi
zaznamo tendenco, izogibanja urbanemu okolju in
seljenja umetniških centrov in dejavnosti na periferijo.
Vzpostavljanje takšnih neodvisnih umetniških skupnosti,
centrov, delno-fiktivnih zaprtih organizacij ter celo
oddaljenih družinskih struktur, je trenutno še dokaj
slabo dokumentirano in raziskano. A morda doživljamo
reinkarnacijo alternativne kulture šestdesetih in
sedemdesetih let, ali pa se nam v večji meri to zgolj
dozdeva? A lahko avtentična alternativna kultura dan
danes – tako ideološko kot ekonomsko – sploh še
obstaja? Kakšne so sploh realne možnosti izstopa iz
uradne kulture v državi kot je Litva? Produkcija / Production:
IRZU, Moderna galerija, ŠKUC, Projekt BOKS
Arthur Flexer se ukvarja s tem, kako naučiti računalnike
poslušati glasbo. Njegovo raziskovalno delo zajema
metode strojnega učenja, prepoznavanja vzorcev in
inteligentnega procesiranja glasbe. Kot raziskovalec
projektni menedžer deluje v okviru skupine za
inteligentno glasbeno procesiranje in strojno učenje
na avstrijskem raziskovalnem inštitutu za umetno
inteligenco (ÖFAI) na Dunaju. Flexer ima doktorat iz
psihologije, z Univerze na Dunaju. Je avtor in soavtor več
kot petdesetih znanstvenih publikacij.
Arthur Flexer works on enabling computers to listen to
music. Therefore his research interests include machine
learning, pattern recognition, and intelligent music
processing. He is a senior researcher and project manager
at the Intelligent Music Processing and Machine Learning
Group at the Austrian Research Institute for Artificial
Intelligence in Vienna. Flexer has a PhD in psychology
from the University of Vienna and is author and co-author
of more than fifty scientific publications.
How Computers Listen
Presentation to Music
Arthur Flexer
Predavanje
AT Kako raËunalniki poslušajo glasbo
www.ofai.at
Še pred desetimi ali dvajsetimi leti so povprečni ljubitelji
glasbe posedovali okoli nekaj tisoč vinilnih ali CD plošč,
lokalne prodajalne plošč pa so bile glavni dobavitelj
glasbenih medijev. Danes je na milijone skladb vsakomur
dostopnih preko svetovnega spleta po zelo nizki ceni ali
celo brezplačno. Kako lahko torej ob vsej tej ponudbi
oboževalci glasbe danes najdejo glasbo, ki jim je všeč?
Področje „Music Information Retrieval“ (ekstrakcija
glasbenih informacij) je nova interdisciplinarna znanstvena
veda, katere cilj je, naučiti računalnike poslušanja glasbe.
Če se takšno (strojno) „razumevanje“ glasbe lahko dovolj
približa človeški percepciji glasbe, potem računalniki
lahko priporočajo glasbo ljudem ter jim pomagajo pri
iskanju / odkrivanju glasbe, ki sovpada s posameznikovim
individualnim glasbenim okusom. Predavanje bo podalo
pregled nad tehnikami strojne percepcije glasbe ter
predstavilo aplikacijo za glasbeno priporočanje, ki so
jo raziskovalci ÖFAI razvili v sodelovanju z avstrijsko
radijsko postajo FM4 - www.soundpark.at.
IRZU, Moderna galerija
About ten or twenty years ago a music enthusiast was
owner of maybe a few thousand vinyl or CD albums
and a local record dealer the main supplier of music
media. Today millions of songs are available via Internet
for everyone at very low or even no cost at all. But
how can music lovers find what they like in this ever
increasing offer? Music Information Retrieval is a new
interdisciplinary science that aims at enabling computers
to listen to music. If such music “understanding”
sufficiently mimics human perception of music,
computers are able to recommend songs to users and
help them find and discover the music they like in this
ever growing supply of digital media. This talk gives an
overview of how computers are able to listen to music
and presents a music recommendation service that has
been developed together with the Austrian radio station
FM4 (www.soundpark.at).
Kurator, zvočni/interdisciplinarni umetnik, esejist in
umetnostni kritik. Philippe Franck (Belgija) je direktor in
ustanovitelj organizacije Transcultures (od 1996), ki je center
za elektronske in zvočne umetnosti s trenutnim sedežem v
Monsu, Belgija. Od leta 2003 letno organizira festival zvočnih
umetnosti City Sonic v Monsu od 2005 pa bienalni festival
digitalnih in elektronskih umetnosti Les Transnumériques, ki
se dogaja na različnih lokacijah po Belgiji in Franciji. Kuriral
je veliko zvočnih / intermedijskih / interdisciplinarnih razstav,
dogodkov in festivalov v Franciji, Belgiji in v drugih državah.
Poučuje digitalno umetnost na bruseljski umetniški šoli La
Cambre ter redno publicira tekste na te teme.
Curator, sound/interdisciplinary artist, essayist and
art critic, Philippe Franck (Belgium) is the director
and founder of Transcultures (since 1996), Centre for
electronic and sound cultures now based in Mons,
Belgium. He launched City Sonic, sound art festival in
Mons in 2003 and Les Transnumériques, digital arts &
electronic cultures biennial in 2005 (several cities in
Belgium and in France). He has curated many sound/
multimedia/interdisciplinary exhibitions, events and
festivals in Belgium, France and abroad. He also teaches
on digital arts in the Brussels Art School of La Cambre
and writes regularly on those topics.
Singular Transcultures Presentation
Looking for New Ways to Philippe Franck a.k.a.
Survive! Paradise Now
Predavanje
Singularna med-kulturnost išËe
nove naËine preživetja
Phillipe Franck bo predstavil interdisciplinarni center za elektronske
in zvočne umetnosti v Monsu, Belgija. Obrazložil bo njegov trans/
med-kulturni pristop povezovanja različnih umetniških disciplin
z digitalnimi tehnologijami. Posebni poudarek bo na zvočni
umetnosti kot med-disciplinarno povezavo (festival City Sonic).
Odprl bo definicijo digitalne/inter/medijske kulture/umetnosti,
ki jo reprezentira med drugim skozi festivalsko platformo „Les
Transnumériques“ in obrazložil potrebo po grajenju različnih
omežij za produkcijo in disseminacijo. V drugem delu prispevka
bo preizpraševal možnosti povezovanja manjših „alternativnih“
neprofitnih kulturnih organizacij z večjimi inštitucijami, brez da se
koncepti manjših pri tem razblinijo ali pa jih večje pogoltnejo. Kako
lahko takšen med-kulturen in neodvisen (od česa sploh?) pristop
preživi v sistemu kjer dominira konformistična in zabavna kultura.
Je „alternativna“ oblika med-umetnosti ali med-kulture sploh
mogoča in obstojna v trenutni ekonomsko-politični situaciji? Kako
se lahko borimo za singularnosti in kako lahko z omejenimi sredstvi
dosežemo občinstvo? Kako se je razvila „kultura menjave“ vse od
let kiber-utopije?
Performans
BE
www.transcultures.be / www.citysonic.be
www.transnumeriques.be
Philippe Franck will start with a short presentation of his
interdisciplinary Centre for electronic and sound culture,(in Mons,
Belgium) explaining his transcultural/prospective approach
connecting various art disciplines to the digital technologies,
with a focus on sound as an interdisciplinary link (with the sound
art festival City Sonic), an open definition of digital/inter/media
culture/arts (represented among other events, with Transcultures’
nomadic festival-platform Les Transnumériques) and the need to
build valid production/diffusion/creation networks. Another part
of his intervention will question how small “alternative” non profit
cultural organizations can connect with bigger institutions without
being soon disintegrated or integrated. How can such a transcultural
and “independent” (but from what exactly?) approach can survive
in a growing conformist entertainment culture? Is an “alternative”
form of inter-arts and trans-cultures still possible and durable in
the current economical-political conditions? How can we fight for
singularities and reach the audience with limited means? How has
the “culture of exchange” evolved since the cyber utopian years?
Performance City Sonic Mix
Dj set zvočne umetnosti. Paradise Now, tans-zvočni montažer,
meša selekcijo skladb (zvočna poezija, terenski posnetki,
elektronske obdelave, radiofonska umetnost, glasba na margini...),
v produkciji festivala City Sonic (Mons-Belgija), kot živ uvod v
poetično raznolikost današnje zvočne umetnosti.
Diskografija / Discographie:
Gerard Malanga: up from the archives (1999, compilation Sub Rosa); City Sonics 2005
(compilation Naïve); City Sonic 2004, 2006, 2007, 2008 (compilation Transcultures);
Touch of bowls (avec Isa Belle) (limited CD-Transcultures, out of stock); Week 2 :
(compilation Tiramizu, 2010); Essmaa (compilation Tsuku Boshi, 2010)
A sound art dj set - Paradise Now, transonic assembler, mixes a
selection of sound pieces (sound poetry, field recordings, electronic
treatments, radio art, music on the margins...) produced by the
sound art festival City Sonic (Mons-Belgium) as a live introduction
to the poetic diversity of sound art(s) today.
Henrik Frisk je skladatelj in hkrati aktiven glasbenik,
improvizator (Saksofon, računalnik). Izvaja in komponira
sodobno glasbo za akustične inštrumente in elektroniko.
Posebej ga zanimajo koncepti interaktivnosti, ki
so prisotni v večini njegovih projektov. Interakcija
je bila tudi ključna tema njegove doktorske naloge
„Improvizacija, računalniki in interakcija“, ki jo je
opravil na Akademiji za Glasbo Malmö. Frisk je nastopil
v večih evropskih državah, ZDA, in Aziji, med drugim
tudi na prestižnih festivalih kot so Bell Atlantic Jazz
Festival, NYC in na Montreux Jazz Festivalu v Švici. Kot
skladatelj je prejel več naročil za izvirne skladbe. Posnel
je številne plošče pod okriljem Ameriških, Švedskih in
Danskih založb. Trenutno je član kolektiva „Kopasetic
Productions“, ki je tudi neodvisna založba vodena s strani
glasbenikov-improvizatorjev.
Presentation
Henrik Frisk
Musical Improvisation
and Computers: In-time
performance
Predavanje
Henrik Frisk is an active performer (saxophones and
laptop) of improvised and contemporary music and
a composer of acoustic and computer music. With a
special interest in interactivity, most of the projects he
engages in explores interactivity in one way or another.
Interaction was also the main topic for his artistic PhD
Dissertation `Improvisation, Computers, and Interaction’
which was presented at the Malmö Academy of Music,
Lund University in October 2008. Frisk has performed
in many countries in Europe, North America and Asia
including performances at prestigious festivals such as
the Bell Atlantic Jazz Festival, NYC and the Montreux
Jazz Festival, Switzerland. As a composer he has
received commissions from many institutions, ensembles
and musicians. He has made numerous recordings for
American, Canadian, Swedish and Danish record labels
and is currently a member of the collective Kopasetic
Productions which is an independent label owned and run
by improvising musicians.
SE
www.henrikfrisk.com
Cankarjev dom, IRZU, Moderna galerija
Vstopnice / Tickets:
10 / 8 Evro
Born 1972 in Austria. Artistic work in most varied
fields of audible and trans-media art, ranging from
interactive and net-based audiovisual installation
and photography to instrumental composition and
electroacoustic group improvisation. Numerous
presentations of own compositions and installations
at international festivals. More than 150 appearances
as an interpreter of composed contemporary music,
as well as structural and free improvisation. Regular
collaborations with renowned artists in the fields of
music, theater and video. Scientific research in fields of
machine listening and machine learning. Development
of commercial and open-source software, electronic
instruments and interactive media systems. Conception
and realization of multi-media installations, soundengineering, mastering and production of CD and DVD
productions. Study of technical physics in Linz. Later
university course „Computer Music and Electronic
Media“ as well as graduation in the individual master
study „Interactive Electronic Instruments“ in Vienna.
Since 2003 lectureships at the University of Applied
Arts and the University of Music and Performing Arts
in Vienna. Scientific associate of the Austrian Research
Institute for Artificial Intelligence (OFAI). Publications,
lectures and workshops at international institutions and
conferences. Since 2004 co-curator of the concert series
for contemporary and experimental music Neue Musik
in St. Ruprecht in Vienna. Living and working in Vienna
(Austria) and Copenhagen (Denmark).
Performance
Thomas Grill
Performans
AT
Glasbena improvizacija in raËunalniki: in-time
performans
Ena izmed bolj očitnih razlik med komponirano in
improvizirano glasbo je ta, da se slednja odvija v
realnem času, medtem, ko so deli prve konstruirani izven
realnega časa. Ta trditev naj ne bi zanikala posluževanja
kompozicijskih strategij pri improvizirani glasbi,
temveč zgolj izpostavila, da je časovni (in-time) aspekt
improvizacije oz. način, kako je improvizacijska praksa
vključena v koncept časovnosti, eden njenih ključnih
karakteristik. Temporalne lastnosti strojne percepcije in
reakcije se v vseh aspektih razlikujejo od človeških. V
okviru računalniške improvizacije je potrebno te razlike
upoštevati/vračunati, in sicer, tako pri konstrukciji
vmesnika kot pri konstrukciji inštrumenta. V predstavitvi
bom pokazal, kako ti problemi vplivajo na moje
umetniško in raziskovalno delo.
Rojen 1972 v Avstriji. Deluje v polju zvočne in intermedijske umetnosti. Njegova dela se manifestirajo v
oblikah interaktivnih in med-mrežnih avdio-vizualnih
instalacij, fotografij, instrumentalnih kompozicij in
elektro-akustične skupinske improvizacije. Kompozicije
in instalacije je predstavil na mnogih mednarodnih
festivalih. Kot izvajalec sodobne komponirane glasbe
ter strukturiranih in prostih improvizacij ima za sabo več
kot 150 javnih nastopov. Redno sodeluje z renomiranimi
umetniki s podrocja glasbe, gledališča in videa.
Njegovo znanstveno-raziskovalno delo se osredotoča
na področje strojnega poslušanja in učenja. Razvija
komercialno in odprto-kodno programsko opremo,
elektronske inštrumente ter sisteme interaktivnih medijev.
Koncipira in izvaja multi-medijske instalacije, zvočni
inženiring, mastering in CD / DVD produkcije. Študira
tehnično fiziko v Linzu. Kasneje opravlja univerzitetni
tečaj računalniške glasbe in elektronskih medijev. Na
Dunaju opravi magistrski študij: Interaktivni elektronski
inštrumenti. Od 2003 predava na univerzi za aplikativne
umetnosti in na Univerzi za glasbo in scenske umetnosti
na Dunaju. Je znanstveni sodelavec na OFAI (Avstrijski
raziskovalni inštitut za umetno inteligenco). Publicira,
predava in vodi delavnice na različnih mednarodnih
institucijah in simpozijih. Od 2004 je so-kurator
koncertne serije sodobne eksperimentalne glasbe: „Neue
Musik in St. Ruprecht“ na Dunaju. Živi in dela med
Dunajem (Avstrija) in Kopenhagnom (Danska).
grrrr.org
One of the perhaps more obvious differences between
composed and improvised music is the fact that the
latter unfolds in real-time, whereas parts of the former
is constructed outside of real-time. This is not to say,
however, that improvised music is void of compositional
strategies, only that the in-time aspect of improvisation
- i.e. the way that the practice of improvisation is
embedded in time - is one of its important and significant
features. Furthermore are the temporal properties of a
machine in every respect different from those of a human,
something which the computer improviser has to address
either in the ways the interface is constructed, or in the
ways that the computer instruments are designed (or
both). In my presentation I will show how these issues
influence both my artistic practice and my research.
Thomas Grill (digital sounds) and Matija Schellander
(double bass) have both been working in experimental
and improvised music for most diverse projects,
frequently cross-bordering artistic fields. Although both
are founding members of the Low Frequency Orchestra,
this is their first duo performance. Both musicians having
extensively researched the specifics of their respective
instruments, this encounter will focus on a common
Thomas Grill (digitalni zvoki) in Matija Schellander grammar within free improvisation - thus allowing for a
(Kontrabas) delujeta na področju eksperimentalne glasbe detailed exploration of similarities and contrasts in sonic
ter na inter-disciplinarnih umetniških področjih. Oba sta gestures for the dissimilar musical interfaces.
ustanovna člana skupine „Low Frequency Orchestra“, kot
duo pa bosta prvič nastopila na festivalu EarZoom2010.
Zvočno soočenje Thomasa in Matije se bo osredotočalo
na razvoj skupnega glasbenega jezika v okviru proste
improvizacije. Raziskovala bosta razlike in podobnosti v Produkcija / Production:
zvočnosti njunih med seboj zelo različnih instrumentov. IRZU, ŠKUC
Tomaž Grom
SLO Double bass player Tomaž Grom has performed in a
www.sploh.si
www.myspace.com/tomazgrom
Kontrabasist Tomaž Grom se umešča v glasbeni milje,
ki izraznost črpa iz akustičnih in digitalno procesiranih
zvokov. V zasedbah TILT, CPG IMPRO, GROM MURAYAMA in kot SOLIST se posveča predvsem
raziskovanju razširjenih tehnik igranja kontrabasa v
kombinaciji z elektroniko in krmari med svobodno
improviziranimi in vnaprej določenimi strukturami.
Ustvaril je avtorsko glasbo za več gledaliških, plesnih
in lutkovnih predstav. Kot improvizator je nastopal z
glasbeniki kot so: Dough Hammond, Sonny Simmons,
Evan Tate, Tao G. Vrhovec Sambolec, Will Guthrie,
The Same Girl (Gilles Aubry, Nicolas Field), Sebi
Tramontana, Zlatko Kaučič, Sabine Vogel, Jean Phillipe
Gross, Marjan Stanić, Ignaz Schick, Michele Spanghero,
Ugo Boscain, Diego Chamy, Klaus Filip, Pascal Battus,
Jean-Luc Guionnet, Seijiro Murayama, Seymour Wright,
Christine Sehnaoui, Jonas Kocher, Michel Doneda, Tim
Blechmann, Noid…
V zadnjih dveh letih se posveča predvsem razvoju
repertoarja solističnih del za sotolkala. Na osnovi teh
del so se vzpostavila tudi različni projekti sodelovanja
z umetniki kot so Jozef Van Wissem, Alexander Berne,
Lucio Capece, Daysuke Takaoka, Josse De Pauw, Peter
Jacquemy in drugimi.
variety of musical roles. He has also toured and made
appearances at several festivals throughout Europe and
Canada. He has created music for numerous theatrical,
dance and puppet performances. He is also classified
to the musical miles that draw their expression from
acoustic and digitally processed sounds. Playing with
the groups TILT, CPG IMPRO, GROM - MURAYAMA
and also as a SOLOIST, he dedicates much time to
exploring expanded techniques for playing the double
bass in combination with electronics; he quite deftly
steers between free improvisation and predetermined
structures. As an improviser he cooperated with: Dough
Hammond, Sonny Simmons, Evan Tate, Tao G. Vrhovec
Sambolec, Will Guthrie, The Same Girl (Gilles Aubry,
Nicolas Field), Sebi Tramontana, Zlatko Kaučič, Sabine
Vogel, Jean Phillipe Gross, Marjan Stanić, Ignaz Schick,
Michele Spanghero, Ugo Boscain, Diego Chamy,
Klaus Filip, Pascal Battus, Jean-Luc Guionnet, Seijiro
Murayama, Seymour Wright, Christine Sehnaoui, Jonas
Kocher, Michel Doneda, Tim Blechmann, Noid…
Eric Thielemans
BE
oorwerk.bandcamp.com/releases
For the past 2 years ET has been mainly focusing on the
development of a body of solo works on percussion. This
work also functions as the starting point for new musical
collaborations with Jozef Van Wissem (Movement of
the Free Spirit, release winter 2010), Alexander Berne
(amazing soundwizzard check: http://alexanderberne.
com/, Lucio Capece, Daysuke Takaoka, Josse De Pauw,
GR Peter Jacquemyn, ao.
Balinese Beast
ilanmanouach.bandcamp.com/album/ This duo from Greece brings the noise from real time
balinese-beast-10-split saxophones and no-input Hi-fi home system feedbacks.
Grški duo raziskuje zvočnost šumov, ki jih generira
s pomočjo saksofonov ter domačih Hi-Fi sistemov v
„feedback“ navezavah. Igra se z kratkimi razrezanimi
in daljšimi statičnimi zvoki. Njuno novo delo bo izdano
pod založbo Absurd, oktobra 2010, kot dvostranski 10’’
skupaj z glasbenikom Family Battle Snake.
Performans
They are playing with short cut-ups and long drones.
Their new work will be released by Absurd in October
2010 as a split side 10’’ alongside with musician Family
Battle Snake
Confine Aperto / Zavod
Performance Sploh at Earzoom
1. SOLO - Tomaž Grom – double bass
2. SOLO - Eric Thielemans - percussion
Produkcija / Production: 3. DUO - Balinese Beast (Ilan Manouach (saxophones,
Zavod SPLOH v okviru CONFINE APERTO in Menzo pri Koritu mixing desk), Giorgos Axiotis (mixing desk, collateral hi-fi)
Martin Kaltenbrunner je trenutno profesor na oddelku
„Interface Cultures“ (http://www.interface.ufg.ac.at/)
na univerzi za umetnost in industrijski dizajn v Linzu,
kjer nadomešča prof. Sommerer & prof. Mignonneau.
Njegovo raziskovalno delo je usmerjeno v razvoj
„oprijemljivih“ oz. fizikalnih uporabniških vmesnikov
ter novih konceptov interakcij človek-računalnik (HCI),
ki temeljijo na odprto-kodnih orodjih za kreativno
produkcijo. Kot soustanovitelj podjetja „Reactable
Systems“ (http://www.reactable.com/) iz Barcelone,
je zaslužen za razvoj interakcijske tehnologije sistema
Reactable, ki je lep primer glasbenega instrumenta z
„oprijemljivim“ uporabniškim vmesnikom. Je avtor
odprto-kodnega interakcijskega sistema reacTIVision
(http://reactivision.sourceforge.net/), prav tako kot
sorodnega protokola TUIO (http://www.tuio.org/), na
osnovi katerega je realiziranih veliko fizikalnih namiznih
aplikacij.
Martin Kaltenbrunner is currently Professor for Interface
Culture (http://www.interface.ufg.ac.at/) at the University
of Art and Industrial Design in Linz, appointed to act
for Prof. Sommerer & Prof. Mignonneau during their
sabbatical leave. His research concentrates on tangible
user interfaces and the development of novel human
computer interaction concepts within open tools for
creative production. As co-founder of Reactable Systems
(http://www.reactable.com/) in Barcelona he had been
mainly working on the interaction design of the Reactable
- an electronic musical instrument with a tangible user
interface. He is author of the open source tangible
interaction framework reacTIVision (http://reactivision.
sourceforge.net/) and the related TUIO protocol (http://
www.tuio.org/), which have been widely adopted for the
realization of tangible tabletop applications.
Tangible Musical
Presentation Interfaces
Predavanje
AT Oprijemljivi glasbeni vmesniki
modin.yuri.at
Pojem oprijemljivih glasbenih vmesnikov (http://modin.
yuri.at/tangibles/), je ena izmed novejših paradigm
na področju oblikovanja elektronskih glasbenih
Inštrumentov. Predstavitev bo obravnavala zgodovino
elektronske glasbe, ki je pripeljala do razvoja novih
kontrolerjev in glasbenih artefaktov. Gonilna sila razvoja
novih vmesnikov so bile izrazne omejitve prenosnega
računalnika kot primarnega orodja za produkcijo sodobne
elektronske glasbe. V predavanju bodo predstavljeni
nekateri primeri elektronskih instrumentov zadnjega Tangible Musical Interfaces (http://modin.yuri.at/
desetletja ter perspektive nadaljnjega razvoja sistema tangibles/) have become an emerging paradigm for
Reactable in njegovih osnovnih konceptov. the design of electronic musical instruments. In his
presentation Martin Kaltenbrunner will briefly discuss the
history of electronic music leading to the development
of novel controllers and musical artifacts, which intend
to overcome the limitations of the laptop as primary
tool for contemporary electronic music practice. Along
with several unique instrument examples from the past
decade, this talk will also provide a perspective on
the development of the Reactable and its fundamental
concepts.
Saturday 2. 10.
Sunday 3. 10.
Monday 4. 10.
Tuesday 5. 10.
Wednesday 6. 10.
Thursday 7. 10.
Venues
10:00
Moderna galerija
10:00-13:30
Galerija Kapelica
15:00-18:00
Ljudmila
15:00-18:00
Ljudmila
2 Moderna galerija
Presentations by
Jodi Rose
Jurij Dobriakov
Richard Widerberg
Martin Rumori
Workshop
Norbert Schnell
Workshop
Rob Canning
Workshop
Rob Canning
3 Kiberpipa
1 Cankarjev dom
Workshop
Nick Collins
14:45-18:00
Kiberpipa
14:45-18:00
Kiberpipa
Workshop
Nick Collins
Workshop
Hans Christoph Steiner
15:30
Moderna galerija
15:30
Moderna galerija
Presentations by
Scott McLaughlin
Arthur Flexer
Nick Collins
Presentations by
Marcelo Wanderley
Favilla&Cannon
Hans C. Steiner
9 Julija
Henrik Frisk
Pedro Rebelo
Alvaro Barbosa
Norbert Schnell
Trg Prekomorskih brigad 3 (Šiška)
7 Ljudmila
Rimsla 8
8 Menza pri Koritu
ac
Metelkova
Train / Bus Station
es
ReËna Ulica
ta
Trg Osvobodilne fronte
Hotel SLON, Slovenska 34
Sleep
19:00
Cankarjev dom
19:00
Galerija Kapelica
Performances by
Jan Truetzschler
Carl Stone
Performances by
Henrik Frisk
Pedro Rebelo
Performances by
Alvaro Barbosa
Martin Rumori
12Hotel Park
8
3&4
Tabor 9
Park
Tivoli
2
ls k
ac
e ns k
e st
19:00
Kino Šiška
12
vo
11
Ti
Performances by
Marek Choloniewski
Stuart Favilla
Joanne Cannon
Bent Leather Band
6 Kino Šiška
šk
20:00
Cankarjev dom
Stari Trg 9
11Restavracija SLON
Coffee break
Stari trg 21
lov
Coffee break
Performances by
Tomaž Grom
Eric Thielemans
Balinese beast,
Ilan Manouach &
Giorgos Axiotis
10Pri Škofu
Kersnikova 4
5 ŠKUC
21:30
Menza pri Koritu Metelkova
Eat
Presentations &
Performances by
Lionel Marchetti
Norbert Möslang
Performances by
Thomas Grill &
Matija Schellander
Marko Batista
Kersnikova 6
Ce
Workshop
Stuart Favilla
Joanne Cannon
20:00
ŠKUC
6
TomšiËeva 14
4 Galerija Kapelica
19:00
Galerija Kapelica
Sl ov
15:00-18:00
Cankarjev dom
TRACES Symposium &
project/website launch
Moderated by:
Jodi Rose
sta
Kiberpipa
10:30-14:00
ŠKUC
a ce
Introduction
Miha Ciglar
Presentations by
Coffee break
Projekt BOKS
Jaime Oliver
Philippe Franck
Vytautas Michelkevicius Clay Chaplin
Coffee break
Jan Trützschler
Agoston Nagy
10:15-13:30
Kiberpipa
Marek Choloniewski
Workshop
10:45-14:00
Hans Christoph Steiner
a
10:30
Moderna galerija
Prešernova cesta 10
21:00
ŠKUC
21:00
ŠKUC
21:00
ŠKUC
Performances by
Nick Collins
Jaime Oliver
Performances by
Scott Mclaughlin &
Marko KarlovËec
Philippe Franck
Performances by
Agoston Nagy
Clay Chaplin
1
a
Trž
Saturday 2. to Wednesday 6. 2010 ŠKUC Installations by Peter Ablinger and Rob Canning
šk
es
ac
ta
Aške
rËeva
9
5
7
cesta
Zois
oa cesta
10
Ljubljana
Castle
Kar
lov
šk
ac
es
ta
Marko Karlovčec je glasbenik (saksofon, no-input efekti,
mešalna miza, kitara) katerega delovanje zaznamuje
raziskovanje zapuščine free-jazza, noisa, hardcora,
zgodovinskih avantgard in sodobne improvizacije.
Aktiven je na slovenski “alternativni” in improvizacijski
sceni. V zadnjem času deluje v duetu s priznano
pevko, plesalko in igralko Ireno Tomažin s katero sta
v samozaložbi izdala cd “That which happens is itself
dripping red”, imela nekaj koncertov in tudi izvedla
odprto kompozicijo “Excremental Sun Boxes” v
multimedijskem centru Kibla v Mariboru. Nastopa tudi
s solo recitalom no-input elektronike z imenom M.K.
Internal Uprooting s katerim je izdal ročno oblikovan in
poslikan cd z naslovom “Greetings from sea”. Sodeluje
tudi z izrednim vokalistom/freestylerjem/elektronikom
N’tokom. Igra oz. igral je v improvizacijskih
kombinacijah z glasbeniki kot so Tomaž Grom, Seijiro
Murayama, Jaka Berger, italijanski duo Mimesys…itd.
V preteklosti je pripravil glasbeno-plesni improvizacijski
performans z butoh plesalcem Ryuzotom Fukuharo;
izvedel nekaj manjših multidisciplinarnih dogodkov s
poezijo, filmom in slikarstvom; ustanovil in vodil skupino
Sinai, ki je preigravala lastne aranžmaje in interpretacije
židovske glasbe Johna Zorna…
Performance
Marko KarlovËec
Performans
SLO
www.myspace.com/markosinai
IRZU, ŠKUC
Marko Karlovčec is a musician (saxophone, no-input
effect units, mixer, guitar) whose work is influenced
by the legacy of free-jazz, noise, hardcore, historical
avantgarde and contemporary improvisation. He
is mainly active on the slovenian “alternative” and
improvising scene. Lately he has been playing in a duo
with renowned slovenian singer, dancer and actress Irena
Tomažin with whom he self-released a live cd titled
»That which happens is itself dripping red«, made some
concerts and also composed and executed an open-form
composition (called “Excremental Sun Boxes”) in the
multimedia center Kibla in Maribor. He performs with
a solo recital of no-input elctronics with the name M.K.
Internal Uprooting and has released a hand-made and
hand-painted cd with the name »Greetings from the sea«.
He also cooperates with outstanding vocalist/freestyler/
electronic N’toko. Otherwise he plays or has played in
improvisational settings with musicians such as Tomaž
Grom, Seijiro Murayama, italian duo Mimesys, Jaka
Berger…etc. In the past he performed in a dance/music
improvised performance with japanese butoh dancer
Ryuzo Fukuhara; did some minor multidisciplinary
events with poetry, film and paintings; formed and lead
the group Sinai which played original arrangements and
interpretations of the jewish music of John Zorn…
Francoski glasbenik, skladatelj, improvizator, učitelj,
teoretik, pesnik in pisec Lionel Marchetti je dedič francoske
šole konkretne glasbe pod vplivom dela pionirja Pierrja
Schaefferja. Že od l. 1993 deluje tudi v okrilju znamenite
organizacije za konkretno glasbo (musique concrete) Groupe
de Recherches Musicales (GRM) v Parizu. Sprva se je
konkretne glasbe lotil sam, kasneje pa se med l. 1989 in 2002
izobraževal na CFMI na univerzi v Lyonu, kjer danes uči,
prireja delavnice o konkretni glasbi, vlogi ojačevalcev zvoka
in snemanju zvoka tako s praktične, kot teoretske ravni. Na
teoretski ravni je Marchetti v Franciji objavil kar nekaj knjig
in esejev, najbolj odmevna pa je njegova študija ustvarjanja
skladatelja Michela Chiona. Pred leti je ustanovil lasten studio,
hkrati pa kot glasbenik- improvizator v sistem povezanih
ojačevalcev zvoka, mikrofonov, magnetofonskega traku
sodeluje s številnimi ustvarjalci in kolektivi. Marchetti je eden
pomembnih ustvarjalcev, ki je dediščino konkretne glasbe
prestavil iz institucionalnega miljeja na raven improvizirane
glasbe, pa čeprav snuje na obeh ravneh hkrati.
French musician, composer, improviser, teacher, theoretician,
poet and writer Lionel Marchetti is an heir to the French school
of musique concrète developed under the influence of its
pioneer Pierre Schaeffer. Since 1993 he has also been involved
with Groupe de Recherches Musicales (GRM), the widely
known organisation for musique concrète in Paris. Initially,
he was self-taught, then studied at the CFMI of the University
of Lyon between 1989 and 2002, where he continues to
teach, hold workshops on musique concrète, the role of sound
amplifiers and sound recording, covering both practical and
theoretical aspects. Marchetti has published several theoretical
books and essays in France, with his study of the work of
composer Michel Chion receiving the widest recognition.
Some years ago he set up his own studio and he continues to
collaborate with numerous artists and collectives as a musician
and improviser, working with sound amplifiers, microphones
and magnetic tape. Marchetti is one of the major composers to
have taken musique concrète out of institutions into the realm
of improvised music, while continuing to work on both levels.
BITSHIFT Lionel Marchetti
FR
Cycle of sound events, lectures and workshops
in Kapelica Gallery presents:
Curated by: Luka ZagoriËnik
Photo: Alexis Bellavance
Norbert Möslang
CH
Photo: Reto Wettach
Švicarski skladatelj, improvizator, vizualni in zvočni umetnik
Norbert Möslang je v poznih sedemdesetih letih skupaj z
Andyjem Guhlom začel ustvarjati svobodno improvizirano
glasbo po vzoru sodobne tradicije tovrstne glasbe iz Stare
celine od šestdesetih let prejšnjega stoletja. Kot Voice Crack
sta utelesila lasten koncept tvorjenja elektronske glasbe v
primežu živega improviziranja, kasneje poimenovan ‘cracked
everyday electronics’. Na sledi tradicije Johna Cagea in
zgodnjih elektronskih eksperimentatorjev tipa Morphogenesis,
Hugh Davies in drugih, sta z ozvočevanjem notranjih
mehanizmov vplivala na številne današnje ustvarjalce v polju
sodobne elektro-akustične in elektronske glasbe. Norbert
Möslang deluje kot solist, bodisi kot improvizator v različnih
zasedbah. Ob tem razstavlja svoje slike po švicarskih galerijah,
z zvočnimi instalacijami pa je gostoval širšem po svetu. Kot
glasbenik nastopa v Evropi, ZDA, Avstraliji in na Japonskem.
Since the late 1970s Swiss composer, improviser, visual and
sound artist Norbert Möslang has been creating free improvised
music together with Andy Guhl, following the contemporary
tradition of such music on the Old Continent which dates back
to the 1960s. As Voice Crack, the duo embodied their own
concept of creating electronic music in a live improvisation
set-up, which they later called ‘cracked everyday electronics’.
Following the tradition of John Cage and early electronic
experimenters like Morphogenesis, Hugh Davies and others,
their amplifying of inner mechanisms has influenced many
contemporary artists working in electro-acoustic and electronic
music. Norbert Möslang works as a solo artist and improviser
in different ensembles. He has also exhibited his paintings in
various Swiss galleries, while his sound installations have taken
him around the world. He performs as a musician in Europe,
the USA, Australia and Japan.
Financerji / Suported by:
Produkcija / Production: Ministry of Culture of the Republic of Slovenia,
Galerija Kapelica / Zavod K6/4 Municipality of Ljubljana, ŠOU Ljubljana
Scott McLaughlin je rojen leta 1975 v Co. Clare. Pred
začetkom študija na Univerzi Ulster v Jordanstownu,
kjer 2001 diplomira, igra v različnih indie-rock skupinah.
2009 zaključi doktorat na Univerzi v Huddersfieldu, mentorja: Pierre Alexandre Tremblay and Bryn Harrison.
Trenutno na isti univerzi deluje kot raziskovalec in
pedagog v okviru častne delovne štipendije, poučuje
pa tudi na Univerzi v Leedsu. V svoji glasbi se ukvarja
z razmerji med minimalnimi procesi transformacije
in avtonomnega razraščanja, ki jih realizira s koncepti
kot so rekurzija, histereza, samo-podobnost, klastri v
mikrotonalnosti, teorija kaosa, interaktivnost. Scott je tudi
improvizator (violončelo, elektronika) in igra v pop/altfolk duu „Phantom Dog Beneath the Moon“. Pri izvedbi
njegovih zadnjih performansov so sodelovali: Sebastian
Berweck, Jonathan Sage, Metapraxis Ensemble, Crash
Ensemble, Trio Scordatura in občinstvo v okviru projekta
Analogous Projects, ki ga je realiziral na simpoziju ICMC
2010 v New Yorku.
Scott McLaughlin was born in Co. Clare in 1975. He was
playing in indie-rock bands until his mid-twenties, then
studied music at the University of Ulster at Jordanstown
where he gained a BMus degree in 2001. He completed
a PhD at the University of Huddersfield with Pierre
Alexandre Tremblay and Bryn Harrison in 2009.
Currently he is an Honorary Visiting Research Fellow at
Huddersfield, teaching both there and at the University of
Leeds. His music is concerned with relationships between
minimal processes of transformation and proliferation:
ideas of recursion, hysteresis, self-similarity, clustermicrotonality, chaos/complexity theory, interactivity.
Scott is also an improviser (cello or live electronics),
and plays in the pop/alt-folk duo Phantom Dog Beneath
the Moon. Recent performances have been given
by Sebastian Berweck, Jonathan Sage, Metapraxis
Ensemble, Crash Ensemble, Trio Scordatura, and the
public attendees at Analogous Projects’ ICMC 2010 event
in New York.
Presentation /
Performance SpectralConway Scott McLaughlin Whitewater
Predavanje
Performans
UK
www2.hud.ac.uk
SpectralConway je spektralna implementacija celularnih
avtomatov (CA) oz. natančneje, igre „Game of
Life“ Johna Conwaya. Projekt zavrača tradicionalno
paradigmo kvantizirane mreže celularnih avtomatov
v prid frekvenčnemu kontinuumu. Ker uporabljamo
CA za manipulacijo nepredvidljivih mešanic vhodnih
zvokov, ki se lahko pojavljajo paralelno ali v seriji, je
potreben pristop v frekvenčni domeni. V predavanju
bodo predstavljeni razlogi za takšen pristop in koncept
na katerem temelji algoritem. Implementacija bo
postavljena v kontekst trenutnega razvoja s področja
celularnih avtomatov, predstavljena pa bo tudi umetniška
manifestacija projekta: skladba Whitewater, ki bo v
sodelovanju s saksofonistom Markom Karlovčcem
izvedena na festivalu.
SpectralConway is a spectral implementation of cellular
automata (CA), specifically, John Conway’s Game of Life
(GoL). The process eschews the traditional quantised grid
paradigm of the CA in favour of a frequency continuum.
A frequencial approach is necessary because we use the
CA to effect a rough and unpredictable crossbreeding
between input sounds; which may be simultaneous or
sequential. This presentation outlines the reasons for
taking this approach, the concept behind the algorithm,
contextualises this approach within new developments in
CA, and assesses the algorithm in the context of the piece
Whitewater, which will be performed later in the festival.
Vytautas Michelkevičius je teoretik, aktivist in kurator, ki
deluje na področju umetnosti in medijev. Ima doktorat iz
Komunikologije in predava na oddelku za fotografijo in
medijske umetnosti na Umetniški Akademiji v Vilni (Litva).
Vytautas je (so)iniciator spletne publikacije o medijski
kulturi: Balsas.cc (2005-2009) in spremljajočih projektov,
kot je serija „Vilnius Media Seminar” ter tematskih izdaj
časopisov. Je urednik številnih knjig, med-drugim: Mapping
Lithuanian Photography: Histories and Archives - Photo/
carto/historio/graphies (MENE, 2007), Voices of Media
Culture: Theories and Practices (MENE, 2009). Ukvarja
se z raziskovanjem načinov socializacije preko umetnosti,
institucijskim spogledovanjem, interdisciplinarnostjo
med umetnostjo in raziskovanjem, eksperimentalnim
poučevanjem in s participatornimi kuratorskimi praksami.
Vytautas Michelkevičius is a theorist, activist, and curator,
working with art and media projects. He holds PhD in
Communication studies and lectures at Photography
and Media Art Department in Vilnius Academy of Arts.
Vytautas Michelkevičius has initiated and along with
creative team has run internet journal on media culture
Balsas.cc (2005-2009) and its concurrent projects – Vilnius
Media Seminar series and thematic journal issues. He
edited numerous books, among them Mapping Lithuanian
Photography: Histories and Archives - Photo/carto/historio/
graphies (MENE, 2007), Voices of Media Culture: Theories
and Practices (MENE, 2009). Vytautas Michelkevicius
is interested in socializing through art, institutional flirt,
interdisciplinarity between art and research, experimental
teaching, and participatory curatorial practices.
Surviving In Post-soviet Presentation
Art World or How To Set Up Vytautas MichelkeviËius
An International Institution
In a Strange-land
Predavanje
LT
www.colony.lt
Kako preživeti v post-sovjetskem umetniškem
sistemu oz. kako vzpostaviti mednarodno
institucijo v svojevrstni državi
Litva je ena izmed tistih baltskih držav, pri katerih je na
področju umetnosti še danes prisoten oz. zaznaven vpliv
sovjetskega institucionalnega sistema. V zgodnjih devetdesetih
letih se je v Litvi pojavil in uveljavil tudi zahodnjaški koncept
institucionalnega sistema. Umetniki tako prehajajo iz enega
sistema v drugega, med tem ko so neodvisne – s strani
umetnikov inicirane – institucije/iniciative zelo redke. Poleg
tega je v polju sodobne umetnosti zaznaven tudi primanjkljaj
zainteresirane javnosti/publike, saj le-to običajno sestavljajo
zgolj kulturni delavci. V takšnem kontekstu se vzpostavlja
nova organizacija (otvoritev: Marec, 2011), in sicer v majhnem
mestecu Nida na litvanski obali. Nida Art Colony (www.colony.
lt) je le oddelek velike institucije: Umetniške Akademije Vilna,
vendar ima svoje lastne namene in strategijo razvoja. Glavna
vprašanja, ki bodo načeta v prezentaciji so naslednja: Kako
lahko interdisciplinarne umetniške prakse pritegnejo novo
občinstvo?; Kako lahko mednarodna organizacij vzpostavi
program namenjen mednarodnemu občinstvu in kako lahko
hkrati preživi v ruralnem okolju ter ohrani stik z lokalno
skupnostjo? Prav tako bodo načete teme ekologije in ekonomije
trajnostnega razvoja v post-sovjetskem in post-kriznem okolju.
Lithuania could be described as one of the countries in postcommunist block with inherited soviet art institutional system
which is still quite strong. Western concept of art institution
has arrived in Lithuania in the beginning of 1990s and has
established as well. Artists are fluctuating from one system
to another, whereas self-started (artist-run) initiatives are very
rare. Moreover, contemporary art suffers from the lack of
the audience which is usually the same people – mainly art
professionals. In such a context a new organization is being
opened (2011 March) in Nida which is a very small resort on
Baltic Sea coast in Lithuania. Nida Art Colony (www.colony.lt)
is a department of the big institution (Vilnius Academy of Arts),
however it has its own goals and strategy. The main questions
in the presentation and discussion are how interdisciplinary art
practices could bring new audience to “art” events and how
an international art institution could set-up its program for
international audience and at the same survive in rural settings
with a good relationship to community. The topics of ecologies
Produkcija / Production: and economies of sustainable survival in post-soviet and postIRZU, Moderna galerija, Projekt BOKS crisis environment are going to be touched as well.
Agoston deluje na področju zvoka, tako v tradicionalnem
kot v eksperimentalnem smislu, ter na področju vizualne
umetnosti, kjer se poslužuje odprto-kodnih orodij.
Zanimajo ga koncepti interakcije, eksperimentalnih
medijev, obdelave signala, in zvočne umetnosti.
Ukvarja se z umetniškimi instalacijami v katere
vključuje dinamične sisteme, postavlja eksperimentalne
spletne strani in sestavlja vmesnike za avdio-vizualne
performanse. V zadnjem času raziskuje možnosti
ubikvitarnega računalništva ter s tem povezanih
interakcijskih metod. Njegova dela so bila med drugim
razstavljena v Nemčiji, Italiji, Poljski in v Kunsthalle
v Budimpešti. Nastopil je na festivalih kot so: Sziget
Festival, Making New Waves Festival, Pixelache Festival
Helsinki, Piksel Festival Bergen, Audio Art Festival,
Krakow, itd. Redno vodi delavnice interakcijskih tehnik,
zvočnega dizajna ter programskega jezika PD – Pure Data.
Agoston mainly works with sound (traditional and
experimental) and image (still and motion) using free and
opensource tools. He has a deep interest in interaction
design, experimental media, signal processing and sound
art. He usually creates dynamic systems for installations,
doing experimental websites, and build interfaces for
audiovisual live performances. Recently his focus
of interest turned into the directions of ubiquituous
computing, device and object related human interactions.
His works have been exhibited in Germany, Italy, Poland,
and in the Kunsthalle Budapest, Hungary among others.
He performed at the Sziget Festival, the Making New
Waves Festival, and at the Pixelache Festival, Helsinki,
Piksel Festival, Bergen, Audio Art Festival, Krakow
among others. Agoston regularly gives workshops on the
Pure Data programming language, Interaction- and Sound
Design.
Performance “Elements” by Binaura
Agoston Nagy
Performans
HU
binaura.net/stc
Performans se osredotoča na povezavo med prostorskim
gibanjem in različnimi zvočnimi karakteristikami.
Na mobilnem telefonu, ki ga performer uporablja kot
glasbeni inštrument je nameščena posebna programska
oprema za generiranje zvoka, ki temelji na odprtokodnem orodju Pure Data. V mobilniku vgrajeni senzorji
za merjenje pospeška in gravitacije upravljajo zvočne
parametre. Kombinacija nenehno spreminjajočih se
algoritmičnih vzorcev, ter minimalističnih zvokov
predstavlja osnovo za raziskovanje prostorsko zvočne
de-konstrukcije. Digitalna naprava je osrednji element v The performance is focusing on connections between
mreži analogne distorzije in efektnih procesorjev. spatial movement and different sound characteristics.
A custom built sound generating program (made with
the open source tool Pure Data) is running on a smart
phone which is the main controller for the setup. Gravity
sensors and accelerometer data is used for controlling the
sound parameters. Ever-changing, algorithmic patterns
combined with minimalistic, synthetized glitchy bleeps
and sounds are the basis for the exploration of spatial
sonic deconstruction. The digital device is acting as an
element in a network of analogue distortion and fx pedals.
Jaime Oliver (Lima, 1979) trenutno opravlja doktorski
študij s področja računalniške glasbe na UCSD –
Univerza v Kaliforniji, San Diego, in sicer, v Centru za
raziskave v umetnosti in informatiki (CRCA) kjer deluje
tudi kot raziskovalec. Njegovi mentorji so M. Puckette,
P. Manoury, R. Reynolds, D. Wessel, G. Balzano and F.
Richard Moore. Trenutno raziskuje možnosti uporabe
gest pri izvajanju računalniške glasbe v realnem času.
Izdeluje nove kontrolerje/vmesnike, ki jih uporablja
v njegovih kompozicijah, v katerih proučuje razmerja
med telesnimi gestami in elektronskim zvokom.
Njegovo delo temelji na konceptih „utelešenja“ ki jih
črpa s področij kognitivne znanosti, fenomenologije
in interakcije človek-računalnik (HCI). Med njegove
vidnejše dosežke lahko štejemo Fulbrightovo štipendijo,
štipendijo kalifornijske univerze in španskega Ministrstva
za kulturo, ter štipendijo Meet the Composer. Prejme
prvo nagrado na FILE PRIX LUX 2010 in prvo nagrado
na Guthman Musical Instrument Competition 2009 na
Georgia Tech Centru za glasbene tehnologije.
Jaime Oliver (Lima, 1979) is a Phd candidate in
Computer Music at the University of California, San
Diego, (UCSD), where he studies with M. Puckette,
P. Manoury, R. Reynolds, D. Wessel, G. Balzano and
F. Richard Moore. He is a researcher in the Center
for Research in Computing and the Arts (CRCA). His
current research and creative work explores the use of
gesture in live performance of real-time computer music,
producing new controllers and compositions studying
the relationship between gesture and electronic sound,
as it relates to the theories of embodiment developed
in cognitive science, phenomenology and HCI. Some
recognitions include scholarships and grants from the
Fulbright Commission, the University of California, Meet
the Composer and the Ministry of Culture of Spain; 1st
prize in FILE PRIX LUX 2010 and 1st prize in the 2009
Guthman Musical Instrument Competition at the Georgia
Tech Center for Music Technology.
Presentation
Jaime Oliver
Predavanje
PE/US
www.jaimeoliver.pe
Skladbe serije Silent Construction, se nanašajo na
komponiranje inštrumenta samega. Komponiranje
skladbe lahko v tem primeru razumemo torej kot
komponiranje inštrumenta. Akt konstruiranja inštrumenta
pomešamo z aktom komponiranja. Inštrumenti so
komponirani: so kulturni konstrukti. Proces kompozicije
ne interpretiramo striktno kot oblikovanje in organizacijo
zvoka, temveč tudi kot kompozicijo okolja ali prostora,
ki zavzame konkretno formo šele s performativnim
aktom. Izbira strategij zajemanja informacij in mapiranja
podatkov so kompozicijski akti. Skladbe serije Silent
Construction so komponirani inštrumenti. Obstaja
celostna struktura, ki določa kako se instrumenti ter
njihove izrazne možnosti spreminjajo skozi čas. V
trenutku performansa je večina akcij nedoločena. Včasih
je to celo posledica fizikalnih karakteristik samega
inštrumenta, zmeraj pa je zvočni rezultat pogojen z
improvizacijskimi variacijami, gestami in trenutnimi
odločitvami.
Silent Construction Series
Serija “Silent Construction”
The pieces of the Silent Construction Series are the
composition of instruments; that is, composing the piece
is composing the instrument. The action of lutherie
or instrument building is confused with the act of
composition. Instruments are composed: they are cultural
constructs. The compositional process is not strictly the
design and organization of sounds, but is, or ought to
be, a composition of environments or sound spaces that
are brought to a concrete morphology by performance
gestures. The choice of tracking strategy and sound
mappings are compositional acts. The Silent Construction
pieces are composed instruments. Although there is an
overall structure that determines how the instruments
change over time and therefore their performative
possibilities. In the actual performance, a great deal is
undetermined, sometimes as a feature of the instrument’s
Produkcija / Production: behavior design and always due to small or improvisatory
Aksioma, ŠKUC, Moderna galerija variations in the performers gestures and choices.
Preko serije FM in spletnih oddajanj, ter formiranja
platforme radioCona, projekt misli rabo prostora
radijskih frekvenc v umetniškem in širšem družbenem
kontekstu, ter s produkcijo, sodelovanji in predstavitvami
sobnih umetniških projektov skozi radiofonično in
spletno distribucijo. Delo legalno dostopa do radijskega
frekvenčnega prostora in se vzpostavi občasno, za krajši
časovni interval. Prav v občasni projektni vzpostavitvi
in mobilnosti studia je tudi srčika delovanja projekta.
Trajnost projekta je v arhiviranju materiala v različnih
avdio protokolih (podcasti, MP3, zvočne knjige avdiobook), ki so shranjeni in distribuirani na spletnem
mestu radioCona. Vsebino določajo in dopoljnjujejo
tudi spremljevalni dogodki; pogovori, okrogle mize in
razstavna vodstva. Pomemben del je lastna produkcija
radio art in sound art projektov.
Oddajanje v živo
Live Streaming
radioCona
SLO
Temporary project radio for contemporary arts,
is a platform for art and discursive projects
initiated by Irena Pivka and Brane Zorman,
produced by CONA.
ObËasna radijska postaja za sodobno
umetnost, je platforma za umetniške in
diskurzivne projekte, ki sta jo ustanovila
Irena Pivka and Brane Zorman, in nastaja v
produkcijai CONA zavoda.
www.cona.si/radio
Cona
Skladatelj in performer Pedro Rebelo deluje na področju
Elektro-akustične glasbe, improvizacije, digitalnih medijev
in instalacij. Leta 2002 je končal doktorat na Univerzi
v Edinbourghu, kjer je izvajal glasbene in arhitekturne
raziskave. Njegova glasba je bila posneta, publicirana in
izvajana na različnih mednarodnih festivalih. Njegovo
delo je bilo izdano pri založbi Creative Source Recordings.
Sodeloval je z glasbeniki kot so: Chris Brown, Mark
Applebaum, Carlos Zingaro in Evan Parker. V teoretskih
spisih artikulira umetniško prakso v kontekstu širšega
razumevanja kulturne teorije, s čimer reflektira svoj
pristop h kompoziciji in oblikovanju. Leta 2007 je bil
gostujoč predavatelj na Univerzi Stanford, USA. Leta
2008 je predsedoval mednarodnemu simpoziju ICMC
(International Computer Music Conference), leta 2009
pa simpoziju SMC - (Sound and Music Computing
conference). Bil je prvi direktor za raziskovalne dejavnosti
na Sonic Arts Research Centru v Belfastu. Trenutno je
direktor za pedagoške dejavnosti na School of Music and
Sonic Arts, na Queen’s University v Belfastu.
Performance
Pedro Rebelo
Pedro is a composer/digital artist and performer working
in electroacoustic music, improvisation, digital media
and installation. In 2002, he was awarded a PhD by the
University of Edinburgh where he conducted research
in both music and architecture. His music has been and
published, recorded and performed across international
festivals. His work as a pianist and improvisor has
been released by Creative Source Recordings and he
has collaborated with musicians such as Chris Brown,
Mark Applebaum, Carlos Zingaro and Evan Parker. His
writings reflect his approach to design and composition
by articulating creative practice in a wider understanding
of cultural theory. Pedro has been Visiting Professor at
Stanford University (2007) and was Music Chair for the
2008 International Computer Music Conference and for
the 2009 Sound and Music Computing conference. He was
the first Director of Research at the Sonic Arts Research
Centre and is currently Director of Education at the School
of Music and Sonic Arts, Queen’s University Belfast.
Performans
UK
www.sarc.qub.ac.uk
With a series of FM and internet broadcasts and with
the formation of the radioCona platform, the project
examines the use of radio frequency space in the
artistic as well as wider social context with productions,
colaborations and presentations of contemporary art
projects through radio-phonic and internet distribution.
The work has legal access to the radio frequency space
and constitutes itself temporarily, for a short period of
time. The core of the project’s functioning is precisely in
the project’s periodicity and the mobility of the studio.
The project finds its permanence in the archiving of
materials in different audio protocols (podcasts, MP3,
audiobooks), which are documented and distributed
at the radioCona website. Its contents are defined and
complemented with accompanying events: discussions,
roundtables, and exhibition tours. Production of radio
art and sound art projects is another important aspect of
radioCona’s activities.
Cipher Series: On piano
Performans temelji na seriji grafičnih partitur, ki
delujejo, kot slike (tableaux) za improvizirano glasbo.
Z uporabo preparacij, razširjenih tehnik, elektronike in
„inštrumentalnih parazitov“ raziskuje izrazni potencial
klavirja in zagotavlja dostop do vseh dimenzij resonanc,
artikulacij in zvočnih barv.
The performance is based on a series of graphic scores
which act as tableaux for improvised music. The potential
of the piano is explored through the use of preparation,
extended techniques, electronics and “instrumental
parasites” with the aim of rendering its multiple
dimensions of resonance, articulation and timbre.
Current Research at the Presentation
Sonic Arts Research Centre
Predavanje
The presentation will introduce current research conducted
at the Sonic Arts Research Centre at Queen’s University
Belfast in the areas of interaction design, signal processing
Raziskovalni projekti na Sonic Arts Research and creative practice with a particular focus on recent work
Centru in the area of network performance.
Predstavljeni bodo aktualni projekti s področja oblikovanja
interakcije, obdelave signala in kreativnih praks, ki potekajo
v okviru raziskovalni dejavnosti “Sonic Arts Research
Centra” na Queen’s University v Belfastu. Poseben poudarek Produkcija / Production:
bo na projektih s področja medmrežnega performansa. IRZU, Cankarjev dom, Moderna galerija
Mednarodna umetnica Jodi Rose je koordinatorica in
so-kuratorica projekta TRACES, ki ga je inicira v okviru
organizacije Transcultures iz Belgije. Rose se že vrsto
let ukvarja s projektom Singing Bridges, pri katerem
z ojačevanjem vibracij mostov gradi urbane zvočne
skulpture. Poslužuje se nomadskega načina umetniškega
delovanja. Sodeluje z umetniki, raziskovalci, arhitekti
in kuratorji v mednarodnem prostoru, pri čemer sama
velikrat deluje kot vezni člen, ki povezuje partnerje
v projektu TRACES. Rose producira zvočne in
konceptualne intervencije v različnih okoljih in deluje v
kontekstu urbanih prostorov, zvoka, filozofije, medijev,
performansa in tehnologije. Na osnovi sodelovanj z
lokalnimi skupnostmi umetniških delavcev, soustvarja
unikatne efemerne performanse, improvizacije in
glasbena dela, ki so prilagojena specifičnemu kontekstu
vsake posamezne lokacije. Njena dela so bila izvedena
in razstavljena na mnogih mednarodnih festivalih.
Med pomembnejšimi so: Glasgow International,
ISEA, Pixelache, Mal au Pixel, European Sound Delta,
Dragonfly, CitySonics, Sonorama, Break 2.3, Transit
Lounge, Electrofringe in Liquid Architecture. Skozi
transmisije in instalacije nadaljuje z raziskovanjem
filozofskih in fizikalnih aspektov vibracij, pri čemer
razvija glasbeni vmesnik za mostovne inštrumente,
koncerte na lokacijah, meta-državo „Bridgeland“, ki bi
mostove po vsem svetu združila v globalno simfonijo.
Predavanje
Transnational artist Jodi Rose is the coordinator and
co-curator of TRACES, which she initiated with
Transcultures and partners. Rose is creator of Singing
Bridges, an urban sonic sculpture using the cables of
bridges as instruments on a global scale. Developing
connections through her nomadic art practice
collaborating with artists, researchers, architects and
curators internationally, Rose acts as the bridge linking
partners in TRACES exchange. Rose produces sonic
and conceptual interventions in diverse environments,
working in the context of urban spaces, sound,
philosophy, media, performance and technology.
Tracing her engagement with local cultural practitioners
and communities, she co-creates unique ephemeral,
performance, improvisation and musical works adapted
to the conditions of each specific location and concept.
Her works have been produced, broadcast, exhibited
and performed in arts festivals internationally, including
Glasgow International, ISEA, Pixelache, Mal au
Pixel, European Sound Delta, Dragonfly, CitySonics,
Sonorama, Break 2.3, Transit Lounge, Electrofringe
& Liquid Architecture. Rose continues to explore
philosophical and musical aspects of cable vibrations
through transmissions and installations, developing a
musical interface for bridge instruments, on-site concerts,
meta-nation ‘Bridgeland’ and linking bridges all over the
world in the Global Bridge Symphony.
Presentation TRACES
Jodi Rose
AU Jodi Rose discusses the development and philosophy
www.singingbridges.net
welcometobridgeland.com
Jodi Rose bo predstavila razvoj in filozofijo projekta
TRACES, v razmerju do dragocene narave sodobne
kulture in lokalno-globalnega konteksta projekta. V
času kulturnih sprememb, migracij in raznolikosti, so se
umetniki in kuratorji prisiljeni prilagoditi nomadskemu
načinu delovanja ter se posluževati inovativnih strategij
upora, da bi v svojem poklicu lahko preživeli. Skozi
utelešene raziskave, dialog in produkcijo bo projekt
TRACES analiziral ideje medkulturnega dialoga,
med-evropske kulturne mobilnosti. Kako dialog in
umetniške raziskave postanejo orodja za adaptacijo in
transformacijo? Projekt vzpodbuja kontinuirano, kritično
in kreativno izmenjavo med kulturnimi delavci. TRACES
zagotavlja pretok in mobilnost kulturnih migrantov s
čimer vzorči, inficira in prenaša posamezne segmente
kulture iz različnih lokalnih kontekstov.
of TRACES in relation to the precarious nature of
contemporary culture and the global/local contexts of
the project. In this time of cultural mutation, migration
and diversity, artists and curators are required to
embrace a culturally nomadic professional practice and
innovative strategies of cultural resistance if we are to
survive. TRACES takes a personal approach to ideas
of intercultural dialogue and trans-european cultural
mobility through embodied research, conversation and
creation. How do conversation and artistic research
become adaptive and transformative tools? Encouraging
the ongoing critical and creative exchange between
culture professionals, a flux of cultural migrants moving
between places; sampling, infecting and transmitting
memes of culture.
TRACES Symposium
Alternative Cultural
Interfaces and
Technologies of Survival
TRACES Simpozij / okrogla miza
Alternativni kulturni vmesniki in tehnologije
preživetja
Tema simpozija oz. okrogle mize bodo inovativne
umetniške in praktične strategije upora in preživetja
v kulturi, s posebnim poudarkom na vzpostavljanju
alternativnih organizacij, struktur in raziskav za
kontinuirano produkcijo. Cilj okrogle mize je, da
na osnovi naših raznolikih ozadij in izkušenj v
lokalnih okoljih artikuliramo metodologije katerih se
poslužujemo v praksi ter da delimo znanja z ostalimi
kulturnimi delavci in s širšo zainteresirano javnostjo.
Preko kolektivnega preizpraševanja, kritičnih debat,
mreženjem umetniških in kuratorskih pristopov, bomo
orisovali modele delovanja, ki temeljijo na naših
praktičnih izkušnjah. Definirali boo procese, reflektirali
ter preizpraševali lastne pozicije umetnikov, kuratorjev
in raziskovalcev ter ponudili filozofske temelje za tiste,
ki želijo izoblikovati nove smeri na področju kulturnega
delovanja. Delite vaše izkušnje s področja vzpostavljanja
alternativnih institucij in izumljanja novih preživetvenih
strategij ter komentirajte lokalne izkušnje ostalih
udeležencev mednarodnega simpozija. Debatirajte z nami
možnosti vzpostavljanja drugačnih globalnih in lokalnih
pogojev kulturnega delovanja. Do katere mere lahko
prilagajamo naše sposobnosti in surovine drugačnim
oblikam kulturne tehnologije, da si lahko zagotovimo
kreativno in umetniško preživetje?
TRACES symposium explores a range of research,
artistic and practical strategies for cultural survival
and resistance, the challenges of building alternative
organisations, and insights for ongoing creation. The
discussion seeks to articulate methodologies from diverse
backgrounds in order to share and transfer acquired
knowledge with interested culture professionals and
wider audiences. A collective questioning with a critical
debate, networking artistic and curatorial approaches
to build working models based on our actual practices
and experiences. Looking critically at experiences in
building alternative institutions, inventing strategies to
survive – and the specific conditions of the local situation
and context. The discussion takes place in a spirit of
questioning, debate and manifestation, on how to form
a different vision of globally connected local cultural
conditions, why do we do what we do and how? Adapting
our collective skills and resources to other forms of
cultural technologies to ensure our creative and artistic
survival. Tracing the process and finding methods to
transfer our specific understanding into a broader field,
while offering philosophical and practical resources to
those seeking to build new cultural paths.
Martin Rumori je študiral muzikologijo, informatiko
in filozofijo v Berlinu in leta 2005 končal magisterij.
Od takrat poučuje „zvočno umetnost“ na akademiji za
medijske umetnosti v Kölnu (KHM). Trenutno opravlja
doktorski študij na Inštitutu za Elektronsko Glasbo in
Akustiko, univerze za Glasbo in dramske umetnosti
v Gradcu (Avstrija). Ukvarja se z umetniškimi in
tehnološkimi implikacijami projekcije in reprodukcije
prostorskega zvoka. Pri tem se poslužuje tehnik zvočne
interakcije, katere vpleta v kompozicije virtualnih
zvočnih okolij. Zanima ga vpliv odprto-kodnih tehnologij
na kreativne procese.
Martin Rumori studied musicology, computer science
and philosophy in Berlin and received his M.A. in 2005.
Since then he teaches sound art at the Academy of Media
Arts Cologne (KHM). At the same time, he is doing
his Phd. project at Institute of Electronic Music and
Acoustics of the University of Music and Dramatic Arts
Graz, Austria. His fields of interest include the artistic
and technical implications of spatial sound projection
and -reproduction, sonic interaction design in audio
augmented environments, and the impact of open source
techniques on creative processes.
Binaural Soundfield
Presentation Synthesis
Martin Rumori
Predavanje
DE Sinteza stereo-fonega zvoËnega polja
www.rumori.de
Namen stereo-fonih posnetkov je simulacija zvočnega
okolja, ki poslušalca prestavi v virtualno prostorsko
realnost. S pomočjo digitalne obdelave signalov in
optičnega sistema za prepoznavanje lokacije uporabnika
in sledenje gibanja, lahko sintetiziramo interaktivna
stereo-fona zvočna okolja. Sinteza stereo-fonih posnetkov
in interaktivnih stereo-fonih prostorov, v kombinaciji z
obstoječimi zvočnimi ambienti realnih prostorov, presega
aplikacije s področja virtualne realnosti. S pomočjo teh
tehnologij lahko ustvarimo platforme za raziskovanje
okoljskih zvokov preko utelešenih vmesnikov. Binaural recordings aim at creating a deep impression
of aural immersion for the listener. Using signal
processing algorithms, it is possible to synthesize binaural
soundfields which, combined with a positional tracking
system, may be made interactive. Well beyond pure
virtual reality applications, the synthesis of binaural
recordings and interactive binaural spaces combined
with the existing sonic ambiance of the real world
provides a promising and vivid playground for exploring
environmental sounds via embodied interfaces.
Rojen 1981 v Bilčovs, živi in dela na Dunaju, Avstrija.
Študira: Računalniško glasbo in kontrabas. Deluje
na področju improvizirane in sodobne komponirane
glasbe.
Born in 1981 in Bilčovs, lives and works in Vienna,
Austria. Studies: computer music and double bass.
Works in the field of improvised & contemporary
composed music.
Projekti:
- elektronska in instrumentalna solo dela, zvočne
instalacije, glasba za ples, performans in film.
- duo Reča Raketa z Majo Osojnik
- soustanovitelj Low Frequency Orchestra (Osojnik/
Castelló/Grill/Koch/Neugebauer/Schellander).
- član Metalycée (Breuer/Hummer/Schellander/Jurisic/
Steiner).
Projects:
- electronic and instrumental solo works, sound
installations, music for dance, performance and film.
- duo Rdeča Raketa with Maja Osojnik.
- co-founder of Low Frequency Orchestra (Osojnik/
Castelló/Grill/Koch/Neugebauer/Schellander).
- member of Metalycée (Breuer/Hummer/Schellander/
Jurisic/Steiner).
Sodelovanja:
Jorge Sanchez-Chiong/JSX, Christoph Kurzmann,
Wolfgang Schiftner, Pia Palme, Martin Zrost, Marco
Eneidi, Okkyung Lee, Renald Deppe, Zur Wachauerin,
Akemi Takeya, Martin Siewert, Daniel Riegler, Martin
Ptak, Gina Mattiello, Michael Bruckner, Berndt
Thurner, Uchihashi Kazuhisa, Franz Hautzinger, Martin
Brandlmayr, Christoph Cech, Wolfgang Mitterer, Peter
Kutin, Keiko Higuchi, Mamadou Diabate, Burkhard
Stangl, Tom Johnson, Bernhard Lang...
Collaborations:
Jorge Sanchez-Chiong/JSX, Christoph Kurzmann,
Wolfgang Schiftner, Pia Palme, Martin Zrost, Marco
Eneidi, Okkyung Lee, Renald Deppe, Zur Wachauerin,
Akemi Takeya, Martin Siewert, Daniel Riegler, Martin
Ptak, Gina Mattiello, Michael Bruckner, Berndt
Thurner, Uchihashi Kazuhisa, Franz Hautzinger, Martin
Brandlmayr, Christoph Cech, Wolfgang Mitterer, Peter
Kutin, Keiko Higuchi, Mamadou Diabate, Burkhard
Stangl, Tom Johnson, Bernhard Lang...
Koncerti:
Jazzfestival Saalfelden, Musikprotokoll Steirischer
Herbst, Jazzfest Wien, ISMEAM Sarvar, Kontraste
Krems, Kaleidophon Ulrichsberg, Sajeta Tolmin,
TransArt Bozen, Hörfest Graz, Toussiana Frankfurt,
Interpenetration Graz, V:NM Graz, IG Jazz Festival
Wien, Innocent and Vain – Hommage a Nico Rhiz Wien,
Modernistmozart Wien, Gesänge auf den Wein – Das
Westöstliche Delirium Kornberg, Jazzfest Wiesen, Hotel
Pupik Schrattenberg, Sommerszene Salzburg...
Concerts:
Jazzfestival Saalfelden, Musikprotokoll Steirischer
Herbst, Jazzfest Wien, ISMEAM Sarvar, Kontraste
Krems, Kaleidophon Ulrichsberg, Sajeta Tolmin,
TransArt Bozen, Hörfest Graz, Toussiana Frankfurt,
Interpenetration Graz, V:NM Graz, IG Jazz Festival
Wien, Innocent and Vain – Hommage a Nico Rhiz Wien,
Modernistmozart Wien, Gesänge auf den Wein – Das
Westöstliche Delirium Kornberg, Jazzfest Wiesen, Hotel
Pupik Schrattenberg, Sommerszene Salzburg...
Izdaje:
Rdeča Raketa (Osojnik/Schellander) - old boy, old girl
(casette, mosz)
IT IS NOT - metalycée (12’’, mosz)
untitled EP - metalycée (12’’, interstellar)
S - Low Frequency Orchestra (CD, einklang)
Releases:
Rdeča Raketa (Osojnik/Schellander) - old boy, old girl
(casette, mosz)
IT IS NOT - metalycée (12’’, mosz)
untitled EP - metalycée (12’’, interstellar)
S - Low Frequency Orchestra (CD, einklang)
Performance
Matija Schellander
Performans
AT
matija.klingt.org/
IRZU, Galerija Kapelica, Moderna galerija, Projekt BOKS
IRZU, ŠKUC
Photo: Christof Zachl
V zgodnjih letih komponira in aranžira za gledališče v
Hamburgu. Nato študira telekomunikacijo in glasbo v
Gradcu, Avstrija. Postane asistent na tamkajšnjem Inštitutu za
elektronsko glasbo (IEM) kjer se vključuje v projekte sodobne
glasbe, kot razvijalec in svetovalec. Po opravljenih diplomah
na graški tehnični in glasbeni univerzi, leta 1995, postane
član skupine „Real-Time Systems“ na IRCAM-u. Med 2002
in 2007 je koordinator skupin: „Real Time Applications“ in
„Real-Time Interactions“ na istem inštitutu. Poleg angažmaja
v umetniških produkcijah povezanih z IRCAM-om, sodeluje
tudi v mednarodnih raziskovalnih projektih in projektih z
industrijskimi partnerji na področju glasbene tehnologije,
izobraževanja in simulacij. Junija 2006 organizira in predseduje
šestemu mednarodnemu simpoziju „New Interfaces for Musical
Expression“ - NIME 06, ki ga izpeljejo na IRCAM-u. Je član
organizacijskega odbora NIME. 2007 prejme DAAD gostujočo
profesuro Edgard Varese za elektronsko glasbo na tehnični
univerzi v Berlinu. Od 2008 se ukvarja z doktorsko disertacijo,
v okviru katere raziskuje interaktivno obdelavo zvoka in razvija
nov, interaktivni glasbeni medij.
After early experiences in music composition and
arrangement for theatre in Hamburg, Norbert Schnell studies
Telecommunications and Music in Graz/Austria. He becomes
studio assistant at the Institut für Elektronische Musik (IEM)
and gets involved in contemporary music projects as developer
and adviser. With his diploma of the Technische Universität
and the Universität für Musik und Darstellende Kunst in Graz,
he enters the Real-Time Systems team at IRCAM in 1995.
From 2002 to the end of 2007 he coordinates the Real-Time
Applications and Real-Time Musical Interactions team. Besides
the engagement into artistic productions at and around IRCAM,
he participates in international research projects and collaborates
with industry partners in the domains of music technology,
education and simulation. In June 2006 he organises and
chaired the 6th International Conference on New Interfaces for
Musical Expression, NIME 06, at IRCAM. He is member of
the NIME Steering Committee. In 2007 he holds the DAAD
Edgard Varèse Guest Professorship for Electronic Music at the
Technische Universität in Berlin. Since 2008 he focuses on his
PhD thesis on real-time interactive audio processing and the
development of novel interactive music media.
Presentation
Workshop
Norbert Schnell
Predavanje
/
Delavnica
DE/FR
Real-Time Interactive
Audio Analysis/Synthesis
imtr.ircam.fr (IRCAM - Centre Pompidou, RealTime Musical Interactions)
imtr.ircam.fr/imtr/MuBu (MuBu)
ftm.ircam.fr (FTM & Co)
imtr.ircam.fr/imtr/Norbert_Schnell
This talk will cover various projects that we developed over
Interaktivna sinteza in analiza zvoka v the past years in the Real-Time Musical Interactions team
realnem Ëasu at IRCAM. All presented projects are based on gesture
V predavanju bom predstavil različne projekte, ki smo
jih v preteklih letih razili v skupini „Real-Time Musical
Interactions“ na IRCAM-u. Vsi projekti so integrirani v okolje
Max/MSP in temeljijo na analizi gest, vizualni reprezentaciji
zvoka ter tehnikah analize in sinteze v realnem času.
Predavanje in demonstracije se bodo nanašale predvsem na
tehnične aspekte, ki pa bodo navezani na kontekste umetniških
produkcij, na pedagoške in raziskovalne projekte. Glede
na strukturo publike / udeležencev se lahko osredotočimo
tako na splošne preglede aplikacij, ali pa si tehnologije in
reprezentacije algoritmov (knjižnice FTM & Co in najnovejše:
MuBu) v okolju Max/MSP ogledamo podrobneje.
IRZU, Galerija Kapelica, Moderna galerija
analysis, visual audio representations and real-time audio
analysis/synthesis techniques integrated into Max/MSP. The
presentation and demonstrations will give an overview of the
technological aspects and evoke applications in the context of
artistic productions, music pedagogy and research projects.
Depending on the attendees of the presentation, we can either
focus on a general overview of applications or have a closer
look into some of the technologies and their embodiment in
Max/MSP based on the FTM & Co libraries as well as a recent
development called MuBu.
Hans-Christoph Steiner je oblikovalec interaktivne
programske opreme, ki se nanaša predvsem na sposobnost
človeške percepcije. S pomočjo odprto-kodnih programov
gradi omrežja, ter komponira glasbo z računalniki. V svojih
delih poudarja aspekte sodelovanja, ki jih izraža v obliki
odzivnih zvočnih okolij, katera omogočajo uporabnikom
igriv pristop k matematiki. Med drugim je izdelal tudi
ribo na reaktivni pogon, na kateri je možno jahati. Svoje
raziskovalne projekte financira s poučevanjem in delom v
različnih centrih za medijske umetnosti, z organiziranjem
odprtih hek-labov, in „barcamp“ konferenc. Trenutno
poučuje „oblikovanje fizikalne interakcije“, v okviru
programa interaktivnih telekomunikacij, na univerzi v New
Yorku (NYU). Prav tako se angažira v manjših neodvisnih
umetniških in hekerskih centrih po vsem svetu. Kot
stranske produkte njegovih pedagoške dejavnosti producira
platforme za vizualno programiranje ter odprto-kodne
kurikulume / učbenike s področja medijskih umetnosti.
Hans-Christoph Steiner spends his time designing
interactive software with a focus on human perceptual
capabilities, building networks with free software, and
composing music with computers. With an emphasis on
collaboration, he has worked in many forms, including
responsive sound environments, free wireless networks
that help build community, musical robots that listen,
software environments that allow people to play with math,
and a jet-powered fish that you can ride. To further his
research, he teaches and works at various media art centers
and organizes open, collaborative hacklabs and barcamp
conferences. He is currently teaching courses in physical
interaction design NYU’s Interactive Telecommunications
Program, as well as at artist- and hacker-run centers
around the world. And from this teaching, he is developing
full-fledged visual programming platform and free, opensource media arts curricula and teachers’ guides.
Workshop
Hans-Christoph
Steiner
Delavnica
US/AT
at.or.at/hans
Delavnica bo obravnavala načine grajenja inštrumentov
z odprto-kodnim programskim orodjem PD (Pure Data).
Inštrumente se bo upravljalo s pomočjo USB HID
igralnih kontrolerjev in Arduino/Firmat, s katerimi bomo
manipulirali zvok in sliko v realnem času. Na delavnici
bodo predstavljeni načini zajemanja podatkov s PD-jem,
obdelava teh podatkov ter strategije mapiranja, preko katerih
bomo gradili zanimive načine interakcije in performanse.
Udeleženci se bodo naučili kako zbrati podatke iz realnega
sveta, kako s pomočjo filtrov odstraniti šum od pomenljivih
podatkov, ter kako, s tako pridobljenim novim podatkovnim
tokom, kontrolirati različne medije. V kolikor bo na voljo
dovolj časa bosta predstavljena tudi načina pridobivanje
povratne informacije (feedback) z vibracijami ali fizično silo.
Delavnica je namenjena tako začetnikom, kot tudi izkušenim
uporabnikom PD-ja. Udeleženci naj prinesejo svoje igralne
kontrolerje (tablet, joystick, miška, itd.) V začetku delavnice
bomo skupaj izvedli instalacijo vse potrebne programske
opreme na vaših prenosnikih. Delavnica bo udeležence
pripravila za nadaljnje delo na področju avdia, videa, grafike
in elektronike. Zaželeno je da udeleženci pristopijo na
delavnico s kakšnim konkretnim projektom ali idejo, tako da
bodo na koncu, kot rezultat imeli delujočo stvar.
Kiberpipa / Zavod K6/4, Moderna galerija
This workshop will focus on building instruments using
Pd with USB HID game-controllers and Arduino/Firmat to
control sound, video, and graphics in real time. It will cover
getting data into Pd, turning that data into a usable form,
then mapping the data to build engaging interactions and
interesting performances. Participants will learn how to get
data from the real world, process the data to eliminate noise
and ignore unimportant details, then create a data flow that
gives interesting control over media. If time permits, force
and vibration feedback will be introduced. The workshop
is for beginners as well as experienced users, but some
experience with Pd is encouraged. Bring in game controllers,
tablets, mice, etc. or an Arduino with sensors. Test your
device before bringing it to the workshop. You can use your
own laptop, the workshop will be preceded with a short
installation help session. This course will prepare you for
further work in audio, video, graphics or electronics. It will
be project based, so bring a project idea to work on. By the
end of the workshop, you should have something that works.
Jan T. je skladatelj in medijski umetnik in se osredotoča
na oblikovanje programske opreme. V posameznih
projektih se ukvarja z enim materialom ali temo, ki
jo postavlja v različne kontekste in jo osvetljuje z
različnih perspektiv. V kompozicijah uporablja organski
zvočni material, ki se že rahlo nagiba proti šumu
(noise). V njegovi glasbi najdemo igrive elemente s
katerimi raziskuje mejo med sintetičnim in konkretnim
zvokom, med digitalnimi in mehanskimi pristopi. Igra
solo performanse, pri katerih uporablja programsko
orodje SuperColider in vmesnik Mantra. Piše glasbo
za akustične inštrumente in računalnike, ter postavlja
zvočne instalacije. Od 2002 aktivno razvija kodo za
SuperColider, in s tem prispeva k razvoju programa.
Organiziral je tudi drug mednarodni SuperColider
Simpozij, ki je potekal 2007 v Hagu na Nizoremskem.
2008 je ustanovil skupino TeaTracks, ki se ukvarja z
produkcijo mobilnih aplikacij. Eno pomembnejših (Gliss)
izdajo leta 2009. Gliss je glasbeni sekvencer namenjem
uporabi v realnem času. Deluje na osnovi tresljajev
mobilnika, omogoča pa tudi risanje in interpretacijo
grafik v obliki glasbe in zvokov na iPhone/iPad napravah.
Jan T. is a composer and media artist with an affinity
to software design. His work often focuses on one
material or subject, which he sets in different contexts
and perspectives. The sound material he uses can be
described as having an organic character with a tendency
of being noisy and crispy. And there are playful elements
in his music, which explore the boundaries of synthetic
and concrete sound, digital and mechanic approaches.
He performs solo with SuperCollider and the Manta
interface, writes music for instruments and computer and
creates sonic installations. Since 2002 he has been an
active SuperCollider (SC) developer, which resulted in
many contributions to the software and the organisation
of the second international SuperCollider Symposium in
The Hague in 2007. In 2008 he founded TeaTracks for the
creation of mobile applications, which released Gliss in
2009. Gliss is a tilt controlled and performance oriented
sequencer, which lets you draw music and sounds on the
iPhone/iPad.
Performance
Hexagon Jan Trützschler von
Falkenstein
Hexagon je skladba za solo performerja in računalniške
procese (SuperCollider & Manta). Realizirana je s
pomočjo visoko-nivojskega parametričnega upravljanja,
ki temelji na interpolacijskih samo-organizirajočih
nevronskih mrež (SOM). Zvočne teksture so grajene
s sintetičnimi in konkretnimi zvoki, ki ustvarjajo
večdimenzionalne zvočne prostore.
Performans
NL/DE
falkenst.com
In this concert Jan T. is going to perform a solo live set,
which includes his piece ‘Hexagon’ for live computer
processes (SuperCollider & Manta). Hexagon has been
realised with extensive use of higher level parameter
control by means of interpolating self-organising maps.
It features a mixture of synthetic and concrete sounds to
create textures while navigating sonic spaces.
Presentation
Emerging Possibilities of
Mobile Music Applications
Predavanje
Nove možnosti mobilnih glasbenih aplikacij
Zmeraj večja dostopnost zmogljivih in inteligentnih
mobilnikov omogoča uporabo glasbenih aplikacij nove
generacije. Poleg običajne programske opreme za
glasbeno produkcijo v mini formatu, aplikacije takšnih
prenosnih naprav omogočajo oblikovanje posebnih
glasbenih inštrumentov, s čimer reformirajo koncept
poslušanja in kreiranja glasbe. Takšne aplikacije
ponujajo interaktivna in re-aktivna glasbena okolja, ki
lahko pomešajo običajne vloge skladatelja, producenta,
izvajalca in poslušalca glasbe. Verjetno je to tudi
priložnost, preko katere bo eksperimentalna glasba prišla
v stik z običajnimi uporabniki oz. s širšim občinstvom,
saj so aplikacije (eksperimentalni inštrumenti) enostavno
dostopne in vsak jih lahko preizkusi na svojem
mobilniku. Mobilne naprave omogočajo tudi nov pristop
k izvajanju glasbe saj ustvarijo novo raven participacije
občinstva med performansom. Jan T. bo v predavanju
predstavil pregled svojega dela in idej s tega področja, ter
načine kako jih vpleta v svoje kompozicije in instalacije.
Aksioma, Moderna galerija
The widespread use of powerful smart-phones has
introduced a new generation of music applications, which
users can have with them at all time. Aside from more
conventional music production software in mini format,
such applications include dedicated instruments and
apps which approach both music making and listening
from a different angle. Some of these apps might change
the classical roles of composer, performer and listener,
or producer and consumer, by offering interactive or
reactive musical environments. There might even be a
chance to introduce listeners to more experimental forms
of music through apps, which they can play with on their
devices. On the performative side, mobile devices open
up new possibilities for performers and might also allow
another level of participation between the audience in
the performance. In this talk Jan Trützschler will give an
overview of his work and ideas in this field and how it
connects to his compositions and installations.
Marcelo M Wanderley je raziskovalec na področju
krmiljenja zvočne sinteze preko interpretacije telesnih
gest. Oblikuje in evaluira različne vmesnike in
interakcijske sisteme: človek-računalnik (HCI). Skupaj
s prof. Marcom Battierjem ureja elektronsko publikacijo
„Trends in Gestural Control of Music“. Wanderley je
2003 predsedoval mednarodnemu simpoziju NIME
(novi vmesniki za glasbeno izražanje). 2006 je s prof.
E.R.Mirando izdal knjigo “New Digital Musical
Instruments: Control and Interaction Beyond the
Keyboard” . Trenutno je profesor glasbene tehnologije na
Schulichovi glasbeni šoli, Univerze McGill v Montrealu
(Kanada).
Carl Stone je eden izmed pionirjev žive računalniške
glasbe. Revija Village Voice ga je proglasila za „kralja
tehnike vzorčenja“ (sampling) ter za enega najboljših
še živečih skladateljev v ZDA. Svoje kompozicije za
računalniške sisteme uprizarja v živo že vse od leta
1986. Carl Stone je bil rojen v Los Angelesu danes pa
živi in dela med Kalifornijo in Japonsko. Je izredno
aktiven izvajalec in veliko koncertira po vsem svetu.
Študij kompozicije je opravil na „California Institute of
the Arts“ z mentorjema, legendarnima skladateljema:
Morton Subotnick in James Tenney. Že od vsega
začetka delovanja (1972) se je specializiral in izključno
komponiral zgolj elektro-akustično glasbo. Njegova dela
so bila izvajana v ZDA, Kanadi, Evropi, Aziji, Avstraliji,
Južni Ameriki in na bližnjem vzhodu. Ob nenehnih
turnejah poučuje tudi na oddelku za Medijske tehnologije
– Šola za informacijske tehnologije univerze Chukyo na
Jaonskem.
Performance
Carl Stone
Performans
Carl Stone is one of the pioneers of live computer music,
and has been hailed by the Village Voice as “the king of
sampling.” and “one of the best composers living in (the
US/JP USA) today.” He has used computers in live performance
since 1986. Stone was born in Los Angeles and now
divides his time between California and Japan. He studied
www.sukothai.com composition at the California Institute of the Arts with
www.rlsto.net/Nooz Morton Subotnick and James Tenney and has composed
electro-acoustic music almost exclusively since 1972. His
works have been performed in the U.S., Canada, Europe,
Asia, Australia, South America and the Near East. In
addition to his schedule of performance, composition and
touring, he is on the faculty of the Information Media
Technology Department, School of Information Science
and Technology at Chukyo University in Japan.
IRZU, Kino Šiška
Marcelo M. Wanderley’s main research interests include
gestural control of sound synthesis, input device design
and evaluation, and human–computer interaction. He
is the co-editor, with Prof. M. Battier, of the electronic
publication Trends in Gestural Control of Music. In
2003 Dr. Wanderley was the Chair of the International
Conference on New Interfaces for Musical Expression
(NIME03). In 2006, he co-authored with Prof. E. R.
Miranda, the textbook “New Digital Musical Instruments:
Control and Interaction Beyond the Keyboard”, A-R
Editions. He is currently Associate Professor in Music
Technology at the Schulich School of Music, McGill
University, Montreal, Québec, Canada.
Presentation Research Projects at
Marcelo M. Wanderley IDMIL - McGill University
Predavanje
BR/CA
www.idmil.org Raziskovalni projekti v laboratoriju IDMIL na
univerzi McGill
In this talk I will discuss the design and use of Digital
Musical Instruments (DMIs), based on the work
developed at the Input Devices and Music Interaction
Laboratory (IDMIL - idmil.org), McGill University. I
will review the design of several novel DMIs and the
choice of sensors and actuators used (SensorWiki - www.
sensorwiki.org), as well as the definition of mapping
strategies between sensor outputs and sound synthesis
inputs. Examples of DMI use in several contexts such
as the McGill Digital Orchestra (http://www.music.
mcgill.ca/musictech/DigitalOrchestra/) will illustrate
the interplay between engineering choices and musical
Predstavljeni bodo načini oblikovanja in uporabe demands.
digitalnih glasbenih inštrumentov, ki so jih razvili v Students participating at McGill's Digital Orchestra Project (and digital musical
okviru projektov laboratorija IDMIL (Input Devices instruments developed). From left to right: Mark Marshall (Tralf), Fernando
Rocha (Rulers), D. Andrew Stewart (T-stick) and Chloé Dominguez (Interactive
and Music Interaction Laboratory), na univerzi McGill. Gloves). Photo by Joseph Malloch.
Obravnaval bo dizajn različnih novih digitalnih
inštrumentov ter izbor senzorjev in aktuatorjev
(SensorWiki – www.sensorwiki.org), kot tudi definicijo
strategij mapiranja podatkov med izhodi senzorjev in
vhodi sinteznih algoritmov. Pokazal bo primere digitalnih
glasbenih inštrumentov, ki jih uporabljajo v digitalnem
orkestru McGill, kjer prepletajo inženirske rešitve z
glasbenimi potrebami.
Zapiski Notes
Education / Izobrazba:
Master of Arts in New Media, Medialab, University of
Art and Design Helsinki, Finland, 2007
Activities / Aktivnosti:
Gallery 54, board member. Gothenburg, Sweden
GEIGER, board member. Gothenburg, Sweden
Teaching and Workshops / Poučevanje in Delavnice:
Valand School of Fine Arts, teachier, University of
Gothenburg, Sweden
IMPROVe sound workshops
Sound Art in City Spaces workshop, Superior School of
Music and Performing Arts, Porto, Portugal, 2010
Locative sound workshop, Medialab, School of Art and
Design, Aalto University. Helsinki, Finland
Shows and Performances / Performansi:
Gothenburg Art Sounds festival, Soundscape
composition, Gothenburg, Sweden, 2010
Sonic Sunrises, group exhibition, Gallery Titanik, Turku,
Finland, 2009
ISCM-World New Music Days festival, Performance,
workshops and installation, Gothenburg, Sweden, 2009
Fête des Lumières, Yellow Splitch light and sound
installation, Lyon, France, 2008
Pixelache Festival of Electronic Subcultures,
Performance. Helsinki, Finland, 2007
Ars Electronica Campus Exhibition, Installation and
performance. Linz, Austria, 2006
Publications / Publikacije:
The mobile phone as a medium for heightened sonic
perception (pdf)
Published in ACM International Conference Proceeding
Series; Vol. 159.
Presentation
Richard Widerberg IMPROVe
Predavanje
SE
www.riwid.net Richard Widerberg will talk about the sound workshop
Richard Widerberg bo predstavil koncept serije zvočnih
delavnic, ki ga je v preteklih letih razvijal skozi različne
kontekste. Namen delavnic je praktično delo z vsakdanjimi
zvoki in razvoj fokusiranega poslušanja. Delavnice zajemajo
različne moduse poslušanja okoljskih zvokov ter načine zbiranja
zvočnih objektov in improvizirano reorganiziranje zbranih
posnetkov. Cilj delavnic je raziskovanje glasbenih struktur s
pomočjo enostavnih zvočnih improvizacij in doseganje višje
stopnje zavedanja zvokov, ki nas obdajajo v vsakodnevnih
situacijah. Richard bo predstavil enostaven predvajalnik
zvočnih zank, ki ga je razvil za delo v okviru delavnic
improvizacije.
IRZU, Moderna galerija, Projekt BOKS
IMPROVe where he is using a workshop method he has been
practicing and developing for a few years in various contexts.
The focus of the workshop is to work practically with everyday
sounds and listening. The workshop involves different modes of
listening which ranges from pure listening to one’s surroundings
to collecting of sound objects to improvisation with the
collected sounds. The essence is to explore different modes of
listening to our reality and to be more aware of all the sounds
that surrounds us in our daily life. Also, to discuss and explore
musical structures through simple musical improvisation with
sounds. Richard will also show a simple sound loop player he
has been developing and using in his workshops for musical
improvisation.
Zapiski Notes
Financerji Supported by
Produkcija Production
PrizorišËa Venues
Metod Blejec Design
Partnerji Parters
This project has been funded with support from the European Commission. This publication reflects the views only of the author,
and the Commission cannot be held responsible for any use which may be made of the information contained therein.

2010 Earzoom

Transcription

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