SCORE FOR UNCERTAINTY
COMPOSICIÓN PARA LA INCERTIDUMBRE MUSIC MAKERS HACKLAB
ICAS FESTIVAL DRESDEN, GERMANY APRIL-2015
https://mmhl.bandcamp.com
All the pictures by: David Pinzer
English
A SCORE FOR UNCERTAINTY
The current context of technological democratization, where costs have fallen improving access to specialized knowl- edge and tools, has driven our generation to a cultural para- digm where the development of every new device reshapes the collective understanding of our present.
Correspondingly the sonic landscape of the planet has been gradually modified with every technological upgrade, con- tinually creating sonorities never heard before. In words of Luigi Rusollo we may have conquered the infinite variety of noise-sounds yet “the machines we use for making music can only give back what we put into them” (Varèse 1966) and while theoretically we can generate any sound we im- agine, implementation is often a laborious task (Hermanss 2014).
Hosted by the Interspecifics Collective and Alberto de Cam- po, »Score for Uncertainty« was a 7-day long collaborative laboratory focused on the creation of a sound composition from an unknown future using existing but novel instru- ments and sound catalogues. Participants collaborated in intensive improvisational sessions aiming to analyze the way new devices could be involved in the creation of a futur- istic soundscape. The result was presented as a live concert at the end of the ICAS Festival week in Dresden.
Español
COMPOSICIÓN PARA LA INCERTIDUMBRE
El contexto actual de democratización de la tecnología donde los costos han decrecido mejorando el acceso a her- ramientas y conocimiento especializado ha llevado a nues- tra generación hacia un paradigma cultural donde el desar- rollo de cada nuevo aparato reconfigura el entendimiento colectivo de nuestro presente.
De la misma forma el paisaje sonoro de nuestro planeta se ha modificado gradualmente al fin de cada desarrollo tec- nológico creando continuamente sonoridades nunca antes escuchadas. En palabras de Luigi Rusollo quizá hemos con- quistado una variedad infinita de ruido-sonido, sin embar- go las máquinas que usamos para hacer música solo nos pueden devolver lo que ponemos en ellas (Varése 1966). Y aunque teóricamente podemos generar cualquier sonido que imaginemos su implementación es a menudo una tarea laboriosa (Hermanss 2014).
Con el Colectivo Interspecifics y Alberto de Campo como anfitriones »Composición para la Incertidumbre» fue un laboratorio colaborativo de 7 días que reunió instrumentos noveles y catálogos de sonido en la creación de una score sonoro desde un futuro desconocido. Los participantes co- laboraron en sesiones intensas de improvisación con el ob- jetivo de analizar la forma en que nuevos aparatos pueden involucrarse en la creación de un paisaje sonoro futurista. El resultado fue presentado en formato de acto en vivo al final del Festival ICAS en Dresden.
English
ALGORITHMS RULE OUR LIFE
The following recordings were created at the end of a collabora- tive week. From this space the possibilities and limitations of a machine ensemble guided by random algorithms were studied. The result of this process is presented in this sound compilation.
PlAYLIST
- 1. OPENING: 15:05 Free improvisation in which every participant decided intui- tively when to join or leave the ensemble.
- 2. INTERLUDE 20:17 Using an uncertainty generator written in Supercollider par- ticipants received indications from the system on 3 main roles: texture, rhythm and phrasing.
- 3. FINALE : 16:18 Free improvisation in which every participant decided intui- tively when to join or leave the ensemble.
*All recording were performed during the MusicMakers Hacklab Final Presentation as part of the ICAS Festival.
Español
LOS ALGORITMOS DIRIGEN NUESTRAS VIDAS
Las siguientes grabaciones se realizaron al final de una semana de trabajo colaborativo. Desde este espacio se experimentaron las posibilidades y limitaciones de un ensamble de máquinas guiado por algoritmos aleatorios. Los resultados de este proceso son presentados en esta compilación sonora.
LISTA DE REPRODUCCIÓN:
- 1. OPENING: 15:05 Improvisación libre en la que cada participante decide intui- tivamente en que momento unirse o retirarse del ensamble.
- 2. INTERLUDE 20:17 Utilizando un generador de incertidumbre escrito en Super- collider, los participantes recibieron indicaciones para seguir 3 distinto roles: textura, ritmo y fraseo.
- 3. FINALE : 16:18 Improvisación libre en la que cada participante decide intui- tivamente en que momento unirse o retirarse del ensamble.
Todas las grabaciones fueron realizadas en vivo durante la presentación final del MusicMakers Hacklab como parte del Festival ICAS.
English
THE INSTRUMENTS/ SYTEMS/MODELS OF UNCERTAINTY
Anja Erdmann The Sound and Light Apparatus
Anja Erdmann (*1976, Erfurt) studied Media Art and Design at Bauhaus-University Weimar with focus on soundart and intermedia installations. Her first sound pro- ject “Klang-Bild-Raum“ (2009) has been exhibited at ZKM Karlsruhe and Neues Museum Weimar. In 2010-2012 she cooperated with Maxie Götze, together they created „Luftikus-installation with moving fans“ for Musée Réattu in Arles. The Mu- seum of Contemporary Art in France has acquired the installation for its collection. The sound art work „Impulse-Prepared Soundroom“ accrued in 2013 during the Art- ist in Residence Programme at Haiart in Hailuoto, Finland. Anja Erdmanns current installation“Raumsucher“ (2014) was shown at NOW!-Festival in Essen and at the Sound Art Exhibition (h)ear XL in the Netherlands. She lives and works in Weimar (Thuringia) English
Alberto de Campo My performance setup is designed for fluid access to many sound processes, for a wide range of possibilities with a limited set of physical interfaces. Sources include the Blippoo box (a complex oscillator system by Rob Hordijk), the cracklebox (by STEIM), and many software processes written in the SuperCollider language. They are played with a Manta controller (by Jeff Snyder), a game- pad which can polyphonically record, replay and reshape control loops, the computer keyboard and the multitouch trackpad. Many of them have semi-autonomous (nontrivial) behaviour, so I don’t play them like fully controllable instruments; they rather become playing partners which surprise me, and I can learn to influence them.
Alberto de Campo (born 1964) studied classical composition with Andrej Dobrow- olski, Georg Haas, and Beat Furrer; Jazz guitar with Adelhard Roidinger and Peter O’Mara, and electronic music with Curtis Roads and Stephen Travis Pope. After being a Visiting Scholar and Research Director at CREATE (UC Santa Barbara), he taught at IEM Graz (Austria) and at the Academy for Media and Arts (KHM) in Cologne, Germany, and as Edgard Varèse guest professor for Elektronic Music at Technical University Berlin. From 2005-2007 he led the research team of ‘SonEnvir’ (at IEM Graz), a project he initiated, where an interdisciplinary team studied the ap- plicability of data sonification in different scientific disciplines and contexts. With the team he wrote numerous publications, and organized a concert of sonifications of social data for the ICAD conference 2006 in London (‘Global Music - The world by ear’). From 2007-2009 he was Professor for Music Informatics at the Institut Fuer Musik and Medien of the Robert Schumann Hochschule Düsseldorf, and since 2009 he is Professor for Generative Art / Computational Art at el Institute for time based media en la University for the Arts Berlin. Alberto Harres During the Hacklab in Dresden I further developed a study of sound feedback. My aim was to create a texture of itself by using the own time that the laptop took to capture the sound through the microfone and reproduce it on the speakers and back to the microfone. Using my voice and filters I also explored other possi- bilites within the feedback. Besides that I developed a sound-in- teractive visualisation on Processing that appeared on the show’s screen together with Gil’s visualisation.
Alberto Harres Born in Rio de Janeiro - Brazil, 1994, Alberto is an artist that works in different medias, from digital art to street art, from sculpture and drawing to pro- gramming art. Is active with the group “Biônicos” of research and experimentation in digital culture, circuit-bending and interactive installations. Currently studies Visual Arts at UFRJ in Rio, but is currently living in Berlin for a student exchange program at UdK Berlin.
Davic Nod
For the MusicMakers performance I combined the XSL sound collection, Ableton Live, Max for Live and SoundScape Renderer. The XSL is a +2GB free sound collection by more than 50 artists around the world, including recordings from sound installations, underwater recordings, field-recordings, recordings of new and old instruments, synthesizers... The project aims to develop a cul- ture of interaction and exchange; thus facilitating the emergence of new ideas. The SoundScape Renderer is a tool for real-time spatial audio reproduction providing a variety of rendering algo- rithms.
Musician and sound artist born 1987 in Barcelona, based in Berlin. Influenced by ambient, drone, experimental and techno, and with a special interest on psychoa- coustics and music technology, he is moving between music, sound art, new media and performance. His debut album ‘Some music comes from the cellar’ was pre- sented at Sonar Barcelona 2009 and released by the spanish label Miga. During the last years, he has been invited to realize multimedia projects in New York, Detroit and Berlin. Meanwhile he founded the Thalamus Lab collective and established con- nections with art centers and music communities, that he would use to start explor- ing models of collective creation with the XSL project. Lately, he collaborated with Stratofyzika in the production of Thæta, a movement-based interactive audiovisual performance showcased in Germany and Brasil. Currently, he is researching spatial sound with loudspeakers at Technische Universität Berlin. English
Gaute Barlindhaug
I was using a small modular Euro rack system, with oscillators from Endorphin.es, Livewire and Pittsburg Modular. Though the system in it selves was rather standard, signals from The Energy Bending Lab and its bacteria’s was past on to the modules in form of both trig and cv. In this way I had to operate the system based on the changing signals I received from the bacteria’s. In addition I made some small Max For Live patches enabling me to capture and further manipulate sounds from my modular if I felt I hit upon some especially interesting sounds.
Gaute Barlindhaug is an electronic musician from Tromsø, Norway. He is currently known under the artist name Kolar Goi. As a member of the quartet Aedena Cycle, together with Torbjørn Brundtland and Svein Berge from Röyksopp, and Kolbjørn Lyslo, he was a part of the second generation of the Tromsø techno scene. In 1994, they released the acclaimed The Travellers’ Dream EP on the Belgium record label Apollo. A few compilations contributions and some rare live appearances followed, before the members went in different directions.In the years to follow, Barlindhaug contributed to notable Tromsø acts, such as Alanïa and Drum Island.In 1997, Aedena Cycle resurfaced as a solo project from Gaute Barlindhaug. Barlindhaug released two albums on Beatservice Records as Aedena Cycle. The album Albite came out in 1997 and Cargo Cult was released in 1999. Due to copyright reasons, Gaute Barlindhaug had to change his artist name to Kolar Goi.As Kolar Goi, Barlindhaug has released the 12” Space Ballad in 2001 and the self-titled album Kolar Goi in 2003. Barlindhaug is involved in the Insomnia Festival in Tromsø, one of the largest and most important festivals for electronic music in Norway.In 2010, under the identity of “Gaute”, Bar- lindhaug released a collaborative album with musician Nasra as “Nasra and Gaute”, titled “Sound of Swosh”.
English
Gil Fuster
The Liebesbrunnen was originally built as an interactive sculpture, inspired by a Tom Zé’s song. Through it we can have a glimpse of how - not the obvious and easy - love sounds, looks, and moves, inside us. Human-sized gestures produces inside the Liebesbrun- nen, from subtle to loud and messy changes. One can not make it behave in an exact and precise surgical way. The controls are loose, resulting flows and drops. Inside it there’s no up and down, big or small, near or far, ugly or beautiful. Nevertheless it must be handle with care, sensing and accurate observation.
I’m Gil. I come from São Paulo, Brazil. Since I was a kid I write poetry, I make music and draw. My father told me that I should choose one those things. The one that I liked most, and only so I would be able to go deep into it. Unfortunately I believed him, and spent some years trying in vain to decide what I liked to do most. Then I realized i must think the other way round: mixing the art forms and go deep into this mixture. As a kid-teenager I played the clarinet. Later the turntables, and then the computer. At first Ableton Live and more recently Pd and for about six months Supercollider. I studied fine arts and multimedia design. I payed my bills mostly with graphic design. About six years a go I quited my job in order to dedicate my time doing and studying art. I’m still trying to pay my bills with it. Since then I made animations, electronic music, poetry and stencil, among other stuff, including graphic design. More recently I’m using the possibilities of physical computing to mix the analog (real?) and the digital (virtual?) words. English
Interspecifics Collective
The Energy Bending Lab is a modular instrument using a set of custom-built synthesizers and transduction tools to obtain a real- time sonification of the electric properties found in some bacteria to be later converted into a pattern recognition generator through the use of cymatics—visible frequency vibrations. Conceptualized as a DIY interspecies system, the interface ampli- fies the microvoltage produced by these microorganisms trans- ducing their oscillatory features into raw electronic signals tuning the internal clock of the whole system and producing an unex- pected array of sound patterns. The objective is to explore the relationship between waveforms, matter, and the way in which sound frequencies affect and create physical forms, seeking a pattern-based understanding of our context in order to illustrate the underlying order within the physical universe and human con- sciousness that appears to be intimately related to vibration.
We are a multispecies collectivity experimenting in the intersection between art, sci- ence and technology. We embrace hybridized practices among different disciplines and living organisms, open knowledge and precarity as a challenge. Leslie Garcia and Paloma López + Collaborators. Mexico City. http://interspecifics.cc English
Stratos Bichakis:
For the performance I used two systems that I have developed in SuperCollider. The first is a polyrhythmic sequencer that explores the concept of chaos and synchronicity, using a process appear- ing in nature and living organisms (Renato E. Mirollo, Steven H. Strogatz, 1990). Each track of the sequencer has individual rate, division and length, but all tracks have the ability to synchronise to each other during the performance. By changing the amount of in- fluence or individuality of each track of the sequencer in relation to the others, synchronisation can be used as an expressive element. I am controlling the sequencer parameters through a custom Tou- chOSC template and for this performance I triggered sounds pro- vided by Davic Nod and also lights controlled with DMX.
The second is an interactive sonification system, based on pro- tein data, investigating the field of Structural Biology. This sys- tem propose a way to interact with Ramachandran plots in order to examine the quality of the experimental structure of proteins (Sven Hovmöller, Tuping Zhou and Tomas Ohlson, 2002). During the performance I scan the data sequence of each amino acid of a human red cell aquaporin 1 membrane water channel protein using a ribbon controller. For sound, I am using ring modulation between two tones of almost equal frequency, that are varied according to the torsion angles between the connected amino acids and I am also using a specified timbre and rhythm identity indicating which of the 21 amino acid monomers are examined.
Stratos Bichakis is a composer and researcher in the audio/visual domain based in Athens, Greece. He studied Chemical Engineering and Biotechnology. His interest lies in abstract media, digital folk, and modeling/hacking of systems and ideas with the aid of programming. He uses sound and light along with open source hardware and software platforms, inspired by social science, tradition and biology. Alongside his activities as a musician (.message, The East) and lighting programmer-operator, he has presented his sonification work at the Athens School of Fine Arts, in meetings of the Greek Free / Open Source Software Society (GFOSS) and has presented seminar presentations at Michael Cacoyannis Foundation and the Victoria & Albert museum in London. In February 2014 he participated in Musicmakers Hacklab of CTM Fes- tival in Berlin. He presented the sound and light performance Symbiosis as part of Schmiede 2014 in Austria. He has an ongoing collaboration with Michela Pelusio on Spacetime Helix. His latest project is a collaboration with Akis Sinos, exploring chaos and synchronicity.
Español
LOS INSTRUMENTOS/ SISTEMAS/MODELOS DE INCERTIDUMBRE
Anja Erdmann El
Anja Erdmann (*1976, Erfurt) studied Media Art and Design at Bauhaus-University Weimar with focus on soundart and intermedia installations. Her first sound pro- ject “Klang-Bild-Raum“ (2009) has been exhibited at ZKM Karlsruhe and Neues Museum Weimar. In 2010-2012 she cooperated with Maxie Götze, together they created „Luftikus-installation with moving fans“ for Musée Réattu in Arles. The Mu- seum of Contemporary Art in France has acquired the installation for its collection. The sound art work „Impulse-Prepared Soundroom“ accrued in 2013 during the Art- ist in Residence Programme at Haiart in Hailuoto, Finland. Anja Erdmanns current installation“Raumsucher“ (2014) was shown at NOW!-Festival in Essen and at the Sound Art Exhibition (h)ear XL in the Netherlands. She lives and works in Weimar (Thuringia) Español Español
Alberto de Campo My performance setup is designed for fluid access to many sound processes, for a wide range of possibilities with a limited set of physical interfaces. Sources include the Blippoo box (a complex oscillator system by Rob Hordijk), the cracklebox (by STEIM), and many software processes written in the SuperCollider language. They are played with a Manta controller (by Jeff Snyder), a game- pad which can polyphonically record, replay and reshape control loops, the computer keyboard and the multitouch trackpad. Many of them have semi-autonomous (nontrivial) behaviour, so I don’t play them like fully controllable instruments; they rather become playing partners which surprise me, and I can learn to influence them.
Alberto de Campo (born 1964) studied classical composition with Andrej Dobrow- olski, Georg Haas, and Beat Furrer; Jazz guitar with Adelhard Roidinger and Peter O’Mara, and electronic music with Curtis Roads and Stephen Travis Pope. After being a Visiting Scholar and Research Director at CREATE (UC Santa Barbara), he taught at IEM Graz (Austria) and at the Academy for Media and Arts (KHM) in Cologne, Germany, and as Edgard Varèse guest professor for Elektronic Music at Technical University Berlin. From 2005-2007 he led the research team of ‘SonEnvir’ (at IEM Graz), a project he initiated, where an interdisciplinary team studied the ap- plicability of data sonification in different scientific disciplines and contexts. With the team he wrote numerous publications, and organized a concert of sonifications of social data for the ICAD conference 2006 in London (‘Global Music - The world by ear’). From 2007-2009 he was Professor for Music Informatics at the Institut Fuer Musik and Medien of the Robert Schumann Hochschule Düsseldorf, and since 2009 he is Professor for Generative Art / Computational Art at el Institute for time based media en la University for the Arts Berlin. Alberto Harres Durante el Hacklab en Dresde avancé en el desarollo del estu- dio del feedback en sonido. Mi objetivo era crear una textura deél mismo usando el tiempo que le toma a la laptop capturar un soni- do através de un micróno y reproducirlo en las bocinas y de nuevo hacia el micrófono. Usando mi voz y filtros trambién exploré otras posibilidades de feedback. Por otro lado desarrollé una visuali- zación interactiva en Processing que respondía a los sonidos del ensamble.
Alberto Harre Nació en Rio de Janeiro, Brazil 1994. Es un artista que trabaja con diferente media, desde el digital art hasta arte urbano, desde escultura y dibujo hasta programación. Trabaja activamente en el grupo de investigación y experimentación en cultura digital, circuit bending e instalaciones interactivas “Biônicos”. Actual- mente estudia artes visuales en la UFRJ en Rio y vive en Berlín como parte de un intercambio estudiantes con la Udk.
Davic Nod
Para el performance del MusicMakers combiné la colección de sonidos XSL, Ableton Live, Max for Live y SoundScape Renderer. El XSL es un colección de sonido de más de 2GB conformada por más de 50 artistas de todo el mundo que incluye grabaciones de instalaciones sonoras, subacuáticas y de campo, así como de viejos y nuevos instrumentos y sintetizadores. El SoundScape Renderer es una herramienta de espacialización en tiempo real que provee una variedad de representación de algoritmos. Los sonidos que el conjunto tocada eran también dirigidos a través de la mezcladora hacia el SSR de forma que todo pudiera estar en movimiento.
Músico y artista sonoro nacido en 1987 en Barcelona, residente en Berlin. Influen- ciado por el ambient, drone, experimental y techno y con un interés espeical en psi- coacústica y tecnología de la música, se mueve entre la música, el arte sonoro, los nuevos medios y el performance. Su debut album ‘Some music comes from the cel- lar’ se presentó en el Sonar Barcelona 2009 y fue editado por el label español Miga. En los últimos años ha sido invitado a realizar proyectos multimedia en Nueva York, Detroit y Berlin. En ese mismo periodo fundó el colectivo Thalamus Lab y estableció conexiones con centro de arte y comunidades musicales que usa para explorar modelos de creación colectiva con el proyecto XSL. Recientemente a colaborado con Stratofyzika en la producción de Thæta un performance audiovisual interactivo basado en movimientos que fue presentado en Alemania y Brazil. Se encuentra ac- tualmente investigando la especialización en la Technische Universität Berlin. Español
Gaute Barlindhaug
Utilicé un pequeño sistema modular Euro Rack con osciladores de Endorphin.es, Livewire and Pittsburg Modular. Aunque el sistema en sí mismo era más bien estándar, las señales del Energy Bend- ing Lab y su bacteria pasaban a través de los módulos en forma de trigger y cv. De esta forma tuve que operar el sistema con base en los cambios de estas señales recibidas de bacteria. Además elaboré un pequeño patch de Max for Live que me permitía cap- turar y manipular sonido del modular y si lo sentía incidía con al- gunos sonidos interesantes.
Gaute Barlindhaug es un músico electrónico originario de Tromsø, Noruega. Es con- ocido actualmente con el nombre artístico Kolar Goi. Como miembro del cuarteto Ae- dena Cycle en conjunto con Torbjørn Brundtland and Svein Berge de Röyksopp and Kolbjørn Lyslo fue parte de la segunda generación de la escena techno de Tromsø. En 1994 realizaron el aclamado EP The Travellers’ Dream con el sello discográfico Apollo. Algunas contribuciones en compilaciones y raras apariciones en vivo le sigui- eron antes de que los miembro fueran en direcciones diferentes. En los años que si- guieron Barlindhaug contribuyó en actos musicales de Tromsø como Alanïa y Drum Island. En 1997 Aedena Cycle resurgió como su proyecto en solitario con el cual lanzó el 12” Space Ballad en 2001 y el álbum homónimo Kolar Goi en 2003. Es organizador del Festival Insomnia uno de los festivales más grandes e importantes de Noriega. En 2010 bajo la identidad de Gaute lanzó un album colaborativo con Nasra titulado ”Sound of Swosh”. Español
Gil Fuster
El Liebesbrunnen fue originalmente construido como una escultu- ra sonora inspirada por una canción de Tom Zè. A través de ella podemos tener un vistazo de como—no de forma fácil y obvia—el amor suena, se ve, se mueve dentro de nosotros. Gestualidades tamaño humano son producidas en el interior del Liebesbrunnen, desde cambios sutiles hasta ruidosos y sucios, Uno no puede hacerlo comportarse de forma exacta y precisa. Los controles están sueltos y resultan flujos y caídas. Dentro de él no hay abajo y arriba, pequeño y grande, lejos o cerca, feo o bonito. Sin embargo debe manipularse con cuidados y observación sen- sible y certero.
I’m Gil. I come from São Paulo, Brazil. Since I was a kid I write poetry, I make music and draw. My father told me that I should choose one those things. The one that I liked most, and only so I would be able to go deep into it. Unfortunately I believed him, and spent some years trying in vain to decide what I liked to do most. Then I realized i must think the other way round: mixing the art forms and go deep into this mixture. As a kid-teenager I played the clarinet. Later the turntables, and then the computer. At first Ableton Live and more recently Pd and for about six months Supercollider. I studied fine arts and multimedia design. I payed my bills mostly with graphic design. About six years a go I quited my job in order to dedicate my time doing and studying art. I’m still trying to pay my bills with it. Since then I made animations, electronic music, poetry and stencil, among other stuff, including graphic design. More recently I’m using the possibilities of physical computing to mix the analog (real?) and the digital (virtual?) words. Español
Interspecifics Collective
El Energy Bending Lab es in instrumento modular compuesto por un conjunto de sintetizadores y herramientas de transducción es- pecialmente diseñados para crear una sonificación en tiempo real de las propiedades eléctricas de algunas bacterias. Y a través del uso de cimatics—vibraciones de frecuencia visibles—se convierte en un generador de patrones. Conceptualizado como un sistema DIY inter especie, la interfase amplifica el micro voltaje producido por estos microorganismos y transduce sus propiedades oscila- torias en señales eléctricas crudas que sintonizan el reloj interno de todo el sistema y producen un conjunto de patrones sonoros inesperados. El objeto explora la relación entre ondas, materia y la formas físicas de frecuencia, en búsqueda de un entendimiento de nuestro contexto que se basa en patrones para ilustrar el orden subyacente en el universo y la conciencia humana que parece es- tar íntimamente ligado con la vibración
Somos un colectivo multiespecie que experimenta en las intersecciones entre arte, ciencia y tecnología. Adoptamos la hibridación de prácticas entre diferentes discipli- nas y organismos, el conocimiento abierto y la precariedad como un desafío. Leslie Garcia y Paloma López + Collaboradores. Ciudad de México. http://interspecifics.cc Español Stratos Bichakis: ara el performace utilicé dos sistemas que he desarrollado en Su- perCollider. El primero es un secuenciador polyrhythmic que ex- plora el concepto de caos y la sincronicidad, mediante un proceso que aparece en la naturaleza y los seres vivos (Renato E. Mirol- lo, Steven H. Strogatz, 1990). Cada pista del secuenciador tiene tasa individual, división y longitud, pero todas las pistas tienen la capacidad de sincronizarse el uno al otro durante la actuación. Al cambiar la cantidad de influencia o la individualidad de cada pista del secuenciador en relación con los otros, la sincronización se puede utilizar como un elemento expresivo. Yo estoy contro- lando los parámetros del secuenciador a través de una plantilla TouchOSC personalizada utilizando sonidos proporcionados por Davic Nod y luces controladas con DMX.
El segundo es un sistema de sonificación interactiva, basada en datos de proteínas, que investiga el campo de la biología estruc- tural. Este sistema propone una forma de interactuar con parcelas Ramachandran con el fin de examinar la calidad de la estructura experimentales de proteínas (Sven Hovmøller, Tuping Zhou y To- mas Ohlson, 2002). Durante la actuación escaneo la secuencia de datos de cada aminoácido de una célula humana acuaporina usando un controlador de cinta. Para el sonido, estoy utilizando ring modulation entre dos tonos de casi la misma frecuencia, que variaban según los ángulos de torsión entre los aminoácidos conectados, también estoy utilizando un timbre especificado e identidad de ritmo que indica cuál de los 21 aminoácidos están siendo examinados
Es un compositor e investigador de lo audiovisual afincado en Atenas, Grecia. Estudio Ingeniería Química y Biotecnología. Sus intereses se centran en el abstract media, el folk digital y el modelado/hacking de sistemas e ideas con la ayuda de la progra- mación. Usa la luz y el sonido en conjunto con hardware open source y plataforma de software inspirado por las ciencias sociales, la tradición y la biología. Además de sus actividades como músico (.message, The East) y programador/operador de luces, ha presentado su trabajo de sonificación en la Athens School of Fine Arts, en encuentros de la Sociedad Open Source Griega (GFOSS) y presentado seminarios en la Fundación Michael Cacoyannis y en el Victoria & Albert museum de Londres. En Febrero del 2014 participó en el MusicMakers Hacklab del festival CTM en Berlin. Presentó el performance audiovisual Symbiosis como parte del Schmiede 2014 en Austria. Actualmente colabora con Michela Pelusio en Spacetime Helix. Su último- proyecto es una colaboración con Akis Sinos, explorar el caos y la sincronicidad.
LA COMPOSICION PARA LA INCERTIDUMBRE FUE INTERPRETADA POR:
SP David Cano GR Stratos Bichakis BR Gil Fuster BR Alberto Harres DE Anja Erdmann DE Wolfgang Kick MX Interspecifics/ Leslie Garcia & Paloma López DE Alberto de Campo SCORE FOR UNCERTAINTY WAS PERFORME BY:
SP David Cano GR Stratos Bichakis BR Gil Fuster BR Alberto Harres DE Anja Erdmann DE Wolfgang Kick MX Interspecifics/ Leslie Garcia & Paloma López DE Alberto de Campo
PARTNERS SOCIOS: