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 <Raumsucher> consists of digi- tally controlled motors and lighting elements. The installation re- purposes the motors as crude sound generators. Moving shadow projections are animated by changing light sequences of the LEDs. Together they form an audio-visual network - temporally struc- tured movements. <Raumsucher> explores the difference between: object and projec- tion, construction and imagination - in search of manifold ways to perceive space. The System is a setting of sound and light objects, controlled by a Raspberry Pi and Arduino-Boards. The sound origi- nates from prepared dc-motors, beating small metallic objects. Changing motor movements and light sequences of the LEDs are played with Pure Data and a MIDI-Controller. 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,