DO 19 02 2015 10:00
Liubov Pchelkina (RU) | The “Method” Group and the Theory of Projectionism” in Russia of the 1920s.
Aftermath of the October Revolution the Society and the State of the Soviet Russia looked for replacement to the religious values and bourgeois idealism. The new ideology needed a new art based primarily on materialism, natural science and a formal analysis rather than on abstract emotions. The artist, Solomon Nikritin developed a fundamental theory of art called Projectionism. According to this theory “an artist is not a producer of consumer goods (a cupboard, a picture), but author of (PROJECTIONS) METHODS”. Words like inspiration and miracle of creativity were replaced by quite palpable notions such as matter (canvas, paint, body, sound etc.), texture and structure. The new language of art was based on terms such as stream, dynamics, density, consistence, plasticity etc. Nikritin writes: “Art is a science about the objective System of organization of a matter. But any System and the Organization is realized through Method”. Members of the Nikritin’s “Method” Group realized the ideas of the Projectionism in the painting, at the Projection Theatre and others projects.
Marija Juza (HR) and Bernarda Cesar (HR) | Working and Living in Organizam – a Creative Platform and its Work Methodology
Organizam is an informal alliance and creative platform from Croatia which gathers UBU – The Association of Former Students of School of Applied Arts and Design Zagreb, Sintoment – The Association for Multimedia Art and Recognition of Culture, Babushke – design studio and Nefunkcionalni most – architecture studio. Organizam is a continuous progressive education, activity and work in cultural and artistic life that implements an interdisciplinary and transdisciplinary approach in topics of socially engaged design and architecture, audience and public relations, adolescent authors – artists in the creation, development of dialogue and intergenerational connections, revival of forgotten values, institutions and areas, promotion of design for a given user etc. Through this approach Organizam uses new technologies, media and practices as well as intuitive visions, forecasts and reality check. During the last 5 years Organizam has realized more than 40 cultural and artistic projects , cooperation and participation at local, national and international level and involved hundreds of young and professional associates and partners. Long-term multilateral projects include Kamp Kulture, UBUdućnost, klUBU, U krugu Škole (Around the School), Relict, Hiiiža, Sintokuća, Park u parku (Park inside Park), A Bubble…
starsky (AT) | About the Practice of Projection
a projection is an invisible space of straight, bundled rays of light, unveiled only through resistance. the essence of projection is : now ! just for the moment, ephemeral, complex, more dimensional, spacial, immersive, temporary nonlinear and polylogik. these are the basic parameters of this medium. the appropriate analog and digital tools are permanently changing : constantly new controllers, tools, devices and programms occure and have to be adopted. what was unattainable only a fw years ago becomes common and reverse. the visualist is apparateur : apparateur creates apparat, apparat embosses apparateur : or utopia creates apparat, apparat embosses utopia… apparateurs oszillate between utopia and impression… the self empowerment of the visualist is inevitable !
Break 13:30 – 14:30
DO 19 02 2015 14:30
Alla Zagykevych (UA) | Algorithmic Approach in Musical Composition
“AIR MECHANICS” (instrumental sextet) is based on the idea of using the phenomenon of formation of gravitational flow of air as a “metaphorical model” for the development of algorithmic systems to generate rhythmic structures as well melodic profils for musical material of the work. Various trajectory of micro-motives as the material of composition (static or dynamic, ascending or descending ) – organize structure of variables melodic lines and create a polyphonic texture of score.
Mauricio Valdes San Emeterio (SLO/MEX) | DNA_Sequencer/Arenero Project
Together with the advice of Dr. Jure Pohleven I have settled musical system nurtured from DNA data from a model of a protein, extracting information related to its biochemical functions used as a time table that establish the conditions on which the system handles musical or sound art improvisation sessions with the alteration and storage of the audio signal, this stage of the project hast been use for formative and also artistic outputs. In this version of the software, sound system processes are linked, structurally, to spectromorphological concepts introduced by Dr. Dennis Smalley and heavily expanded by several other theorists within their publications. With this software I have made nearly 200 hours of recordings from workshops and diversesessions with improvisers, musicians and hobbyist in workshops and concerts.
Alberto de Campo (DE) | Live Coding and Just in Time Programming
Live coding is the practice of live performance by writing code and re-writing code; just in time programming is the more general case of writing and changing programs while they already run. Both methods are supported in the code library JITLib written by Julian Rohrhuber in the SuperCollider language, to which I have been contributing. I will show practical examples from two areas: sketching little performance instruments with just in time programming, and a performance setup for networked multi-player live coding called Republic, which has been developed and used by powerbooks_unplugged and other network music ensembles.
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FR 20 02 2015 10:00
Peter Donhauser (AT) | Archaeology of Electro-Optical Musical Instruments
A great deal of the first electronic musical instruments did not survive. There are different scientific interests concerning these instruments: pure museological ones, aestetic and technical ones. A special request is to play the instruments to get better knowledge about the playing technique and its influence on practical limitations and sound quality. A very special type of these instruments are electro-optical ones. They represent a link between graphics and electronic sound. The most recent discovery is an “envelope shaping resource assembly” used by Max Brand: a construction comparable to the ideas behind wavetable synthesizers of the 1980ties. It was designed in the late 1950ties and is now subject to an attempt to reconstruct it. A first experiment to test the idea will be shown.
Gert-Jan Prins (NL) and Martijn van Boven (NL) | Black Smoking Mirror
On this talk we will focus on the main subject of the trilogy Noise and Matter and the works Walzkörpersperre, Black Smoking Mirror and the future project Deep Space Ceramics. During the talk we’ll give an insight in how different frequency ranges such as light, sound and micro waves can be used to produce and modify all sorts of media. As well we’ll address the fundamental aspects of analog media in the production process of the Noise and Matter series. In the final part we will focus on the conceptual and artistic references of the works in the field of music and expanded cinema.
Andrey Smirnov (RU) | The Fight for Performerless Music. Graphical Sound vs Optical Synthesis in Russia in the 1920-50s.
In the summer of 1917 in Petrograd the young inventor Evgeny Sholpo wrote a science-fiction essay entitled ‘The Enemy of Music’ in which he described a sound machine named the Mechanical Orchestra, capable of synthesizing any sound and producing music according to a special graphical score without any need for a performer. He believed in possibility of an analytical insight into the secrets of creativity. He was sure, that, armed with mathematical formulae, he can break mystical and idealistic tendencies with an explanation of the phenomena of music creation. He considered performers as a ‘cast of intermediaries’ between the ideas of the composer and the perception of the listener seemed to to him superfluous. These ideas have led to the invention of Graphical Sound techniques and a new approach to music performance, which would be called now the Tape Music. For the first time the production of sound became almost invisible and freed from its physicality. Whether this achievement carried a potential self destruction?
Elisabeth Schimana (AT) | Sound as Score
In the Virus series i developed a specific method to communicate with musicians. As a listening and not a writing composer of electronic music i am working with the medium sound in opposite to the medium writing/image. Live generated electronic sound is the score for the musicians. Each musician forms a duo with a loudspeaker and has the order to play as precise as possible on the imstrument what she or he is hearing. The audiance is listening to both – the score and the interpretation.
Break 13:30 – 14:30
FR 20 02 2015 14:30
Klaus Filip (AT) | Force Quit
Building digital instruments: creating conditions that do not restrict, somehow this feeling of: “everything is possible”, a software that facilitates the realization of ideas and does not impose anything – imposes nothing. We’d like to propagate misuse – the content of the toolbox: cuts, filters, loops, rooms, envelopes, frequencies, random, realtime, improvised, art, ease, revolution – do we also have to supply beats? If you think of another person, that might also use the same patch in an other way as you planned it to be used, you might find out that this other person could be you as well. And then a bit of loss of control in order to surprise yourself: “Ideas are one thing and what happens is another.” (John Cage) Or loosely after Buckminster Fuller: ppooll is a software with built in missing operating manual.
Tamara Wilhelm (AT) | DIY Electronic Musical Instruments
DIY electronic instrument building is – not always, but very often – based on the misuse of ordinary electronic components. A logic gate turns into an oscillator with only two additional parts. Little equipment and no electrical engeneering knowledge is needed to plunge into the world of handmade electronic musical instruments. The unpredictability of these instruments make them a musical partner, the high error rate inspires new ways of playing. I will show how a simple oscillator is built and why it puts out a square wave. Also I want to talk about how DIY is connected to DIT (Do-It-Together) in this case – as a method to acquire information and share knowledge and experience.
Seppo Gründler (AT) | Tinkering as Composing – Setting up for Improvisation and Live Performance
„Truth is a liars invention“ (Heinz v. Förster) I hope to provide more questions than answers: problematics of improvising – improvising as realtime composition – improvising composer vers. composing improvisers ? problematics of electronic music on stage – without the physical existence of an acoustic instrument, do the people like to look at buttonpushers or screenclickers ? problems of realtime performance – fighting the latency problem, interfacing the machine ? composing problems – how to set up the environment, is this the composition ? hardwareproblems – living in fear of crashes ? software problems – what to use, grafic/signal stream oriented systems versus script oriented programming paradigms ? pragmatic problems – like transportation, sound projection, beer/cola on stage ? I will lay out some of the problems and my approach along my projects.
Jasmina Zaloznik (SLO) and Brane Zorman (SLO) | THINKING CRITICALLY, ACTING POLITICALLY, Smuggling Sound Everywhere
The importance of equality within group is the cornerstone of CONA Institute For Contemporary Arts Processing, which is somehow inscribed in the principles and methodologies of their work. It disposes strengths of individuals and intertwining them throughout projects development. Since we are trying to conceive and develop projects that are unfolding over a long-term period of time in order to open up discussions on critical points within society, the methodological aspects of working (individual and collective) will be presented through concrete examples we have designed together in a period of last four years: Response Sound Maps / Walks, RFID, Walk the City, Field Frequency Flux.
Inspired by observing the means of technology and its manipulative means implied into it is bridged by the transformative notion of public sphere/ space presented in various aspects and means in the chosen examples, with folding and unfolding throughout the process of work(ing together): by formatting, exploring, testing, placing, further developing etc.
In a form of a dialogue, two quiet remote voices, will reflect their own capacity and methodology for thinking critically and acting politically, according to their theoretical and artistic professional competencies. (In a form of dialogue, Brane Zorman and Jasmina Zaloznik, will unfold their individual approach and contribution to these projects)