earzoom 2013 program

7/22/2019 Earzoom 2013 Program

http://slidepdf.com/reader/full/earzoom-2013-program 1/16



Letošnji 5. festival zvočnih umetnosti EarZoom se po lanski izredni programski razširitvi, ko smo gostovali Mednarodni kongresračunalniške glasbe (ICMC), spet vrača v ustaljene okvire. Tudi tokrat je namen festivala občinstvo seznaniti z raznovrstnostjo na

prvi pogled izrazito nišne glasbene discipline, ki je v slovenskem akademskem prostoru domala spr egledana, ter omogočiti vpogledv kompleksen preplet glasbenih in tehničnih ved.

Posebno pozornost letos posvečamo konceptu muziciranja oz. komponiranja, imenovanem live coding. Gre za pristop, pri katerem

glasbenik v živo (na odru) piše računalniško kodo, ki se v realnem času pretvarja v zvok. Umetnik kodo med nastopom projicira naplatno, kar poslušalcu/gledalcu omogoča zaznati kavzalno razmerje med slišano glasbo ter idejami in akcijami skladatelja/glasbenika

in tako bolje razumeti načine skladateljevega razmišljanja in različne interakcije s sodobnim inštrumentom računalnikom.

Program, ki se bo odvijal 14. oktobra, je v celoti posvečen tej praksi in je nastal v sodelovanju z britanskim skladateljem inraziskovalcem Alexom McLeanom. Alex je eden izmed idejnih vodij koncepta oz. serije dogodkov po imenu Algorave (algorave.com),

v okviru katerih se poraja nova eksperimentalna plesno-glasbena kultura. Glasba se opira na algoritmično generirane, repetitivnezvočne vzorce, ki nastajajo kot učinek v živo napisane računalniške kode. Enostavnejša definicija Algorave-a pa bi bila preprosto

„plesanje na algoritme“. Ob performansih bosta potekali tudi praktična delavnica in serija predavanj, namenjeni podrobnejši analizikonceptov in praks izvedenih del.

•••

After its extraordinary program expansion within the International Computer Music Conference (ICMC) in 2012, the EarZoom Sonic

Arts Festival is returning to its usual scale for its 5th edition. Like in previous years, the goal of EarZoom is again to confront thegeneral public with the diversity of this seemingly niche musical discipline, which has been rather neglected by the Slovenian

academic landscape, as well as, enabling a brief insight into its complex entanglement of musical and technical knowledge.

A special focus of this year’s edition is a concept of performing and composing called live coding. It is a special approach wherethe musician is writing computer code in real-time (live on stage), which is continuously being transformed into music. During

the performance, the code is projected on a big screen, which enables the spectator to better understand the causal relationshipbetween the music and the composer/musician’s ideas and actions. It fosters a better understanding of the composer’s thinking

process as well as the different interaction methods with the computer, as a contemporary musical instrument.

October 14th is entirely, devoted to live coding practice, and was curated by the British composer and researcher Alex McLean. Alexis one of the initiators of the event series called Algorave (algorave.com), through which a new kind of experimental dance-music

culture is emerging. The music is based on algorithmically generated repetitive musical structures, resulting from live writtencomputer code. Algorave is simply defined as “humans dancing to algorithms”. Besides the per formances, the festival will also offer

a workshop and a series of lecture presentations, outlining the concepts and techniques behind the featured artworks.

Miha CiglarInstitute for Sonic Arts Research

www.irzu.org



Cankarjev domKosovelova dvoranaPrešernova cesta 10, Ljubljana

+MSUM Muzej sodobne umetnosti Metelkova

Maistrova 3, Ljubljana

PrizoriščiVenues

Sobota/Saturday 12.OctoberCankarjev dom (Kosovelova dvorana)

Koncerti/Concerts: Andrew McPherson 20.00 Lauren Sarah Hayes 21.00 ADACHI Tomomi 21.30

Nedelja/Sunday 13.October +MSUMPredavanja/Lectures: Davide Rocchesso 11.00 Freida

Abtan 11.20 ADACHI Tomomi 11.40 Lauren Hayes 12.00 Andrew McPherson 12.20

Predavanja/Lectures: Andrea Santini 16.00 Ulla

Rauter16.20

Brane Zorman16.40

Bruno Zamborlin17.00

Thor Magnusson 17.20

Koncerti/Concerts: Ulla Rauter 19.00 Brane Zorman 19.30 Tim Blechmann & Irena Tomažin 20.00 Bruno Zamborlin 20.30

Freida Abtan 21.00 Thor Magnusson 21.30

Ponedeljek/Monday 14.October +MSUMPredavanja/Lectures: Shelly Knotts 16.00 Alexandra

Cardenas 16.20 Norah Lorway 16.40 Alex McLean aka Yaxu 17.00xname 17.20

Koncerti/Concerts – Algorave: Thor Magnusson 19.30 Shelly Knotts 20.00 Norah Lorway 20.30 xynaaxmue (Yaxu &

xname) 21.00 Alexandra Cardenas 21.30

Torek/Tuesday 15.October +MSUMDelavnica/Workshop: Alex McLean 10.00–14.00

Koncerti/Concerts: Ryan Jordan 16.00 Simon Penšek 16.20 Dario Sanfilippo 16.40 Hideyuki ENDO 17.00

Koncerti/Concerts: Cameron Bobro 19.00 Simon Penšek 20.00 Dario Sanfilippo 20.30 Hideyuki ENDO 21.00 Ryan Jordan 21.30

Cankarjev

dom

+MSUM



Freida Abtan13.10. – Predavanje/Lecture – +MSUM 11.20

13.10. – Performans/Performance – +MSUM 21.00

“s_platters” je kontroler za avdio produkcijo, ki ga je avtorica razvila med študijem na univerzi Brown. Sistem uporablja magnete,

Hall senzorje, giroskope ter senzorje ka pacitivnosti za analizo zagona, pozicijo in manipulacijo treh vrte čih se krožnikov. Vztrajnostnimoment in trenje so naravno integrirani v teh vrednostih. Vsak krožnik zgladi in predela svoje lastne podatke, nato pa jih pošlje

preko brezžične povezave, do posebne programske opreme za nadaljnjo statistično obdelavo. Obdelane podatke sprejme drugaprogramska oprema, ki jih koristi za sintezo in generiranje zvoka. Arhitektura kontrolerja sama po sebi sugerira različne človeške

geste, kot so nežni stranski potiski proti krožnikovi rotacijski smeri ali uporabo uporne sile od zgoraj. Dolge in gladke rotacijekrožnikov se pojavijo kot posledica naravne fizikalnosti inštrumenta, ter tudi kot rezultat človeškega posredovanja. Človeška

intervencija povzroča majhne spremembe v gibanju krožnikov, saj nasprotuje naravnim fizikalnim silam, ki delujejo na krožnike.

Variacija hitrost vrtenja krožnikov, kakor tudi jakost dotika in bližina, povzročajo spremembe v zvočni sliki.“s_platters” is a controller for electronic audio production, created by Freida Abtan while at Brown University. The system uses

magnets, hall sensors, gyroscopes, and capacitance sensors to track the momentum, position and manipulation of three spinningplatters. Inertia and friction are naturally incorporated into these values. Each platter smoothes and conditions its own data before

sending it via a wireless network to custom software for statistical processing. Software audio instruments use the generatedvalues to make music. The construction of the controller encourages multiple kinds of human gestures, such as gentle lateral

pushes towards a platter’s rotational spin, or resistan ce force applied from above. The long smooth rotations of the platter s arise asmuch through their natural physics as from significant human effort. Effort is used when making small changes to platter motion,

or when opposing the physical forces acting on the platters. Variations in the speed and direction of platter manipulation are pointsof control for the instrument’s musical output, as is touch, or close proximity.

www.freidaabtan.com



Tim Blechmann

13.10. – Performans/Performance (z/with Tomažin) – +MSUM 20.00

Tim je rojen in živi v tujini. Študiral je na različnih tehničnih in umetniških univerzah ter tudi diplomiral iz obeh disciplin. Kotraziskovalec objavlja publikacije v interdisciplinarnem področju znanosti in umetnosti. Prizadeva si ločevati raziskovalno inumetniško delo, saj je znanost namenjena možganom, umetnost pa srcu. Igra veliko improvizirane glasbe, glasne, tihe, nafestivalih in v dnevnih sobah, včasih v Evropi, včasih v tujini, včasih solo, včasih v duetih, ki jih razume kot najbolj neposredna inintimna glasbena soočenja. Zmeraj uporablja odprto-kodne programe, velikokrat njegove lastne. Sodeloval je s podobno-mislečimivizualnimi umetniki, s katerimi ustvarja instalacije in abstraktne animacije. Njegove improvizacije so včasih popolnoma digitalne,včasih pa vsebujejo tudi analogne materiale.

Tim was born and lives in a foreign country. He attended various scientific and artistic universities and has a degree in both fields.As researcher he has published in the field between arts and sciences, though he prefers to keep his research and artistic workseparate, as research is for the brain, and arts is for the heart. He played a lot of improvised music, loud and quiet, on festivalsand in living rooms, sometimes in Europe, sometimes abroad, sometimes solo, sometimes in duos, as he considers this as themost direct and intimate musical encounter. Always using free software, often his own. He also collaborated with like-minded fineartists, working on installations or abstract animations. His compositions are sometimes completely digital, sometimes involvinganalog material.

tim.klingt.org

ADACHI Tomomi

12.10. – Performans/Performance – Cankarjev dom 21.3013.10. – Predavanje/Lecture – +MSUM 11.40

Tomomi je skladatelj, performer, zvočni pesnik, izumitelj glasbenih inštrumentov in vizualni umetnik. Znan je po svojem raznolikemglasbenem slogu. Izvaja improvizirano glasbo kakor tudi dela Johna Cagea, Corneliusa Cardewa, Christiana Wolffa in drugih sodobnih

skladateljev. Nastopil je pri različnih institucijah po vsem svetu, kot so Tate Modern, Maerzmusik, Centre Pompidou, Merkin Hall, STEIMin Experimental Intermedia. Je edini japonski zvočni pesnik, ki je izvedel delo “Ursonate” Kurta Schwittersa, leta 1996 na Japonskem.

Leta 2007 je dirigiral japonsko premiero skladbe “Europera5” avtorja Johna Cagea. Solo CD-je je izdajal pri založbah Tzadik, Omegapointin naya records. Leta 2012 je bil gostujoči umetnik rezidenčnega programa DAAD v Berlinu.

Tomomi is a performer/composer, sound poet, instrument builder and visual artist. Known for his versatile style, he has performedimprovised music and contemporary works by John Cage, Cornelius Cardew, Christian Wolff and others in all over the world includingTate Modern, Maerzmusik, Centre Pompidou, Merkin Hall, STEIM and Experimental Intermedia. As the only Japanese performer of

sound poetry, he performed Kurt Schwitters’ “Ursonate” as a Japan premiere in 1996. Also he directed Japanese premiere of JohnCage’s “Europera5” in 2007. CDs include the solo album from Tzadik, Omegapoint and naya records. He was a guest of the Artists-in-

Berlin Program of the DAAD for 2012.

www.adachitomomi.com



Alexandra Cardenas

14.10. – Predavanje/Lecture – +MSUM 16.2014.10. – Performans/Performance – +MSUM 21.30

Alexandra je skladateljica in improvizatorka raznolike glasbe, ki sega od or kestralnih del, do improvizacije z električnimi kitarami inračunalniki. Pretežno se naslanja na programsko orodje SuperCollider, s katerim spreminja računalnik v glasbeni inštrument. Njenodelo je osredotočeno na muziciranje s pomočjo žive elektronike ter raziskovanje muzikalnosti pisanja računalniške kode v realnemčasu (live coding), ki je tesno povezano z algoritmičnim odzivom glasbe. Ob njenem kreativnem delu, je pred kratkim organiziralatudi dva festivala, (ArsFutura in Odiuresion, za Radio UNAM) posvečena eksperimentalni glasbi v Meksiku City. Trenutno živi vBerlinu in opravlja magisterij zvočnih študij na Umetniški Univerzi (University of Arts, Berlin).

Composer and improviser of music ranging from writing orchestral works to improvising with electric guitar and laptop. Usingmainly the software SuperCollider to turn her computer into another musical instrument, her work has focused recently in creatingpieces with Live Electronics and exploring the musicality of coding and the algorithmic behaviour in the music. An important partof this exploration is the practice of live coding. Besides her creative work, she has recently organized two festivals devoted toexperimental music in Mexico City: ArsFutura and Odiuresion for Radio UNAM. Currently she lives in Berlin, Germany and studies themasters Sound Studies at the University of the Arts.

www.tiemposdelruido.net

Cameron Bobro


Cameron je rojen v Kaliforniji in je starejši kot bi želel priznati. Predstavil bo kratki uvod v koncept, zgodovino in praktičnoimplementacijo „mikrotonalonosti“ in „alternativnega uglaševanja“. Začel bo v Starem Egiptu in Starem Zahodu, nato pa izpostavil

probleme produkcije sodobne glasbe, ki v osnovi temelji na alternativnih konceptih. Gospod Bobro je glasbenik in kulturni producentv mariborski KIBLI.

Cameron, born in California rather longer ago than he’d like to let on, presents a brief introduction by live demonstration and

presentation of the concept, history and practical implementation of “microtonality” and “alternative tuning”. He will begin inancient Egypt and the Old West, before addressing challenges in the creation of contemporary music that is essentially rooted in

alternative concepts. Mr. Bobro is a musician and and organizer working in KIBLA, Maribor.



Lauren Sarah Hayes


Figurine-Operated String (2012), je skladba za klavir in živo elektroniko. Skladba se naslanja na zgodnje delo Matthewa Barneya,Drawing Restraint (1987-), kjer umetnik poskuša ustvarjati risbe v ateljeju, med tem ko je njegovo telo delno imobilizirano. Koncept

je vzpostavljen na paraleli z a tletom, ki mora trenirati, in premagovati upor, z namenom razvijanja in jačanja mišic. Pianist igra nastrune klavirja, med tem ko premaguje silo žic, ki ovite okoli njegovih rok, ovirajo njegovo gibanje. Tretje žice, ki so tudi vključene vperformans so povezovalni kabli zgodovinskega sintetizatorja Buchla 200, na katerem je realiziran elektronski del skladbe. Skladba

je nastala v Elektronmusikstudion, v Stockholmu, leta 2011.

Figurine-Operated String (2012), for piano and live electronics; This piece is inspired by Matthew Barney’s early Drawing Restraint(1987-) series, where the artist attempts to create drawings around a studio, whilst physically restrained by self-imposed barriers.The works draw upon the idea that an athlete must use resistance in order to strengthen muscles. In this piece, the pianist, thefigurine, plays both with the strings of the piano, as well as struggling against the wires connected to her hands, which resisther movements. The other wires involved in the piece are the patch chords of the Buchla 200 on which the electronic part wasconceived, at the Elektronmusikstudion, in Stockholm, in late 2011.

www.laurensarahhayes.com

Hideyuki ENDO


“Drive Mind” je unikatni elektro-akustični sistem, ki ustvarja novo zvočno izkušnjo, na osnovi lomljenja svetlobe. Glavna značilnostsistema “Drive Mind” je vizualizacija abstraktnega zvoka z žarkom LED svetlobe ter manipulacija tega zvoka s pomočjo lomljenjasvetlobnega žarka. Za voljo nazornosti, izvajalec neposredno operira z akrilnimi objekti, s katerimi (pre)usmerja svetlobne žarke.Na podlagi fizikalnih pojavov svetlobnega lomljenja glasbenik pridobiva podatke, s katerimi upravlja zvočne parametre. Pub lika takodoživi popolno avdio-vizualno izkušnjo, pri čimer so vzročno-posledične povezave jasno izpostavljene.

“Drive Mind” is a unique electro-acoustic system that provides audiences with a new sonic experience produced by the refractionof light. The main feature of “Drive Mind” is to visualize abstract figures of sound by a ray of LED light, and to manipulate sound

by the refraction of this light. To ease recognition and understanding by the audience, the performer manipulates acrylic objectsphysically, and the system produces the sound with this man ipulation data, which was generated through well-understood physicalphenomena. In this way, audiences will have a full sonic and visual experience filtered through their own imaginations.

on.fb.me/Y1UDvQ



Shelly Knotts14.10. – Predavanje/Lecture – +MSUM 16.00


Shelly je skladateljica, performerka in improvizatorka žive elektronike, live-codinga in omrežne glasbe iz Birminghama, UK.Sodelovala je z različnimi umetniki s področja elektro-akustične glasbe, live codinga ter plesne glasbe. Svojo glasbo je izvajala v UKin po Evropi, objavljala pa preko glasbene založbe ChordPunch ter v publikaciji Leonardo Music Journal. Med njenimi zadnjimi deli jetudi projekt ‘Interleave’, ki kombinira tradicionalni Jazz kvartet z eksperimentalno živo elektroniko in omrežno glasbo zasedbe BiLE(Birmingham Laptop Ensemble). Projekt je nastal po naročilu fundacije PRSF.

Shelly is a Birmingham, UK, based composer, performer and improvisor of live electronic, live-coded and network music. Herexperimental and collaborative tendencies have seen her engage with diverse musical practices and styles ranging fromelectroacoustic tape music to live-coded dance music. She performs and presents her work across the UK and Europe and hasbeen published on ChordPunch record label and in Leonardo Music Journal. Recent projects include the PRSF commissionedcommissioned project ‘Interleave’ - combining the tradition Jazz Quartet with experimental live-electronics and network musicband BiLE (Birmingham Laptop Ensemble).

shellyknotts.wordpress.com

Ryan Jordan


“Possession Trance” je performans v katerem avtor raziskuje kibernetiko, underground rave glasbo ter (o)kultne rituale. Močnestroboskopske luči, krmilijo strojno opremo, ki je občutljiva na spremembo svetlobe, s čimer nastajajo intenzivni in sinhroni avdio-vizualni signali. Ko možgani zaznajo takšne signale, se avtomatsko sprožijo tudi mehanske, telesne reakcije, kar lahko povzročitudi avdio-vizualne halucinacije oz. „mistične“ izkušnje. Transcendentalna izkušnja je inducirana z glasnim hrupom, ki nastaneob neposredni ojačitvi elektronskega signala, kateri pod vplivom močne elektronske ionizacije ksenonovega plina, prehaja skozisurove kovine. Signali nato prehajajo v fotonične napetosti, ki se v neskončnost preganjajo skozi cevi in stožce ter z visoko jakostjovstopajo v vlažne nevronske kanale, kjer drvijo v frontalna trčenja z delci olfaktornega sistema, ter se povezujejo s taktičnimi centrinotranjih mišičnih ovojnic.

“Possession Trance” is a live performance exploring cybernetics, underground rave music and (oc)cult rituals. High-poweredstroboscopes control light-sensitive hardware leading to powerful, synchronic audiovisual signals. These signals become directlyperceptible in the brain and mechanical functioning of the body leading potentially to audiovisual hallucinations or “mystical”experience. Immersion of self is accessed by high volume noise, direct amplification of an electric signal passed through rawmetals controlled by high powered electronic ionization of xenon gas. The signals dissipate into photic voltages tracing themselvesinto oblivion through rods and cones penetrating dank neuronal alleyways at high velocity running unstoppable into head-oncollisions with particles swarming from the Ol’ factory and binding with tactic centres of the inner muscular shell.

ryanjordan.org nnnnn.org.uk



Thor Magnusson

13.10. – Predavanje/Lecture – +MSUM 17.2013.10. – Performans/Performance – +MSUM 21.3014.10. – Performans/Performance – +MSUM 19.30

Thor je glasbenik in razvijalec programske opreme. Je so-ustanovitelj kolektiva ixi-audio (www.ixi-audio.net), ki že desetletjeproducira najrazličnejša eksperimentalna programska orodja za ustvarjanje glasbe. Je navdušen live coder, ki je razvil dva live-coding sistema za glasbeno izražanje. Na f estivalu EarZoom bo predstavil svoje raziskovalno delo ter odigral dva koncer ta: Na prvembo predstavil svoje zadnje delo Threnoscope, na drugem pa live coding sistem ixi lang.

Thor is a musician and software developer. He is a co-founder of ixi-audio (www.ixi-audio.net), a collective that has produceddiverse experimental music software for over a decade. He is an avid live coder and has developed two live coding systems formusical expression. At EarZoom, Thor will present his research and give two live performances: with his new Threnoscope and withthe ixi lang live coding system.

www.ixi-audio.net/thor

Norah Lorway


Norah je kanadska glasbenica in raziskovalka. Trenutno živi in dela v Birminghanu, UK. Ukvarja se predvsem z live codingom, innastopa s solo performansi ter v okviru skupine BEER. Trenutno opravlja doktorski študij pod mentorstvom Scotta Wilsona naUniverzi v Birminghamu.

Norah is a Canadian musician and researcher currently based in Birmingham UK. She live codes both as a soloist and as a memberof the laptop ensemble BEER. She is currently finishing her Ph.D with Scott Wilson at the University of Birmingham.

norahlorway.com



Andrew McPherson


Magnetno-resonatorski klavir (MRK) je hibridni, elektronsko-akustični klavir, ki širi izrazne zmožnosti tradicionalnega klavirja.Elektromagneti, ki so nameščeni znotraj klavirja inducirajo vibracijo strun, kar omogoča neskončno prolongacijo tona, crescendoiz tišine, oglašanje višje-harmonskih frekvenc in glissande. Senzorji na tipkovnici kontinuirano zaznavajo pozicijo vsake tipke, karomogoča razširitev tehnik igranja, ki vključujejo delne pritiske tipk, rahle dotike in zdrse, vibrato in spreminjanje jakosti pritiska.MRK, so v svojih kompozicijah uporabljali že številni skladatelji, med drugim tudi v projektih z Londonskim komornim orkestrom inskupino These New Puritans. Andrew McPherson je skladatelj, inženir, in izumitelj inštrumentov. Je profesor na oddelku za digitalnemedije, Univerze Queen Mary v Londonu. Poleg MRK, je oblikoval tudi tipkovnico TouchKeys, ki lahko zaznava v multi-touch modusu,na površini vsake tipke.

The magnetic resonator piano (MRP) is a hybrid acoustic-electronic instrument which augments the capabilities of the traditionalpiano. Electromagnets inside the instrument induce the strings to vibration, allowing infinite sustain, crescendos from silence,harmonics and pitch bends. Sensors on the keyboard record the continuous position of every key allowing an extending performancetechnique including partial key presses, light taps and sweeps, vibrato and variable key pressure. The MRP has been used in worksby over a dozen composers, including projects with the London Chamber Orchestra and the band These New Puritans. AndrewMcPherson is a composer, engineer and instrument designer and a Lecturer (Assistant Professor) in Digital Media at Queen MaryUniversity of London. In addition to the magnetic resonator piano, he is the creator of the TouchKeys, a keyboard with multi-touchsensing on the surface of every key.

andrewmcpherson.org

Alex McLean aka Yaxu

14.10. – Predavanje/Lecture – +MSUM 17.0014.10. – Performans/Performance (z/with Oreggia) – +MSUM 21.00

Alex je glasbenik in raziskovalec iz Yorkshire-ja, UK. Je produktiven “live coder” in že več let deluje skupaj z Davom Griffithsom inAdrianom Wardom v okviru skupine Slub. Je so-ustanovitelj organizacije TOPLAP, ki se ukvarja s promocijo algoritmičnega programiranjav realnem času. Skupaj z Nickom Collinsom promovira kulturo generativne glasbe, skozi dogodke kot je Algorave ter založbo algoritmičneglasbe ChordPunch. V Londonu in Sheffieldu je organiziral okoli 80 Dorkbot dogodkov elektronskih umetnosti. Naslov njegove doktorskedisertacije, ki jo je zaključil leta 2011 na Univerzi Goldsmiths v Londonu je „Umetniki-programerji in programski jeziki umetnosti“.Trenutno je raziskovalec na inštitutu „Human/Technology Interface“ ter direktor interdisciplinarnega centra za znanstvene raziskave napodročju glasbe, na Univerzi v Leedsu, UK.

Alex is a musician and researcher based in Yorkshire, UK. He is a prolific live coder, as one third of the long-lived band Slub (with DaveGriffiths and Adrian Ward) and co-founder of the TOPLAP organisation for the promotion of live algorithm programming. He promotesgenerative music culture as co-founder of the Algorave event promoters and the ChordPunch algorithmic record label with Nick Collins,and has organised around 80 Dorkbot electronic art events in Sheffield and London. Alex completed his PhD thesis “Artist-Programmersand Programming Languages for the Arts” in 2011 at Goldsmiths, University of London. He is now Research Fellow in Human/TechnologyInterface and Deputy Director of the Interdisciplinary Centre for Scientific Research in Music, University of Leeds.

yaxu.org

Knitting with Time

15.10 – Delavnica/Workshop – +MSUM 10.00-14.00

“Pletenje časa” bo 4 urna delavnica spoznavanja programskega orodja Tidal. Tidal je minimalistični jezik za kodiranje glasbe vrealnem času oz. “live coding”. Predst avljeni bodo osnovni koncepti live kodinga, skupaj z nekaterimi ustaljenimi pristopi. Poudarekbo na logiki dizajna in funkcijah programskega okolja Tidal. Pogledali si bomo delovanje programa v praksi in raziskali možnostiritmične improvizacije, zaključili pa s skupinsko improvizacijo. Število mest je omejenih. Udeleženci se morejo predhodno prijaviti,

na delavnico pa prinesti svoj računalnik. Predznanje programiranja ni potrebno.

“Knitting with Time” will be a four hour workshop exploring Tidal, a minimalist free/open source live coding language. We willtalk about live coding, look at some of the approaches being explored, and explore the design philosophy of Tidal. We will thenhave a hands-on session, exploring some of Tidal’s features for improvising rhythm, on headphones. We will finish with a groupimprovisation session. Limited spaces available - participants must pre-register, and be able to bring their own laptop andheadphones. No programming experience is needed.



Ulla Rauter13.10. – Predavanje/Lecture – +MSUM 16.20

13.10. – Performans/Performance – +MSUM 19.00“Glissando”; Violinski lok, napet z bakrenimi kabli, generira tone med drgnjenjem ob kožo, ki kot naravni prevodnik postane površinaza ustvarjanje zvoka, oz. elektro-dermalni vmesnik. Človeška koža je najbolj občutljiv del inštrumenta. Na podlagi njene prevodneodzivnosti se vzpostavi naravna meja v odnosu do uravnavanja zvočnih modulacij. Posledično se glasbenikovo upravljanje zvokaizenači z njegovo sposobnostjo upravljanja lastnega telesa ter njegovih reakcij v afektu. Igranje na koži predstavlja torej tudi nekevrste skeniranje lastnega telesa, ter ultimativno lastno interakcijo.

“Glissando”; A violin bow stringed with copper chords produces tones when bowed on the skin. Being a conductor by nature, itbecomes the surface for the creation of sounds, an electro-dermal interface. The human skin is the most sensitive part of thisinstrument. Due to its conductance reactions, there is a natural limit to regulating the modulation of sounds. Consequently, themusician’s control of the instrument equals the ability to control their own body and its affective reactions. Yet the playing on theskin is also a form of scanning one’s body and ultimately an interaction with oneself.

www.ullarauter.com

Simon Penšek


“InPiano” je hibridni klavir. Zvok se producira s pomočjo sistema elektromagnetnih tuljav, ki ustvarjajo kontroliran harmonskifeedback. Za pridobivanje vhodnega signala je uporabljen mikrofon. Povratna vezava oz. feedback je krmiljen s pomočjo programaMAX, v katerem se filtrira spekter signala. Parametre filtra lahko glasbenik upravlja v realnem času preko različnih vmesnikov inMIDI kontrolerjev. Sistem lahko uporabi kateri-koli zvok iz okolja (petje, glasbeni inštrumenti, naključni šumi, itd.) ter ga prekotuljav re-projicira na klavirske strune. Rezultat je zelo naraven klavirski zvok, ki pa je hkrati radikalno drugačen kot karkoli, kar jemožno zaigrati na klavir, na tradicionalen način.

“InPiano” is a hybrid piano instrument. An integrated system of electromagnetic coils is producing controlled harmonic feedback.The sound source is picked up by a microphone. The feedback is controlled with a specially designed max/patcher that filters theharmonics which are transmitted through the feedback loop. The control over feedback is done externally by means of any kind of user interface, but currently, a simple MIDI controller is used. The system can also take any sound from the environment and re-project it on the piano strings, such as singing, any other instrument, random noises, etc. What you end up with is a very natural/familiar piano sound that is radically different than anything else produced on a piano traditional way



Dario Sanfilippo15.10. – Predavanje/Lecture – +MSUM 16.40


LIES (distance/incidence) je improviziran performans in predstavlja interakcijo med človekom in strojem, pri čimer gre zavzpostavitev kompleksnega, dinamičnega sistema analogno-digitalnega avdio omrežja s povratno povezavo. Digitalno omrežjesestavljajo enote za transform acijo zvoka, katerih feedback koeficienti so pod pragom stanja lastne oscilacije. Vsaka enota se odzivadrugače na jakost in spektraln i profil vhodnih signalov. Analogni del omrežja predstavljajo zvočniki in mikrofoni. Ko je vzpost avljenazadostna mera ojačitve, sistem prične oscilirati. Digitalno omrežje nato vstopi v določeno operativno stanje in oba, med sebojpovezana sistema (digitalni in analogni) pričneta delovati kot samostojni zvočni generator. V sistemu sicer niso implementiranigeneratorji naključnih signalov, vendar je naključje in nepredvidljivost - v sistemih kjer zvok preko povratnih povezav vpliva samnase - kljub temu velik faktor, ki se pojavlja in spreminja spontano. Izvajalec lahko vpliva na sistem s premikanjem mikrofonov po

prostoru oz. s spreminjanjem razdalje, naklona in lokacije mikrofonov glede na pozicijo zvočnikov.

LIES (distance/incidence) is a human-machine interaction improvised performance implementing complex dynamical systemsbased on analog and digital audio feedback networks. The digital network consists of sound transformation units where feedbackcoefficients are below the self-oscillating threshold, and where each unit has a different sensitivity to the intensity and spectralprofile of input signals. The analog feedback network consists of microphones and loudspeakers, and when enough amplificationis provided, self-oscillation occurs; the digital network enters an operating state, and the two interdependent and interactingnetworks act as a single sound generator. No randomness or automated processes are implemented in the system, yet dynamicaland unpredictable behaviours will be exhibited, where sound affects itself and autonomously evolves through time. The performerinteracts with the system through the microphones by varying the distance from the loudspeakers and the angle of incidencewith which they capture sounds, thus altering the relation the system has to itself, and exploring the anti/resonances of a 3Denvironment which is constantly mediating the whole process.

www.tirriddiliu.net

Davide Rocchesso

13.10. – Predavanje/Lecture – +MSUM 11.00

V Letih 2001-03, je v okviru projekta „Sounding Object“ raziskoval kako odzivni zvočni modeli vplivajo na interakcije z vsa kodnevnimipredmeti. Med 2006 in 2009, je v okviru projekta CLOSED razvijal metode ciklične evalvacije in oblikovanja zvoka. Med 2007 in2011 je sodeloval pri projektu COST Action SID, ki je ustvaril živahno skupnost okoli novo nastajajoče discipline „Sonic InteractionDesign“ (oblikovanje zvočne interakcije). V naslednjih treh letih bo delal na projektu SkAT-VG, ki bo vpeljal metode in orodja za hitroskiciranje zvočno-interaktivnih odzivov, na vhodne parametre pridobljene iz glasu in telesnih gest.

In the years 2001-03, the Sounding Object project showed how responsive sound models can affect the interactions with everydayobjects. In the years 2006-09, the CLOSED project developed methods to close the loop of sound evaluation and design. The COSTAction SID (2007-2011) put together a lively community around the emerging discipline of Sonic Interaction Design. In the nextthree years, the SkAT-VG project will introduce methods and tools to rapidly sketch sonic interactive behaviors, simply using ourvoice and gestures.



Irena Tomažin

15.10. – Performans/Performance (z/with Blechmann) – +MSUM 20.00

Irena je plesalka, koreografinja ter pevka, ki večinoma nastopa v plesno gledaliških predstavah in vokalnih performansih terkoncertih eksperimentalne improvizirane glasbe. Do sedaj je ustvarila sedem avtorskih vokalno-plesnih projektov (Hitchcockove

metamorfoze (z Mitjem Reichenbergom), Kaprica, (S)pozaba kaprice, kot kaplja dežja v usta molka, Ptih (s Hanno Preuss), Spletokoliščin (z Josephine Evrard), Okus tišine) ter sodelovala z mnogimi režiserji in koreografi doma in v tujini. Od leta 2006 ima soloprojekt za glas in diktafone imenovan »iT«, s katerim je naredila zgoščenko »Crying games«. Sodelovala je tudi v Bast KolektivuAlda Ivančiča. Redno poučuje delavnice z glasom doma in v tujini. Je tudi podiplomska študentka filozofije na Ljubljanski Univerzi.

Irena is a dancer, choreographer and singer, who mainly performs in the context of dance-theater and vocal performances, as wellas concerts of experimental improvised music. So far, she has created seven vocal-dance projects (Hitchcock’s metamorphosis(with Mitja Reichenberg), Caprice, Caprice (re)lapsed, as a rain drop into the mouth of silence, Ptih (with Hanna Preuss), Out of discord (with Josephine Evrard), Taste of silence), and worked with many choreographers and directors in Slovenia and abroad.Since 2006, she has been working on the solo project “iT” for voice and voice recorder, of which she made the CD “Crying Games”.Irena was one of the participants in the collective Bast, which was led by Aldo Ivančič. She regularly teaches voice workshops inSlovenia and abroad. She is a graduate student of philosophy at the University of Ljubljana.

it-irenatomazin.bandcamp.com

Photo: Suncan Stone

Andrea Santini

13.10. – Predavanje/Lecture – +MSUM 16.00

OSCILLA je enostavni interaktivni sistem s prilagodljivo re-aktivno upravljavsko površino, za katero se lahko koristi, miza, tla, ipd.Omogoča celo paleto intuitivnih fizičnih interakcij, pri čimer se na podlagi lokacije in premikanja objektov ali ljudi po prostoruspreminjata jakost in tonska višina serije sinusnih oscilatorjev. Vse pozicije objektov, njihove frekvenčne vrednosti ter njihovapodoba v okviru klasične glasbene notacije so projicirane na podlago. Uporabniki lahko tako ustvarjajo prelivajoče se harmonskestrukture ter ob tem raziskujejo tako standardizirane kot tudi neobičajne tonske intervale, mikro-tonalne variacije, matematikoglasbenih razmerij ter ostale fascinantne lastnosti zvoka in glasbe. Ob tem se vizualna reprezentacija zvočnih kombinacij v oblikiLissajous krivulj izrisuje na drugem zaslonu, kar upravljavcu omogoča opazovanje razmerje med har monskimi zvočnimi strukturamiin njihovem vizualnem kontrapunktu.

OSCILLA is a simple interactive system with a ‘scalable’ reactive surface (such as a floor or table), allowing for a variety of intuitivephysical interaction paradigms whereby the positions and movements of objects or people in space are used to control the volumeand pitch of a series of sine-wave oscillators. Each position and frequency value is projected on the su rface along with intern ationalstandard music notation, allowing participants to create morphing harmonic structures and explore standard and unconventionalmusical intervals, microtonal variations, the mathematics of musical ratios and other fascinating aspects of music and sound.A visual representation (Lissajous curves) of the resulting combination of sounds is plotted on a secondary screen, enablingparticipants to discover the relationship between harmonic sound structures and their visual counterparts.



Bruno Zamborlin13.10. – Predavanje/Lecture – +MSUM 17.00


Bruno pravkar opravlja med-univerzitetni doktorski študij računalništva in informatike na Univerzi Goldsmiths v Londonu ter naIRCAM-u (Centre Pompidou) v Parizu. Razvija nove metode gestične interakcije, ter njene aplikacije na področju performativneumetnosti, razvoja novih glasbenih inštrumentov, ter vsakodnevnega življenja. V njegovem zadnjem projektu „Mogees“, s pomočjokontaktnega mikrofona in pametnega telefona, spreminja vsakodnevne predmete v glasbene inštrumente. Prejel je prvo nagradona „New Economic Models in the D igital Economy“ (NEMODE) in „LAVAL Virtual 2012“ na področju vmesnikov in ma terialov. Nominiran

je za nagrado „ICT European innovation of the year“.

Bruno is working on a joint PhD in Computer Science between the Embodied AudioVisual Interaction team at Goldsmiths, univ. of London, and the RealTime Musical Interactions team at IRCAM-Centre Pompidou in Paris. His last project “Mogees”, aims to transformeveryday objects into musical instruments using just a contact microphone and a mobile phone. Bruno is the recipient of first prize inNew Economic Models in the Digital Economy (NEMODE) and LAVAL Virtual 2012 in Interfaces and Materials, as well as nominee for theICT European innovation of the year.

www.brunozamborlin.com



Brane Zorman


“Hidden Materia III”, zvočni performans, elektroakustična skladba za dva računalnika in več omreženih kontrolerjev. Hidden MateriaIII je tretji in zaključni del trilogije izvedene v letih 2012-2013 (Gledališče Glej, Galerija Kapelica). Zvočna skladba je zastavljenakot potovanje tekoče, žive, surove energije zemeljske magme, ki vse do osvoboditve in sprostitve na površju zemlje poteka skozištevilne procese transformacij in sintez. Zadnja faza in posledična umiritev in formiranja trdne materije na zemlji se realizira skozipričakovane in nepričakovane izbruhe eksplozij, plinske disperzije v vodi, zraku in na tleh. Vnaprej pripravljene slike, video posnetkiin zajete podatkovne baze teh procesov se s programi NI Reaktor, MetaSynth 5 in MAX de-kodirajo ter v realnem času spreminjajoin pretvarjajo v zvok.

“Hidden Materia III” is a sound performance / electro-acoustic composition for two computers and several networked controllers.“Hidden Materia III” is the third and final part of the trilogy developed in 2012-2013 (Glej Theater, Kapelica Gallery). The soundcomposition is conceived as an ongoing journey of the liquid, vivid, raw, energy of terrestrial magma that is undergoing severalprocesses of transformation and synthesis before its liberation and comming to rest on the earth’s surface. The last phase andthe subsequent stabilization and formation of solid matter on earth is realized through expected and unexpected eruptions andexplosions, gas dispersions in water, air and on the ground. Ready-made images, video clips and databases containing theseprocesses are being decoded and manipulated in real time and further, converted into sound with programs like NI Reaktor,MetaSynth 5 and MAX.

www.cona.si



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