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EarZoom 12.15. October 2013 EarZoom Festival Zvonih Umetnosti Sonic Arts Festival

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Letonji 5. festival zvonih umetnosti EarZoom se po lanski izredni programski raziritvi, ko smo gostovali Mednarodni kongres raunalnike glasbe (ICMC), spet vraa v ustaljene okvire. Tudi tokrat je namen festivala obinstvo seznaniti z raznovrstnostjo na prvi pogled izrazito nine glasbene discipline, ki je v slovenskem akademskem prostoru domala spregledana, ter omogoiti vpogled v kompleksen preplet glasbenih in tehninih ved. Posebno pozornost letos posveamo konceptu muziciranja oz. komponiranja, imenovanem live coding. Gre za pristop, pri katerem glasbenik v ivo (na odru) pie raunalniko kodo, ki se v realnem asu pretvarja v zvok. Umetnik kodo med nastopom projicira na platno, kar poslualcu/gledalcu omogoa zaznati kavzalno razmerje med sliano glasbo ter idejami in akcijami skladatelja/glasbenika in tako bolje razumeti naine skladateljevega razmiljanja in razline interakcije s sodobnim intrumentom raunalnikom. Program, ki se bo odvijal 14. oktobra, je v celoti posveen tej praksi in je nastal v sodelovanju z britanskim skladateljem in raziskovalcem 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 algoritmino generirane, repetitivne zvone vzorce, ki nastajajo kot uinek v ivo napisane raunalnike kode. Enostavneja definicija Algorave-a pa bi bila preprosto plesanje na algoritme. Ob performansih bosta potekali tudi praktina delavnica in serija predavanj, namenjeni podrobneji analizi konceptov 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 the general 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 years edition is a concept of performing and composing called live coding. It is a special approach where the 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 relationship between the music and the composer/musicians ideas and actions. It fosters a better understanding of the composers thinking process as well as the different interaction methods with the computer, as a contemporary musical instrument.

EarZoom 2013

October 14th is entirely, devoted to live coding practice, and was curated by the British composer and researcher Alex McLean. Alex is 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 written computer code. Algorave is simply defined as humans dancing to algorithms. Besides the performances, the festival will also offer a workshop and a series of lecture presentations, outlining the concepts and techniques behind the featured artworks.

Institute for Sonic Arts Research www.irzu.org

Miha Ciglar

Prizorii Venues

Program Programme
Sobota/Saturday 12.October Cankarjev dom (Kosovelova dvorana)
Koncerti/Concerts: Andrew McPherson 20.00 Lauren Sarah Hayes 21.00 ADACHI Tomomi 21.30

Nedelja/Sunday 13.October +MSUM


Predavanja/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 Rauter 16.20 Brane Zorman 16.40 Bruno Zamborlin 17.00 Thor Magnusson 17.20 Koncerti/Concerts: Ulla Rauter 19.00 Brane Zorman 19.30 Tim Blechmann & Irena Tomain 20.00 Bruno Zamborlin 20.30 Freida Abtan 21.00 Thor Magnusson 21.30

+MSUM

Ponedeljek/Monday 14.October +MSUM Cankarjev dom


Predavanja/Lectures: Shelly Knotts 16.00 Alexandra Cardenas 16.20 Norah Lorway 16.40 Alex McLean aka Yaxu 17.00 xname 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 +MSUM


Cankarjev dom
Kosovelova dvorana Preernova cesta 10, Ljubljana

Delavnica/Workshop: Alex McLean 10.0014.00 Koncerti/Concerts: Ryan Jordan 16.00 Simon Penek 16.20 Dario Sanfilippo 16.40 Hideyuki ENDO 17.00 Koncerti/Concerts: Cameron Bobro 19.00 Simon Penek 20.00 Dario Sanfilippo 20.30 Hideyuki ENDO 21.00 Ryan Jordan 21.30

+MSUM
Muzej sodobne umetnosti Metelkova Maistrova 3, Ljubljana

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Umetniki Artists
s_platters je kontroler za avdio produkcijo, ki ga je avtorica razvila med tudijem na univerzi Brown. Sistem uporablja magnete, Hall senzorje, giroskope ter senzorje kapacitivnosti za analizo zagona, pozicijo in manipulacijo treh vrteih se kronikov. Vztrajnostni moment in trenje so naravno integrirani v teh vrednostih. Vsak kronik zgladi in predela svoje lastne podatke, nato pa jih polje preko brezine povezave, do posebne programske opreme za nadaljnjo statistino obdelavo. Obdelane podatke sprejme druga programska oprema, ki jih koristi za sintezo in generiranje zvoka. Arhitektura kontrolerja sama po sebi sugerira razline loveke geste, kot so neni stranski potiski proti kronikovi rotacijski smeri ali uporabo uporne sile od zgoraj. Dolge in gladke rotacije kronikov se pojavijo kot posledica naravne fizikalnosti intrumenta, ter tudi kot rezultat lovekega posredovanja. loveka intervencija povzroa majhne spremembe v gibanju kronikov, saj nasprotuje naravnim fizikalnim silam, ki delujejo na kronike. Variacija hitrost vrtenja kronikov, kakor tudi jakost dotika in bliina, povzroajo spremembe v zvoni 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 spinning platters. 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 generated values to make music. The construction of the controller encourages multiple kinds of human gestures, such as gentle lateral pushes towards a platters rotational spin, or resistance force applied from above. The long smooth rotations of the platters arise as much 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 points of control for the instruments musical output, as is touch, or close proximity.
www.freidaabtan.com

Freida Abtan
Freida Abtan
13.10. Predavanje/Lecture +MSUM 11.20 13.10. Performans/Performance +MSUM 21.00

ADACHI Tomomi
12.10. Performans/Performance Cankarjev dom 21.30 13.10. Predavanje/Lecture +MSUM 11.40

Tomomi je skladatelj, performer, zvoni pesnik, izumitelj glasbenih intrumentov in vizualni umetnik. Znan je po svojem raznolikem glasbenem slogu. Izvaja improvizirano glasbo kakor tudi dela Johna Cagea, Corneliusa Cardewa, Christiana Wolffa in drugih sodobnih skladateljev. Nastopil je pri razlinih institucijah po vsem svetu, kot so Tate Modern, Maerzmusik, Centre Pompidou, Merkin Hall, STEIM in Experimental Intermedia. Je edini japonski zvoni 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 zalobah Tzadik, Omegapoint in naya records. Leta 2012 je bil gostujoi umetnik rezidennega programa DAAD v Berlinu. Tomomi is a performer/composer, sound poet, instrument builder and visual artist. Known for his versatile style, he has performed improvised music and contemporary works by John Cage, Cornelius Cardew, Christian Wolff and others in all over the world including Tate 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 John Cages Europera5 in 2007. CDs include the solo album from Tzadik, Omegapoint and naya records. He was a guest of the Artists-inBerlin Program of the DAAD for 2012.

ADACHI Tomomi

www.adachitomomi.com

Tim Blechmann
Tim Blechmann
13.10. Performans/Performance (z/with Tomain) +MSUM 20.00

Tim je rojen in ivi v tujini. tudiral je na razlinih tehninih in umetnikih univerzah ter tudi diplomiral iz obeh disciplin. Kot raziskovalec objavlja publikacije v interdisciplinarnem podroju znanosti in umetnosti. Prizadeva si loevati raziskovalno in umetniko delo, saj je znanost namenjena moganom, umetnost pa srcu. Igra veliko improvizirane glasbe, glasne, tihe, na festivalih in v dnevnih sobah, vasih v Evropi, vasih v tujini, vasih solo, vasih v duetih, ki jih razume kot najbolj neposredna in intimna glasbena sooenja. Zmeraj uporablja odprto-kodne programe, velikokrat njegove lastne. Sodeloval je s podobno-misleimi vizualnimi umetniki, s katerimi ustvarja instalacije in abstraktne animacije. Njegove improvizacije so vasih popolnoma digitalne, vasih 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 work separate, as research is for the brain, and arts is for the heart. He played a lot of improvised music, loud and quiet, on festivals and in living rooms, sometimes in Europe, sometimes abroad, sometimes solo, sometimes in duos, as he considers this as the most direct and intimate musical encounter. Always using free software, often his own. He also collaborated with like-minded fine artists, working on installations or abstract animations. His compositions are sometimes completely digital, sometimes involving analog material.
tim.klingt.org

Cameron Bobro
15.10. Performans/Performance +MSUM 19.00

Cameron je rojen v Kaliforniji in je stareji kot bi elel priznati. Predstavil bo kratki uvod v koncept, zgodovino in praktino implementacijo mikrotonalonosti in alternativnega uglaevanja. Zael 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 producent v mariborski KIBLI. Cameron, born in California rather longer ago than hed 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 in ancient 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.

Cameron Bobro

Alexandra Cardenas
Alexandra Cardenas
14.10. Predavanje/Lecture +MSUM 16.20 14.10. Performans/Performance +MSUM 21.30

Alexandra je skladateljica in improvizatorka raznolike glasbe, ki sega od orkestralnih del, do improvizacije z elektrinimi kitarami in raunalniki. Preteno se naslanja na programsko orodje SuperCollider, s katerim spreminja raunalnik v glasbeni intrument. Njeno delo je osredotoeno na muziciranje s pomojo ive elektronike ter raziskovanje muzikalnosti pisanja raunalnike kode v realnem asu (live coding), ki je tesno povezano z algoritminim odzivom glasbe. Ob njenem kreativnem delu, je pred kratkim organizirala tudi dva festivala, (ArsFutura in Odiuresion, za Radio UNAM) posveena eksperimentalni glasbi v Meksiku City. Trenutno ivi v Berlinu in opravlja magisterij zvonih tudij na Umetniki Univerzi (University of Arts, Berlin). Composer and improviser of music ranging from writing orchestral works to improvising with electric guitar and laptop. Using mainly the software SuperCollider to turn her computer into another musical instrument, her work has focused recently in creating pieces with Live Electronics and exploring the musicality of coding and the algorithmic behaviour in the music. An important part of this exploration is the practice of live coding. Besides her creative work, she has recently organized two festivals devoted to experimental music in Mexico City: ArsFutura and Odiuresion for Radio UNAM. Currently she lives in Berlin, Germany and studies the masters Sound Studies at the University of the Arts.
www.tiemposdelruido.net

Hideyuki ENDO
15.10. Predavanje/Lecture +MSUM 17.00 15.10. Performans/Performance +MSUM 21.00

Drive Mind je unikatni elektro-akustini sistem, ki ustvarja novo zvono izkunjo, na osnovi lomljenja svetlobe. Glavna znailnost sistema Drive Mind je vizualizacija abstraktnega zvoka z arkom LED svetlobe ter manipulacija tega zvoka s pomojo lomljenja svetlobnega arka. Za voljo nazornosti, izvajalec neposredno operira z akrilnimi objekti, s katerimi (pre)usmerja svetlobne arke. Na podlagi fizikalnih pojavov svetlobnega lomljenja glasbenik pridobiva podatke, s katerimi upravlja zvone parametre. Publika tako doivi popolno avdio-vizualno izkunjo, pri imer so vzrono-posledine povezave jasno izpostavljene. Drive Mind is a unique electro-acoustic system that provides audiences with a new sonic experience produced by the refraction of 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 objects physically, and the system produces the sound with this manipulation data, which was generated through well-understood physical phenomena. In this way, audiences will have a full sonic and visual experience filtered through their own imaginations.
on.fb.me/Y1UDvQ

Hideyuki ENDO

12.10. Performans/Performance Cankarjev dom 21.00 13.10. Predavanje/Lecture +MSUM 12.00

Lauren Sarah Hayes


Lauren Sarah Hayes
www.laurensarahhayes.com

Figurine-Operated String (2012), je skladba za klavir in ivo elektroniko. Skladba se naslanja na zgodnje delo Matthewa Barneya, Drawing Restraint (1987-), kjer umetnik poskua ustvarjati risbe v ateljeju, med tem ko je njegovo telo delno imobilizirano. Koncept je vzpostavljen na paraleli z atletom, ki mora trenirati, in premagovati upor, z namenom razvijanja in jaanja miic. Pianist igra na strune klavirja, med tem ko premaguje silo ic, ki ovite okoli njegovih rok, ovirajo njegovo gibanje. Tretje ice, ki so tudi vkljuene v performans 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 Barneys 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, the figurine, plays both with the strings of the piano, as well as struggling against the wires connected to her hands, which resist her movements. The other wires involved in the piece are the patch chords of the Buchla 200 on which the electronic part was conceived, at the Elektronmusikstudion, in Stockholm, in late 2011.

Ryan Jordan
15.10. Predavanje/Lecture +MSUM 16.00 15.10. Performans/Performance +MSUM 21.30

Possession Trance je performans v katerem avtor raziskuje kibernetiko, underground rave glasbo ter (o)kultne rituale. Mone stroboskopske lui, krmilijo strojno opremo, ki je obutljiva na spremembo svetlobe, s imer nastajajo intenzivni in sinhroni avdiovizualni signali. Ko mogani zaznajo takne signale, se avtomatsko sproijo tudi mehanske, telesne reakcije, kar lahko povzroi tudi avdio-vizualne halucinacije oz. mistine izkunje. Transcendentalna izkunja je inducirana z glasnim hrupom, ki nastane ob neposredni ojaitvi elektronskega signala, kateri pod vplivom mone elektronske ionizacije ksenonovega plina, prehaja skozi surove kovine. Signali nato prehajajo v fotonine napetosti, ki se v neskonnost preganjajo skozi cevi in stoce ter z visoko jakostjo vstopajo v vlane nevronske kanale, kjer drvijo v frontalna trenja z delci olfaktornega sistema, ter se povezujejo s taktinimi centri notranjih miinih ovojnic. Possession Trance is a live performance exploring cybernetics, underground rave music and (oc)cult rituals. High-powered stroboscopes control light-sensitive hardware leading to powerful, synchronic audiovisual signals. These signals become directly perceptible 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 raw metals controlled by high powered electronic ionization of xenon gas. The signals dissipate into photic voltages tracing themselves into oblivion through rods and cones penetrating dank neuronal alleyways at high velocity running unstoppable into head-on collisions with particles swarming from the Ol factory and binding with tactic centres of the inner muscular shell.

Ryan Jordan
ryanjordan.org nnnnn.org.uk

Shelly Knotts
Shelly Knotts
14.10. Predavanje/Lecture +MSUM 16.00 14.10. Performans/Performance +MSUM 20.00

Shelly je skladateljica, performerka in improvizatorka ive elektronike, live-codinga in omrene glasbe iz Birminghama, UK. Sodelovala je z razlinimi umetniki s podroja elektro-akustine glasbe, live codinga ter plesne glasbe. Svojo glasbo je izvajala v UK in po Evropi, objavljala pa preko glasbene zalobe ChordPunch ter v publikaciji Leonardo Music Journal. Med njenimi zadnjimi deli je tudi projekt Interleave, ki kombinira tradicionalni Jazz kvartet z eksperimentalno ivo elektroniko in omreno glasbo zasedbe BiLE (Birmingham Laptop Ensemble). Projekt je nastal po naroilu fundacije PRSF. Shelly is a Birmingham, UK, based composer, performer and improvisor of live electronic, live-coded and network music. Her experimental and collaborative tendencies have seen her engage with diverse musical practices and styles ranging from electroacoustic tape music to live-coded dance music. She performs and presents her work across the UK and Europe and has been published on ChordPunch record label and in Leonardo Music Journal. Recent projects include the PRSF commissioned commissioned project Interleave - combining the tradition Jazz Quartet with experimental live-electronics and network music band BiLE (Birmingham Laptop Ensemble).
shellyknotts.wordpress.com

Norah Lorway
14.10. Predavanje/Lecture +MSUM 16.40 14.10. Performans/Performance +MSUM 20.30

Norah je kanadska glasbenica in raziskovalka. Trenutno ivi in dela v Birminghanu, UK. Ukvarja se predvsem z live codingom, in nastopa s solo performansi ter v okviru skupine BEER. Trenutno opravlja doktorski tudij pod mentorstvom Scotta Wilsona na Univerzi v Birminghamu. Norah is a Canadian musician and researcher currently based in Birmingham UK. She live codes both as a soloist and as a member of the laptop ensemble BEER. She is currently finishing her Ph.D with Scott Wilson at the University of Birmingham.
norahlorway.com

Norah Lorway

Thor Magnusson
Thor Magnusson
13.10. Predavanje/Lecture +MSUM 17.20 13.10. Performans/Performance +MSUM 21.30 14.10. Performans/Performance +MSUM 19.30

Thor je glasbenik in razvijalec programske opreme. Je so-ustanovitelj kolektiva ixi-audio (www.ixi-audio.net), ki e desetletje producira najrazlineja eksperimentalna programska orodja za ustvarjanje glasbe. Je navduen live coder, ki je razvil dva livecoding sistema za glasbeno izraanje. Na festivalu EarZoom bo predstavil svoje raziskovalno delo ter odigral dva koncerta: Na prvem bo 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 produced diverse experimental music software for over a decade. He is an avid live coder and has developed two live coding systems for musical expression. At EarZoom, Thor will present his research and give two live performances: with his new Threnoscope and with the ixi lang live coding system.
www.ixi-audio.net/thor

Alex McLean aka Yaxu


14.10. Predavanje/Lecture +MSUM 17.00 14.10. Performans/Performance (z/with Oreggia) +MSUM 21.00

Alex je glasbenik in raziskovalec iz Yorkshire-ja, UK. Je produktiven live coder in e ve let deluje skupaj z Davom Griffithsom in Adrianom Wardom v okviru skupine Slub. Je so-ustanovitelj organizacije TOPLAP, ki se ukvarja s promocijo algoritminega programiranja v realnem asu. Skupaj z Nickom Collinsom promovira kulturo generativne glasbe, skozi dogodke kot je Algorave ter zalobo algoritmine glasbe ChordPunch. V Londonu in Sheffieldu je organiziral okoli 80 Dorkbot dogodkov elektronskih umetnosti. Naslov njegove doktorske disertacije, ki jo je zakljuil leta 2011 na Univerzi Goldsmiths v Londonu je Umetniki-programerji in programski jeziki umetnosti. Trenutno je raziskovalec na intitutu Human/Technology Interface ter direktor interdisciplinarnega centra za znanstvene raziskave na podroju 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 Dave Griffiths and Adrian Ward) and co-founder of the TOPLAP organisation for the promotion of live algorithm programming. He promotes generative 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-Programmers and Programming Languages for the Arts in 2011 at Goldsmiths, University of London. He is now Research Fellow in Human/Technology Interface and Deputy Director of the Interdisciplinary Centre for Scientific Research in Music, University of Leeds.

Pletenje asa bo 4 urna delavnica spoznavanja programskega orodja Tidal. Tidal je minimalistini jezik za kodiranje glasbe v realnem asu oz. live coding. Predstavljeni bodo osnovni koncepti live kodinga, skupaj z nekaterimi ustaljenimi pristopi. Poudarek bo na logiki dizajna in funkcijah programskega okolja Tidal. Pogledali si bomo delovanje programa v praksi in raziskali monosti ritmine improvizacije, zakljuili pa s skupinsko improvizacijo. tevilo mest je omejenih. Udeleenci se morejo predhodno prijaviti, na delavnico pa prinesti svoj raunalnik. Predznanje programiranja ni potrebno. Knitting with Time will be a four hour workshop exploring Tidal, a minimalist free/open source live coding language. We will talk about live coding, look at some of the approaches being explored, and explore the design philosophy of Tidal. We will then have a hands-on session, exploring some of Tidals features for improvising rhythm, on headphones. We will finish with a group improvisation session. Limited spaces available - participants must pre-register, and be able to bring their own laptop and headphones. No programming experience is needed.

Alex McLean
yaxu.org

Knitting with Time

15.10 Delavnica/Workshop +MSUM 10.00-14.00

Yaxu

aka

Andrew McPherson
Andrew McPherson
12.10. Performans/Performance Cankarjev dom 20.00 13.10. Predavanje/Lecture +MSUM 12.20

Magnetno-resonatorski klavir (MRK) je hibridni, elektronsko-akustini klavir, ki iri izrazne zmonosti tradicionalnega klavirja. Elektromagneti, ki so nameeni znotraj klavirja inducirajo vibracijo strun, kar omogoa neskonno prolongacijo tona, crescendo iz tiine, oglaanje vije-harmonskih frekvenc in glissande. Senzorji na tipkovnici kontinuirano zaznavajo pozicijo vsake tipke, kar omogoa raziritev tehnik igranja, ki vkljuujejo delne pritiske tipk, rahle dotike in zdrse, vibrato in spreminjanje jakosti pritiska. MRK, so v svojih kompozicijah uporabljali e tevilni skladatelji, med drugim tudi v projektih z Londonskim komornim orkestrom in skupino These New Puritans. Andrew McPherson je skladatelj, inenir, in izumitelj intrumentov. Je profesor na oddelku za digitalne medije, Univerze Queen Mary v Londonu. Poleg MRK, je oblikoval tudi tipkovnico TouchKeys, ki lahko zaznava v multi-touch modusu, na povrini vsake tipke. The magnetic resonator piano (MRP) is a hybrid acoustic-electronic instrument which augments the capabilities of the traditional piano. 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 performance technique including partial key presses, light taps and sweeps, vibrato and variable key pressure. The MRP has been used in works by over a dozen composers, including projects with the London Chamber Orchestra and the band These New Puritans. Andrew McPherson is a composer, engineer and instrument designer and a Lecturer (Assistant Professor) in Digital Media at Queen Mary University of London. In addition to the magnetic resonator piano, he is the creator of the TouchKeys, a keyboard with multi-touch sensing on the surface of every key.
andrewmcpherson.org

Simon Penek
15.10. Predavanje/Lecture +MSUM 16.20 15.10. Performans/Performance +MSUM 20.00

InPiano je hibridni klavir. Zvok se producira s pomojo sistema elektromagnetnih tuljav, ki ustvarjajo kontroliran harmonski feedback. Za pridobivanje vhodnega signala je uporabljen mikrofon. Povratna vezava oz. feedback je krmiljen s pomojo programa MAX, v katerem se filtrira spekter signala. Parametre filtra lahko glasbenik upravlja v realnem asu preko razlinih vmesnikov in MIDI kontrolerjev. Sistem lahko uporabi kateri-koli zvok iz okolja (petje, glasbeni intrumenti, nakljuni umi, itd.) ter ga preko tuljav re-projicira na klavirske strune. Rezultat je zelo naraven klavirski zvok, ki pa je hkrati radikalno drugaen kot karkoli, kar je mono zaigrati na klavir, na tradicionalen nain. 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 the harmonics 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 reproject 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

Simon Penek

Ulla Rauter
Ulla Rauter
13.10. Predavanje/Lecture +MSUM 16.20 13.10. Performans/Performance +MSUM 19.00

Glissando; Violinski lok, napet z bakrenimi kabli, generira tone med drgnjenjem ob koo, ki kot naravni prevodnik postane povrina za ustvarjanje zvoka, oz. elektro-dermalni vmesnik. loveka koa je najbolj obutljiv del intrumenta. Na podlagi njene prevodne odzivnosti se vzpostavi naravna meja v odnosu do uravnavanja zvonih modulacij. Posledino se glasbenikovo upravljanje zvoka izenai z njegovo sposobnostjo upravljanja lastnega telesa ter njegovih reakcij v afektu. Igranje na koi predstavlja torej tudi neke vrste 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, it becomes the surface for the creation of sounds, an electro-dermal interface. The human skin is the most sensitive part of this instrument. Due to its conductance reactions, there is a natural limit to regulating the modulation of sounds. Consequently, the musicians control of the instrument equals the ability to control their own body and its affective reactions. Yet the playing on the skin is also a form of scanning ones body and ultimately an interaction with oneself.
www.ullarauter.com

Davide Rocchesso
13.10. Predavanje/Lecture +MSUM 11.00

V Letih 2001-03, je v okviru projekta Sounding Object raziskoval kako odzivni zvoni modeli vplivajo na interakcije z vsakodnevnimi predmeti. Med 2006 in 2009, je v okviru projekta CLOSED razvijal metode cikline evalvacije in oblikovanja zvoka. Med 2007 in 2011 je sodeloval pri projektu COST Action SID, ki je ustvaril ivahno skupnost okoli novo nastajajoe discipline Sonic Interaction Design (oblikovanje zvone interakcije). V naslednjih treh letih bo delal na projektu SkAT-VG, ki bo vpeljal metode in orodja za hitro skiciranje zvono-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 everyday objects. In the years 2006-09, the CLOSED project developed methods to close the loop of sound evaluation and design. The COST Action SID (2007-2011) put together a lively community around the emerging discipline of Sonic Interaction Design. In the next three years, the SkAT-VG project will introduce methods and tools to rapidly sketch sonic interactive behaviors, simply using our voice and gestures.

Davide Dario Rocchesso Sanfilippo


Dario Sanfilippo
15.10. Predavanje/Lecture +MSUM 16.40 15.10. Performans/Performance +MSUM 20.30

LIES (distance/incidence) je improviziran performans in predstavlja interakcijo med lovekom in strojem, pri imer gre za vzpostavitev kompleksnega, dinaminega sistema analogno-digitalnega avdio omreja s povratno povezavo. Digitalno omreje sestavljajo enote za transformacijo zvoka, katerih feedback koeficienti so pod pragom stanja lastne oscilacije. Vsaka enota se odziva drugae na jakost in spektralni profil vhodnih signalov. Analogni del omreja predstavljajo zvoniki in mikrofoni. Ko je vzpostavljena zadostna mera ojaitve, sistem prine oscilirati. Digitalno omreje nato vstopi v doloeno operativno stanje in oba, med seboj povezana sistema (digitalni in analogni) prineta delovati kot samostojni zvoni generator. V sistemu sicer niso implementirani generatorji nakljunih signalov, vendar je nakljuje in nepredvidljivost - v sistemih kjer zvok preko povratnih povezav vpliva sam nase - 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 zvonikov.

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

Andrea Santini
13.10. Predavanje/Lecture +MSUM 16.00

OSCILLA je enostavni interaktivni sistem s prilagodljivo re-aktivno upravljavsko povrino, za katero se lahko koristi, miza, tla, ipd. Omogoa celo paleto intuitivnih fizinih interakcij, pri imer se na podlagi lokacije in premikanja objektov ali ljudi po prostoru spreminjata jakost in tonska viina serije sinusnih oscilatorjev. Vse pozicije objektov, njihove frekvenne vrednosti ter njihova podoba v okviru klasine glasbene notacije so projicirane na podlago. Uporabniki lahko tako ustvarjajo prelivajoe se harmonske strukture ter ob tem raziskujejo tako standardizirane kot tudi neobiajne tonske intervale, mikro-tonalne variacije, matematiko glasbenih razmerij ter ostale fascinantne lastnosti zvoka in glasbe. Ob tem se vizualna reprezentacija zvonih kombinacij v obliki Lissajous krivulj izrisuje na drugem zaslonu, kar upravljavcu omogoa opazovanje razmerje med harmonskimi zvonimi strukturami in 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 intuitive physical interaction paradigms whereby the positions and movements of objects or people in space are used to control the volume and pitch of a series of sine-wave oscillators. Each position and frequency value is projected on the surface along with international standard music notation, allowing participants to create morphing harmonic structures and explore standard and unconventional musical 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, enabling participants to discover the relationship between harmonic sound structures and their visual counterparts.

Andrea Santini

Irena Tomain
Photo: Suncan Stone

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

Irena je plesalka, koreografinja ter pevka, ki veinoma nastopa v plesno gledalikih predstavah in vokalnih performansih ter koncertih eksperimentalne improvizirane glasbe. Do sedaj je ustvarila sedem avtorskih vokalno-plesnih projektov (Hitchcockove metamorfoze (z Mitjem Reichenbergom), Kaprica, (S)pozaba kaprice, kot kaplja deja v usta molka, Ptih (s Hanno Preuss), Splet okoliin (z Josephine Evrard), Okus tiine) ter sodelovala z mnogimi reiserji in koreografi doma in v tujini. Od leta 2006 ima solo projekt za glas in diktafone imenovan iT, s katerim je naredila zgoenko Crying games. Sodelovala je tudi v Bast Kolektivu Alda Ivania. Redno pouuje delavnice z glasom doma in v tujini. Je tudi podiplomska tudentka filozofije na Ljubljanski Univerzi. Irena is a dancer, choreographer and singer, who mainly performs in the context of dance-theater and vocal performances, as well as concerts of experimental improvised music. So far, she has created seven vocal-dance projects (Hitchcocks 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 Ivani. She regularly teaches voice workshops in Slovenia and abroad. She is a graduate student of philosophy at the University of Ljubljana.
it-irenatomazin.bandcamp.com

xname
14.10. Predavanje/Lecture +MSUM 17.20 14.10. Performans/Performance (z/with McLean) +MSUM 21.00

xname je multimedijska umetnica, rojena v Milanu, trenutno pa ivi v Londonu. Njene zvone performanse razvija na osnovi uporabe umetne svetlobe ter doma narejenih mikro-oscilatorjev, ki generirajo zvok. Svetloba se pri tem, spremeni v elektrini tok, ki stee skozi elektronsko vezje, in izstopi kot zvona frekvenca. V zadnji fazi se zvok pretvori e v taktilni draljaj in vse skupaj tako ustvarja sinestetski uinek. Rezultat je hipnotini spektakel, ki ga dominirajo stroboskopija, ter industrial in noise-tehno frekvence. Trenutno eksperimentira tudi s pristopom, v katerem uporablja omrene zakasnitve ter asovne zamike ojaanega signala, ki se pojavijo med streemanjem signalov preko razlinih strenikov. Signali, ki se vraajo od strenikov tako ustvarijo povratno povezavo (feedback), ki se v prostoru manifestira v obliki zvoka. Trenutno je doktorska tudentka na oddelku za tehnologijo medijskih umetnosti, na Univerzi Queen Mary v Londonu. xname is a multimedia artist born in Milan and currently based in London. Her sound performances are developed through the use of artificial lights and home-made micro-oscillators which generate sound waves. The light, transformed into electrical current, passes through the circuit and exits in the shape of a sonic frequency, while the sound, modulated by manipulating the light sources, becomes tactile and synesthetic. The result is an hypnotic spectacle dominated by stroboscopy and industrial and noisetechno frequencies. Recently she has been experimenting with the effects of network lag and time delay on amplified sounds that, streamed to different servers, feed back to the speakers after traveling through the Internet. She is currently PhD candidate in Media and Arts Technology at Queen Mary, University of London.
xname.cc

xname

Bruno Zamborlin
Bruno Zamborlin
13.10. Predavanje/Lecture +MSUM 17.00 13.10. Performans/Performance +MSUM 20.30

Bruno pravkar opravlja med-univerzitetni doktorski tudij raunalnitva in informatike na Univerzi Goldsmiths v Londonu ter na IRCAM-u (Centre Pompidou) v Parizu. Razvija nove metode gestine interakcije, ter njene aplikacije na podroju performativne umetnosti, razvoja novih glasbenih intrumentov, ter vsakodnevnega ivljenja. V njegovem zadnjem projektu Mogees, s pomojo kontaktnega mikrofona in pametnega telefona, spreminja vsakodnevne predmete v glasbene intrumente. Prejel je prvo nagrado na New Economic Models in the Digital Economy (NEMODE) in LAVAL Virtual 2012 na podroju vmesnikov in materialov. 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 transform everyday objects into musical instruments using just a contact microphone and a mobile phone. Bruno is the recipient of first prize in New Economic Models in the Digital Economy (NEMODE) and LAVAL Virtual 2012 in Interfaces and Materials, as well as nominee for the ICT European innovation of the year.
www.brunozamborlin.com

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Brane Zorman
13.10. Predavanje/Lecture +MSUM 16.40 13.10. Performans/Performance +MSUM 19.30

Hidden Materia III, zvoni performans, elektroakustina skladba za dva raunalnika in ve omreenih kontrolerjev. Hidden Materia III je tretji in zakljuni del trilogije izvedene v letih 2012-2013 (Gledalie Glej, Galerija Kapelica). Zvona skladba je zastavljena kot potovanje tekoe, ive, surove energije zemeljske magme, ki vse do osvoboditve in sprostitve na povrju zemlje poteka skozi tevilne procese transformacij in sintez. Zadnja faza in posledina umiritev in formiranja trdne materije na zemlji se realizira skozi priakovane in nepriakovane izbruhe eksplozij, plinske disperzije v vodi, zraku in na tleh. Vnaprej pripravljene slike, video posnetki in zajete podatkovne baze teh procesov se s programi NI Reaktor, MetaSynth 5 in MAX de-kodirajo ter v realnem asu spreminjajo in 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 sound composition is conceived as an ongoing journey of the liquid, vivid, raw, energy of terrestrial magma that is undergoing several processes of transformation and synthesis before its liberation and comming to rest on the earths surface. The last phase and the subsequent stabilization and formation of solid matter on earth is realized through expected and unexpected eruptions and explosions, gas dispersions in water, air and on the ground. Ready-made images, video clips and databases containing these processes are being decoded and manipulated in real time and further, converted into sound with programs like NI Reaktor, MetaSynth 5 and MAX.

Brane Zorman

www.cona.si

Podpora Support

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Metod Blejec Design

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