INSTALLATIONS

Transcript

INSTALLATIONS

INSTALLATIONS
.HBC, 18. - 26. September, 14 - 22h
ground floor
Ron Kuivila
"Alex at Twilight"
Andre Bartetzki
"A Show Case for SC Tweets"
second floor
Marije Baalman
"Sonobotanic models"
Jonas Hummel
"[PB_UP] - a patchwork portrait"
Jost Muxfeldt
"Audio Kinematics"
Hanns Holger Rutz &
Nayarí Castillo
"Dissemination"
outdoors
Víctor Mazón Gardoqui
"Interferenzen - Expanded Field"
opening: Friday 17. September, 20h
Großer Wasserspeicher, 18. - 26. September, 14 - 20h
Alberto de Campo, Generative Art class at UdK Berlin & guests:
"Varia Zoosystematica Profundorum - Experimental studies in deep sea
communication"
organized by UdK Berlin in cooperation with singuhr e.V.
opening: Friday 17. September, 18h
3
INSTALLATIONS
SUPERCOLLIDER SYMPOSIUM
Ron Kuivila (USA)
commission
Alex at Twilight (2010)
A set of pointers mime one hundred years of weather in a kind of electromechanical Butoh in an arrangement reminiscent of the garden at Ryoan-ji.
The pointers’ own creaking bodies, periodically interrupted by that
venerable cliché of electroacoustic music, the mutated bell. That bell lines
out the temperature of different years, decades, and centuries in its
changing pitch and timbre.
Within the SC symposium, the piece may be regarded as an allegory of the
tension between code making and breaking that mark the relation of sound
art, computer music, and digital media in general.
Andre Bartetzki (Germany)
A Show Case for SC Tweets (2010)
SuperCollider tweets are short pieces of code limited to the short length of
140 characters (twitter messages). Last year there was a lot of activity
around SC tweets, resulting, for example, in an album of 22 pieces, called
sc140. In a way, SC tweets are related to the human ambition of avoiding
redundancies, like in science where Occam's razor is often interpreted in
the sense that the simplest explanation is usually the correct one, or when
composers decide to use only limited base material (a sound, a theme) as a
starting point but make rich and complex pieces out of them.
My installation is just twittering out to the street what other users have
written: several hundred mini compositions, smart algorithms, complex
rhythms, compact soundscapes, evolving textures, syntactic adventures ...
2.squared
BERLIN 2010
INSTALLATIONS
Marije Baalman (Netherlands)
Sonobotanic models: Periperceptoida Triquetrus Nutandis and Dependis (2010)
The scientific field of Predictive Sonobotanics attempts to create models of
sonobotanic plants with the aim of predicting their behavior and to gain a
deeper understanding of the subtleties in sonobotanic plant behaviour. In this
exhibition models of the Periperceptoida Triquetrus Nutandis and the
Periperceptoida Triquetrus Dependis are presented.
The models make use modern technology: sensors measure environmental
characteristics, such as light, temperature, and humidity; these data are used
in computational models implemented in SuperCollider; the result is then
auralised via the loudspeakers inside the physical model.
Jonas Hummel (Germany)
[PB_UP] - a patchwork portrait (2010)
Many have claimed that ’The computer is the new folk guitar’; if this is so,
then PB_UP is the first accoustic computer music folk band: The laptop is
their only instrument. Jonas Hummel translated this approach into a
documentary film installation and worked out an unusual portrait of this
unusual band. On laptops and three projections surrounded by a capturing
quadrophonic sound collage, the visitor of the installation walks amidst an
interactive environment, which illuminates the creative processes and the
musical communication of this contemporary ensemble. Nine multiscreenvideoclips show different perspectives on performances of the "acoustic
computer band" PowerBooks_UnPlugged.
3+2
INSTALLATIONS
Jost Muxfeldt (USA / Germany)
Audio Kinematics (2007)
plays with the idea of kinematic relations in sound spatialization. It utilizes
the spatial relations and proportions of a mechanical structure to determine
various parameters of a sound composition, and creates a kind of virtual
kinetic sound sculpture. The content of the composition is determined by the
spatial relation of the sculpture to the listener, whose virtual position is at
the center of the mechanical structure.
Hanns Holger Rutz (Germany) &
Nayarí Castillo (Venezuela / USA)
Dissemination (2010)
An audio-visual installation utilizing vertically and horizontally suspended
glass plates. They function both as membranes of sound diffusion and as
specimen holders for flying seeds, confined to a regular arrangement of
petri dishes. The space is conditioned by filtering the daylight. Seeds refer
both to their origin and to the potentiality of new live (or death). They
symbolise motion or traveling. Dissemination as continuous re-writing, a
structure of movement, rather than fulfillment.
Víctor Mazón Gardoqui (Spain)
Interferenzen - Expanded Field (2010)
The visitors of the sound installation Interferenzen - Expanded Field are
equipped with small audio receivers and can listen to sounds in the outside
area in front of the .HBC. The individual pieces only become audible through
the wandering of the visitors, who's constellation constantly varies in position
and number. A play between reality and fiction is created in combination with
the existing acoustic environment. Students of all disciplines from the Hochschule fur Grafik und Buchkunst Leipzig collectively produced and created the
contents and technical equipment of the sound installation.
Idea, Concept, Coordination: Max Schneider,Víctor Mazón Gardoqui
Students: Ira Nimsdorf, Christian Schroeder, Peggy Pehl, Laura Wagner, Adrian
Sievering, Thomas Janitzky, Martin Rauch, Julius Heinemann, Joana Brunkow,
Ronny Bulik, Burkhard Beschow, Katya Lachowicz, Guillermo Fiallo Montero,
Stefan Riebel, Simon Reimann, Víctor Mazón, Viktor Brim, Thomas Taube
3*2
BERLIN 2010
INSTALLATIONS
Alberto de Campo, Generative Art class at UdK Berlin & guests
Varia Zoosystematica Profundorum Experimental studies in deep sea communication (2010)
Below 700m in the deep sea, the only light sources are bio-luminescent
animals; one can assume that much communication here is acoustic.
Inspired by the work of Flusser and Bec, we have developed models for this
communication: agents/creatures send symbols to each other, assemble
them into longer chains ('words'), and express these words as sound, light
or motion patterns. Like some birds adopt melodies from car alarms, our
creatures adopt morse code rhythms they may have heard from
submarines.
http://entropie.digital.udk-berlin.de/wiki/DeepSea
Alberto de Campo teaches Generative Art/Computational Art at UdK Berlin
since 2008. This is the first public group project of the class, developed in
several coordinated courses.
Alberto de Campo, Hannes Hoelzl, Renate Wieser, Bernhard Bauch,
Constantin Engelmann, Dominik Hildebrand, Akitoshi Honda, Florian
Kuehnle, Ingrid Ladurner, Karin Lustenberger, Rita Macedo, Naomi Mulla,
Sarah Rechberger, Johanna Tauber, Andre Wakko, Christian Zollner, Peter
Bartz, Tiago Cutileiro, Annie Goh, Tobias Purfuerst.
3.nthPrime
OPEN STAGE
.HBC
Monday 20. September, 20h (incl. Berlin SC user group meeting)
Tuesday 21. September, 20h
Wednesday 22. September, 20h
The Open Stages at .HBC are an opportunity for informal sessions
and performances, last minute presentations, talks, meetings etc.
We will provide power, loudspeakers, microphone, projector, WLAN.
Bring your laptop, controller, ideas, patches, UGens, friends!
2 ** 3
CONCERTS
Wave Field Synthesis hall H104, TU-Berlin
Thursday 23. September, 19h
John Bischoff
"Sidewalk Chatter (Redux)"
Marcus Schmickler
"Bonner Durchmusterung"
Bjarni Gunnarsson &
Miguel Negrão
"Fallacies"
Alberto de Campo
"Reversing Pendulum Music"
-------------------------------
Wave Field Synthesis (WFS) is a new technique for sound spatialisation. It
aims at a physical reconstruction of sound fields according to natural or
artificial models by synthesizing the wave fronts of a defined virtual sound
source with the superposition of wave fronts emitted by a closely spaced
array of loudspeakers. Thus, the spatial configuration of those virtual sound
sources does not depend on a certain listener position (sweet spot), as it is
the case with traditional stereophonic techniques such as two channel
stereo or surround. Moreover, while stereo setups allow the placement of
sounds only on a line between the involved speakers and do not work well
for lateral sources, WFS has no limitations concerning the placement of
virtual sound sources outside and even inside of the reproduction array.
The WFS hall in the main building of the TU Berlin is equipped with an array
of 832 loudspeakes. The system can synthesize up to 42 virtual sound
sources located inside or outside the room. Audio is fed into the system in
realtime, where the sound of one audio channel represents the sound of
one virtual source. The position of the sources can be controlled in realtime
using either the softwares GUI or OSC-messages sent from Supercollider or
any other OSC-software.
The WFS presentation is organized in cooperation with the Electronic Music
Studio of TU Berlin, Audio Communication Group.
3.pow(2)
CONCERTS
John Bischoff (USA)
commission
Sidewalk Chatter (Redux) (2009/2010)
employs a STEIM “crackle box” as a sound-making input. As a performer
plays the box by touching the circuit’s traces, a computer program analyses
loudness peaks and frequency components and generates its own
synthesized voices based on those patterns. This version, which was ported
to SuperCollider from my original MaxMSP patch by Chad McKinney, adds
spatial motions which track the diverse sonic contours within the sounds
themselves. Many thanks to Chad for his help.
Marcus Schmickler (Germany)
Bonner Durchmusterung (2010)
Alberto de Campo (sonification), Carsten Goertz (visualization)
The Bonn Patternization takes up the tradition of the relationship between
astronomy and music and attempts to attain an epistemological exchange
between both. How does one come from a complex series of numbers to an
understanding of the objects or even to a consistent phenomenology of the
cosmos, and what role could sound play in this? Conversely there is an
appeal in deriving interesting acoustic events and musical structures from
complex theoretical models of particle physics and astrophysics.
1 Reionization / Dark Ages
2 Solar eruptions
3 Eccentricity of the elliptical orbits of our solar system
4 Historical maps of the cosmic background radiation
5 The Bonn patternization
6 Gravitational models
7 Pulsars / neutron stars
8 Expansion / redshift / dark matter / dark energy
9 Gamma ray bursts
10 Quantum spectrums / multi-dimensionality
Commisioned by International Year of Astronomy and Deutscher Musikrat.
"SuperCollider".ascii[10].sqrt BERLIN 2010
CONCERTS
Bjarni Gunnarsson (Iceland / Netherlands) &
Miguel Negrão (Portugal / Netherlands)
Fallacies (2010)
is a collaboration piece between Bjarni Gunnarsson and Miguel Negrão. It
concerns the real-time interaction and relationships between gradually
evolving sine wave drones and dense, dynamic microsounds. The idea is a
journey in an indeterminate direction: a global movement carried by an
intense current of enfolding sound-masses that get disturbed and affected
by streams of high-density subatomic events. Fallacies is a multichannel
creation to be performed live on the WFS system.
Alberto de Campo (Austria/Germany)
Reversing Pendulum Music (2010)
Pendulum Music is the only process piece by Steve Reich: hanging
microphones swing above loudspeakers; the resulting feedback changes
with the time delays and distances. Reversing Pendulum Music turns the
idea around: it uses static microphones, and simulates moving sound
sources in the WFS system; overall system properties and simulation
glitches will influence the sounding result, and the system allows for
interventions, such as disturbing the movements by changing (simulated)
gravity.
$1 ++ $1 CONCERTS
Ausland - Concert 1
Thursday 23. September, 22h
Ruben Patiño
"3.3.3"
Itaru Yasuda
"complex composition"
Scott Cazan &
Jana Papenbroock
"I Like Supercollider and Supercollider Likes Me"
Roberto Garretón
"From one place to another and the paths in between"
EVOL
"Untitled"
Nick Collins
"scryptogram"
-------------------------------
Ruben Patiño (Spain)
commission
3.3.3 (2010)
is a multichannel audio-visual project born within the SuperCollider Users
Group in Berlin, developed in large part at NK and finished as part of L´ull
Cec residency at Hangar in Barcelona. 3.3.3 is an audiovisual performance
based on Super Collider as an audiovisual tool. 3.3.3 explores the relationship in between sound spatialization and live visuals foregrounding the
process of sound generation and the textual characteristics of Super
Collider. 3.3.3 is a decorative approach towards Real Time Audio Synthesis,
Speculative Sound Diffusion, Text Editing and Futile Visuals.
Scott Cazan (USA) & Jana Papenbroock (Germany)
I Like Supercollider and Supercollider Likes Me
is a performance piece exploring ritual acts through technology. Based off of
Joseph Beuys' landmark piece, the performance will involve electronic feedback systems, video, and stage performers among other elements.
"James McCartney".find("n") BERLIN 2010
CONCERTS
Itaru Yasuda (Japan)
complex composition
is a generative audiovisual concert piece updated every presentation. The
presentation is performed only by execution of a program. All sound and
graphics are generated in real time by SuperCollider. No real time control
(performance) by hand. It completely focuses on computational audiovisual
composition. In this work, both sound and graphics are generated simultaneously with each frame according to same number calculated by a
common numerical formula. It creates a new mathematical time axis and
brings pure geometric perception to the viewer.
Roberto Garretón (Chile)
From one place to another and the paths in between
A solo performer playing electric guitar with extended techniques and using
midi foot pedals to control live processing. The music goes from the extremes of gentle drone loops to aggressive noisy textures, reflecting a
contradiction in the search of pleasure. The guitar and the processed
sounds work together as an unity, making the whole setup to work as a
single instrument. The live electronics are programmed with SuperCollider,
100%, and the length of the piece is about 10 minutes.
EVOL (Spain)
commission
Untitled, for Computer
A performance for generative software. Dedicated to David Deutsch and
Mike Dearborn. Key words: pattern formation, pattern emergence, gas,
dynamic arrays, psychedelia, iteration, constructed languages, radical
computer music, rave, slime.
13-8-2-10 2-14-11-11-8-13-18 (20-10)
scryptogram
This work pays tribute to some familiar names from the SuperCollider
community, coding them into the fabric of the generative audio. Various
mappings are explored, including the 26 notes per octave scale for an
English alphabet. The cryptogram solutions are projected live as the piece
unwinds, for your delectation.
15.fold(12,14) CONCERTS
Kleiner Wasserspeicher - Concert 1
Friday 24. September, 19h
Daisuke Ishida
"Erratic Flow"
Paulo Ferreira Lopes
"de Profundis II" for violin and electronics
L. Scott Price
"Veils"
PyoungRyang Ko
"Fantaisie-Impromptu électroacoustique"
for flute and percussion
Olaf Hochherz
"Hoffnungsträger"
Fernando Lopez-Lezcano
"A Very Fractal Cat, Somewhat T[h]rilled"
Tom Hall & Katy Price
"under the yoke", for flute, trombone, guitar,
percussion, narrator and laptop
ensemble unitedberlin:
Andreas Bräutigam
violin
Martin Glück
flute
Daniel Göritz
guitar
Florian Juncker
trombone
Friedemann Werzlau
percussion
-------------------------------
Daisuke Ishida (Japan)
Erratic Flow (2010)
This performance project is channel-independent and all sounds are
digitally generated. The whole process of the performance is algorithmbased. Continuously throughout the piece, incoherent sound gestures keep
overlaying and again distancing from one another, so that at any given
moment in time the sound could either be very focused or distracted. This
results in an unpredictable inconsistent undulatory motion of the sound,
however accidental correlations may occur.
((0..3)*7)[2] BERLIN 2010
CONCERTS
Paulo Ferreira-Lopes (Portugal / Germany)
de Profundis II (2010) for violin and electronics
De Profundis is one of a series of pieces written for solo instruments, with
an additional piece of electronic treatments in real time (live electronics).
Profundis II, written in 2010, reports some events of 2004. One of these
events would mark deeply my life: the unexpected death of my father. This
piece, like almost all my works, does not intend to be a narrative of situations or feelings. However, its structure, sometimes based on thematic
patterns, helps to bring out some of my feelings.
L. Scott Price (USA)
Veils (2009)
gets its title from the overall shape of its sonic progression: from distant,
slow moving, and indistinct sounds to discrete, resonant, and distinctly
pitched material. I liken this progression to a slow revealing of hidden
beauty, much like pulling layered veils from a work of art. Within this overall
shape, certain compositional decisions are determined at performance time
by logic built into the computer playback system. By using this logic, every
performance realizes a variety of unique details within the same overall
progression.
PyoungRyang Ko (South Korea)
Fantaisie-Impromptu électroacoustique (2009/2010)
for flute and percussion
This piece is composed irrespectively of any established formal schemes
using time-based notation and involves improvisation from all performers.
The pitch structure in the first few minutes is based on the partials of the
tam-tam (model: Paiste 34"), which are also articulated by the electronics
and flute. The electronic realisation is performed with prisma sonorum
developed by the composer for MaxMSP, SuperCollider and JackOsX.
"5*3".interpret CONCERTS
Olaf Hochherz (Germany)
Hoffnungsträger (2009)
„Hope-carriers“ are small beings of lower duration. They appear and
disappear. They follow each other. Sometimes they appear in clouds,
dispersed in a landscape. They are similar to each other, perhaps. They
create gestures, rhythms, clouds that are stratified and fragmented. They
form an associative field. Practically, they are results of contingent,
structural operations on sound recordings and the selection of specific
constellations. They meet in two levels of production, the machinery of
creation and the machine of selection. Two machines, with their own
contingencies, but their own determination of the music.
Fernando Lopes-Lezcano (Argentina / USA)
A Very Fractal Cat, Somewhat T[h]rilled (2008-2010)
This is the latest of a series of performance pieces for pianos, computer and
“cat” (the proverbial cat walking on a piano keyboard). The performer
connects through a keyboard, four pedals and two wheels to virtual pianos,
directly and through algorithms. Markov chains, fractal melodies, scales and
trills are used throughout the piece. The pianos are heard directly,
processed using spectral and granular techniques and spatialized using
Ambisonics. The software was written in SuperCollider.
Tom Hall (music) & Katy Price (text) (UK)
under the yoke (2010)
for flute, trombone, guitar, percussion, narrator and laptop
combines contemporary narration, algorithmically composed instrumental
parts (based on Luddite folk-songs) and laptop 8-channel algorithmic
melodic synthesis and playback of treated recordings of sounds from the
natural and industrial worlds. The piece examines, at different historical and
aesthetic distances, the textual and musical remnants of 200 year old
Luddite events in the UK and is a multi-layered reflection on what can be
considered the natural and the technological.
2 << 3 BERLIN 2010
CONCERTS
Ausland Concert 2
Friday 24. September, 22h
Chad McKinney
& LAG
"Neuromedusae II"
Yvan Volonchine
untitled
Alo Allik
"f(x)"
Mark Rossi
"Untitled (parts I-IV)"
Fredrik Olofsson
"redUniform"
-------------------------------
Chad McKinney (USA) & LAG
Neuromedusae II
is a recent work by Lag that utilizes our custom made Medusa System.
This system allows the performers to collaborate together across the
internet to create and manipulate feedback matrices. In particular
Neuromedusae II focuses on feedback between several impulse response
based SuperCollider synths. During the performance Curtis McKinney will
be present in Berlin while the other members are distributed across the
Unites States.
www.lagensemble.com
Yvan Volochine (France)
untitled
improvised live coding
(0..3).nthPrime.sum commission
CONCERTS
Alo Allik (Estonia)
f(x)
is an audiovisual exploration of 3-dimensional continuous cellular automata.
During the performance, the behavior of the automata world is affected in
real time to reveal complex and organic patterns in audio and visuals, that
are conceptually and physically independent from each other.
Mark Rossi (UK)
Untitled (parts I-IV)
Evolved from a simple idea, this work extrapolates similar forms and events
from different sources as the internal structure is modified in real-time.
Visually, the process is revealed, and then dies, mirroring the nature of the
work.
Fredrik Olofsson (Sweden)
commission
redUniform (2008)
is an audiovisual performance piece where I take the role of a sad clown
with great fascination for red spheres and noisy sounds. The concept,
music, visuals and electronics were all developed during a six months
residency at IAMAS, Japan 2008.
SoundFile.openRead("sounds/a11wlk01.wav").numFrames.asString[0..1] BERLIN 2010
CONCERTS
Kleiner Wasserspeicher - Concert 2
Saturday 25. September, 19h
Andre Bartetzki
"String-Theory" for violin and electronics
Sergio Luque
"Sex, Drugs and Rock 'n Roll was never meant
to be like this"
Nicola Buso
"Wassersprache"
for live electronics with live coding inroads
José Miguel Fernandez
"M-brana"
for percussion, double bass and live electronics
based on instrumental motion capture
Robin Meier
"The Body is a Vessel"
for Apnoe Diver and Computer
Freediver: Elisabeth Kristoffersen (Norway)
Quiet Noise Quartet
untitled
ensemble unitedberlin:
Andreas Bräutigam
violin
Matthias Bauer
double bass
Friedemann Werzlau
percussion
Quiet Noise Quartet:
Alberto de Campo
SuperCollider / electronics
Hannes Hoelzl
SuperCollider / electronics
Joker Nies
circuit bent instruments / raw electronics
Mario de Vega
electronics
"SC Symposium Berlin".size CONCERTS
Andre Bartetzki (Germany)
String-Theory (2005) for violin and electronics
The string theory is an attempt to explain all particles and fundamental
forces of nature in one theory by modeling them as different patterns of
multi-dimensional vibrations of tiny strings. Our physical space is observed
to have only four large dimensions. In the case of string theory, consistency
requires spacetime to have 10, 11 or 26 dimensions. The conflict between
observation and theory is resolved by making the unobserved dimensions
compact dimensions. One way of dealing with higher dimensions is to not
try to visualize them at all but to just think of them as extra numbers in the
equations that describe the way the world works. Only a few millimeters
away from our 4-dimensional world many parallel universes might exist.
Sergio Luque (Mexico)
"Sex, Drugs and Rock ‘n Roll" was never meant to be like this (2008)
In the late 1960s, Xenakis started his research on stochastic synthesis: a
microscopic approach to sound synthesis that uses probability distributions
to manipulate individual digital samples. My piece explores the expressive
and timbral possibilities of an extension of Xenakis's techniques that I am
developing in SC: the stochastic concatenation of dynamic stochastic
synthesis. The piece is articulated by juxtaposing families of sounds;
highlighting the “micro” and “macro” of musical sound.
Nicola Buso (Italy)
Wassersprache (2010) for live electronics with live coding inroads
wishes to investigate the sound of the architectural space in the Wasserspeicher. The Wasserspeicher’s resonances will be amplified in a self
controlled (electro)acoustic feedback, with an algorithm that observe itself,
in a second-order cybernetics's “musical declination” (from H. von Foerster
to A. Di Scipio). During the performance the algorithm may be changed on
the fly (live coding practice) by introducing different DSP methods, in order
to reveal more hidden resonances.
Date.getDate.year.asString[0..1] BERLIN 2010
CONCERTS
José Miguel Fernandez (Chile)
M-brana (2009)
for percussion, double bass and live electronics based on
instrumental motion capture
The principal idea of this piece was to create a new relationship between
live instruments and electronics that primarily used motion capture (through
the use of accelerometers) in direct relation to a specific physical control
model - MSD (Mass Spring Damper). For example, by capturing gestures
such as a percussion strike, or a bow movement, the accelerometers can simultaneously excite virtual physical models (membranes and strings objects) at different points of the structure. From this point of initial capture
characteristics of virtual physical models become the commencement point
for the generation of new musical materials and control parameters such as
treatments, synthesis, sampling and real time spatialization.
Commissioned by National Fund for Music of the Government of Chile
Robin Meier (Switzerland / France)
commission
The Body is a Vessel (2010) for apnoe diver and computer
is a musical composition determined and performed by human physiology. It
lets us listen into the physiological processes of a professional freediver,
holding her breath on stage. The diver's strict organization of time for
preparation and diving form the basic structure of the music. The sounds of
the heart, lungs, bloodflow and diaphragm are used as musical material and
heard live in the hall. Using an EEG, changes of brain activity are made
audible and take us even deeper into the diver's body. The Body is a Vessel
submerges us in a baptism set to the sounds of science. Protective and
exposing, this work explores the perspectives of human evolution.
Quiet Noise Quartet
QNQ began with Albrecht Maurer, Matthias Mainz, de Campo and Hoelzl. A
later incarnation included Joker Nies; this will be the first concert with Mario
de Vega. Having played together in different contexts, we find the
combination of characters and playing attitudes in this band quite magical.
anything can and will influence the improvised flow of events, idiosyncrasies
of the analog instruments, software glitches, extraneous noise. Earlier
incarnations of this band liked to explore the strength of quietness (in
German, Leisstaerke), i.e. the lower dynamic fringes of New Music as much
as musique concrete, fragmented jazz moments, and abstract electronic
sound. The new constellation here may turn out quite different again.
Scale.sikah.degrees[6] CONCERTS
Playground - SuperCollider Club Event
Saturday 25. September, 22h
pre-midnight line-up
Curtis McKinney
"When the Snake eats its Tail"
Timur Kuyanov
"nanoscape.0"
Mattias Petersson,
Daniel Karlsson,
Jonatan Liljedahl
World Domination
Mario de Vega, DJ
post-midnight line-up
cylob (London/Berlin, UK)
Binray (Bristol, UK)
Somtek vs Skylla (Luzern, Switzerland)
Heinrich at Hart (Frankfurt/Berlin, Germany)
DJ Poingi (Tel Aviv/Berlin, Israel)
57110.wrap(0, 127) BERLIN 2010
CONCERTS
Curtis McKinney (USA)
When the snake eats its tail
Live electronic piece for stereo sound system. This piece explores the concepts of recursion and networks. The sonic material for the piece is generated
using lattices of recursive modulation synths, constructed in SuperCollider,
and chained together to form unpredictable layers of pulsating and thrashing
sound fields that feedback into themselves and each other. These sounds are
created and controlled by a networked quartet of musicians communicating
over the open internet. The resultant soundscapes is not a productive of any
single musician or machine but is instead created through a complex interdependent relationship where all the elements have varying levels of influence.
Timur Kuyanov (Russia)
nanoscape.0
Timur will not let those giant excellent-sounding machines full of high-grade
electronic components and producing mind-blowing musical progressions
take control over him! Using new generation of embedded devices, micro
synthesizers and minimum of controls artist proves possibility of producing
massive-sounding and dynamic performance in aesthetics of synthesized
organic structures reminding of those neo-futuristic dreams of cyberpunk
megapolis daily life.
World Domination (Sweden)
is a trio consisting of Mattias Petersson, Daniel Karlsson and Jonatan
Liljedahl. They all have a background in electronic art music as well as the
club scene, and the trio investigates rhythm and algorithmic dancability in
their music while finding inspiration in dubstep, noise, IDM and EAM.
kymatica.com/Main/WorldDomination
cylob (UK)
Chris Jeffs aka Cylob makes his music using his own Cylob Music System
program, written in the Supercollider language. This continuing work in progress, started in 2001, has led to his sound becoming increasingly distinctive.
"SinOsc.ar(440, pi, 0.5)".size CONCERTS
.HBC - Laptop Ensembles
Sunday 26. September, 18h
installation
Andre Wakko Hostalácio
"Marionet"
concert
LAG Laptop Orchestra
"LAGMonster"
Benoît and the Mandelbrots
"Ad-liBerlin"
Das IMM-Rundfunkorchester
"Extractions Pt. I"
-------------------------------
André Wakko Hostalácio (Brazil)
Marionet
is an interactive installation composed of laptops and people. Sounds are
produced based on the physical movement of each laptop machine in X,Y
and Z coordinates. All the machines are connected by a network, and each
one can send its movement information to some of the other computers, so
each user/laptop can be both marionet and puppetmaster. Each machine
has his own sound persona, and the screen functions as a visual indicator
for messages coming in.
(1..4).product BERLIN 2010
CONCERTS
LAG Laptop Orchestra (USA)
LAGMonster
is a realtime network piece, a virtual instrument consisting of different
synths played simultaneously by all members of the ensemble. Each synth
is mapped to a key of a computer keyboard. If only one person is pressing
any given key, the synth is played. If no one is pressing that key it mutes. If
more than one person is pressing the same key at once however various
parameters of the synth are modulated. Curtis will be physically present in
Berlin, while the other players are connected from the USA via Internet.
LAG is: Cole Ingraham, Chad McKinney, Curtis McKinney, Ben O'Brien
www.lagensemble.com
Benoît and the Mandelbrots (Germany)
Ad-LiBerlin
is an improvised Live Coding performance using the Just-in-Time Library
(JITLib). Live coding is the process of writing software in real-time. This
young computer music discipline uses the programming language itself as
an at first sight non-intuitive, but simultaneously expressive interface
between man and machine. Sonic conceptions and structures are expressed live as source code, and interpreted by the computer. Benoît and
the Mandelbrots was formed in winter 2009 by students of the University of
Music Karlsruhe: Holger Ballweg, Patrick Borgeat, Juan A. Romero and
Matthias Schneiderbanger
www.the-mandelbrots.de
5.cubed.asString[1..] CONCERTS
Das IMM-Rundfunkorchester (Germany)
Extractions Pt. I
Rundfunkorchester is a SuperCollider-network-music project originated in
Düsseldorf's Institute for Music and Media (IMM). No single sound is generated by the computers. Instead, we hear the current radio programme
playing through circuit-bent radio receivers, replacing the classical style of
playing bent instruments by hand through bodily interaction with the
electricity. The radiophonic network, as explored by artists from Cage to
tonic train, is augmented by a second layer of networked laptops that grants
universal access for the interpretation of all the receiving nodes.
Lukas Truniger (Switzerland/Germany)
place of birth: Zurich
first musical instrument: a hacked recorder flute
favourite food: reflow solder fondue
favourite UGen: Clip
Jonas Hummel (Germany)
place of birth: Stuttgart
first musical instrument: the 104 QWERTZ keyboard
favourite food: 50k Potentiometers
favourite UGen: Dust
Julius Hochstrate (Germany)
place of birth: somewhere in Germany
first musical instrument: something which makes noise
favourite food: something to eat
favourite UGen: any UGen
Maurice Braun (Germany)
place of birth: Simmerath
first musical instrument: OneToneSynth
favourite food: plumb
favourite UGen: Pbind
Hannes Hoelzl (Italy/Germany)
place of birth: Bozen
first musical instrument: the mains socket
favourite food: antenna salad
favourite UGen: Crackle
"Berlin".ascii.wrap(*"SC".ascii).fold(18, 26).sum/(9-4) WORKSHOPS
UdK
Saturday 18th, 10 - 19h
Nick Collins & Tom Hall
Introduction to SuperCollider
Sunday 19th, 10 - 19h
Nick Collins & Tom Hall
Gaining Confidence in SuperCollider
.HBC
Saturday 18th, 9.30 - 13.30h (part I) +
Sunday 19th, 10 - 14h (part II)
Marije Baalman
Sense Stage
Saturday 18th, 14 - 18h
Massimo Scamarcio
Audio analysis and feedback control with SC
Sunday 19th, 15 - 19h
Julian Rohrhuber
Experimental programming and live coding Introduction to JITLib
Monday 20th, 10 - 19h
Jost Muxfeldt
Introduction to SC GUI Programming
Tuesday 21st, 10 - 14h
Jan Trützschler v. Falkenstein Managing larger projects in SC
Tuesday 21st, 15 - 19h
Jan Trützschler v. Falkenstein Creating expandable user interfaces in SC
Wednesday 22nd, 10 - 14h
Alberto de Campo
Performance Interfaces
Wednesday 22nd, 15 - 19h
Sergio Luque
Patterns in a Stochastic Field
WFS hall, TU-Berlin
Monday 20th, 20 - 24h
Marije Baalman
Wave Field Synthesis and SC
s.addr.ip[1..2] WORKSHOPS
Nick Collins & Tom Hall (UK)
Introduction to SuperCollider
A friendly introduction to SuperCollider for absolute beginners, aimed at
artists and musicians. We will aim to get you creating music live with
SuperCollider within a short space of time; the emphasis wll be on practical
music making to help motivate your learning. Aside from a little familiarity
with the digital arts, no prerequisites, though some prior exposure to
computer music (perhaps through Max/MSP or Csound) may be helpful.
The workshop will be adaptable to participants' needs, with chances to request topics, and built-in question and answer sessions. The healthy emphasis always will be on artistic applications with SuperCollider, and facilitating
participants' own projects. Data for the workshop will be supplied by the instructors on USB stick on the day, but feel free to download and try out SuperCollider in advance; the teaching version for the workshops will be 3.4.
2 x 4 hrs, beginner
Nick Collins & Tom Hall (UK)
Gaining Confidence in SuperCollider
An overview of the SuperCollider synthesizer and language, aimed at
consolidating understanding of the system and its capabilities. We would
cover aspects of sound synthesis, algorithmic composition and interfacing
relevant to building real working systems. This workshop would be suitable
for those who have taken the previous day's beginner workshop, as well as
those wanting to refresh or extend their skills.
2 x 4 hrs, beginner / intermediate
Sense Stage
The workshop will focus on using the wireless sensing hardware and
processing the data from the sensors in a collaborative project. The
workshop should be of interest to anyone who is interested in working with
realtime sensor data for either live performance or interactive installations,
using SuperCollider and looking for a framework to route, process and map
the sensor data to sound and other media. For the workshop basic
knowledge of and ability to use SuperCollider needed.
2 x 4 hrs, intermediate
a = 28 BERLIN 2010
WORKSHOPS
Massimo Scamarcio (Italy)
Audio analysis and feedback control with SC
This workshop aims to examine, explore and exploit the different functionalities and potentials of the SuperCollider3(SC3) language when applied
to analysis, resynthesis and feedback control of audio. The main focus of
the workshop is to learn how to analyse audio and use its attributes /
characteristics for processing and controlling feedback (and more).
1 x 4 hrs, intermediate / advanced
Julian Rohrhuber (Germany)
Experimental programming and live coding - Introduction to JITLib
This workshop will introduce basic and advanced concepts in experimental
programming through an overview of the interactive programming
capabilities in SuperCollider. We will discuss how to set up for interesting
sonic experiments and simple interactive sonifications, as well as their
potential in live improvisation. An emphasis will be the recursive nature of
just in time programming, and the timing and context sensitive nature of
situated algorithms. However not strictly required, it is useful to have some
experience in programming SuperCollider (We won't discuss basics like
installation and the editor).
Jost Muxfeldt (USA / Germany)
Introduction to GUI Programming in SuperCollider
This workshop will take you through all the important basics of SuperCollider GUI Programming. I will lead the participants through the basics of
SC GUI Programming with Swing and Cocoa.
Introduction. GUI kits Swing and Cocoa // SCView, the parent of most GUI
objects // The basics of windows, views, and their coordinates // The basics
of getting and setting values on the sever via GUI // Mapping values // EZ
GUIs, and auto GUIs // Mouse and Key events // Basics of draw hooks //
GUI Programming Structures // Custom GUIs with SCUserView.
a + 1 WORKSHOPS
Wave Field Synthesis and SC
TU Berlin’s lecture hall H104 is up to now the largest WFS system in the
world and therefore this is a unique opportunity to give interested SuperColliderists an introduction to the technology and the system and to try it out
themselves. The swonder software can easily be controlled via OSC from
SuperCollider, and by using a running scsynth on the control host of the
WFS system, multiple participants will be able to create sound sources and
move them around in space. Using the projection possibilities in H104 we
can both display the current sound source locations as well as the code
executed by various participants.
The first hour of this four hour workshop will introduce Wave Field Synthesis
and the system setup in H104, along with some simple demonstrations of
how to control the system from SuperCollider. The remaining three hours,
participants will be able to explore together possibilities of the system, by
creating and controlling sound sources themselves. The experimentation
and improvisation will be interspersed with discussions, reflecting on the
impressions and results of playing around on the system.
Participants should have some basic abilities in SuperCollider, like writing
SynthDefs, instantiating Synths and have a basic understanding of the
language
Jan Trützschler von Falkenstein (Germany)
Managing Larger Projects in SuperCollider
This workshop focuses on methods and strategies to manage larger
projects, which exceed the size of an over-viewable chunk of code.
SuperCollider offers various options to re-use code, split large pieces of
code into collections of smaller ones and to build up certain hierarchies of
functions or functionalities. Such options include for instance writing classes
or handling code in separate files. While it is useful to handle code in
different places, it is also important to choose the right design model. In a
hands-on approach we will go through different design patterns, which show
how one can easily set up large projects, keep them expandable and eventually turn them into a stand-alone applications. For this workshop participants are expected to have already some experience with SC.
"a + 3".digit.select(_.notNil).product BERLIN 2010
WORKSHOPS
Jan Trützschler von Falkenstein (Germany)
Creating expandable user interfaces in SuperCollider
SuperCollider has a graphic library, which can be used to create (graphical)
user interfaces (GUIs) to control Synths and other processes. It also
provides methods to use almost any other physical controller through MIDI,
OSC, Arduino and the (USB) HID interface. Other programs, such as
Processing can be interfaced using OSC. This workshop focuses on
techniques and strategies to build and maintain interfaces and connect
them to other physical controllers, while still being able to expand them later
on and make them re-usable in different situations. While still focusing
mainly on advanced GUI techniques, participants are welcome to bring their
own controllers in order to connect them to SC.
Alberto de Campo (Austria / Germany)
Performance Interfaces
Just in Time programming, especially with JITLib, allows playing with
multiple processes very flexibly, be they sound synthesis, processing,
patterns or tasks. One can even making radical changes by rewriting things
last-minute or during performance. We will look at the Quarks
JITLibExtensions, JITMIDIKtl, Manta; and will look at preparing example
performance setups. Bring your own laptop, favorite controller(s) and
playing patches.
Patterns in a Stochastic Field
This workshop will be an introduction to SuperCollider's powerful Streams,
Patterns and Events framework, with a strong focus on stochastic algorithmic composition. We will explore different ways of working with patterns and
stochastic procedures to synthesize sounds and to compose algorithmically.
For SuperCollider users and absolute beginners wishing to make music with
the patterns framework.
31.nthPrime - 31.indexOfPrime.squared CONFERENCE
UdK
Thursday 23. September, 10 - 17h
Welcome
10.00 - 10.15 Conference begins
10.15 - 10.30 Welcome Talk, Prof. Martin Rennert, President of UdK Berlin
10.30 - 10.45 General info / welcome by Berlin organizers team
Works 1
11.00 - 11.45 Fernando Lopez-Lezcano,
CatMaster and “A Very Fractal Cat”, a piece and its software
11.45 - 12.30 Daniel Mayer, Lokale Orbits
lunch
Synthesis
14.00 - 14.40 Sergio Luque, Stochastic Synthesis
14.40 - 15.20 Stefan Kersten, Mescaline - Data Driven Synthesis for the Masses
15.40 - 16.20 Dan Stowell, Timbre Remapping with Regression Trees
16.20 - 17.00 Yota Morimoto,
Hacking Cellular Automata: an Approach to Sound Synthesis
"strange page numbering ...".at(7).ascii BERLIN 2010
CONFERENCE
Fernando Lopez-Lezcano (Argentina / USA)
CatMaster and "A Very Fractal Cat", a piece and its software
This talk describes the genesis and evolution of a series of live pieces for a
classically trained pianist, keyboard controller and computer that include
sound generation and processing, event processing and algorithmic control
of the structure of the piece. The pieces are based on piano sounds, and
include granular and spectral processing and additive synthesis. The control
and processing software is written in SuperCollider and the program
(CatMaster) is currently around 5300 lines of code.
Daniel Mayer (Austria)
Lokale Orbits
Structure of compositional process and presentation of work-related SC
code. Lokale Orbits started as a sequence of pieces for solo instrument and
tape, whereby sounds, played by the musicians concerned, were recorded
for further processing. Description of different granular synthesis and
spatializsation techniques.
Stochastic Synthesis
For the last seven years, I have been researching Xenakis's stochastic
synthesis techniques with the help of SuperCollider. I have developed
different frameworks to be able to explore and extend various stochastic
synthesis approaches. Most of these techniques are based on an extension
of Xenakis’s dynamic stochastic synthesis algorithm (from 1991) that I am
currently developing and using in my works: the stochastic concatenation of
dynamic stochastic synthesis.
a + 5 CONFERENCE
Stefan Kersten (Germany)
Mescaline - Data Driven Synthesis for the Masses
Data-driven sound synthesis methods reassemble existing sound material
based on features and high-level structure extracted from the original audio
data. They have found considerable attention in academic research in
recent years, but are only reluctantly finding their way into commercial audio
applications. We introduce Mescaline, an attempt to bridge the gap between
experimental sound recomposition and main-stream audio production, by
integrating well known concepts for organizing audio material and contentbased synthesis methods. The application is intended to be an extensible
platform for future experimentation with data-driven methods.
Dan Stowell (UK)
Timbre Remapping with Regression Trees
When using the timbre of a signal to control some other system (e.g. using
voice to control a synthesiser), the question arises of how a machine could
learn to create timbral "analogies" - complicated by timbre's multidimensional nature. We present our regression tree technique which learns associations between two unlabelled multidimensional distributions, and apply
the technique to a simple timbral concatenative synthesis system.
Yota Morimoto (Japan)
Hacking Cellular Automata: an approach to sound synthesis
In this paper, I present my implementations of cellular automata in sound
synthesis (UGens in SuperCollider). A general explanation of the system is
given, followed by a review of historical applications in music. It then gives
descriptions of the actual hacking/implementation and conclusions drawn.
Main.version.asFloat * 10 BERLIN 2010
CONFERENCE
UdK
Friday 24. September, 10 - 17h
Works 2
10.00 - 10.45 Hanns Holger Rutz / Nayarí Castillo, Dissemination and Temporality
10.45 - 11.30 Hannes Hoelzl, Sounds • Spaces • Listenings
11.45 - 12.30 Nick Collins, Autocousmatic
lunch
Extending SC 1
14.00 - 14.30 Tim Blechmann,
Exposing Parallelism Explicitly to the SuperCollider Node Graph
14.30 - 15.00 Dan Stowell / Alex Shaw, SuperCollider and Android
15.00 - 15.30 Daniel Mayer, miSCellaneous lib
15.30 - 17.00 Developers Lounge 1
-------------------------------
Hanns Holger Rutz (Germany) / Nayarí Castillo (Venezuala/USA)
Dissemination and Temporality
We discuss our installation Dissemination, looking at its genesis and background. We first focus on Nayarí's research on migration and site-specific art.
We will then discuss the sound composition, and ways to structurally
represent generative pieces while composing them. We look closer at the
SoundProcesses framework used, which allows to compose and interconnect
such processes, and examine how the creation of the piece unfolded in time.
Hannes Hoelzl (Italy / Germany)
Sounds • Spaces • Listenings
I will present some of my recent audio installations, especially scenarios
(2008), a series of 10 Sound Installations in a single place: a historical
fortress covering an area of 6 hectares and with ~70 indoor spaces at
disposition for listening. The exhibition was one of the key projects of the
biennial art festival Manifesta and took place in alpine north Italy. A few
related installations will also be covered; and some of the algorithms used in
these pieces will be demonstrated live.
b ? a + 7 CONFERENCE
Nick Collins (UK)
Autocousmatic
Autocousmatic generates electroacoustic music intended for acousmatic
presentation; based only on a seed directory of source sound files, a
desired duration and number of output channels, the program creates multi
channel spectromorphological tape pieces. Audio analysis capabilities are
used to discover 'useful' portions of sound files and assess processed files.
This presentation will cover the implementation, including the challenges of
mass file processing in NRT mode in SuperCollider, and the evaluation of
the system through its products.
Tim Blechmann (Austria)
Exposing Parallelism Explicitly to the SuperCollider Node Graph
The SuperCollider node graph is designed as a sequential data structure.
In order to distribute the audio synthesis to multiple processors, new concepts have to be introduced. This paper proposes two extensions to the
SuperCollider node graph, parallel groups and free node predecessors and
successors. While SuperCollider programs will not be parallelized automatically, these concepts will provide the programmer with powerful means
to specify parallelism explicitly.
Dan Stowell / Alex Shaw (UK)
SuperCollider and Android
SuperCollider's audio server has great potential as an audio engine for mobile
applications, and Android offers an interesting mobile OS for a variety of devices. Dan and Alex will describe the Android infrastructure and how SuperCollider's architecture fits into this ecosystem. Then they will describe their
port of scsynth to Android, demonstrating some of the applications they have
created, and how you can do interesting sound things on Android right now.
Daniel Mayer (Austria)
miSCellaneous lib
Description of a family of classes, that allow synth value reference in pbindstyle objects. Playing initializes a send/receive mechanism using OSCresponders before event data calculation. See the help file „Working with
HS and HSpar.html“ (in the miSCellaneous help folder) for a more detailled
overview.
nil ? "nil".ascii.differentiate.mean BERLIN 2010
CONFERENCE
UdK
Saturday 25. September, 10 - 17h
Performance
10.00 - 10.35 PyoungRyung Ko,
Energising Live-Electronic Performances with SuperCollider, MaxMSP
and JackOsX in an Interapplicational Environment
10.35 - 11.10 Luis Alejandro Olarte, Jabalion - routing control and audio signals
11.20 - 11.55 Richard Hoadley, Implementation and Development of Interfaces
for Music Generation and Performance through Analysis of
Improvised Movement and Dance
11.55 - 12.30 Thor Magnusson, ixi lang: A SuperCollider Parasite for Live Coding
lunch
Extending SC 2
14.00 - 15.00 Hanns Holger Rutz, ScalaCollider
15.00 - 15.30 Julian Rohrhuber, <<> and <>>
Two Simple Operators for Composing Processes at Runtime
15.30 - 17.00 Developers Lounge 2
-------------------------------
PyoungRyung Ko (South Korea)
Energising Live-Electronic Performances with SuperCollider,
MaxMSP and JackOsX in an Interapplicational Environment
How can a flexible environment with a simple GUI be constructed, which
can manage the whole capacity of multicore-cpu for real time audio signal
processing, augmented also by vst or audio unit plug-ins? In this presentation, it will be shown how I have been developing the program prisma
sonorum, in order to achieve this with a pc with multi-core cpu.
"SuperCollider".ascii.sum.abs.sqrt.ceil CONFERENCE
Luis Alejandro Olarte (Colombia)
Jabalion - routing control and audio signals
I will present Jabalion, an improvisation environment as an SC standalone.
It uses a 'Matrix' concept for routing the audio signals and mapping and
assigning control parameters. Synth and processing methods include: fm,
gendy, kmeans, granulation, fft, delays lines. It can be controlled by computer, midi interfaces and sensors (arduino), and by pitch and amplitude
analysis. I will also discuss GUI issues, presets, automatization, and future
perspectives for this work.
Richard Hoadley (UK)
Implementation and Development of Interfaces for Music Generation
and Performance through Analysis of Improvised Movement and
Dance
This presentation describes the conception, design and implementation of a
number of hardware/software musical interfaces and their use in rehearsal
and performance settings with a group of dancers and a choreographer, as
well as their use by members of the public. It analyses these occasions and
investigates the continuing design and development of such interfaces. It
also examines the nature of electronic and digital interfaces for musical
expression through the specific use of multiple sensors, the data from which
is used to control many changing musical parameters.
Thor Magnusson (Iceland / UK)
ixi lang: A SuperCollider Parasite for Live Coding
This paper describes the rationale and design of the ixi lang, a live coding
language built on top of SuperCollider. The paper explains why SuperCollider is used for this task, and reports on a survey conducted with users
of the language. It concludes that simple and constrained systems can be
useful in specific musical contexts, in particular when sketching or improvising, but that such systems can be limiting in the long run.
37.bitNot.abs BERLIN 2010
CONFERENCE
Hanns Holger Rutz (Germany)
ScalaCollider
ScalaCollider is a client for SuperCollider server in the Scala language. It
encapsulates much of the expressiveness of SC-Lang, adding new unique
expressiveness, type-safety, performance, and doing away with the split-up
of SC-Lang (compiled classes, interpreted code, C primitives, GUI server).
Being an experimentation field of how things could be done differently,
ScalaCollider presents a multi-layered system and shows the possibilities
and limitations of using a general-purpose language.
<<> and <>>
Two Simple Operators for Composing Processes at Runtime
Dynamic rearrangement of synth graphs can be an interesting method to
move from one sound to another and from one idea to the next. It also
implements the common graphical paradigm of "patching". In analogy to
function composition operator <>, two new operators, <<> and <>> help to
compose running processes of node proxies. This brief paper gives a few
examples how they can be used for sound synthesis.
(1..5).lcm(3).sum CONFERENCE
UdK
Sunday 26. September, 10 - 17h
Spatialisation +
10.00 - 11.00 Scott Wilson, BEASTmulch presentation
11.20 - 12.00 Miguel Negrão,
The challenges and possibilities of real-time Wave Field Synthesis
12.00 - 12.30 Julian Rohrhuber,
- Introducing Sonification Variables
lunch
Composition +
14.00 - 14.45 Alo Allik, Audiovisual Composition with Three-Dimensional
Continuous Cellular Automata
14.45 - 15.15 Martin Carlé / Thomas Noll, Fourier-Scratching
15.15 - 15.45 Renate Wieser / Julian Rohrhuber / Alberto de Campo,
Meaning without words (talk)
16.00 - 17.00 open mike / discussion / next symposium ...
-------------------------------
Scott Wilson (Canada)
BEASTmulch presentation
This presentation will demonstrate the BEASTmulch Library for multichannel composition and processing, including new features to be released
in version 2. These features include extended automation capabilities, multichannel room simulation with moving sources, auto-speaker localisation,
and 'cluster' spatial granulation.
www.beast.bham.ac.uk/research/mulch.shtml
100.ampdb BERLIN 2010
CONFERENCE
Miguel Negrão (Portugal / Netherlands)
The challenges and possibilities of real-time Wave Field Synthesis
Description of an implementation of real-time spatialization using Wave
Field Synthesis in the SuperCollider audio synthesis programming
language. The basic theory of WFS is introduced, followed by the details of
a new implementation of general SuperCollider real-time usage for the
Wave Field Synthesis system of the Game of Life Foundation (WFS-GOL).
An application of the system using spatialized sine wave generators is
described.
- Introducing Sonification Variables
This short paper introduces the notion of sonification variables, which help
in the field of sonification, in moving beyond analysis of measured data towards the theoretical relations between them. A new symbolism is
suggested to make this possible independently of specific disciplines.
The introduction of such variables into arbitrary formalisms is described in
terms of a general sonification operator .
Alo Allik (Estonia / UK)
Audiovisual Composition with Three-Dimensional Continuous
Cellular Automata
I will discuss the conceptual and algorithmic structure of the audiovisual performance environment - f(x) - which will be presented in concert at Ausland
on Friday, September 24th. The performance environment is based on the
concept of three-dimensional continuous-valued cellular automata and this
presentation seeks to reveal the basic principles of mapping sound and
visual synthesis parameters during the performance.
(0..41)[41] // pointless CONFERENCE
Martin Carlé / Thomas Noll (Germany)
Fourier-Scratching
Fourier-Scratching explores an unsung aspect of the celebrated analogy
between sound and rhythm: the core triad in signal processing - analysis
(DFT), manipulation of the spectrum, re-synthesis (IDFT) - is applied to
rhythmic loops. Onsets of the discrete time loop are mapped onto a
Riemann-Sphere, representing complex numbers whose amplitude and
phase encode loudness and sound color. SC + Horde3D equip the "Fourier
DJ" to sonify rhythmic loops by "Scratching" their Fourier coefficients.
Renate Wieser (Germany)
Meaning without words
(in collaboration with Julian Rohrhuber and Alberto de Campo)
Instead of listening to the phonetic structure of words, we listen to the
layered silent grammatical structures of sentences. For this, we sonify
linguistic data, which associates multiple structural interpretations with
specific sentences from a comparative linguistic corpus of Old, Middle, and
Early New High German, as well as recent newspaper material. We are
grateful to Anke Lüdeling, Professor at Humboldt University for the kind
collaboration. This project will be exhibited as an installation within an
exhibition on conversational art and early computer art (featuring the work
of the pioneers Kurd Alsleben and Antje Eske) at the ZKM in Karlsruhe from
October 2010. The talk gives a brief insight into the work in progress.
"ultimate * answer".ascii.at((6*9).asString.digit.reduce('+')) BIOGRAPHIES
Alo Allik (Estonia/UK). I have a musically and geographically restless lifestyle which has taken me through diverse creative environments half way
around the northern hemisphere, including eclectic DJ sets, live electronic
jams, electroacoustic composition, free improv and multimedia performances all over the US and Europe. I have been hooked on SuperCollider for
over 10 years and I am currently working on my Ph.D. in the UK.
www.tehis.net
Marije Baalman (Netherlands) studied Applied Physics at the Technical
University in Delft and graduated in February 2002 on the topic of
Perceptual Acoustics. In 2001/2002 she followed the Sonology Course at
the Royal Conservatory in The Hague. She completed her Ph.D. on Wave
Field Synthesis and electro-acoustic music in 2007 at the Electronic Studio
of the Technical University of Berlin. Between 2007 and 2010 she was a
post-doctoral researcher in Computation Arts at Concordia University in
Montreal.
www.nescivi.nl
Holger Ballweg (Germany) born in 1986. Student of music informatics and
musicology at the University of Music Karlsruhe since 2007.
www.uiae.de
Andre Bartetzki (Germany), 1987-1993 studies of sound engineering at the
Musikhochschule in Berlin, where he founded and led the studio for electroacoustic music until 2002. From 1999 to 2004 he taught at the Musikhochschule and at the media faculty of the Bauhaus university in Weimar.
Since 2009 co-director of the electronic studio at the TU Berlin.
Performances and exhibitions at many international festivals for contemporary music, computer music and media art. Cooperations with
musicians, dancers and artists. Scholarships at ZKM Karlsruhe, Künstlerhaus Ahrenshoop, Denkmalschmiede Höfgen.
www.bartetzki.de
34.asString.reverse BIOGRAPHIES
John Bischoff (USA) (b. 1949, San Francisco) is known for his solo constructions in real-time synthesis and the pioneering development of computer network music. Recent solo performances include SMC 2009
(Portugal), Skolska 28 (Prague), and NK (Berlin). He is a founding member
of The League of Automatic Music Composers (1978) and The Hub (1985),
seminal computer network bands based in the San Francisco Bay Area. He
is currently an Associate Professor of Music at Mills College in Oakland,
California.
www.johnbischoff.com
Tim Blechmann (Austria) is an improviser and composer, using computer
and loudspeakers as main instrument. his music is focussed on static noise
textures, that are digitally generated and spatially projected in real-time. for
live performances, his preferred lineup is the duo with another improvising musician. regular collaborators include klaus filip, manuel knapp and
seijiro murayama among others. he is currently studying the individual
university program 'music informatics' in vienna, austria.
tim.klingt.org
Patrick Borgeat (Germany) born in 1985 in Öhringen, Germany. Student of
music informatics and musicology at the University of Music Karlsruhe since
2005. Former member of the laptop ensemble Grainface.
www.cappel-nord.de
Nicola Buso (Italy). After a diploma on pianoforte, and a degree on philosophy (Università Ca’ Foscari, Venezia), Nicola Buso received his diploma
on electronic music (teacher: A. Vidolin), and a PhD in musicology (tutor: A.
Orcalli). He collaborate with the Archivio L. Nono (Venezia) and teach
electronic music in Conservatorio “Tartini” (Trieste); his compositions have
been performed in Italy, Poland, Germany and United States. His current
interests deal with live coding and hypertextual hermeneutics.
www.busoni.net
Alberto de Campo (Austria/Germany) is professor for Generative Art /
Computational Art at UdK Berlin. He has worked on synthesis software with
Curtis Roads, Florian Hecker, Marcus Schmickler, and taught computer
music at many international institutions. His research interests include
sonification, algorithmic methods in the arts, and just in time programming;
he loves playing with powerbooks_unplugged and improvising with
electronic and acoustic musicians in varying contexts.
www.medienhaus.udk-berlin.de/pages/Generative_Kunst
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BIOGRAPHIES
Martin Carlé (Germany) has a background in recording, music technology
and programming. He studied Musicology, Philosophy and Cultural Studies
at the Univ. of Hamburg and at the Humboldt University of Berlin. 20032008 he taught Media Theory assisting the establishment of the Media
Studies Department at Humboldt University. 2009 he moved to Athens
where he works on his PhD that entails a re-enactment of ancient Greek
music theory, its para-semantics and epistemology of melodic process with
the help of SC.
Nayarí Castillo (Venezuela/USA). Using video, text and photography,
Castillo’s installations are site-specific constructs attached to traveling
concepts, interventions engaging with history and space, where ancient
tools and contemporary devices combine in a post-colonial discourse.
Molecular Biologist and Artist (MFA Art University Caracas, MFA Public Art
and PhD Arts Bauhaus University Weimar). Numerous exhibits, e.g. in
Brussels, Buenos Aires, Mexico, NY, Salzburg, Budapest. Resides and
works in Plymouth (UK) and Berlin.
www.nayaricastillo.com
Scott Cazan (USA) is a performer and sound artist specializing in the composition of works for chamber ensembles and the performance of live electronic music. Scott has performed and shown his installation work in various
parts of the United States, France and Germany, most recently participating
in artist residencies with the CENTQUATRE (France), PACT Zollverein
(Germany) and CalArts. Scott holds a BFA from the University of California,
Santa Barbara and an MFA from the California Institute of the Arts where he
studied with Mark Trayle, Michael Pisaro, Sara Roberts, Ulrich Krieger, Clay
Chaplin, Jeremy Haladyna, Julio Estrada and Zbigniew Karkowski among
others. He currently teaches and performs regularly in the Los Angeles area
where he is based and his music can be heard on Khalija Records.
www.scottcazan.com
Nick Collins (UK) lectures at the University of Sussex, running the music
informatics degree programmes there. He co-edited the Cambridge Companion to Electronic Music (Cambridge University Press 2007), and wrote
the Introduction to Computer Music (Wiley 2009). iPhone apps include
iGendyn, TOPLAPapp, Concat and for iPad, PhotoNoise. Recent concerts
include live coding in a vineyard in Corfu, falling off a piano stool in Sydney,
singing the 100 metres in Brighton, and playing harpsichord in Wirral. Sometimes, he writes in the third person about himself, but is trying to give it up.
www.informatics.sussex.ac.uk/users/nc81/
110.cpsmidi BIOGRAPHIES
EVOL (Spain). Since the late nineties, Roc Jiménez de Cisneros and his
collaborators have been producing what they call "computer music for
hooligans", inspired by fractal geometry, quantum theory and rave culture.
A vortex of generative bass lines, air horns, strangely familiar vocalisations
and noise, their music displays a radical and playful approach to algorithmic
composition. Their work has been exhibited internationally and published on
record labels such as Entr'acte, Mego, Presto!? or their own ALKU.
www.vivapunani.org
Paulo Ferreira-Lopes (Portugal/Germany) studied composition in Lisbon
between 1988 and 1991 with Constança Capdeville. Between 1995 and
1997 studied in Paris composition with Emmanuel Nunes, Antoine Bonnet
and Computer Music with Curtis Roads. Master in Composition at the
University of Paris VIII (1996). Further studies in composition with Karlheinz
Stockhausen at the "Internationale Ferienkurse für Neue Musik" Darmstadt.
Founder and Director (2000) of the Summer Workshops - olhAres de
Outono at Univesity Catholic Porto. Doctor degree in Computer Music at
the University of Paris VIII.
www.ima.zkm.de/~pfl
Roberto Garretón (Chile). Roberto's formal education includes a master's
degree on electro-acoustic music from the Sonology Institute, Royal Conservatory in The Hague, Netherlands, and a Bachelor's degree on Arrangements and Composition of Popular Music from Escuela Moderna Music
school in Santiago, Chile. His informal education includes guitar studies in
both classical and electric guitar with private tutors in Chile. Roberto's music
tries to bridge the contemporary-experimental with the popular music by
using electronics, playing either solo, on collaborations, as part of bigger
projects or with his indierock band NiCad. Roberto was born in Santiago of
Chile in 1973 and now he lives in The Hague, the Netherlands.
www.robertogarreton.com
Bjarni Gunnarsson (Iceland/Netherlands) is an icelandic composer born in
1980 in Reykjavík. He has released records on labels like Vertical Form,
Thule, Uni:form, Spezial Material, Trachanik and lmalc and perfomed his
music in Germany, England, France, Belgium, Denmark, Holland, Greece,
Ireland and Iceland. Bjarni studied with Gerard Pape, Trevor Wishart,
Agostino Di Scipio and Curtis Roads at the CCMIX music center in Paris
and is currently a master student in the Sonology in Den Haag.
www.bjarni-gunnarsson.net
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BIOGRAPHIES
Tom Hall (UK) is active as a composer and performer of electro-acoustic
music, with an interest in immersive sound, algorithmic, collaborative and
improvisatory processes. Musicological interests include the music of
Morton Feldman and Graham Hair.
www.ludions.com
Richard Hoadley (UK). As a composer he has recently focussed on the
effect of the physical interface on music, writing a number of automatic
compositionsincluding '127 Haikus'. He is currently developing a suite of
interfaces including 'Gaggle', 'Wired' and 'Melodia' - hardware/software
systems designed for physical interactions with algorithms. He has been
awarded the RVW Trust Composer-in-Residency and his instrumental
compositions include 'Only Connect', recorded by the BBC Symphony
Orchestra. He is affiliated with the Digital Performance Laboratory at Anglia
Ruskin University.
www.rhoadley.net
Olaf Hochherz (Germany) is a composer and improviser. His studies where
to a certain degree related to his music. The studies in Essen, Weimar and
Shanghai helped to realise some compositions of electro-acoustic music.
www.shwobl.de
Hannes Hoelzl (Italy/Germany), currently based in Cologne is a musician
and sound artist, plays internationally with acoustic and electronic improvising musicians, teaches workshops on digital sound, analog synths and
hybrid music systems involving sensors, microprocessors etc.
He has interned at STEIM, has been a fellow at KHM Cologne, and teaches
a course at UdK Berlin, and at Musikhochschule Duesseldorf, among many
other institutions.
earweego.net
Jonas Hummel (Germany) is a Berlin-based media artist & engineer
working in the field of documentary film and sound recording. He first
started his studies with Political Science in 2002 and went on to pursue his
music and media interests by studying sound and video engineering at the
'Institute For Music and Media', in Duesseldorf from 2004 on. There he has
done works on various topics such as self-portrait (film, photo and object
installation 2006), perspectives on failure und success (theatre piece and
documentary film 2007), electronic music by fine arts artists in Duesseldorf
(documentary 2008), global container trade in the port of Duisburg (fourScreen visual music clip 2009), experimental electronic sound & Africa
(sounddesign for science-fiction film, work-in-progress).
vimeo.com/12610189
('SC' > 'MaxMSP').if(47, 666) BIOGRAPHIES
Cole Ingraham (USA) is a composer, performer, and teacher currently
living in Santa Clara, CA. He holds a BM in Composition from University of
the Pacific, an MFA in Electronic Music from Mills College, and is currently
attending the University of Colorado at Boulder in pursuit of the DMA in
Composition. His recent musical interests have centered around creating
works for computer ensemble and live network performance involving
players in remote locations.
www.coleingraham.com
Daisuke Ishida (Japan) is a Berlin based artist working with sound and
contemporary media. He is interested in designing processes, physical
environments in artistic contexts. His works pursue aesthetics and consequence of computer music, and seek to realize synthetic space in sound.
His research includes Acoustics, Auditory Perception, Complex Systems
and Machine Learning Based Algorithm. He established AUSREIHE, an
independent organization committed to experimental electronic/computer
music in 2009. He founded The SINE WAVE ORCHESTRA in 2002.
www.isddsk.com
Chris Jeffs (UK) aka cylob. A trombone player in his youth, he progressed
to experimenting with electronic music and recording in his late teens. At
first inspired by early 80's synth-pop, old-school hip-hop and electro, and
dance pioneers Art Of Noise, 808 State and LFO, Chris gave a demo tape
to Aphex Twin at a gig in early 1993, subsequently signing to his Rephlex
label a short time after. Since his debut, he has released 13 singles and 5
albums on Rephlex, in addition to the EP "Spider Report" for Breakin' Records. Cylob has been playing live and DJ'ing since 1994, playing his first
set in legendary Leeds techno club The Orbit, and since touring extensively
in Europe, North America, Japan, Australia and Russia. These gigs include
two appearances at the Glade festival and several appearances at renowned neo-rave event Bangface. He has also made the occasional broadcast on radio worldwide including twice on BBC Radio 1's Breezeblock
show. He continues to perform regularly and work on recording projects.
www.cylob.com
Stefan Kersten (Germany) works as a researcher and sound artist in
Barcelona (Spain). He is currently a PhD-candidate at the Music Technology Group of the Universitat Pompeu Fabra. His research focuses on
statistical sound texture modeling for analysis and synthesis. His artistic
work includes interactive performances and installations with the
DissoNoiSex collective and the duo Zysk (with Wernfried Lackner).
k-hornz.de
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BIOGRAPHIES
PyoungRyang Ko (South Korea) born 1972 in Seoul, studied composition
with Prof. Chengiek Chang at the Seoul National University, with Prof.
Herrmann and Prof. Dr. Mahnkopf at the University of Music and Theatre
Leipzig and with Prof. Minard at the Liszt School of Music Weimar. He also
studied music theory at the UMT Leipzig. He is now a doctoral candidate in
Musicology at the UMT Leipzig. His compositions as well as theoretical and
pedagogical articles have been presented in Korea, Europe and the USA.
Ron Kuivila (USA) composes music and designs sound installations that
revolve around the unusual homemade and home modified electronic
instruments and information systems he designs. He pioneered the use of
ultrasound and sound sampling in live performance. Other pieces have
explored compositional algorithms speech synthesis, high voltage phenomena, and the integration of “analog” and “digital” approaches in single
works. He has been an active SuperCollider user since 1999. He is
currently the Edgard Varese guest professor at TU, Berlin..
Timur Kuyanov (Russia) was born in 1980 in Siberia, Russia, surrounded
both with impressive nature (Baikal, deepest lake on the planet) and
industry achievements, changing it's surface (BAM, longest railroad). He got
his first computer when he was 7, and made his first music program in Basic
language when he was 9, but still has complicated relations with computers
and as a part of his master studies in Aalto University (ex Taik), department
of Media, dealing with relations between human beings and technology in
the creative processes.
soundcloud.com/kuyanov
Jonathan Liljedahl (Sweden) is a composer and performer of electroacoustic music, with influences from noise, minimal, drone and stochastic
music. He utilizes homegrown software and hardware, feedback through
various devices, algorithmic composition, and SuperCollider. Studied
composition with Per Mårtensson and Henrik Strindberg at the Gotland
School of Composition in Visby (2004-2006), and electro-acoustic composition with Bill Brunson, Pär Lindgren and Mattias Petersson at the Royal
College of Music in Stockholm, Sweden.
kymatica.com
Fernando Lopez-Lezcano (Argentina/USA) is a composer, performer, lecturer and computer systems administrator at CCRMA, Stanford University.
He has been teaching and taking care of computing resources there since
1993, and created and maintains the Planet CCRMA collection of sound
and music packages for Linux. He has been involved in the field of elec-
$1.ascii BIOGRAPHIES
tronic music since 1976 as a composer, instrument builder and performer,
blurring the lines of his dual background in music and electronic engineering.
ccrma.stanford.edu/~nando/music/a_very_fractal_cat/
Sergio Luque (Mexico) is a composer of experimental classical and electroacoustic music. He is currently working towards a PhD in Composition with
Jonty Harrison and Scott Wilson at the University of Birmingham. In 2006,
he received a Master's Degree with distinction in Sonology from the Royal
Conservatory in The Hague, studying with Paul Berg and Kees Tazelaar. In
2004, he received a Master's Degree in Composition from the Conservatory
of Rotterdam, studying with Klaas de Vries and René Uijlenhoet.
www.sergioluque.com
Thor Magnusson (Iceland/UK) works in the fields of music and generative
art. He is a Senior Lecturer in the School of Arts and Media at the University
of Brighton. Thor is mainly interested in improvisation, live performances,
installations and audio software production. He is a co-founder and member
of the ixi audio collective.
www.ixi-audio.net
Daniel Mayer (Austria) studied pure mathematics and philosophy at KarlFranzens-University Graz (MSc, MPhil) and music composition (MA) with
Gerd Kühr at the University for Music and Performing Arts Graz, Austria.
2001 / 02 postgradual study at the electronic studio of the Music Academy
of Basel with Hanspeter Kyburz. Guest composer at the Center for Art and
Media Karlsruhe (2003 / 04) and at IEM Graz (2005). Working with generative computer algorithms in electronic and instrumental music.
www.daniel-mayer.at
Víctor Mazón Gardoqui (Spain) has studied fine arts In the University of
Vasc Country, in the speciallity of Lithography and Engraving. Nowadays
working as a tutor in the Experimentelle Technologien im Kunstkontext,
Hochschule für Grafik und Buchkunst-Leipzig, with Prof. David Link.
Has been involved into experimental audio/video since 1999, and always
related to the DIY spirit, using free and open software and hardware,
designing and building his own instruments and software, for his plays &
installations. Has played and exhibited his audiovisual and interactive works
in different countries like Germany, Spain, Switzerland, Russia, Moroco,
Italy, Czech Republic, Hungary, Sweden, Austria and also has played as
video artist/motion graphics in many different festivals in Spain.
www.victormazon.com
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BIOGRAPHIES
Chad McKinney (USA) is an experimental musician living in the San Francisco bay area. He has recently completed his MFA in Electronic Music &
Recording Media at Mills College where he studied with Chris Brown, John
Bischoff and Roscoe Mitchell. He received his Bachelor of Music degree in
2007 from the University of Oklahoma, studying with Christian Asplund, John
Haek, and Michael Lee. McKinney has recently been focused on writing for
and performing with the transcontinental network laptop quartet Lag.
www.chadmckinneyaudio.com
Curtis McKinney (USA) is a reprogrammed rogue robot who undergoes
constant inner turmoil regarding his mysterious past, which proves only to be
his need to fight and the threat he believes he still poses to society. His main
weapon is the Z-Buster and the Z-Saber. He was created by Dr. Wily in order
to replace Bass and later destroy his nemesis. It is unclear whom Wily was
talking about. He entered a sleep capsule where he will awaken 102 year
later on August 15th.
www.curtismckinney.com
Robin Meier (Switzerland/France) is a musician and artist. His interests lie
in the emergence of natural and artificial intelligence and the role of humans
in a world of machines. Meier tries to make sense of these questions
through musical compositions and installations. Refered to as "Artist from
the future" (le Monde) or "Vuvuzela of contemporary art" (Liberation) his
works are shown around the globe, most recently at the Palais de Tokyo in
Paris and the National Auditorium in Madrid.
www.robinmeier.net
José Miguel Fernandez (Chile). Bachelor of music composition from the
University of Chile in 1995. In 1996 he studied computer music at Laboratorio
de Investigación y Producción Musical Buenos Aires. From 2000 to 2004 he
studied composition and computer music at the Conservatoire National
Supérieur de Musique et Danse of Lyon, France. After receiving his diploma
from the CNSMD, he attended the one-year course in composition and
computer music at IRCAM in Paris. Finalist in Bourges electro-acoustic
competition and winner of Grame-EOC composition competition in 2008
and commissions from Chilean Government, French Government, GrameEOC and others. His works have been performed in various countries and
contemporary music festivals in Europe, Asia and the Americas. In addition
to his composition activities, he has worked as computer music designer,
realizing the live electronics works for many composers at different
institutions in France.
"5" ++ "1" BIOGRAPHIES
Yota Morimoto (Japan) Yota Morimoto is a Japanese composer born in
Brazil, currently undertaking a research at The Institute of Sonology in The
Netherlands. His works explore unconventional approaches to generating
and transmitting sound, implementing models of turbulence and abstract
machines. He has performed in festivals and conferences such as
TodaysArtFestival, NWEAMO, Transmediale, ISEA, ICMC, and SMC.
Beside those activities, he has collaborated with musicians such as
Frances-Marie Uitti and Luc Döbereiner.
yota.tehis.net
Jost Muxfeldt (USA/Germany) is an artist, composer, and philosopher, who
works with electronic media and computers. His work often focuses on
trans-media and phenomenology, exploring the rational and irrational
channels between artistic and conceptual disciplines. His audiovisual work
has been shown in numerous museums and venues throughout Europe,
including the Tesla Media Art Center in Berlin, the Sónar Festival in
Barcelona, Via Festival in Maubeuge, and Exit Festival in Paris-Créteile.
www.glyph.de
Miguel Negrão (Portugal/Netherlands) is a sound artist born in 1981 in
Lisbon, Portugal. Under the alias ZLB he has been active with Drone and
Ambient music projects. He has presented pieces for the Wave Field System of the Game of Life foundation, Acousmonium of the GRM and in other
concerts in Portugal, Spain and the Netherlands. With a Bachelors in
Applied Mathematics, he has recently finished a Masters at the Sonology Institute in the Den Haag Conservatory on the topic of Strategies in diffuse
spatialization.
www.friendlyvirus.org/artists/zlb
Joker Nies (Germany)
www.klangbureau.de
Thomas Noll (Germany) studied Mathematics (Diploma) in Jena and Semiotics (PhD) at the TU Berlin. His main research field is mathematical music
theory. From 1998 - 2003 he was the leader of an interdisciplinary research
group on mathematical and computational music theory. After two years of
teaching in Theoretical Informatics at the TU Berlin he works since 2005 as
a lecturer in music theory at the Esmuc in Barcelona. He is co-editor of the
Journal of Mathematics and Music.
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BIOGRAPHIES
Ben O'Brien (USA) is a composer and performer. He writes and performs
both acoustic and computer music. He received his MA in Music Composition from Mills College, where he studied with Fred Frith and Roscoe
Mitchell, John Bischoff, Chris Brown, and David Bernstein. He earned a BA
in Math from the University of Virginia in May 2006, where he studied jazz
guitar and improvisation with John and Michael Rosensky, and Ted Coffey.
His works have been performed in the US and overseas.
www.benjamin-obrien.com
Luis Alejandro Olarte (Colombia) studied guitar and electroacoustic composition in Colombia, then in Paris, where he won the first prize in
Generative Improvisation and Musical Acoustics. He then studied at
Sibelius Academy and at Escola Superior de Musica de Cataluña, and now
he is at Université de Paris VIII. Since 2006 he performs and improvises
with choreographers Andreya Ouamba and Opiyo Okach, (Congo and
Kenya). His musical interests include free improvisation, electroacoustic
lutherie and guitars.
teluria.free.fr
Fredrik Olofsson (Sweden) has studied composition at the Royal University College of Music in Stockholm. After graduating in 2000, he has
been busy creating software, visuals, music and installations.
fredrikolofsson.com
Jana Papenbroock (Germany) has received numerous screenings of her
work throughout Germany, Denmark, France, Estonia, the United States,
and many others. She has studied at the Université Paris-Sorbonne (Art
History & Ethnology) as well as the Academy of Media Arts Cologne.
www.janapapenbroock.com
Ruben Patiño (Spain) aka Pato is a sound artist born in Barcelona in 1979.
Current artist in residence at NK. Pato works in the field of Computer Music
combining different sound synthesis techniques generated with SuperCollider.
His work is a blend of hyper energetic algorithmic composition, futile
visualization and humorous stochastic flavour. He has performed several solo
performances in Europe as well as live improvisations with tabletop guitarrist
Olivier Di Placido and occasional collaborations inside EVOL, a computer
music cell leaded by Roc Jiménez de Cisneros. As a DJ, his sets are mainly
composed of multi-layered cut-up computer music mixed with some old avantgarde classics, noise and world music. He also occasionally plays in
Yokomono as a part of Staalplaat SoundSystem. Lives in Berlin since 2005.
www.patooo.net
"SinOsc.ar".ascii.sum >> 4 BIOGRAPHIES
Katy Price (UK) has contributed poems to Seam, Blackbox Manifold, and
collections of ekphrasis and found poetry. She is co-designer of Blast-up!
(Vorticism meets space invaders). Katy teaches English literature and
creative writing at Anglia Ruskin University.
katyprice.wordpress.com
L. Scott Price (USA) is a DMA student at the University of North Texas
where he has studied with David Bithell and Jon Christopher Nelson. He
holds degrees from Bowling Green State University and Illinois Wesleyan University. Past teachers include Marilyn Shrude, Elainie Lillios, Burton Beerman
and David Vayo. Notable performances include Dangerous Curves in Los
Angeles, the University of Nebraska at Kearney New Music Festival, the
Threshold Festival, and the New Music Café at IWU. Recent works include a
commission from the duo Guthrie and Streb, several pieces on poetry of
Quentin Smith, and a bass trombone concerto for Christopher Davis.
Julian Rohrhuber (Germany) is professor for music informatics and media
theory. He teaches at the Robert-Schumann Hochschule Düsseldorf in the
Institute for Music and Media and is associate researcher at University
Siegen. His texts consider issues such as abstraction and agency, for
instance in Mengenlehre, in: Becker, Cuntz, Kusser, "Unmenge - Wie
verteilt sich Handlungsmacht?" Fink 2008, and New Mathematics and the
Subject of the Variable, in: Fürlus, Zielinski, Variantologie 4, Bh. König, 2010.
www.wertlos.org/~rohrhuber
Juan A. Romero (Colombia) born in 1982 in Medellín, Colombia. Guitarist,
musicologist und music information scientist. Former member of the laptop
ensemble Grainface.
www.rukano.de
Mark Rossi (UK). Based in the Sonic Arts Research Centre (Belfast),
Composer/Performer and PhD candidate, Mark Rossi creates live algorithmic compositions, with a special emphasis on ‘enaction’. Originally trained
as an artist, Mark currently produces sonic art works created from synthesis, acoustic sources and ‘on the fly’ code-modification. His preoccupation with process and materials has led to an interdisciplinary approach to
music making, performing laptop ‘textual’ improvisations with ‘live-coding’
algorithms.
www.markvrossi.com
Hanns Holger Rutz (Germany) studied computer music and audio engineering at the Technical University Berlin, and from 2004–2009 worked as
artistic assistant at the Studio for electroacoustic Music (SeaM) Weimar. His
compositions include tape music, works with video, as well as collaborative
[53,52].collect(_.asAscii).reduce('++') BERLIN 2010
BIOGRAPHIES
works with theatre and dance. His recent focus is on sound installation, and
electronic live improvisation. In his creations, the development and research
on software and algorithms plays an important role. In 2009, he moved to
Plymouth where is currently conducting a PhD at the Interdisciplinary
Centre for Computer Music Research (ICCMR).
www.sciss.de
Massimo Scamarcio (Italy) is a sound artist and composer of electronic
music, graduated with honours under Agostino di Scipio and currently
attending a MA postgraduate class in Sonic Arts in Middlesex University
(London) led by Dr. Nye Parry. His work focuses on the use of feedback
and the properties of acoustic space. He is currently based in Berlin.
it.linkedin.com/pub/massimo-scamarcio/11/315/905
Marcus Schmickler (Germany) is a composer and performer. He studied
composition and electronic music and since then has worked in the most
diverse fields of composed and improvised music. He has won numerous
prizes and honours and is closely associated with the Cologne label aMusik. As a composer along with his many works of electronic music, he
works with the ensemble recherche, the Staatskapelle Weimar, the
musikFabrik, the Paragon Ensemble, the Ensemble zeitkratzer and many
more. As a musician he works with musicians such as John Tilbury,
Thomas Lehn, Otomo Yoshihide, David Behrman, Claudio Bohorquez and
Julee Cruise. His discography so far consists of over 50 titles, and he has
been performing on the world's stages and at international festivals for
years. He gives lectures and seminars and also works as an author in the
field of theatre, radio plays and film.
www.piethopraxis.org
Matthias Schneiderbanger (Germany) Born in 1987 in Pforzheim,
Germany. Student of music informatics and musicology at the University of
Music Karlsruhe since 2007.
mschneiderbanger.wordpress.com
Alex Shaw (UK) runs a small software consultancy with an taste for
creative applications and experimentation. His first Android project was
Synthulator, one of the first music composition tools on Android to use an
extensible DSP engine. Working with Dan Stowell, he has helped bring the
expressive power of the SuperCollider server to Android, and hopes it will
spearhead a new era in embedded music creation.
5.dup(2).convertDigits BIOGRAPHIES
Dan Stowell (UK) aka MCLD is a musician, programmer, and scientist. He
recently completed a PhD at Queen Mary University of London developing
techniques to use voice sounds such as beatboxing to control electronic
instruments. Musically he combines live-coding with beatboxing - solo and
as part of the duo Spoonfight - and also produces installation work as part
of C4DM Presents. He's also one of the current lead developers of SC.
mcld.co.uk
Jan Trützschler von Falkenstein (Germany) is a composer and media
artist with an affinity to software design. His work often focuses on one
material or subject, which he sets in different contexts and perspectives. His
compositions, performances and installations have been performed and
shown internationally and on various festivals. In 2008 he founded
TeaTracks which released Gliss for the iPhone in 2009. Since 2002 he has
been an active SuperCollider (SC) developer, which resulted in many contributions to the software and the organisation of the second international
SuperCollider Symposium in The Hague in 2007. He is giving SC workshops around the globe and contributed to the forthcoming SC book.
Currently he is comleting a PhD in Composition at the University of
Birmingham.
www.falkenst.com
Mario de Vega (Mexico/Germany)
www.mariodevega.info
Yvan Volochine (France) (aka El Gusano Rojo) is a musician, producer
and programmer. He runs the label 'Hijos de Puta', on which he produced /
wrote several obscure and original music records since 2001. He is now
working on the first release of his new label 'Septentrion'. Based in Berlin,
he programs his own instruments to perform live using SuperCollider on
linux.
www.yvanvolochine.com
André Wakko Hostalácio (Brazil), knowledge in music production,
generative art and performance, graduated in graphic designer from
FUMEC University in Brazil, where he studied between 2003 and 2007. He
moved to Berlin in April 2008, to study in University of the Arts Berlin (UdK).
He participated in festivals, workshops and symposiums, such as
TunedCity, Transmediale and XXXXX. He is part of an association called
“LA54“, a collective of more than 20 artists in Friedrichshain, Berlin.
www.andrewakko.com
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BIOGRAPHIES
Renate Wieser (Germany) is a media artist and scholar in media theory
based in Hamburg and Köln. She takes part in the Ph.D. Fellowship
Programme of the German Research Foundation: Automatisms - emerging
structures in information technology, media, and culture, University of
Paderborn. Currently she is also working on the combination of installation
and radio play. Her publications include the book Ungeplante Strukturen:
Tausch und Zirkulation. Herausgeber: Maik Bierwirth, Oliver Leistert und
Renate Wieser. 2010.
www.wertlos.org/~wieser
Scott Wilson (Canada), born Vancouver, Canada; lived Middletown,
Connecticut, Karlsruhe, Toronto, brief stints elsewhere. Studies with Barry
Truax, Christos Hatzis, Gary Kulesha, Ron Kuivila, Wolfgang Rihm, and
others. Works for a variety of media, interactive, inter-inactive, usw. Recent
projects with Darragh Morgan, rarescale. Recordings with 326music and
Continuum Contemporary Music. Lives now in Birmingham, UK (teaching at
the University, working with BEAST) where life, generally speaking, is good.
www.scottwilson.ca
Itaru Yasuda (Japan). Born in 1984 in Japan. Studied Aesthetics and New
Media Art at Keio University and IAMAS. Started making music and videos
in 2005. Focusing on computational audiovisual composition.
www.itaru.org
ensemble unitedberlin (Germany) was founded in 1989 with the symbolic
purpose of reconnecting classical musicians in a city long divided by the
Cold War. Since its inception the ensemble has been transcending barriers
both musically and geographically. Performances at festivals in Albania,
Brazil, Hungary, Israel, Poland, Russia, China, South Korea, Spain and
Switzerland accompany the ensembles activities in Berlin. Recent performances international engagements include concerts at the ‘Venice
Biennale’ 2008, at the ‘Steirischer Herbst’ in Graz, Austria and at the
German Academy in Rome, Villa Massimo. Unitedberlin’s focus lies in
presenting a wide range of contemporary music in the context of modernist
repertoire ranging from Schönberg and Webern to Nono and Cage. Several
concert programs were created in close collaboration with composers of our
time such as Mauricio Kagel, György Kurtág, Helmut Lachenmann,
Wolfgang Rihm, Mark Anthony Turnage, Christian Wolff, Toshio Hosokawa
and Vinko Globokar, yielding a variety of formats such as lecture concerts,
instrumental workshops or documentary projects.
www.unitedberlin.de
s.addr.port.asString[0..1] Das SuperCollider-Symposium 2010
ist eine Veranstaltung der Deutschen
Gesellschaft für elektroakustische Musik
(DEGEM) e.V. und wird gefördert
durch den Hauptstadtkulturfonds
Das SuperCollider-Symposium 2010 wird außerdem unterstützt durch:
Bezirksamt Pankow von Berlin
58

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