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EARZOOM
FESTIVAL
ZVOČNIH
UMETNOSTI
SONIC
ARTS
FESTIVAL
MUSIC
TECHNOLOGY
STARTUPS
2014
EARZOOM
FESTIVAL
ZVOČNIH
UMETNOSTI
SONIC
ARTS
FESTIVAL
MUSIC
TECHNOLOGY
STARTUPS
LJUBLJANA
14.—19.
OKTOBER
2014
EARZOOM
LJUBLJANA
14.—19.
OKTOBER
2014
VSTOP
PROST
ZA VSE
DOGODKE
FREE
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FOR ALL
EVENTS
EARZOOM
2014
FESTIVAL
ZVOČNIH
UMETNOSTI
SONIC
ARTS
FESTIVAL
MUSIC
TECHNOLOGY
STARTUPS
Letošnji festival zvočnih umetnosti EarZoom predstavlja izbor projektov s področja sodobne elektro-akustične glasbe. Osrednja tema festivala
so zagonska podjetja s področja glasbene tehnologije. Poudarek je torej na umetniških delih, ki so nastala na osnovi razvoja komercialne
tehnologije oz. produktov. Pri izboru teme izhajamo iz lastne izkušnje vzpostavljanja Inštituta za Raziskovanje Zvočnih Umetnosti (IRZU),
ustanovljenega leta 2009. IRZU deluje na področju glasbene tehnologije, znotraj katerega združuje tri komponente: tehnološke raziskave in
razvoj, umetniško produkcijo in izobraževanje. Leta 2011 smo na osnovi raziskovalno-razvojne dejavnosti IRZU ustvarili odcepljeno podjetje
Ultrasonic avdio tehnologije, ki se ukvarja z razvojem tehnologije usmerjenega zvoka.
Tehnološki del sodobne elektro-akustične glasbe je treba razumeti kot neke vrste razširjeni solfeggio oz. razširjeno glasbeno teorijo, ki predstavlja
enega izmed osnovnih orodij za produkcijo umetniških vsebin. Z izborom letošnje teme želimo med drugim poudariti, da sta umetniški in
tehnološki razvoj sodobne elektro-akustične glasbe tesno prepletena. Pri tem pride do izraza zelo tanka meja med tehnološko podprto raziskovalno
umetnostjo s področja zvoka in glasbe na eni strani ter avdio tehnologijami oz. tehnološkimi inovacijami, katerih uporabna vrednost včasih preseže
polje individualnega umetniškega izraza, na drugi strani. Lahko bi celo trdili, da kontekst umetniške produkcije vzpodbuja kreativno mišljenje na
področju razvoja avdio/glasbenih tehnologij, saj dopušča eksperimentiranje, pre-izpraševanje in re-kontekstualizacijo tehnologij, kar lahko pripelje
do nepričakovanih rezultatov in inovativnih rešitev, ki jih tržno razmišljanje mogoče nikoli ne bi dognalo.
Na festivalu EarZoom 2014 bodo predstavljeni nekateri hardverski in softverski projekti, ki se pretežno nanašajo na performativne prakse v sodobni
elektro-akustični glasbi ter vključujejo najnovejše tehnologije in koncepte s področja interakcije človek-računalnik (HCI), algoritmične kompozicije in
avtomatske glasbene analize oz. strojnega poslušanja. EarZoom 2014 bo poskušal orisati trenutno stanje na področju glasbeno-tehnoloških praks, ki
izkazujejo potencial za zadovoljevanje potreb širših uporabniških skupin, ter hkrati ponudil pogled v prihodnost razvoja na področju glasbenih tehnologij.
Since its first edition in 2009, the EarZoom sonic arts festival is featuring a selection of artistic and scientific work from the field of
contemporary electro-acoustic music. „Music technology startups“ is the central theme of this year’s festival and points out artistic
projects that emerged through the development of commercial technology and products. The choice of this topic is based on our own
experience with establishing IRZU – the Institute for Sonic Arts Research, which was founded in 2009. IRZU is actively engaged in three
different areas within the field of music technology, that is: technological research and development, artistic production and education.
Based on the results of IRZU’s R&D activity, the spin-off company Ultrasonic audio technologies was established in 2011, which is focusing
on the development of hyper-directional sound/loudspeaker technology.
The technological part of contemporary electro-acoustic music should be understood as a kind of extended solfeggio or music theory. The
technical knowledge represents one of the crucial tools for the production of artistic content. With the choice of this year’s theme we want
to point out that the technological and artistic research practice in contemporary electro-acoustic music are tightly intertwined and cross
fertilize each-other. This fact creates a very thin line between technology based artistic research in the field of sound and music on one
side and audio technology innovations – exhibiting application possibilities that transcend individual artistic expression – on the other
side. It could almost be claimed that the context of artistic production encourages creative thinking within the audio/music technologies
development framework, since it allows for experimentation, questioning, and re-contextualization of technologies, which can yield
unexpected results and innovative solutions that might not have been discovered through a market-oriented product design approach.
EarZoom 2014 will showcase a selection of hardware and software projects, most of which refer to performance practice in contemporary
electro-acoustic music and include state of the art technologies and concepts from the field of human-computer interaction, algorithmic
composition and music information retrieval. EarZoom 2014 will try to outline the current trends of music and audio technologies that aim to
address the needs of broader user groups, as well as offer a glimpse into the future of audio technology development.
Miha Ciglar EarZoom / direktor festivala / festival director
PROGRAM
PROGRAMME
PRIZORIŠČA
VENUES
TUESDAY
14. OCT 2014
CONCERT
Fracture Mechanics / 21.00 / Menza pri Koritu
+MSUM
Metelkova
MENZA
PRI KORITU
Metelkova
FRIDAY
17. OCT 2014
PRESENTATIONS
Miha Ciglar Introduction / 11.00 / +MSUM
Yuli Levtov / 11.20 / +MSUM
Ida Hiršenfelder Theremidi Orchestra / 11.40 / +MSUM
Georg Holzmann / 12.00 / +MSUM
Aisen Caro Chacin / 12.20 / +MSUM
Ragnar Hrafnkelsson 12.40 / +MSUM
KINOTEKA
Miklošičaeva cesta 28
CONCERTS
CANKARJEV DOM
Štihova dvorana
Prešernova cesta 10
Baptiste Caramiaux / 17.40 / +MSUM
Georg Holzmann / 18.00 / +MSUM
Theremidi orchestra / 18.40 / +MSUM
Tomaž Grom / 20.00 / ŠKUC
Luc Döbereiner / 20.40 / ŠKUC
Servando Barreiro / 21.20 / ŠKUC
ŠKUC
Stari trg 21
CONCERTS
Aisen Caro Chacin / 20.00 / Cankarjev dom
Ragnar Hrafnkelsson / 20.20 / Cankarjev dom
Myriam Bleau / 21.00 / Cankarjev dom
Eduardo Raon / 21.20 / Cankarjev dom
SUNDAY
19. OCT 2014
PRESENTATIONS
Marco Donnarumma /11.00 / +MSUM
Nagual Sounds / 11.20 / +MSUM
Timothy O’Dwyer / 11.40 / +MSUM
Alex Hofmann / 12.00 / +MSUM
Yoshihito Nakanishi / 12.20 / +MSUM
Mick Grierson / 12.40 / +MSUM
CONCERTS
Hofmann-Rofalski / 17.40 / +MSUM
Adam Dwonovan / 18.20 / +MSUM
Timothy O’Dwyer / 20.00 / Kinoteka
Mick Grierson / 20.20 / Kinoteka
Yoshihito Nakanishi / 21.00 / Kinoteka
Marco Donnarumma / 21.20 / Kinoteka
SATURDAY
18. OCT 2014
PRESENTATIONS
Michela Magas /11.00 / +MSUM
Baptiste Caramiaux / 11.20 / +MSUM
Adam Donovan / 11.40 / +MSUM
Servando Barreiro / 12.00 / +MSUM
Myriam Bleau / 12.20 / +MSUM
Luc Döbereiner / 12.40 / +MSUM
INSTALLATIONS
NagualSounds / ŠKUC
Tomaž Grom / ŠKUC
UMETNIKI
ARTISTS
SERVANDO
BARREIRO
www.servandobarreiro.es
Zvočni umetnik, programer, zagovornik odprtokodnega programja in strojne opreme, ki živi in ustvarja v Berlinu. V svojih delih, bodisi gre za
interaktivne instalacije ali avdiovizualne performanse, raziskuje izraznost odprtokodnih tehnologij in novih medijev. Sodeloval je na številnih
mednarodnih novomedijskih festivalih in razstavah (Transmediale, Transforma, Liwoli, Piksel, Eye for and Ear …) ter je mednarodno uveljavljen
mentor za poučevanje programa Pure Data. Široko področje njegovega zanimanja vključuje tudi poskuse z različnimi senzorji, raziskovanje in
razvijanje interaktivnih avdiovizualnih sistemov, projekcije z videomapiranjem, performanse z laserji, VJ-janje ter hekanje naprav in njihovo
pretvorbo v zvočne inštrumente. Nastop na festivalu EarZoom2014 bo njegov sklepni performans in prikaz t. i. »avdio računalnika«, odprtokodne
kombinacije Raspberry Pi in programa Pure Data, ki ga je razvil v okviru umetniške rezidence na Ljudmili oktobra letos.
Servando Barreiro is a sound artist, coder and open source (software and hardware) enthusiast, living and working in Berlin. In his
interactive installations and audiovisual performances he explores the expression potential of open source technology and new media. He
participated at many international new media festivals and exhibitions (Transmediale, Transforma, Liwoli, Piksel, Eye for and Ear, …) and is
an internationally acclaimed mentor for conducting PD (Pure Data) courses. The broad spectrum of his interests also includes experimenting
with different sensors, research and development of interactive audiovisual systems, video mapping projections, laser performances, VJ-ing
as well as hacking and transforming of different devices into musical instruments. His appearance at EarZoom2014 festival will include a live
performance and the final demonstration of his “Audio computer” — an open source combination of Raspberry pie and Pure Data — which he
developed within his artistic residency at Ljudmila lab Ljubljana in October 2014.
MYRIAM BLEAU
SOFT REVOLVERS
BAPTISTE
CARAMIAUX
Soft revolvers je svetlobno-glasbeni performans za štiri vrtavke, ki jih je umetnica sama izdelala iz akrilne plastike. Vsaka vrtavka ima
vgrajene senzorje pospeška in giroskop ter predstavlja samostojen glasbeni inštrument ali del elektronske glasbene kompozicije. Podatki o
gibanju, ki jih zbirajo senzorji, so koristni kot vhodni parametri za zvočno-glasbene algoritme ter hkrati upravljajo kontrapunkt svetlobnega
dela kompozicije. Vrtavke z velikimi površinami, ki so v funkciji glasbenega inštrumenta, ustvarjajo asociativno konotacijo na vinilne plošče
iz hip-hop kulture. Osnovni glasbeni elementi performansa so tudi hip-hop sekvence, pomešane z minimalističnimi zvoki, kot sta sinusno
nihanje in beli šum, na podlagi katerih nastaja kompleksno ritmično manipuliranje. Brazdne interpolacije in variacije tempa tako povzročajo
konstantno drsenje med ritmičnimi konsonancami in disonancami. Performansu sledi predstavitev, na kateri lahko gledalci sami preizkusijo
delovanje vrtavk.
Eden izmed največjih izzivov in hkrati tudi navdušenj iz snovanja novih, digitalnih glasbenih inštrumentov je oblikovanje oz. definicija
interakcije med izvajalčevimi gibi oz. akcijami ter tehnološkimi procesi, ki oblikujejo končne zvočno-glasbene dogodke. Za raziskovanje
teh vprašanj je potreben večdisciplinarni pristop, saj zahteva razumevanje človeškega gibanja, izraznosti, zaznave zvoka, računalniškega
modeliranja in oblikovanja konceptov interaktivnosti. Na tem obsežnem področju uporabljamo različne pristope, bodisi s teorijo, umetniškim
ustvarjanjem ali oblikovanjem industrijskih izdelkov. Na predstavitvi bo izpostavil lastne raziskave na področju glasbene interakcije, ki
temelji na gibu. Začel bo s percepcijskim pristopom, ki z opazovanjem gibanja ljudi ob glasbi poskuša ustvariti povezave med določenimi
značilnostmi zvoka in določenimi gibi. Pokazal bo, kako je ta pristop nastal kot metodologija oblikovanja in kako je pripeljal do konkretne
uporabe. Nato bo predstavil metode strojnega učenja, ki odpirajo nove perspektive mapiranja giba in zvoka. Pokazal bo, kako se pojavljajo
v širšem raziskovalnem polju interakcije človek-računalnik (HCI) in v konkretnih industrijskih produktih. Sklenil bo z osebno oceno oz.
napovedjo prihodnjih smernic in izzivov tega področja.
www.myriambleau.com
Soft Revolvers is a music and light performance for 4 spinning top interfaces built with clear acrylic by the artist. Each spinning top, 10’
in diameter, is associated with an ‘instrument’ or part in an electronic music composition. The motion data collected by gyroscopes and
accelerometers placed inside the tops informs musical algorithms and a lighting counterpoint. With their large circular spinning bodies
and their role as music playing devices, the tops strongly evoke turntables and hip hop culture. In this performance, hip hop beats mixed
with minimal sounds such as sine waves and white noise serve as the basis for complex rhythmic manipulations: ‘groove interpolation’ and
instrument-specific tempo variations create shifts between rhythmic consonance and dissonance. After the performance, the audience is
welcome to come and play their own improvisation with the tops.
www.baptistecaramiaux.com
One of the most challenging and fascinating tasks in digital instrument making is the design of the interaction between the performer’s actions
and music processes through technology. Exploring this topic drives the researcher through multidisciplinarity by considering the understanding
of human motion, expressivity, sound perception, computational modelling and interaction design. The topic is vast, and numerous approaches
have been taken either theoretical, artistic or through industrial products. In my talk, I will present my own path in researching about the design
of motion-based musical interaction. It starts with a perception-driven approach trying to understand what features in sound can be related
to features in motion by asking people to move along music. I will present how this approach has been instantiated as a design methodology
and how it has led to real-world applications. Then I will develop a bit more the techniques, based on machine learning, that propose new
perspectives in the mapping between motion and sound. I will show that they are naturally fitting in a broader research program in HCI, in
existing industrial products. I will finish by proposing my personal guess about future trends and challenges in the area.
AISEN
CARO CHACIN
www.aisencaro.com
Rojena v Bostonu; ima španske in venezuelske korenine ter precej pester seznam začasnih prebivališč. Raziskuje na interdisciplinarnem področju
znanosti, umetnosti in tehnologije, pri čemer izhaja iz konceptualnih ter oblikovalskih načinov razmišljanja in reševanja problemov. Rezultati njenega
raziskovalnega dela so predvsem funkcionalni prototipi za alternativne modele zaznavanja. Njeno delo je bilo predstavljeno na številnih mednarodnih
znanstvenih simpozijih in v umetniških institucijah po vsem svetu. Trenutno je profesorica v magistrskem programu Oblikovanje in tehnologija na
Parsons, New School, kjer predava fizikalno in kreativno računalništvo. V raziskovalnem delu se osredotoča na interakcijo človek – računalnik ter
razvija nove vmesnike za senzorno substituiranje, pri čimer odkriva meje digitalnega zaznavanja.
Born in Boston, MA, Aisen Caro Chacin is a regenerating composition of cells that produce a woman, Venezuelan, Spaniard, U.S. American, and
an animal whose patterns of migration are not based on seasons, but rather chance, chaos, and opportunity. Her curiosity led her to research
within the intersecting fields of art, science, and technology driven by conceptual forms of inquiry and design thinking; resulting in functional
prototypes for alternative models of perception. Her work has exhibited in at the New Interfaces for Musical Expression Conference, The New
York Hall of Science, Contemporary Arts Museum Houston, Dorkbot, and at The Museum of Art and Design NYC. She is a professor of Physical
and Creative computing at the Design and Technology MFA program at Parsons, The New School. Her research radar is on Human Computer
Interaction HCI; designing new interfaces for sensory substitution, and discovering the limits of digital perception.
ADAM DONOVAN
PSYCHOPHYSICS
MACHINES
www.adamdonovan.net
“Unable to map myself as a coherent self within the works multiple coordinates, I am set adrift in uncertainty and I am discharged into the
non-time of free floating reminiscence.” — Jean Fisher (1996)
Performativna instalacija petih robotov generira zvok na način, ki preizprašuje ustaljeno zaznavo zvoka in jo hkrati postavlja na glavo. V osnovi
gre za uvajanje transformativne izkušnje v sedanjosti (tukaj in zdaj). Moje delo se je zmeraj vrtelo okoli koncepta ostritve percepcije, ki je
dosežena skozi potopitev v prostor – kar naj bi vzpostavilo neke vrste drugost ali brezbesednost – ter obravnava fiziko in psihologijo kot koncept
in medij. Delo naj bi bilo nemogoče reproducirati ali posneti in naj bi transcendiralo običajno človeško percepcijo. To je sicer nekoliko umetniško
zahtevna izjava in običajno ni reflektirana v dokumentaciji. Ljudje, ki so izkusili delo, so velikokrat globoko ganjeni. Sledijo izbrani komentarji
nekaterih gledalcev performansa/instalacije. »Nikoli nisem mislil, da je mogoče tako doživeti zvok«; »To je kot 3D-kino za ušesa«; »Način, kako
se zvok premika, se zdi nekako nemogoč«; »Ne znam opisati, vendar občutim neke vrste celjeno žalost«.
Psychophysics Machines comprises of five robotic sound generating sculptures where the audio perceptual engine is questioned and
also crumbled into a heightened otherness where our natural state of hearing is thrown out the window. It is in essence about creating a
transformative experience only occurring within the here and now. My work has always dealt with the concept of perception and lensing through
a form of immersion of space that attempts to evoke an otherness or unworldliness dealing with psychology and physics as concepts and
mediums. The work is meant to be somehow impossible unreproducible un-recordable and transcendent to normal human perception. It’s a bold
statement and one that’s not often reflected in the documentation. Those that have experienced the work often feel somehow profoundly altered.
LUC
DÖBEREINER
MARCO
DONNARUMMA
Živi v Berlinu ter je skladatelj inštrumentalne in elektronske glasbe. Študiral je na Inštitutu za sonologijo v Haagu na Nizozemskem. Doktorski
študij je opravljal na Univerzi za glasbo in performativne umetnosti v Gradcu v Avstriji. Ukvarja se s kompozicijskimi modeli ter raziskuje
razmerje med materialnostjo in idealnostjo zvoka v glasbeni kompoziciji. Njegovo umetniško delo sloni na nenehnem prepletanju teorije
estetike, tehničnega razvoja in kompozicijske prakse. Teoretske članke je objavljal v revijah, kot so Computer Music Journal, Contemporary
Music Review, Acta Musicologica in kunsttexte.de. Za svoje delo je prejel številne nagrade in rezidenčne udeležbe na Kraljevem konservatoriju
v Haagu, Austrian Federal Ministry of Science and Research, STEIM Amsterdam, Rondo Graz in Künstlerhaus Schleswig-Holstein. Njegovo delo
je bilo predstavljeno v Nemčiji, Avstriji, Španiji, Portugalski, Švici, Franciji, na Nizozemskem in v ZDA.
Performer, ki dela s telesi. Običajno z lastnim, včasih tudi z drugimi. Telesa igra, o njih piše in z njimi dela. Uporablja meso, gib, metafore in
vezja. Konteksti so lahko različni: intenzivni fizični performans, ples, intermedijsko gledališče ali instalacija. Mediji so naravni in tehnološki.
Stroji, zvok, video, svetloba in biološka materija. Razvija glasbene inštrumente, ki temeljijo na bioakustičnih visceralnih zvokih, električnonevronskih impulzih, mišičnih kontrakcijah in palpitacijah krvožilnega sistema.
www.doebereiner.org
Luc Döbereiner is a composer of instrumental and electronic music from Berlin. He studied at the Institute of Sonology in The Hague and holds
a doctoral degree from the University of Music and Performing Arts Graz. His work is concerned with compositional models and explores the
relation of materiality and ideality of sound in musical composition. His artistic practice is constituted in the oscillation between aesthetic
theory, technological development, and compositional practice. He has published articles in journals such as Computer Music Journal,
Contemporary Music Review, Acta Musicologica, and kunsttexte.de. He has been awarded prizes and residencies by the Royal Conservatoire
The Hague, the Austrian Federal Ministry of Science and Research, STEIM Amsterdam, Rondo Graz and the Künstlerhaus Schleswig-Holstein.
His works have been performed and presented in Germany, Austria, The Netherlands, Portugal, Spain, Switzerland, France, and the USA.
www.marcodonnarumma.com
Na koncertu bo igral na inštrument Xth Sense, razvit pred štirimi leti. Pri celotelesnih gestah človeško telo oddaja bioakustične zvoke, ki
jih krepi s pomočjo prenosnih mikrofonskih senzorjev ter jih nato interaktivno vzorči in predvaja skozi večkanalno ozvočenje. Tako ustvarja
glasbo, ki je komponirana v realnem času in sestoji iz zvokov, generiranih v mišičnem tkivu njegovega telesa. Naravni zvok mesa in njegov
virtualni ekvivalent se združita v nestabilne zvočne objekte. Stvaritev, ki nastaja kot vzajemen rezultat sodelovanja bioakustičnih telesnih
mehanizmov in fizično-visceralnega performansa, je poimenoval biofizična glasba.
I am a performer. I work with bodies. Often times it is my own body, other times I use multiple bodies. I perform them, write about and
tinker with them. I use flesh, movement, metaphors and circuits. The context can be intense physical performance, dance, media theatre, or
installation. The media are natural and technological. Machines, sound, video, light and biological matter. I create musical instruments that
use bioacoustic visceral sounds, electric neuronal pulses, muscle contractions and palpitations of the blood vessels
In this concert, I will play with the Xth Sense, a new musical instrument I created 4 years ago. By performing whole-body, physical gestures,
my body emits bioacoustic sounds which are amplified using wearable microphone sensors, interactively live sampled and diffused through
loudspeakers and subwoofers. In this way, I create music by literally composing in real time the sounds emitted by the muscle tissue of my
body. The natural sound of the flesh and its virtual counterpart blend together into unstable sonic objects. This is what I termed Biophysical
Music, music that is a joint result of bioacoustic body mechanisms and physical, visceral performance.
FRACTURE
MECHANICS
MICK
GRIERSON
Burkhard Beins GER tolkala, citre, objekti, ročna elektronika / percussion, zither, objects, handheld electronics Lucio Capece ARG sopran
saksofon, bas klarinet, preparacije / soprano saxophone, bass clarinet, preparations Paul Vogel IRL/CH elektronika, klarinet, steklo /
electronics, clarinet, glass Martin Küchen SE saksofoni, radiji, preparacije / saxophones, radios, preparations
Ustanovitelj oddelka Goldsmiths Digital, ki je posvetovalni organ skupine EAVI (Embodied Audiovisual Interaction Group) Univerze Goldsmiths
v Londonu. Mick je znan po svojem izvedenskem znanju na tehnološkem področju avdiovizualne interakcije, zato pogosto zavzema osrednjo
vlogo pri realizaciji vidnejših kreativno-tehnoloških instalacij, kot so mednarodno priznani The Clock Christiana Marclaya, Heart n Soul’s »Dean
Rodney Singers« (del Paralympics Unlimited Festival) in Science Museum’s »From Oramics to Electronica«. Mick razvija programsko opremo,
ki jo uporabljajo številni VJ-ji in DJ-ji, med katerimi so tudi svetovno znani intermedijski umetniki in razvijalci aplikacij. Njegovo programsko
opremo uporabljajo tudi številna, tako večja kot manjša, hardverska in softverska podjetja v okviru najrazličnejših aplikacij za digitalno
obdelavo zvoka.
www.burkhardbeins.de/groups/fm.html
»Fracture Mechanics« ali mehanika loma je znanstvena veja, ki se ukvarja z lomi v materialih. Hkrati je skrbno izbrana metafora za raziskovanje
glasbe, zvokov, oblik in njihovih prelomnih točk. Posebej pomembno je dejstvo, da v tem kontekstu besedo lom doleti rahla semantična degradacija.
Tudi drznejša poimenovanja kot npr. »brötzmansko vzburjene« ali »brenčeči ventili Dörnerja« se bodo s časoma obrabila, saj morajo osnovne ideje
o glasbi in muziciranju biti nenehno podvržene kritični presoji in alternacijam. Ta kvartet je posebej primeren za izvajanje takšne naloge. Lucio
Capece je nemško-argentinski basklarinetist, katerega igra se razteza od tehna verižnih reakcij do Wandelweiserske askeze. Burkhard Beins je
legendarni bobnar realnega časa in oboževalec postpanka. Martin Küchen je saksofonist in pek iz Lunda. Paul Vogel je klarinetist in obdelovalec
stekla ter ena izmed gonilnih sil vitalne in pogosto spregledane irske scene improvizirane glasbe.
“Fracture Mechanics” , the scientific study of cracks in any form of material, is a well-chosen metaphor for the examination of music, sounds, shapes
and their breaking points. The fact that this has given the word “fracture” a slight semantic degrading is of particular importance. Even more unorthodox
expressions - such as “brötzmann-esque arousal” or “the buzzing valves à la Dörner”— will inevitably wear thin over time, so too the mechanics of sound
— that is, the basic ideas about music and its performance must be subject to critical review and alteration. This quartet is particularly suited for such
a task: Lucio Capece, German-Argentine bass-clarinetist with a weakness for both Chain Reaction-techno and Wandelweiser-asceticism, Burkhard
Beins, legendary echtzeitdrummer and Post-Punk fan, Martin Küchen, Lund based saxophonist and baguette baker, and last but not least, clarinetist
and domestic glassware operator Paul Vogel - one of the driving forces in the vital, but too often overlooked, Irish improvised music scene.
Produkcija / production KUD Mreza
eavi.goldsmithsdigital.com/staff/dr-mick-grierson
Mick Grierson is the founder of Goldsmiths Digital, the consultancy arm of Goldsmiths Embodied Audiovisual Interaction Group. Known for
his expertise in audiovisual interaction technologies, Grierson’s involvement is central in some of the most noteworthy creative technology
installations since 2010 including Christian Marclay’s internationally acclaimed “The Clock”, Heart n Soul’s “Dean Rodney Singers” (Part of the
Paralympics Unlimited Festival), and Science Museum’s “From Oramics to Electronica”. Mick’s audio & visual software is used by VJs, DJs, high
profile artists and professionals including a large number of media artists and application developers. His software can be found in a wide
range of digital audio applications by both large and small hardware and software companies.
TOMAŽ GROM
PRIVID, PRISLUH
ALEX HOFMANN &
ROMAN ROFALSKI
www.sploh.si/tomazgrom
Alex Hofmann alt saksofon + živa elektronika / alto saxophone + live-electronics Roman Rofalski klavir + živa elektronika / piano + live-electronics
Tomaž Grom zamisel / concept Ana Čigon snemanje in obdelava videa / recording and video editing Vasja Progar processing programiranje /
processing, coding Daichi Yoshikawa, Franz Hautzinger, Lee Patterson, Samo Kutin, Seijiro Murayama, Olivier Toulemonde, Jonas Kocher,
Andrej Fon, Vitja Balžalorsky zvok in videopodoba / sound and vizuals Sploh institute produkcija / production Špela Trošt executive producer
Duo Hofmann-Rofalski raziskuje nove oblike improvizirane glasbe za klavir in saksofon. S pomočjo tehnik žive elektronike (realizirane v programskem
okolju Csound) glasbenika manipulirata zvočni spekter obeh inštrumentov, tako da iz drobnih perkusivnih zvokov nastanejo mogočne zvočne gmote.
(NEPONOVLJIVO)
Glasbeni inštrument Neponovljivo se napaja iz posnetkov glasbenikov, ki razvijajo osebni glasbeni jezik. Je derivat glasbene zasedbe, ki se je
prvič predstavila pod imenom Privid, prisluh, in ki se nenehno množi. Izbira izvora, on, off, glasnost in naključje so parametri, ki glasbeniku
omogočajo muziciranje. Pred očmi nenehno nastaja vedno neponovljiva kompozicija. Privid, prisluh je kreacija v nenehnem nastajanju, v
kombiniranju izvirnega in živega glasbenega dela, ki poteka na presečišču tehnološko obdelane sodobne zvočnosti in elementarnosti čistih
zvokov v povezavi z digitalnim zapisom. Je prostor srečanja neprisotnih, tehnološko reproduciranih izvajalcev z neposredno prisotnostjo
glasbenika v koncertnem kontekstu. Je prostor soočenja spontanosti v solo izvajanju in naknadnem strukturiranju posameznih glasbenih
prisotnosti, ki se jim pridruži glasbenik kot realna prisotnost izvajanja v živo.
Neponovljivo (Unrepeatable) is a musical instrument, which consists of recorded musical sequences performed by different musicians developing
their individual musical language. It is a derivative of a music group which appeared for the first time under the name of “Privid, prisluh” (Audiovisual
illusion) and is now continuously multiplying. The musician can make music by selecting the source, defining volume and randomness, which generates
a continuous and unrepeatable composition. “Privid, prisluh” is a continuously evolving creation, combining original and live music. It is taking place at
the intersection of technologically processed contemporary sonority and the elementarity of digitized clean sounds. It is a meeting place of the absent
technologically reproduced performers and the immediate presence of the live musician in a concert context. It is a confrontation space of spontaneous
solo performance and the subsequent structuring of individual musical presences, joined by a musician as a real presence in live performance.
www.romanrofalski.com
Alex Hofmann je saksofonist in improvizator. Živi in dela v Avstriji, na Dunaju. Ob umetniškem delu se ukvarja tudi z glasbeno akustiko, teorijo
performansa in živo elektroniko. Na teh področjih je objavil vrsto teoretskih tekstov. Deluje tudi kot oblikovalec zvoka in avdio programer ter dejavno
prispeva k realizaciji odprtokodnih projektov avdio-programskih orodij, kot so SuperCollider in Csound.
Roman Rofalski je izkušen studijski pianist, ki snema tako s klasičnimi glasbenimi skupinami kakor tudi za popularne glasbene produkcije. V New
Yorku deluje v zasedbi Modern jazz piano trio, ki niza mednarodne turneje in je pred kratkim izdala ploščo pri založbi Neuklang.
Hofmann / Rofalski explore new forms of improvised duo performance on piano and alto-saxophone. By enhancing both instrument’s sound
spectra through individually programmed live-electronics in Csound, the result is a driving soundwall, structured by tiny acoustically
produced percussive sounds, which gain enormous power from amplification and sound modification.
Alex Hofmann is a saxophone player and improviser living and working in Vienna/Austria. Besides his artistic work, Alex Hofmann is doing
research in music acoustics, performance science and live-electronics and has published several writings in these areas. He also worked as a
sound-designer and audio-programmer and contributed to opensource audio-softwareprojects like SuperCollider and Csound.
Roman Rofalski is an experienced studio piano player, and has been recording with classical music ensembles but also appeared in popular music
productions. His NYC based “Modern jazz piano-trio” has recently released a new album on “neuklang” recordings and is touring internationally.
GEORG
HOLZMANN
AUPHONIC
RAGNAR
HRAFNKELSSON
MOGEES
Auphonic uporablja tehnologije s področja samodejne analize glasbenih signalov, strojnega učenja, obdelave signala in velikih količin
podatkov (big data), na podlagi katerih razvija najsodobnejše avdio algoritme za samodejno avdio postprodukcijo. Njihovo programsko opremo
uporabljajo radijske postaje, podkasti, snemalci predavanj idr. Uporabniki prenašajo avdio vsebino na Auphonicov strežnik, kjer se avdio
signal samodejno analizira, s čimer sta odpravljeni potrebi uporabnika po poznavanju nastavitev posameznih parametrov in po izvedenskem
poznavanju avdia nasploh. Njihov spletni sistem se sam uči, posodablja in prilagaja različnim vrstam avdio podatkov. Na predstavitvi bosta
prikazana tako orodje Auphonic kot tudi izkušnja ustanavljanja avdiozagonskega podjetja v Avstriji.
Razvijalec programske opreme se ukvarja s tehnologijo novih medijev s posebnim poudarkom na zvoku. Programirati je začel v podjetju RjDj,
ki je eno prvih v razvoju mobilnih aplikacij s področja reaktivne oz. algoritmične glasbe in zvoka. Pozneje je soustanovil podjetje Reactify, v
katerem je izdeloval avdiovizualne vsebine in igre za različne platforme, kot so spletna orodja, mobilne in prostorske instalacije. Ragnar je
trenutno glavni razvijalec pri podjetju Mogees, v katerem oblikuje orodja, ki vsakodnevne objekte pretvarjajo v glasbene inštrumente.
auphonic.com
Auphonic develops next generation audio algorithms using a combination of music information retrieval, machine learning, signal processing
and big data to create automatic audio post production software for broadcasters, podcasts, radio shows, lecture recordings, etc. Users
upload their recorded audio and Auphonic analyzes the signal, so that neither complicated parameter settings nor audio expert knowledge
is necessary. In the web-based system, algorithms keep learning and adapting to new data every day. This talk will start with a short
introduction about what we are doing at Auphonic and then moves to the art of creating an audio startup/company in Austria and in general.
www.mogees.co.uk
Ragnar is a software developer and new media technologist with a background in audio. He began his coding career at pioneering mobile app
company, RjDj, programming reactive music and sound; later co-founding creative technology company Reactify, and has produced audio/
visual work and games across many different media platforms including web-based tools, mobile apps and physical installations. Currently
Ragnar is lead developer at Mogees, creating tools that turn everyday objects into musical instruments.
YULI
LEVTOV
REACTIFY
www.reactifymusic.com
Podjetje Reactify se ukvarja z glasbeno produkcijo in je specializirano za področje »dinamične glasbe«, ki jo ustvarja v obliki zvočnih instalacij,
mobilnih aplikacij, iger in spletnih orodij. Kompozicije oblikuje predvsem po naročilu velikih podjetij in umetnikov. Tehnologija, ki jo razvija
Reactify, temelji na najsodobnejših konceptih generativne, reaktivne in interaktivne glasbene kompozicije.
Reactify is a unique music production company specialising in Dynamic Music via sound installations, mobile apps, games and web-based tools.
Having worked with a range of corporate clients and artists, Reactify’s work is on the cutting edge of what is possible in the realm of generative,
reactive and interactive music composition.
MICHELA
MAGAS
www.stromatolite.com www.sonaris.org www.musictechfest.org
Že dvajset let se ukvarja z razvojem inovacij, v okviru katerih povezuje področja znanosti in umetnosti, oblikovanja in tehnologije ter akademskega
raziskovanja in industrije. Diplomirala je na Kraljevem umetnostnem kolidžu v Londonu. Doktorat iz glasbene tehnologije je opravljala na Univerzi
Goldsmiths v Londonu. Je ustanoviteljica festivala Music Tech Fest, ki vsako leto združuje velike glasbene založbe, zagonska podjetja, glasbene
inovatorje ter znanstvenike – raziskovalce. Leta 2000 je soustanovila oblikovalsko-inovacijski laboratorij Stromatolite, ki razvija futuristične
koncepte za mednarodne stranke, med drugimi za Apple, Nike in Nokio. Bila je znanstveni vodja projekta MIReS, v okviru katerega je sedem
glavnih evropskih raziskovalnih institucij raziskovalo prihodnost glasbene tehnologije. Projekt MIReS je podprla evropska komisija. Za svoje delo
je dvakrat prejela nagrado NEM art art meets science – za projekt Songlines (Barcelona 2010) in za projekt Synaesthesia (Istanbul 2012). Michela
je članica strokovne komisije evropskega programa Horizon 2020, v katerem sooblikuje prihodnje smernice razvoja informacijsko-komunikacijske
tehnologije, posebej pozorno pa se posveča internetu stvari in kreativni industriji.
Michela Magas is an innovation catalyst who bridges the worlds of science and art, design and technology, and academic research and industry,
with a track record of 20 years of innovation. A graduate from the Royal College of Art in London, Michela conducted PhD research at Goldsmiths,
University of London in music and technology. She is the founder of the Music Tech Fest, a creative event which brings together large music
publishers, SMEs, music innovators and scientific researchers. Magas co-founded Stromatolite Design Innovation Lab in 2000, developing
futures concepts for a series of international clients including Apple, Nike and Nokia. She was Scientific Director of MIReS, a European
Commission-funded project investigating the future of music technology, in conjunction with seven of the top music technology research
centres in Europe. Her work has received the ‘art meets science’ NEM art award twice: for Songlines (Barcelona 2010) and Synaesthesia
(Istanbul 2012). Michela is on the Advisory Board of the European Commission’s Horizon2020 programme, both at meta level regarding future
directions for the ICT research programme, and more specifically on matters involving the Internet of Things and the Creative Industries.
MARK MOBIUS &
ARTUR REIMER
NAGUAL SOUNDS
www.nagualsounds.com
Podjetje Nagual Sounds razvija edinstveno tehnologijo za pretvarjanje najrazličnejših podatkov v glasbo. Njihov prvi produkt – program za glasbeno
ustvarjanje – »Nagual Dance« s pomočjo naprave Kinect zajema podatke o gibanju oz. na podlagi optične zaznave gibanja človeškega telesa ustvarja
nov interaktivni glasbeni inštrument. Kinect naredi podatke iz podobe; Nagual Dance naredi glasbo iz podatkov. Oboje poteka v realnem času.
Uporabnik s telesom dela glasbo ter je tako hkrati dirigent in orkester. Program »Nagual Dance« mapira različne zvočne elemente in virtualne
glasbene inštrumente na določene dele telesa. Uporabnik lahko kombinira te elemente na nešteto načinov. Program ne deluje na podlagi vnaprej
posnetih glasbenih sekvenc, omogoča pa snemanje glasbe, medtem ko nastaja. »Nagual Dance« je nova interaktivna, plesno-glasbena izkušnja.
Nagual Sounds developed a worldwide unique technology to translate any kind of data into music. For their first product, the Music Creation
Software “Nagual Dance”, they took the data of the Kinect as data input and developed a new interactive musical instrument. Here, the Kinect
tracks the movements of a person and sends it in form of Data to a computer. Nagual Dance translates this data in real time into music. The
user is conductor and orchestra in one person, using only his body to create the music. The software “Nagual Dance” assigns specific sound
elements and virtual instruments to certain parts of the body. The user can combine these elements in endless variations. What he creates out
if it is up to him. No clips are triggered, but individual music is created. It’s a new interactive music and dance experience.
YOSHIHITO
NAKANISHI
www.yoshihito-nakanishi.com
Doktorski študent na Univerzi v Tokiu – Šola za interdisciplinarne informacijske študije. Ukvarja se z interaktivno umetnostjo, oblikovanjem
konceptov interakcije pri elektronskih glasbenih inštrumentih ter oblikovanjem orodij za kolaborativno glasbeno izražanje, namenjenih
amaterskim glasbenikom. Trenutno razvija kolaborativni glasbeni inštrument z imenom »POWDER BOX«, ki s pomočjo senzorjev glasbeniku
omogoča intuitivno izbiranje in preklapljanje med različnimi načini igranja znotraj glasbene skupine. Različne naprave »POWDER BOX« so pri
tem med seboj brezžično povezane, na podlagi česar lahko samodejno sinhronizirajo tonske lestvice in tempo ter skupini glasbenikov tako
omogočajo izkušnjo vzajemnega igranja. Projekt »POWDER BOX« je bil 2013 izbran v polfinale Tekmovanja glasbenih inštrumentov Guthman, ki
ga je gostila univerza Georgia Tech (Atlanta, ZDA). Leta 2014 pa je bil izbran v kategorije »Residence«, »Welcome« in »VRIC Recommended« pri
Laval Virtual ReVolution 2014 (Laval, Francija).
Yoshihito Nakanishi is a doctoral student in the Graduate school of Interdisciplinary Information Studies at the University of Tokyo. His research
interests include interactive art, interactive design of electronic musical instruments and collaborative musical expression environments
for musical novices. His current research project is concerned with development and design of collaborative musical instruments for
non-musicians. “POWDER BOX” is equipped with sensor-based replaceable interfaces, which enable participants to discover and select
their favorite playing styles of musical instruments during a musical session. In addition, it has a wireless communication function that
synchronizes musical scale and BPM between multiple devices. “POWDER BOX” provides novice participants with opportunities to experience
a cooperative music performance. “POWDER BOX” was selected as semi-finalist’s work in the 2013 Georgia Tech’s Guthman Musical Instrument
Competition (Atlanta, USA), and “Residence”, “Welcome” and “VRIC Recommended” work in the Laval Virtual ReVolution 2014 (Laval, France).
TIM
O’DWYER
www.timodwyer.com
Saksofonist, skladatelj in ravnatelj šole za sodobno glasbo na Umetnostnem kolidžu Lasalle v Singapurju. Pri delu izhaja iz jazza, pank-rocka,
proste improvizacije in sodobne klasične glasbe. Timova glasba nenehno širi okvire sloga, tehnike in konteksta ter jih razteza čez meje kulture,
performativnih praks in umetniških disciplin. Njegovi trenutni projekti so kompozicijski kolektiv The Fold, solistični projekt »meta-saxophone« in
free jazz Tim O’Dwyer Trio. Od leta 1994 je član avstralskega ansambla za sodobno glasbo Elision.
Pri projektu »meta-saxophone«, ki ga razvija zadnjih pet ali šest let, sodelujeta tudi oblikovalca inštrumentov Stuart Favilla in Dirk Stromberg.
Metasaksofon temelji na altovskem saksofonu, opremljenem s senzorji pospeška, infrardečim senzorjem, enoto za 16-bitno digitalizacijo in mrežnim
vmesnikom »Open Sound Controll« (OSC), ki prenaša podatke z zamikom 2 m/s, s čimer omogoča virtuozno elektroakustično igranje v realnem času.
Gre torej za integriran sistem, ki s pomočjo strojne opreme, pritrjene na zunanji strani saksofona, omogoča elektronsko obdelavo akustičnega signala.
Tim O’Dwyer is a saxophonist and composer and Head of the School of Contemporary Music at LASALLE College of the Arts in Singapore. With a
background in jazz, punk-rock, free improvisation and contemporary classical music, Tim’s music constantly pushes the boundaries of style,
technique and context stretching across borders of culture, performance practice and art forms. His current projects include the composing
collective The Fold; his solo meta-saxophone project; and his free-jazz trio the Tim O’Dwyer Trio. Tim has been a member of the Australian
contemporary music ensemble ELISION since 1994.
Tim has been developing the meta-saxophone for the past 5-6 years with instrument builder’s Stuart Favilla and Dirk Stromberg. The instrument is a
playable (alto saxophone), modified sensor system consisting of sensors and mounting parts including an accelerometer and infrared sensor, a sensor
digitizer (16bit resolution), and open sound control (OSC) network integration, allowing for a 2msec scanning resolution for virtuosic control. The
result is an integrated system that enables him to process the acoustic saxophone sound utilizing hardware attached to the outside of the instrument.
EDUARDO RAON
ON THE DRIVE FOR
IMPULSIVE ACTIONS
www.eduardoraon.com
Smeh, zehanje, vzdihovanje, spopadi in celo ubijanje so socialno nalezljivi vedenjski vzorci, ki so veliko manj razumski v razmerju do splošnega
dojemanja in razumevanja človeške narave. Vendar jih kljub temu prikazujemo in dnevno izvajamo, kjerkoli, kadarkoli, ne oziraje se na njihovo
neobvladljivo naravo.
Eduardo Raon pri delu uporablja harfo, daksofon, računalnik in video, s čimer ustvarja performans, ki se osredotoča na impulzivne akcije
tako ljudi kot »neljudi«. Delo je kot celoto mogoče razumeti skozi dialog, ki nastaja med glasbenimi in vizualnimi komponentami oz. med
zvokom in podobo ter skozi kontrast med geometričnimi strukturami partiture ter Raonovo prosto improvizacijo. Nastajajočo dihotomijo
lahko razumemo kot najzanimivejši simptom dvoumnosti naših impulzov, ki so hkrati obvladani in svobodni.
Laughter, smiling, yawning, sighing, fighting and even killing are all socially contagious behaviors. Socially contagious behaviors that are
far less rational than we consider our human nature to be. And yet we display them and participate in them daily, anywhere, everywhere,
untroubled by their uncontrolled nature.
In this work Eduardo Raon uses the harp, the daxophone, computer and video to build a performance that focuses on impulsive actions both
humans and non humans. The full understanding of this work will be visible through the dialogue and clash between music and video, sounds
and images. And also between the score’s geometry and Raon’s sense of free improvisation. And isn’t this dichotomy the best symptom of the
ambiguity of our impulses, apparently controlled yet free?
FINANCIAL SUPPORT
PARTNERS / CO-PRODUCERS
SPONSORS
THEREMIDI
ORCHESTRA
wiki.ljudmila.org/Theremidi_Orchestra
Aktivni člani Theremidi Orchestra so / Theremidi Orchestra active members are Simon Bergoč, Tina Dolinšek, Luka Frelih, Ida Hiršenfelder,
Dare Pejić, Tilen Sepič, Saša Spačal, Robertina Šebjanič, Dušan Zidar & Ian Soroka.
Theremidi Orchestra (TO) je avdiovizualna DIY skupnost, ki so jo osnovali udeleženci delavnice Theremini in Teremidi fizični vmesnik v organizaciji Ljudmile
v maju 2011. TO je prej glagol kot samostalnik, kajti deluje kot nenehno potekajoča delavnica, ki proizvaja hrup in šume. Hrupni elektroansambel obstaja v
večnem sedanjiku in se hkrati nanaša tudi na zgodovino elektronske godbe. Delo skupine pri ustvarjanju glasbe in zvočnih eksperimentov izhaja iz postopkov
DIY (Do-it-yourself) in DIWO (Do-it-with-others), kajti inštrumente razvijajo sami na osnovi odprtokodnih elektronskih vezij. Trenutno TO sestavlja deset
dejavnih članov, ki prihajajo iz različnih strok. Postopek umetniške produkcije vključuje eksperimentiranje z zvočnimi vmesniki in skupno komponiranje
glasbenih partitur. Člani si medsebojno enakovredno in po lastnih zmožnostih delijo odgovornosti za posamezne dele procesa itd. Do zdaj je orkester nastopal,
razstavljal in izvajal delavnice na več kot tridesetih festivalih in razstavah v Evropi in ZDA, kot so na primer festival Piksel v norveškem Bergenu, LiWoLi v
avstrijskem Linzu, PoolLoopu v švicarskem Zürichu in U3: Trienale sodobne umetnosti v ljubljanskem MSUM, če jih omenimo samo nekaj.
Theremidi Orchestra (TO) is an audiovisual DIY community initiated by participants of the Theremini and Teremidi physical interface workshop,
organized by Ljudmila Lab in May 2011. Rather than a subject, TO is a verb, an ongoing workshop of noise and drone production. This handson electro noise ensemble exists in the present continuous, while referring to the history of electronic music. TO has a DIY/DIWO approach in
making music and sound experiments, developing its own instruments based on open-source electronic circuits. Currently TO consists of ten
active members, coming from different professional backgrounds. The process of production involves experimenting with sound outputs, mutual
composition of music scores, shared responsibilities for individual parts of the process, etc. Thus far, the orchestra performed, exhibited and held
workshops at over thirty festivals and exhibitions mostly in Europe e.g. Piksel Festival in Bergen Norway; LiWoLi Festival in Linz, Austria; PoolLoop
in Zürich, Switzerland; U3: Triennial of Contemporary Art, Museum of Contemporary Art in Ljubljana, Slovenia, to name just a few.
VENUES
EARZOOM
Metod Blejec Design
MUSIC
TECHNOLOGY
STARTUPS
LJUBLJANA
14.—19.
OCTOBER
2014