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Indian E-music – The right mix of Indian Vibes… » Events


Futuristic AV, EPs from Mexico’s Interspecifics, CNDSD, Ivan

Delivered... Peter Kirn | Events,Scene | Fri 7 May 2021 5:55 pm

It's a dark and uncertain time across Latin America, so sending some serious love to everyone. All the more reason to take in the futuristic voices in today's hybrid MUTEK session, from our friends Interspecifics and CNDSD + Iván Abreu.

The post Futuristic AV, EPs from Mexico’s Interspecifics, CNDSD, Ivan appeared first on CDM Create Digital Music.

CTM Festival is live now, from anywhere (not just Berlin or passholders)

Delivered... Peter Kirn | Events,Scene | Fri 22 Jan 2021 10:13 pm

Berlin's CTM Festival "Transformation" is online now to tune in anywhere in the world, featuring unique online features, audiovisual shows, talks, and more, with events through the end of the month.

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You can tune into Uganda’s Nyege Nyege 2020 festival right now

Delivered... Peter Kirn | Events,Scene | Fri 4 Dec 2020 6:55 pm

The east-central African festival has become a global beacon for adventurous music lovers. But this year, you can virtually teleport to Kampala and take in some yourself - right now.

The post You can tune into Uganda’s Nyege Nyege 2020 festival right now appeared first on CDM Create Digital Music.

Intimate portraits of music-making for times of isolation and futurism

Delivered... Peter Kirn | Events,Scene | Wed 4 Nov 2020 7:12 pm

For all the video portraits of music-making out there, this series for The Disappearance of Music is something special - and might just inspire you in your own solo creation.

The post Intimate portraits of music-making for times of isolation and futurism appeared first on CDM Create Digital Music.

Games as art, music as game medium, in free festival online: A MAZE.

Delivered... Peter Kirn | Events,Scene | Tue 21 Jul 2020 9:28 pm

You couldn't come to Berlin for Synthposium. But in this year of the virtual, you can explore electronic media from anywhere, without a plane ticket, at A MAZE. It's relevant to the moment - and can be relevant to music and visual performance, too.

The post Games as art, music as game medium, in free festival online: A MAZE. appeared first on CDM Create Digital Music.

Cancellation and reschedule updates: Musikmesse, SuperBooth, Loop, Synthplex

Delivered... Peter Kirn | Events,Scene | Fri 13 Mar 2020 7:15 pm

Obviously, most near-term public events are canceled, as efforts to reduce transmission of COVID-19 ramp up. Some events already have new dates in 2020, however. Here’s the latest:

(photo at top – Hanna Parrott, for Synthplex in LA USA / gallery)

SuperBooth, Berlin – no 2020 event.

Statement: “Due to the current health situation and the worldwide development of the Coronavirus there will be no SuperBooth event in 2020.
All ticketholder can give their already purchased tickets back for a full refund.”

Synthplex, Los Angeles – rescheduled to fall.

Statement: “Due to international travel restrictions and concerns for the health and safety of attendees, vendors, artists, presenters and Synthplex Staff, Synthplex 2020 has been moved. New dates are October 29th – November 1, 2020.”

Ableton Loop, Berlin – rescheduled to 2021.

Ableton have a full FAQ.

While the other events here are simply canceling 2020 and carrying on with 2021, Ableton says Loop in 2021 will be as close as possible to what they planned for 2020, so they’re in a different boat.

Musikmesse, Frankfurt – no 2020 event.

Musikmesse proper was already canceled, but now the local Musikmesse Plaza 2020 and Musikmesse Festival events are also off. See you in 2021 here as with the others.

Did I miss any major events for electronic music and music tech with information you want to share? Sound off in comments or contact us.

And please, to everyone – take precautions, and stay tuned here as I absolutely hope we all keep each other entertained in isolation.

The post Cancellation and reschedule updates: Musikmesse, SuperBooth, Loop, Synthplex appeared first on CDM Create Digital Music.

In Adversarial Feelings, Lorem explores AI’s emotional undercurrents

Delivered... Peter Kirn | Events,Scene | Fri 7 Jun 2019 12:05 am

In glitching collisions of faces, percussive bolts of lightning, Lorem has ripped open machine learning’s generative powers in a new audiovisual work. Here’s the artist on what he’s doing, as he’s about to join a new inquisitive club series in Berlin.

Machine learning that derives gestures from System Exclusive MIDI data … surprising spectacles of unnatural adversarial neural nets … Lorem’s latest AV work has it all.

And by pairing producer Francesco D’Abbraccio with a team of creators across media, it brings together a serious think tank of artist-engineers pushing machine learning and neural nets to new places. The project, as he describes it:

Lorem is a music-driven mutidisciplinary project working with neural networks and AI systems to produce sounds, visuals and texts. In the last three years I had the opportunity to collaborate with AI artists (Mario Klingemann, Yuma Kishi), AI researchers (Damien Henry, Nicola Cattabiani), Videoartists (Karol Sudolski, Mirek Hardiker) and music intruments designers (Luca Pagan, Paolo Ferrari) to produce original materials.

Adversarial Feelings is the first release by Lorem, and it’s a 22 min AV piece + 9 music tracks and a book. The record will be released on APR 19th on Krisis via Cargo Music.

And what about achieving intimacy with nets? He explains:

Neural Networks are nowadays widely used to detect, classify and reconstruct emotions, mainly in order to map users behaviours and to affect them in effective ways. But what happens when we use Machine Learning to perform human feelings? And what if we use it to produce autonomous behaviours, rather then to affect consumers? Adversarial Feelings is an attempt to inform non-human intelligence with “emotional data sets”, in order to build an “algorithmic intimacy” through those intelligent devices. The goal is to observe subjective/affective dimension of intimacy from the outside, to speak about human emotions as perceived by non-human eyes. Transposing them into a new shape helps Lorem to embrace a new perspective, and to recognise fractured experiences.

I spoke with Francesco as he made the plane trip toward Berlin. Friday night, he joins a new series called KEYS, which injects new inquiry into the club space – AV performance, talks, all mixed up with nightlife. It’s the sort of thing you get in festivals, but in festivals all those ideas have been packaged and finished. KEYS, at a new post-industrial space called Trauma Bar near Hauptbahnhof, is a laboratory. And, of course, I like laboratories. So I was pleased to hear what mad science was generating all of this – the team of humans and machines alike.

So I understand the ‘AI’ theme – am I correct in understanding that the focus to derive this emotional meaning was on text? Did it figure into the work in any other ways, too?

Neural Networks and AI were involved in almost every step of the project. On the musical side, they were used mainly to generate MIDI patterns, to deal with SysEx from a digital sampler and to manage recursive re-sampling and intelligent timestretch. Rather then generating the final audio, the goal here was to simulate musician’s behaviors and his creative processes.

On the video side, [neural networks] (especially GANs [generative adverserial networks]) were employed both to generate images and to explore the latent spaces through custom tailored algorithms, in order to let the system edit the video autonomously, according with the audio source.

What data were you training on for the musical patterns?

MIDI – basically I trained the NN on patterns I create.

And wait, SysEx, what? What were you doing with that?

Basically I record every change of state of a sampler (i.e. the automations on a knob), and I ask the machine to “play” the same patch of the sampler according to what it learned from my behavior.

What led you to getting involved in this area? And was there some education involved just given the technical complexity of machine learning, for instance?

I always tried to express my work through multidisciplinary projects. I am very fascinated by the way AI approaches data, allowing us to work across different media with the same perspective. Intelligent devices are really a great tool to melt languages. On the other hand, AI emergency discloses political questions we try to face since some years at Krisis Publishing.
I started working through the Lorem project three years ago, and I was really a newbie on the technical side. I am not a hyper-skilled programmer, and building a collaborative platform has been really important to Lorem’s development. I had the chance to collaborate with AI artists (Klingemann, Kishi), researchers (Henry, Cattabiani, Ferrari), digital artists (Sudolski, Hardiker)…

How did the collaborations work – Mario I’ve known for a while; how did you work with such a diverse team; who did what? What kind of feedback did you get from them?

To be honest, I was very surprised about how open and responsive is the AI community! Some of the people involved are really huge points of reference for me (like Mario, for instance), and I didn’t expect to really get them on Adversarial Feelings. Some of the people involved prepared original contents for the release (Mario, for instance, realised a video on “The Sky would Clear What the …”, Yuma Kishi realized the girl/flower on “Sonnet#002” and Damien Henry did the train hallucination on “Shonx – Canton” remix. With other people involved, the collaboration was more based on producing something together, such a video, a piece of code or a way to explore Latent Spaces.

What was the role of instrument builders – what are we hearing in the sound, then?

Some of the artists and researchers involved realized some videos from the audio tracks (Mario Klingemann, Yuma Kishi). Damien Henry gave me the right to use a video he made with his Next Frame Prediction model. Karol Sudolski and Nicola Cattabiani worked with me in developing respectively “Are Eyes invisible Socket Contenders” + “Natural Readers” and “3402 Selves”. Karol Sudolski also realized the video part on “Trying to Speak”. Nicola Cattabiani developed the ELERP algorithm with me (to let the network edit videos according with the music) and GRUMIDI (the network working with my midi files). Mirek Hardiker built the data set for the third chapter of the book.

I wonder what it means for you to make this an immersive performance. What’s the experience you want for that audience; how does that fit into your theme?

I would say Adversarial Feelings is a AV show totally based on emotions. I always try to prepare the most intense, emotional and direct experience I can.

You talk about the emotional content here and its role in the machine learning. How are you relating emotionally to that content; what’s your feeling as you’re performing this? And did the algorithmic material produce a different emotional investment or connection for you?

It’s a bit like when I was a kid and I was listening at my recorded voice… it was always strange: I wasn’t fully able to recognize my voice as it sounded from the outside. I think neural networks can be an interesting tool to observe our own subjectivity from external, non-human eyes.

The AI hook is of course really visible at the moment. How do you relate to other artists who have done high-profile material in this area recently (Herndon/Dryhurst, Actress, etc.)? And do you feel there’s a growing scene here – is this a medium that has a chance to flourish, or will the electronic arts world just move on to the next buzzword in a year before people get the chance to flesh out more ideas?

I messaged a couple of times Holly Herndon online… I’m really into her work since her early releases, and when I heard she was working on AI systems I was trying to finish Adversarial Feelings videos… so I was so curious to discover her way to deal with intelligent systems! She’s a really talented artist, and I love the way she’s able to embed conceptual/political frameworks inside her music. Proto is a really complex, inspiring device.

More in general, I think the advent of a new technology always discloses new possibilities in artistic practices. I directly experienced the impact of internet (and of digital culture) on art, design and music when I was a kid. I’m thrilled by the fact at this point new configurations are not yet codified in established languages, and I feel working on AI today give me the possibility to be part of a public debate about how to set new standards for the discipline.

What can we expect to see / hear today in Berlin? Is it meaningful to get to do this in this context in KEYS / Trauma Bar?

I am curious too, to be honest. I am very excited to take part of such situation, beside artists and researchers I really respect and enjoy. I think the guys at KEYS are trying to do something beautiful and challenging.

Live in Berlin, 7 June

Lorem will join Lexachast (an ongoing collaborative work by Amnesia Scanner, Bill Kouligas and Harm van den Dorpel), N1L (an A/V artist, producer/dj based between Riga, Berlin, and Cairo), and a series of other tantalizing performances and lectures at Trauma Bar.

KEYS: Artificial Intelligence | Lexachast • Lorem • N1L & more [Facebook event]

Lorem project lives here:

http://www.studio-frames.com

The post In Adversarial Feelings, Lorem explores AI’s emotional undercurrents appeared first on CDM Create Digital Music.

Heard it all before? Talking sound, discovery, and inspiration

Delivered... Peter Kirn | Events,Scene | Tue 14 May 2019 8:37 pm

Sometimes lost in conversations about technology or specific musical genre or minutia of social media is the fundamental question of what sound is and what we can discover. From Berlin’s tech/culture conference re:publica, we got to tackle some of those questions.

I got to ask three fascinating individuals about their connection to sound and where future sounds might be discovered. On the panel last week:

Kathy Tafel, now at Native Instruments, has one of the broader backgrounds in the entire music technology realm, spanning the birth of the DAW (Deck II!) to key roles at Apple to her ground-breaking multimedia band D’Cückoo. And now she’s charting the course of projects like Sounds.com and TRAKTOR and – I have to say, I’m optimistic about the direction she’s taking them. (Kathy probably merits a separate story on this site if I can compel NI to agree to it.)

I don’t know whether Kathy wants this trip down memory lane, but let’s go there – a MIDI ball:

Valentin von Lindenau has diverse work across audio and music, and with his firm kling klang klong has established himself as a rare leader in audio interaction experience and design, in a way that leads this medium internationally.

Lucrecia Dalt has come from Colombia to making a name for herself in the packed artistic landscape of Berlin, with unique poetic-musical hybrids. Maybe better to let her speak for herself:

We tread lots of ground here – I can’t take credit for either the topic/theme or the selection of panelists, but I’m grateful to have participated in the program.

And actually – I’m glad to even flounder on this sort of topic, but ask ourselves those kinds of deeper questions. I have my own opinions, naturally, but I was keen to get these fresh perspectives.

The full topic:

Can music and sounds be developed infinitely, or is everything at some point composed and tried out? If we follow John Cage and reserve the word “music” for eighteenth- and nineteenth-century instrument, the contemporary “organizer of sound” will not only be faced with the entire field of sound but also with the entire field of time. Matthew Herbert on the other hand stands with his manifesto for a kind of artistic self-limitation, demanding for instance that the sampling of other people’s music is strictly forbidden and that the use of sounds that exist already is not allowed (No drum machines. No synthesizers. No presets). For our reality check, we want to discuss what sound engineers, designers and artists are working on right now. Which sounds actually sound new and why? And also – which new applications for such sounds are in the works or theoretically conceivable?

+++

Sources / inspirations:

John Cage
«The Future of Music – Credo»
http://www.medienkunstnetz.de/source-text/41/

Matthew Herbert
P.C.C.O.M.
https://matthewherbert.com/about-contact/manifesto/

And I’m interested to hear your reflections, too – do let us know your answers, whether the sound that first inspired you as a kid or the way you get in the flow for new sounds now.

I’m still pondering some of the ideas all three of our panelists raised about flow and inspiration. Keep listening.

The post Heard it all before? Talking sound, discovery, and inspiration appeared first on CDM Create Digital Music.

Design, meet music: gorgeous graphic scores from LETRA / TONE fest

Delivered... Peter Kirn | Artists,Events,Scene | Thu 7 Mar 2019 7:11 pm

Nine designers created graphics scores. Next, nine musicians will interpret them. LETRA / TONE festival is one of the more compelling experiments in festival programming – an adventure in crossing media. Here’s what it looks like.

Now, in these here parts, we’ve been fans of visual-musical synesthesia, from live visuals and VJing to graphics. LETRA / TONE makes that connection in the score. Curator (and composer/musician) Hanno Leichtmann had the idea. Five years ago, I covered one of the earlier editions:

Pattern and Design: A 2-Day Festival Turns Vintage Type into Musical Scores

The gathering has since blossomed to include a wide arrange of international designers and big-name (and fringe) musical artists across various instruments. There’s a complete exhibition and loads of concerts this weekend.

And you never know quite what you’ll get, because it’s up to these artists to determine how to translate the visual ideas they’re given into performances. This being Berlin, there are some major electronic artists – modular electro duo Blotter Trax (Magda and T.B. Arthur), turntablist Dieb 13, JASSS, Nefertyti, and DEMDIKE STARE are all involved. But you also get pianist Magda Mayas, and Schneider TM takes to experimental guitar, composer and avant garde rocker Jimi Tenor. Hanno has not only paired artists with musicians, but produced some arranged musical marriages, too – commissioning Blotter Trax, pairing Nefertyti with Jimi Tenor.

Graphic scores come from Katja Gretzinger, Anke Fesel, Scott Massey, Daniela Burger, Stefan Gandl, Joe Gilmore, Sulki & Min, Julie Gayard, and T.S.Wendelstein.

To bring a bit of this festival to you, here’s a selection of images from past editions (and current sketches) to show the visual range. You can imagine yourself how you might make music from these.

And snippets of 2019:

To give you a feel of the music, some selected artists:

JASSS:

Demdike Stare:

Blotter Trax:

Nefertyti (bad video but… I’m enjoying this punk aesthetic here):

Facebook event if you’re in Berlin this weekend:

https://www.facebook.com/events/2212145495720491/?active_tab=about

The post Design, meet music: gorgeous graphic scores from LETRA / TONE fest appeared first on CDM Create Digital Music.

9th Norient Musikfilm Festival 2019

Delivered... norient | Events,Scene | Wed 5 Dec 2018 11:00 am

The Norient Musikfilm Festival is back. After a year off, the 9th edition will be taking place between January 10 and 13, 2019, in Switzerland (Bern, St. Gallen, Lausanne). We will be screening thirteen music films dealing with the current topics of migration, futurism, dance, tradition, cultural diplomacy, and war. The live acts and DJanes include Goodiepal & Pals, Dim Grimm (Dimlite), Kries, Clara!, and Bamz, who will offer a musical spectrum ranging from Croatian folk, political performance, and sound experiments, to UK funky house and reggaetón. This year’s festival will open with the documentary about English-Tamil world music 2.0 superstar Matangi/Maya/M.I.A., which was nominated for the Sundance Film Festival. Deutsche Version im unteren Teil.

Check full program on the festival website.

Festival poster: artwork by Guillermo González Bravo (Mexico); Art Design by Annegreth Schärli (Switzerland)

Das Norient Musikfilm Festival ist zurück. Nach einem Jahr Pause findet die neunte Ausgabe vom 10. bis 13. Januar 2019 in Bern (Reitschule, City Pub, Jugendzentrum newgraffiti), St. Gallen (Palace) und Lausanne (Le Bourg) statt. Gezeigt werden 13 Musikfilme zu aktuellen Themen wie Migration, Futurismus, Tanz, Tradition, kulturelle Diplomatie und Krieg. Die Live-Acts und DJanes Goodiepal & Pals, Dim Grimm (Dimlite), Kries, Clara! und Bamz offerieren ein musikalisches Spektrum zwischen kroatischem Folk, Politperformance, Klangexperimenten, UK Funky House und Reggaetón. In Bern arbeitet Norient neu mit dem schweizerisch-bosnischen Verein Kultur Shock zusammen und will ausserhalb der Innenstadt ein neues Publikum ansprechen. Das fürs Sundance Film Festival nominierte Portrait Matangi/Maya/M.I.A. über den englisch-tamilischen Weltmusik 2.0-Superstar M.I.A. eröffnet das Festival.

Das gesamte Programm gibt es auf der Festival-Homepage.

Conversations and an overflow of music, streaming from Ableton Loop

Delivered... Peter Kirn | Events,Scene | Fri 9 Nov 2018 10:43 pm

Don’t have a ticket to Ableton’s Loop “summit for music makers” in Los Angeles? There’s an overabundance of music and conversation from the gathered artists streaming, much of it live, available now.

For starters, your chance to get involved is the 90-second music challenge, on today:

https://loop.ableton.com/2018/start-here/

(90 whole seconds? Maybe it’s time to redo our 1-second “leap second” music challenge. Apologies for the broken link there – I know that file is in our archives; stay tuned.)

It’s easy to imagine Loop as turning into something really focused on the particular software and hardware products from Ableton, but the people programming the event have made it something very different. Loop’s programming itself extends through a range of artistic and technological frontiers, many of them only tangentially related to Live or Push – everything from AI to electronic instrument engineering to sonifying data from space. Most of that does require a ticket – which means you need to be in Los Angeles right now, and tickets were in short supply. (Even for ticket holders, capacities are constrained as workshops and seminars often take place in small quarters.)

What you can get access to is a couple of the mainstage talks, and a whole bunch of the music culture around Loop. That says a lot about the kind of artists Ableton has befriended, and the sort of hub Los Angeles can be for musicians. So Dublab Radio are broadcasting, for instance – and they’ve made Loop their home.

We’ll be talking to artists, too, in our own way – stay tuned for that. But meanwhile, part of what I get is that there’s a ton of music to experience. It’s not just one genre, and it’s also not just about the people Loop programmers thought were important. If music production tools are driven by an urge to create and share, then it’s little wonder that the participants here have self-organized their own collaborative playlist to share what they’re doing.

So let’s listen. Here’s your guide:

Loop has their live streaming schedule online, with events starting mainly 2PM (5PM NYC, 11PM Berlin) daily, earlier on Saturday:
https://loop.ableton.com/2018/streaming-schedule/

Timing on the West Coast of the USA tends to run a little late even in the Americas, and winds up at weird hours for Europe/Africa and the Eastern Hemisphere. But here you go — think afternoon – early evening LA time Friday and Saturday and afternoon Sunday. That means evening east coast USA, early morning Japan, and … Europe you might want to wait for the archive unless you’re a night owl.

Highlights for me include Sunday – Damien Licht has been doing some great productions and has a new album, and shesaid.so, Naomi Mitchell & Coco Solid should be terrific as they’re bringing in loads of new and diverse music interests and community activation. Plus Dennis DeSantis, Laura Escudé, Patrice Rushen, Photay talking Saturday about what happens when plans go awry – well, that’s relevant to all of us, and this is an utterly amazing selection of different life experiences professionally. We all talk about the Instagram-friendly perfect side of our creative lives, and very rarely about the failures – even if adjusting to failures is usually where the good stuff happens.

Plus there are live performances in the evening if you can catch them.

Music you can tune in any time, though, via Spotify.

What’s great is the chance for participants to share with one another:

And Dublab would love to welcome you to LA’s extraordinarily dynamic scene:

For more sounds – including the lineup at Loop and a guide to why the venue EastWest Studios has put out music you already know and love:

https://loop.ableton.com/2018/loop-spotify/

And if you are at Loop, see you here:

Touch, Code, Play: creating hybrid physical-digital music instruments

The post Conversations and an overflow of music, streaming from Ableton Loop appeared first on CDM Create Digital Music.

Norient Co-Curates ISM Hexadome

Delivered... norient | Events,Scene | Wed 4 Apr 2018 3:56 pm

The ISM Hexadome is an immersive 360° audiovisual exhibition combining art and technology and features nine audiovisual performances and installations from international artists curated by ISM and Norient. The project is the first step in the Institute for Sound & Music’s initiative to build a museum in recognition of sound, immersive arts, and electronic music culture. Norient curated two artists into the project: Lara Sarkissian and CAO. The events featuring Brian Eno, Thom Yorke, and others, are taking place between March 29 and April 22, 2018, at Martin-Gropius-Bau in Berlin, Germany.

The ISM Hexadome is comprised of a visual projection architecture designed by Berlin digital media studio, Pfadfinderei, and the «Klangdom», an advanced multi-channel speaker configuration created by ZKM | Institute for Music and Acoustics Karlsruhe. The Klangdom is controlled by the software Zirkonium developed by ZKM and 3D audio mixing software Panoramix developed by IRCAM’s STMS Research Lab.

Performances and Installations: Schedule

April 13, 20h/22h, Live Performance
Lara Sarkissian & Jemma Woolmore | Frank Bretschneider & Pierce Warnecke

April 14, 16h, Artist Talk
Diasporian Narratives: Archiving, Sampling, and Politics in the Tracks of Lara Sarkission
Moderated by Hannes Liechti, Norient

April 14-15, 10-22h, Installation
Lara Sarkissian & Jemma Woolmore | Frank Bretschneider & Pierce Warnecke

April 20, 20h/22h, Live Performance
Peter van Hoesen & Heleen Blanken | CAO & Michael Tan

April 21-22, 10-(19)22h, Installation
Ben Frost & MFO | Holly Herndon & Mathew Dryhurst | CAO & Michael Tan | Peter van Hoesen & Heleen Blanken

For all dates of the following artists check ISM Hexadome website.

Brian Eno
Tarik Barri & Thom Yorke
Holly Herndon & Mathew Dryhurst
Ben Frost and MFO
Pfadfinderei & René Löwe

Norient Artist Selection for ISM Hexadome

Lara Sarkissian

Lara Sarkissian (left) and Jemma Woolmore (right) (Photos © Promo)

Hexadome Installation Piece with Jemma Woolmore:
Thresholds

Thresholds creates a transsensorial space for storytelling on topics of territory, recognition and memory. Together musician Lara Sarkissian and artist Jemma Woolmore craft an immersive experience from aural and physical architectures; playing with disorientation, stability, unrest, familiarity and recollection.

The piece is an ambient electronic landscape referencing Armenian music, field recordings and churches (both in its sonic and physical form); as the architecture of churches have often been designed with the intentions of acoustic ecology and spatial experiences in mind. The score collages elements of voices, hymns, instruments; holding space for modern day Armenian narratives tied to uprooted ancestral pasts [and present].

The hexadome screens become a landscape to be navigated and divided, creating symbolic borders that are enforced, blurred or dissolved throughout the work. Patterns emerge that appear to both isolate and encompass, generating complex and unfamiliar territories, exploring the fragile boundary between Utopia and Dystopia.

Lara Sarkissian is a sound artist, DJ (FOOZOOL) and filmmaker based in San Francisco, CA. She is co-founder of Club Chai; a music label, radio show, and curatorial project that artistically hybridizes non western sounds and visuals with contemporary western culture. Lara Sarkissian’s electronic music focuses on ambient/experimental productions with Armenian influences and scores films and installations. Follow Sarkissian on her Website, Bandcamp, Facebook, Mixcloud, and SoundCloud.

CAO

CAO and Michael Tan (Photos © Promo)

Hexadome Installation Piece with Michael Tan:
The Burial Theme: Trans-Matter Port and Objects

Inspired by ancient Moche iconography and cosmology, the work explores the dualities of life/death, generation/destruction, and cohesion/dispersion cycles and how they appear as two planes constantly transposed onto one another. The Moche cosmology envisioned certain gates that render the intersections of both planes as a space for events. One of these might be considered the ceremonial or ritual space, a realm in which the distance and division between both worlds would blur.

The work aims to explore the ceremonial object both in its native context and as an «unearthed object», expressing its connection with both ancient narratives and the transience and decay that operate in the natural world. This object, usually presented as a recipient, acts as a gate or a threshold, a geometrical key, and signifies generative space and the readiness preparatory to a transfer between worlds (living/dead, vision/blindness, sacred/profane, etc.).

Constanza Bizraelli aka CAO is a Peruvian electronic music composer and producer, artist, and theorist. She is the director and editor-in-chief of Cyclops Journal, an academic publication dedicated to contemporary theory, theory of religion, and experimental theory. Follow CAO on her Website, Facebook, SoundCloud, and Twitter.

The Poster

At Superbooth, expect new synth news, and grand instrumentalism

Delivered... Peter Kirn | Events,Scene | Wed 28 Mar 2018 5:07 pm

From a crowded stand in Frankfurt to a sprawling show in East Berlin, Superbooth has become a modular mecca and the premiere synthesizer summit on the world calendar.

And if you think about it, that’s pretty astonishing. NAMM (National Association of Music Merchants) in California remains the destination for the musical instrument industry at large, and it and a number of other events draw big crowds of synth lovers. But Superbooth has become a kind of extension of synthesizer inventor history, of modular subculture, and of the best parts of the Internet today – the bits that just nerd out about cool toys. One- and two-person shops stand literally shoulder to shoulder with major manufacturers.

In short, it’s the triumph of the weird.

“Normal” trade shows these days are what can seem anachronistic. The “trade-only” moniker at NAMM (or Germany’s Musikmesse) has always been confusing, with tire kickers tangled with industry, and a collision of instrumental segments that seem increasingly distant from one another.

Like the quiet, sprawling metropolis of Berlin itself, Superbooth never feels crowded. People amble and linger and chat and chill – all the verbs you never associate with trade shows. But it doesn’t feel like a local synth meet, either. There are 250 exhibitors this year, with stands from names like Ableton, Akai, Avid, Bitwig, Elektron, Eventide, IK Multimedia, KORG, Mackie, Magix, Moog, MOTU, Native Instruments, Nord, Novation, Propellerhead, RME, Roland, ROLI, Softube, Steinberg, Studio Electronics, Waldorf, and … yes, even mighty Yamaha.

Those join a who’s who of modular makers, with an increasing number of American brands alongside what appear to be all the major European names (including Russia).

So, it’s significant that the morning hours are dedicated to trade and professionals, while the afternoons open to the public. “Will you be at Superbooth?” has become the stock question for the synth and electronic end of the waters. And since this is not just a corner of a show with drums and guitars and trombones, you do actually talk to one another and connect.

So what will actually happen this year?

Last year saw a raft of cool stuff:

Go gear crazy with the best synth gear unveiled at Superbooth

Novation hit it out of the park with both Peak and Circuit Mono Station. Bastl Instruments fed us THYME, DUDE, Kong … and their own line of custom-brewed coffee. Behringer had their infamous Minimooog Model D clone to try. Elektron revealed the Digitakt, as Jomox and MFB unveiled boutique drum machines. And of course there were loads of new modules and other toys … not to mention Yamaha with a robot that plays keys.

Last year, this happened – two new Novation synths.

(Compare the inaugural 2016, when Superbooth was more limited to niche modular and analog creations, and many brands still made waves at Frankfurt Messe. By last year, Messe was mostly silence.)

This year, I think you can expect even more big announcements. Given the attention Novation got, I wouldn’t be surprised if a big manufacturer made a splash – even from Japan’s big three, all of whom are in attendance.

Of course, the charm of Superbooth is, those big manufacturers won’t really have any particular advantage over tiny shops. (Well, apart from if you have deeper pockets, you get the cool room with the Soyuz module …)

And I think you can expect … oh, wait, I can’t tell you. I don’t know anything. Expect nothing.

(Oh, one note – I think we’ll continue to see a cottage industry in 5U modules – that’s the larger format – especially as Moog’s own recreation of its vintage modulars is out of reach of most budgets.)

Superbooth 2016 videos

https://vimeo.com/schneidersbuero

On the music side…

As Superbooth gets deeper in the gear territory – not just for modular geeks, but synths fans in general – it’s also building out its roster of musicians. Those reflect some of the Berlin in-crowd’s refined tastes, but this year they also suggest another line.

Superbooth wants you to think of synths and modular as an instrument, in the classic sense of the word.

So you get Caterina Barbieri, a classical guitarist-turned-modular artist, and Leon Michener on a prepared grand piano. There’s Berlin electronic legend Bernd Kistenmacher on synths, and composer Udo Hanten on 5U modulars.

Stephan Schmitt, founder of Native Instruments and father of Generator/Reaktor, will play on his own unique C 15 keyboard, made by his new hardware venture Nonlinear Labs. Carolina Eyck will play Theremin; famed producer Tobi Neumann will play ambient with Fadi.

The night program is also packed with some big names: think #instantboner, T.Raumschmiere & FucketYbUcKetY, Ströme and Tikiman, Boys Noiz with 2244, ATEQ, and GusGus.

It’s not entirely “underground” in character – these are established, premiere artists, and perhaps associated then with established, premiere modular gear, which while increasingly affordable isn’t exactly cheap. But then I think you can also expect lots of unofficial off events and afterparties to spring up, postcards to spread around – and it’s still Berlin. So be sure manufacturers will organize spontaneous jam sessions, visiting nerds will promote gigs, and lots of sound geekery will be had in the days during and immediately around the event. You might want to clear your calendar, plus some, like, recovery time.

On the workshop/talk side, there are various DIY offerings, as well as a female/non-binary program meant to counter-balance an event that has tended to skew fairly heavily male. Daniel Miller, Uwe Schmidt, and Mark Ernestus are in discussion, plus you can catch Lady Starlight, Andrew Huang, Lady Blacktronika, and Mylar Melodies.

The biggest rival to Superbooth I imagine will be Moogfest back in the U.S. of A. – unlikely to have, say, boutique Russian makers at it, but likely to attract some modular purveyors who won’t make the Transatlantic flight. And Moog of course will figure big at their own event. Moogfest also dwarfs Superbooth as far as festival lineup and talks. I’d also keep an eye on SONAR Festival, whose extended tech program often focuses on the European tech scene, plus Music Tech Fest in September.

But as far as synth makers in one place and synth news, Superbooth is the big bet for new tech. I’ll see you there.

Full event schedule

Exhibitor list for this year

superbooth.com

The post At Superbooth, expect new synth news, and grand instrumentalism appeared first on CDM Create Digital Music.

New Live Series: Sonic Fiction

Delivered... norient | Events,Scene | Mon 5 Mar 2018 9:00 am

Norient is proud to present a new series of concerts and audiovisual performances. In collaboration with the Rewire festival (Den Haag, the Netherlands) and Schauspielhaus Zürich Norient presents the most exciting acts of today's pop music on the theater stage in Zurich, Switzerland. In the first edition on April 21, 2018, the experimental sound worlds of Ben Frost will collide with the dark avant-garde pop of Jenny Hval. Events will also be held on May 12 and June 9. More acts to be announced soon.

Exactly twenty years ago the journalist and writer Kodwo Eshun attempted in his influential book More Brilliant than the Sun – Adventures in Sonic Fiction to rethink the perception of music in general by finding a new language for music (rather than rely on words that leave the radical imaginary space of music untapped). He did this by describing and excavating the unacknowledged traditions of diasporic science fiction, by finding a «future shock» in music and sounds. Today, it is still obvious, how limiting traditional language is, especially attempts to describe current sonic phenomenons; more than ever, pop music is crossing borders, is audiovisual, powerful and aesthetically challenging. Contemporary musicians debate political topics and appear provocative and virtuosic at the same time. With this new series of concerts and audiovisual performances, Norient and Rewire want to present the diversity of the current Sonic Fiction on the theater stage in Zurich to a wider audience. We are looking forward to meet you there.

Directly jump to: line up April 21 | May 12 (tba) | June 9 (tba)

April 21, 2018: Ben Frost / Jenny Hval

20:00h at Schauspielhaus Zürich, Pfauen
Tickets from CHF 35 to 70 (presale open)

Jenny Hval

Jenny Hval has in recent years made a name for herself as a recording artist and writer both in her native Norway and abroad. Multidisciplinary and transgressive are words often employed to describe her art, but Jenny Hval’s polyphonic artistry is in fact seamlessly interwoven between musical, literary, visual and performative modes of expression. Her artistic voice is altogether present, accessible and obscurely complex at the same time. Follow Jenny Hval on Bandcamp, Facebook, SoundCloud, Twitter, or YouTube.

Ben Frost

The music of Ben Frost is about contrast; influenced as much by Classical Minimalism as by Punk Rock and Metal, Frost’s throbbing guitar-based textures emerge from nothing and slowly coalesce into huge, forbidding forms that often eschew conventional structures in favor of the inevitable unfoldings of vast mechanical systems. Follow Ben Frost on Bandcamp, Facebook, SoundCloud, Twitter, Website, or YouTube.

May 12, 2018: Second Edition

20:00h at Schauspielhaus Zürich, Pfauen
Tickets from CHF 35 to 70

Line up to be announced soon.

June 9, 2018: Third Edition

20:00h at Schauspielhaus Zürich, Pfauen
Tickets from CHF 35 to 70

Line up to be announced soon.

Credits

In collaboration with:

Curation: Thomas Burkhalter and Bronne Keesmaat
Cooperation: Theresa Beyer and Hannes Liechti
Project Coordination: Hannes Liechti
Art Design: Caroline Grimm (Schauspielhaus Zürich)

CDM Mixes: Voyage into sound like a mystic space cat, with akkamiau

Delivered... Peter Kirn | Events,Scene | Mon 8 Jan 2018 3:09 pm

Start your week right with some underground technoes. akkamiau is the multi-faceted Prague-born Akkamiau Kočičí, and she kicks off a special January for us.

Here in Berlin on Saturday, we’re hosting a special night of live performances with akkamiau joining us for a DJ set rounding out the night:
https://www.residentadvisor.net/events/1053318

They’re all released on or forthcoming on our label Establishment, and all of them have robust projects of their own, from live coding work in the Algorave scene with Miri Kat, to their own up-and-coming label projects (Gradient from Jamaica Suk, Denkfabrik from Nicolas Bougaïeff, and a new project emerging from Stanislav Glazov aka Procedural). They’re also teaching – Stas is a modular and Touch Designer guru traveling the world with those projects; both Nick and Jamaica teach privately, and Nick teaches modulars and coaches composition as Dr. Techno – because he’s a real doctor. Oliver Torr on behalf of Prague’s XYZ project is preparing an interactive light installation that will evolve over the course of the night, as well.

Stratofyzika, intermedia group.

I wanted to invite Lenka to send some vibrations to our readers all over the world. Lenka’s own projects are myriad: she’s a founding member of female:pressure, the network and advocacy organization that has worked for years to break apart the gendering of electronic music, she releases and performs and DJs as akkamiau and hiT͟Hərˈto͞o, and adds live sound and music to the choreography- and audiovisual-driven intermedia project Stratofyzika.

She’s also recently hosted quadraphonic sound workshops, working in Ableton Live, plus the wildly popular jam room at Ableton Loop.

And while the trend these days seems to be on narrowly-defined DJs, I believe all those broad influences come across in her DJ mixes as well as her music. Lenka has shared an exclusive mix with us, recorded straight from the mixer in the grimy confines of Berlin’s club Suicide Circus aka Suicide Club. It was the opening of the respected RITUALS series, which takes commanding, dark techno into Berlin’s Thursday night / Friday morning (well, because this is Berlin, and Thursdays are a big night).

Just don’t expect monotonous pounding. Lenka’s mixing is effortlessly fluid and organic, unfolding across the duration, putting beautiful, strange otherworldly textures atop heavy, dirty pulse. And that seems to have as always Lenka’s quirky cosmic feline character there. That doesn’t mean it’s soft in any way: these space cats have big rockets.

Dark but not drab … industrial with groove … powerful but dreamy … sounds like good new years’ resolutions for techno to me.

Track listing (yep that Ancient Methods and Perc are each two favorites of mine, for starters):

Moerbeck & Subjected – 006SB1
Mamiffer – Enantiodromia
Adam X – It’s All Relative
Alexey Volkov – Corner
H880 – weird signs
Drasko V & Kero – Exponent (Drumcell Remix)
Tensal – Levia
Regis – Keep Planning (Original Mix)
Discord – Backyard Trapp
MTd – Basement (Moerbeck Remix)
P.E.A.R.L. – Station1
Tsorn – Strange Theory
FJAAK – The Tube
Ancient Methods – Knights & Bishops
Perc – Look What Your Love Has Done To Me
H880 – KEPLER
Niki Istrefi – Red Armor

Join us in Berlin if you can, and regardless, stay tuned for more of akkamiau, these other artists, and Establishment. Frohes Neues!

Follow akkamiau on SoundCloud, MixCloud, and Facebook

For more listening, check out akkamiau’s work on Colaboradio 88.4FM Berlin. There’s a special episode devoted to the voice:

— and one highlighting those Ableton Link-ed jam sessions at the company’s Loop conference from November:

Saturday’s event, featuring akkamiau:

Establishment: XL & live [Discount advance tickets exclusively on Resident Advisor]
RSVP on Facebook

The post CDM Mixes: Voyage into sound like a mystic space cat, with akkamiau appeared first on CDM Create Digital Music.

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