ATAU TANAKA
http://www.ataut.net/
Concrete Corps is a musical concert performance for performer and bio-electrical interface as musical instrument. The instrument in question is the BioMuse, a sensor interface captures electromyogram (EMG) biosignals reflecting muscle tension. Biomedical electrodes make electrical contact with the skin, detecting electrical impulses of neurons as the brain commands voluntary muscle contraction. The BioMuse amplifies these analogue micro-voltages, performs analogue-digital conversion, and transmits them as digital information to the computer. Live sound synthesis software programmed by the composer create mappings that shape and sculpt sound parameters, filtering, granularizing, distorting sampled sounds in ways not possible with conventional interfaces.
The system renders as musical instrument the performer’s own body, allowing him to articulate sound through concentrated gesture. The sources are recordings of natural sounds - wolves, water, machinery, telecommunications devices, sounds of the performer’s own body - that are stored in the computer. Rather than simply trigger samples mechanically, the gestural data sculpts and shapes the original sound recordings in a continuous and fluid manner. Musical gesture express real world sounds in an instrumental fashion, musique concrète becomes corporeal.
In the absence of a physical object to consider instrument to perform upon, the body becomes the vehicle to be performed through. The trajectory of sounds articulated evoke natural yet impossible sonorities of human body as animal, the sterile detachedness of the cyborg machi
ne, and the invasive risk of the musician’s own body sonified. The interplay is a search for the corporeal gesture idiomatic to a sound, zooming in and squeezing out the essence of the acoustic via the digital, mediated by the body.
MARCO DONNARUMMA
http://marcodonnarumma.com/
Music for Flesh II (Marco Donnarumma 2011,present) is a seamless mediation between human biophysical potential and algorithmic composition.
By enabling a computer to sense and interact with the muscular potential of human tissues, the work approaches the biological body as a means for computational artistry. During the performance muscle movements and blood flow produce subcutaneous mechanical oscillations, which are nothing but low frequency sound waves. Two microphone sensors capture the sonic matter created by the performer's limbs and send it to a computer. This develops an understanding of the performer's kinetic behaviour by *listening* to the friction of his flesh. Specific gesture, force levels and patterns are identified in real time by the computer; then, according to this information, it manipulates algorithmically the sound of the flesh and diffuses it through an octophonic system.
The neural and biological signals that drive the performer's actions become analogous expressive matter, for they emerge as a tangible sound.
Performances and talks in 2011 include Non-Bio Boom at Inspace, Imagine Create Festival, Linux Audio Conference, ICMC and 4th Pure Data Convention.
A LIVE PERFORMANCE OF MUSIC FOR FLESH II CAN BE VIEWED ONLINE HERE: Marco Donnarumma | Music for Flesh II (Live at The University of Edinburgh, March 2011)
MARINOS KOUTSOMICHALIS
http://www.marinoskoutsomichalis.com/
Sygxysis (* disturbance of psychological or mental health, psychological unrest, unrestful vexation) is a study in complexity using recursive stochastic noise generators. Sygxysis attacks the audience with intense spectra to enact situations of discomfort and psychological unrest, setting this way both body and consciousness into a constant state of alert and resulting in a profound awareness shift. The audience is challenged to experience an intense but rewarding chaos and indulge into a profound exploration of one' s own self !
Sygxysis is a performative audiovisual work for supercollider, one or two channels of audio and color projection. It was composed in Heraklion, April 2011.
RYAN JORDAN
http://ryanjordan.org/
The audio static buzz and noise is momentarily hijacked as stray pirate radio frequencies are channelled and received through human flesh and bone. The squawks of voices and distorted rhythms of music below out as the interference is carried inside the system. Approaching the phosphor coated television screen noticeable patterns begin to form and change with the bodies proximity to the radioactive, electromagnetic device. Upon contact with the screen and the skin electrons shoot from the cathode ray tube sending painful static pulses racing out into the ether, hurtling towards the earth. The body absorbs them willingly channelling them through the circuit.
Oscillations of bioelectrical feedback.
The body is integrated.
Location and Information
15/08/2011
8-11pm
£5 suggested donation
rough bar
nnnnn Unit 73a, Regent Studios, 8 Andrew's Road, E8 4QN
(get in the lift and go to the 7th floor, turn right and its the second unit)
http://nnnnn.org.uk/doku.php
http://nnnnn.org.uk/
http://ryanjordan.org/home.html
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