Ec(h)otone: an ec(h)otone is a transition area; 
it is where two communities meet and integrate, reflect before they decay.


(...)


Inside the ground floor of an old house, three musicians performed an impromptu session based on a pre-recorded mix of sounds from the upper floor.


Thanks to the flautist, the double-bassist, the saxophonist: 
Evi Nakou, Dimitris Tigkas, Guido de Flaviis.

Special thanks for the introduction and the art direction to Peter Gonda (aka GND).


All work is part of Koumaria residency 2017.

e c (h) o t o n e s

Onomatopoeia is the word that mimics the sound of the object or action it refers to. When you pronounce a word, it will mimic its sound. ›Onomatopoeia‹ is an installation where the audience is trying to capture sounds, using their bodies as instruments. A set of speakers surrounds the installation’s area creating a unique, non-vocal soundscape. The acoustics of the space are revealed through the reflection of sound and a distant speaker. Attempting dialogue, the audience is asked to repeat what they hear on a microphone. The microphone records each participant and all the recordings are sent to a speaker behind the audience, as these new sounds gradually replace the original ambience. A system of communication arises from these two speakers, while the person becomes receiver and sender in the middle of this imaginary audio line.

From urban to the rural landscape, the city of ancient Messene becomes the setting for us to experiment with the contradiction between sound and memory. How do we tend to perceive what we hear? How does the memory participate in our interpretation of sound? The idea of perceiving and reproducing sounds that surround us might give the answer here. Modern life soundscapes meet the Greek polis and its presence through time. History remains and expands while the audience recreates a common environment; a sonic land of vitality.

Onomatopoeia (A Performance's Sound Reel)

Steps that define us and betray us, warn us or disorientate us, are imposing or surprising, steps that are provoking or silent, steps like keys on keyboards… An electronic profile of human steps. For ten days and during different times of the day, an in situ observation and systematic documentation of this activity in the interior spaces of the Old Jesuit Monastery and the exterior space of the mazy alleys of Ano Syros took place. By intensifying the possibilities of the footsteps, I used a variety of handy materials that I casually put in designated points of these two spaces. The sound performance "Behind The Obvious Sound" was presented at the Monastery in July of 2018 before closing the Sounding Paths 2018 residency.

Behind The Obvious Sound / Performance / Sounding Paths 2018 / Ano Syros

The following sounds were composed by primary school-students with the application: UPISketch as part of the workshop "Let's draw music" on 25-27 April 2018 in Nicosia, Cyprus. The workshop was supplemented by the  “Iannis Xenakis’s UPIC” exhibition as a way of introducing participants to the creative relationship between art and music. The workshop was organized by  the European University Cyprus and Centre Iannis Xenakis as part of the activity "Urban Music Boxes and Troubadours" of the Interfaces Network project, co-founded by the Creative Europe Programme of the European Union. 

Credits:
Concept, Code: Rodolphe Bourotte    
Code: Sean Soraghan, Daniel Walz
Mathematical Support: Paul Lanthier
Key graphics: Louis Hyerlé

Thanks are extended to: Sharon Kanach, Evis Sammoutis, Fotini Vaiouli, Jean-Louis Villeval / Copyright (c) 2017 Centre Iannis Xenakis

More information, photos, and videos related to the event here: http://www.interfacesnetwork.eu/post.php?pid=122-music-workshops-let-s-draw-music

UpiSketch workshop: Xeniamichaeld

“Bursty Exorbitance” is an eight-channel computer generated composition developed at the ZKM | Center for Art and Media Karlsruhe in Germany as part of the”graphic notation” residencies. It explores the eruptive sonic qualities which emerge from a far-from-equilibrium drive of a Generative Feedback Network, implemented with the Pure Data programming environment. Eight nodes with self-modulating mechanisms were soft-coupled as non-linear oscillators, which produced continuous sonic streams of explosive and recalcitrant character. Some crucial parameters of the self-modulating mechanisms were controlled by a four-dimensional chaotic attractor discovered in 2017 by M. Ababneh at the Department of Mechatronics Engineering of the Hashemite University in Zarqa Jordan. The visualizations of the attractor served as the “score”, providing proper parameter mappings for the macro development of the composition. Other important sets of parameters were randomized within composed limits while other parameters were manually adjusted during the unfolding of the composition.

Bursty Exorbitance

CECIA (Collaborative Electroacoustic Composition with Intelligent Agents) is an innovative music project that integrates the creative agency of 5 composers and Machine Learning algorithms, leading to the creation of a unique composition of electroacoustic music. The project explores collaborative music creation, harnessing the creativity of electroacoustic music composers and Intelligent Agents through an online platform. The collaborative process was conducted remotely in an iterative fashion, in which the composers anonymously submitted and evaluated sound material/ideas/suggestions. These data were used for the training of the machine learning algorithms, which generated new sonic structures, which in turn were fed back to the composers as suggestive material. The project implements a synergistic framework between human and algorithms, introducing a novel experimental sound practice for the creation of  electroacoustic music.

Composers
    • Panayiotis Kokoras
    • Mariam Gviniashvili
    • Juan Carlos Vasquez
    • Martyna Kosecka
    • Erik Nyström

Machine learning algorithms
    • Artemi – Maria Gioti

Project coordinator
    • Kosmas Giannoutakis

CECIA - Composition

NEW MODELS AND PRACTICES FOR AUDIENCE DEVELOPMENT IN CONTEMPORARY MUSIC IN EUROPE. 
Co-funded by the Creative Europe Programme of the European Union

UpiSketch workshop: Xeniamichaeld

Interfaces Network

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