My guest for this episode is Piotr Szyhalski, a Polish-born artist who creates multimedia works under the name Labor Camp. His early pieces, large-scale Internet installations which defy the constraints of late 90’s technology, captured the attention of the New York Times, MTV, and the National Endowment of the Arts. Soon after, he began composing music with Max/MSP and modular synths, eventually merging his talents for both visual and aural art to create immersive performance environments. Piotr is also a Visual Arts professor at the Minneapolis College of Art and Design, where he collaborates with students past and present -- most notably, Pramila Vasudevan’s multidisciplinary group Anicca Arts.

archive  |  http://www.laborcamp.org
instagram  |  https://instagram.com/laborcamp
facebook  |  https://www.facebook.com/labor.camp
sound cloud  |  https://soundcloud.com/labor-camp-orchestra
monome | http://monome.org
lines | http://llllllll.co

To download this episode and receive sneak previews of future conversations, tape copies and Field Notes, please consider contributing to the S+P Patron at http://patreon.com/soundandprocess

Piotr Szyhalski (Labor Camp): SOUND + PROCESS #6

turning chaos into music
https://audius.co/ejvi

All music strictly vinyl or synth (with exception of verbal samples).
Created with MPC 2500 // SP-404 // Microbrute.
You know the deal.

She sliced like a knife through everything

Sound + Process deconstructs new electronic and experimental works through conversations with their composers. These artists all belong to the online community lines (http://llllllll.co). Hosted and produced by Dan Derks.

Born in Santiago de Chile (1979), graduated in cinema and music in Santiago, Chile and  Studio national des arts contemporains – Le Fresnoy (Tourcoing, France).   
Ramírez's work combines video, Sound, installations and poetic narratives. Ramírez appreciates stories within stories, fictions straddling countries and epochs, the mirages between dream and reality. His imaginary worlds are attached to one obsessional element—his thinking starts with the sea and the landscape, a space for memory in perpetual movement, a space for narrative projections