Improvised finissage live by Daniel Maszkowicz after exhibition clean-up under very strict sanitary supervision

SONIC TREE - Multi-Channel Interactive Sound Installation by Daniel Maszkowicz
Kolonia Artystów – Gdańsk
https://vimeo.com/koloniaartystow

improv under the metal tree

KOSMOSCORE - improv under the metal tree

olo·wicz
Loïc Grobéty & Daniel Maszkowicz
Organismic synthesizer duo, hypnotic drone ambiant, granular massive noise 

It just takes a few steps to switch from grindcore to noise. Daniel - wicz and Loïc - olo, come from the underground, dusty roads and wet cellars. Both of them are originally bass players that went on their own ways in exploring electroacoustic and atonal music.

Their first encounter took place in the Vietnamese jungle at Dao Xuan Chin Festival in Hòa Bình. In the steaming tropical heat, surrounded by the sounds of multiple insects and reptiles, but also a 120dB roaring sound system, they decided to work together on the Lyra-8 by Soma. This iconic Russian synthesizer offers an organic and living approach to composition and improvisation.

Their approach to music is definitely powerful, contrasting, cinematographic and radical. A torrential storm turns into an industrial sonic blast confusing tropical and urban jungle, for a complex piece with crushed sounds in a deep drone.

-----------------------------------------------

Du grindcore à la noise, il n’y a qu’un pas. Daniel – wicz et Loïc – olo viennent de l’underground, des routes poussiéreuses, des caves humides. Tous deux, originellement bassistes, ont suivi des parcours parallèles dans les méandres de la musique atonale et électroacoustique.

Leur rencontre a eu lieu dans la jungle vietnamienne au festival Dao Xuan à Hòa Bình. Dans la chaleur tropicale, au détour des sons sauvages des insectes et des reptiles multiples, mais aussi d’une sonorisation vrombissante à 120db, ils ont décidé d’approfondir leurs travaux sur l’iconique Lyra-8 de Soma. Ce synthétiseur russe permet une approche organique et vivante de la composition et des improvisations. 

Le duo propose une musique de leur temps, puissante, contrastée, cinématographique et radicale. Une pluie diluvienne se transforme en attaque sonique industrielle, confondant jungle tropicale et urbaine, dans une pièce complexe aux sonorités concassées.

olo·wicz

Création performance inaugurative: FULGUR
pièce pour un humain et une bobine
texte, son et mouvement par Daniel Maszkowicz
lecture par Nat Cilia
photo par François Moncarey

Convocation des éléments sur la jetée des bains des Pâquis pour le lancement des oeuvres de Geneva Lux. Illustrant la fulgurante progression humaine dans la maîtrise de la terre, de l'eau, de l'air et du feu, la pièce évoque la question énergétique en illustrant son vecteur principal: l'électricité.

******************

Dès l’aube des premières civilisations, l’humain s’organisa en groupes coopératifs

et se prit dans une fulgurante progression, dans la maîtrise des quatre éléments qui l’entourent.

L’eau - qui nourrit et donne la vie
Le vent - qui pousse les navires
Le feu - qui éclaire et qui réchauffe
La terre - qui fais pousser les aliments


C’est alors que l’humain comprit, l’étendue de l’immense puissance des éclairs de la foudre

C’est alors que l’humain comprit aussi, les dangers dévastateurs des quatre éléments qui l’entourent.

L’eau - des inondations et des tsunamis
Le vent - des tornades et des tempêtes
Le feu - des incendies et de la sécheresse
La terre - des tremblements et des volcans


C’est ainsi que l’humain comprit, comment se servir de l’électricité comme médium d’énergie.

C’est ainsi que l’humain comprit aussi, l’usage intelligent des quatre éléments qui l’entourent.

L’eau - et l’énergie hydraulique
Le vent - et l’énergie éolienne
Le feu - et l’énergie photovoltaïque
La terre - et l’énergie géothermique

Fulgur, les quatre éléments

FULGUR - les quatre éléments

Flo Kaufmann aka Flotzicare
Daniel Maszkowicz

Spontaneous Composition Duo with Violet Wand, Electromagnetic sensors, analogue feedbacks, and a mini Tesla Coil.

SparK·O·WicZ - Uscite dal Mondo

Live at Kunstraum Walcheturm on March 7th 2025

Phonorescence: When images become audible and sounds begin to glow

Michi Egger, Max Egger : Synkie (CTR TVs and analog video Synths)
Daniel Maszkowicz : electromagnetics

With their self-made instruments, the Egger brothers merge image and sound into a unique signal stream. Live images from old video cameras are fed back via television, begin to modulate each other and generate audible frequencies.

Daniel Maszkowicz is a power electronics research engineer, and multidisciplinary sound artist. He develops and implements devices for manipulating electrical signals and electromagnetic fields with a variety of unusual analogue feedback and sensors.

Phonorescence feat. Maszkowicz

Escape Velocity from Album EMC:EMI by Maszkowicz

EMC:EMI – Electromagnetic compatibility and interferences – is a term coming from industrial technologies related to machine interactions. The music aims to illustrate how electrical machines interfere with each other as an allegory to human interactions. Fields, Waves and resonanting energies come together in harmonies and dissonances as it would normally do in nature. Using electrical signals and electromagnetic field sensors, the sound sources are then processed through analogue and digital feedbacks and granular synthesis, using sound mixer and SuperCollider for stereo or multichannel set-up.

Electromagnetic compatibility is the ability of electrical equipment and systems to function acceptably in their electromagnetic environment, by limiting the unintentional generation, propagation and reception of electromagnetic energy which may cause unwanted effects such as electromagnetic interference. – Wikipedia

Escape Velocity

MeTroToKyo - 16.11.2016

1. Réveil dans l'horreur
2. Construction d'une gare
3. Attente interminable du train
4. Voyage
5. Arrivée en station de métro
6. Les rues du paradis

MeTroToKyo (Stereo version) - Quadriphonic live @ Écurie, Genève

Composition with sounds recorded from an old CTR TV. Piece though originaly for quadriphonic soundsystem.

Played live for Ondulor#23 at Walden, Geneva, on may 29th 2017

La Voix de son Maître - Composition pour quadriphonie (stéréo version)

Stereo version of a quadriphonic piece inpired by NorbergFestival, partly played spontaneously on stage camp 727 curated by Daniel Araya from EMS, Centre for Swedish electroacoustic music.

Northern Noise Circle

Power Générateurs @ Eclectic Seizure
Le Petit Café, Paris
December 15th 2017

SM NOISE
with Eliane Blaise and Maria Beatty

SM NOISE by POWER GÉNÉRATEURS

Daniel Maszkowicz plays on 24-channels Acousmonium at Cinéma Oblò - Lausanne, on March 4th.

COSMOS by Générateurs.

COSMOS by Générateurs @ Cinéma Oblo – Wolfonium#4 – 24 channels acousmonium(stereo recording)

Studio recording of a piece presented in March 2019 at Mai Space - Chiang Mai (Thaïland), Saal - Hong Kong, Philo - Macau, MetaHouse - Phnom Penh (Cambodia) and Đáo Xuân Festival – Gầm Trời Valley (Vietnam)

South East Asia Tour 2019
produced by Copypasta edition and SZKMD production
with the support of Pro Helvetia, the Republic and Canton of Geneva, and Schweizerische Interpretenstiftung SIS

Two Cranes Stone Dance

Daniel Maszkowicz - Two Cranes Stone Dance - South East Asia Tour

Nat Cilia - saxophone
Daniel Maszkowicz - electronics

recorded and arranged at RedRum, Geneva, 2019

I have a music meeting at the
moment and I will be a bit of
a duo if you wish to be a good 
time to time to time to time to 
time to time to time to time to 
time to time to time to time ...

INFLUUT is water and earth played by fire and air, the movement of invisible fluids and the breath in electricity, the perpetual flow of a river at its estuary, the entrance door for altered perceptions, the gateway between two multiverses, the passage between the undergrounds and overgrounds.

The essence of its music has an origin in the encounter of two souls with multiple faces and lives. Two opposite yet complementary approaches meet for exploring ways to organic harmonies and sound spatialization.

Their live acts will never be identical as there is no such thing as identical snowflakes. But their purpose will always be to cover the fields of ones imaginations, offering trips and travels in space and time.

Nat Cilia (Nathalie Cecilia Pierrehumbert) brings the breath with her saxophone and contact micro-phones. She combines complex rhythmic patterns with subtle melodic phrases ranging from slow doom jazz to free and spontaneous composition. With loops, delays and spatial effects, the pure saxo-phone voice is combined together with surrounding screeches and howlings.

Daniel Maszkowicz (Daniel Siemaszko) works with SuperCollider, bringing together digital generators and synthesizers for multi-channel soundscapes. He merges brainwave frequencies with binaural effects, and low frequency beats with psychoacoustic synthesis, creating intense yet introspective atmospheres stimulating some auditory sensory meridian response.

This first piece “ostĭum” is constructed as an organic movement in five parts. It lets some room to improvisation and electronically randomized sound events for building up a music narrative that follows some cycles that may be found in nature.

Part 1 enters the night of a forest. A soft but persistent wind caresses the moss, whistles through the solid rocks and blows dead leaves away. Insects crawl around on the floor and the trees with various taints of screeches and howlings.

Part 2 evolves as dawn rises. Insects are hiding as birds fly around looking into nourishing their young ones. The morning dew condenses into multiple tiny streams flowing like veins in the soil, eventually joining for giving birth to a source.

In Part 3, the source eventually becomes a crater lake continuously filled up by the streams. The ant-hill is at its busiest hour, the mill-wheel turns, the wheat grows, all work together with the sole purpose of seeing the water level rise in the crater lake.

Part 4 is the climax. As the crater lake overflows, there is no possible control on the occurring chaos. Nature takes back the lead, liberating noise, freeing melodies. The mechanisms holding the system broke in thousand parts that roll down to the ground.

Part 5 is the calm after the storm. The relaxing melodies bring a soft and self-healing hypnosis putting the confused souls down to sleep. As dusk becomes night, the insects wake again and crawl down around the floor and the trees.

INFLUUT - ostĭum

Marquise, Clemydia, Maszkowicz, Cousido

SM NOISE, is a harsh glitch action noise piece with non simulated and explicit SM practice, bringing an intense performative dimension in noise music.

Through needle play, self-suspension and chrysalidation, the performers reach a state of trance with consented positions of self-offering, and the use of several objects such as ropes, wax, whips, and scalpels. The sounds come from the interaction between their bodies – that eventually become music instruments – and the use of sensors, micro-contacts, amplification effects, glitches and brainwaves.
This project deploys some parts of the performers’ intimacy with an evocation to the sound pleasures related to BDSM practice, namely shouts and growns, the rustle between synthetic materials and skin, whip, banging and slams.

SM NOISE - live at Cave12 - 4th february 2019

Nat Cilia - saxophone
Daniel Maszkowicz - electronics

cover graphic design by Robert Turner

recorded and arranged at RedRum, Geneva, 2019

"spiralis" is a short piece setting up a perpetual hypnotic movement flowing away towards eternity. Machine encounters Nature in a strong yet subtle entanglement.

INFLUUT is water and earth played by fire and air, the movement of invisible fluids and the breath in electricity, the perpetual flow of a river at its estuary, the entrance door for altered perceptions, the gateway between two multiverses, the passage between the undergrounds and overgrounds.

The essence of its music has an origin in the encounter of two souls with multiple faces and lives. Two opposite yet complementary approaches meet for exploring ways to organic harmonies and sound spatialization.

Their live acts will never be identical as there is no such thing as identical snowflakes. But their purpose will always be to cover the fields of ones imaginations, offering trips and travels in space and time.

Nat Cilia (Nathalie Cecilia Pierrehumbert) brings the breath with her saxophone and contact micro-phones. She combines complex rhythmic patterns with subtle melodic phrases ranging from slow doom jazz to free and spontaneous composition. With loops, delays and spatial effects, the pure saxo-phone voice is combined together with surrounding screeches and howlings.

Daniel Maszkowicz (Daniel Siemaszko) works with SuperCollider, bringing together digital generators and synthesizers for multi-channel soundscapes. He merges brainwave frequencies with binaural effects, and low frequency beats with psychoacoustic synthesis, creating intense yet introspective atmospheres stimulating some auditory sensory meridian response.

INFLUUT - spiralis

La Cave 12 - Genève - 1.11.2019
Carte Blanche à NuR

NuR - Voice & hang
Daniel Maszkowicz - Drone & hold

Hairhanging

Body Sonification Performance – Hairhanging with NuR

Part of INTUITIO by Nat Cilia
Mastering by Emma Souharce

Spark Automat

Spark Automat - Maszkowicz

please use headphones for best hearing experience

Covid-19 Pandemic Reader - 17th October 2020
sonification by Daniel Maszkowicz
SZKMD production

Full code here:
https://github.com/maszkowicz/CovidPandemic_Reader

Check video for detailed explainations :
https://vimeo.com/418824483

What is the difference between data driven music and data sonification?

This piece does not answer the question but suggest a data hearing that intends to be both informative and musical.

We collect Covid-19 pandemic data available on the web from which we extract information for each country, the number of active cases is deduced and displayed visually on a plot showing total cases, deaths and recoveries. We are interested in the shape of the active cases curve, informing on the pandemic situation of a given country. A bell shaped curve indicates a well controlled situation whereas some countries are only at the beginning of it.

The sounds generated from the active cases have a pitch and pulse depending on the total number of cases. The amplitude follows the active cases curve to give an indication of its shape with a panning suggesting a timeline. The bassline indicates the beginning of a reading and illustrates the relative number of deaths related to total cases

The accuracy of this dataset in respect to real situations is subject to available information and governmental policies. Every single country has its own way to identifying occurred Covid-19 cases and causes of death in their population.

this data has been updated on 17th October 2020

Covid-19 Pandemic Reader 17 October 2020

Texte original de André Ourednik
Sonification de Daniel Maszkowicz

Par l’apprentissage automatique (machine learning), un programme évolue et devient capable de prendre des décisions de plus en plus «correctes» au vu d’un objectif défini à l’avance. Mais une telle intelligence ne crée rien: elle nous oriente dans un système de pensée établi qu’elle contribue à figer. Nous proposons d’en sortir en racontant une autre histoire: celle d’une intelligence artificielle qui commence avec l’apparition du langage, ce système symbolique qui médiatise le rapport au non-maîtrisable, à l’innommable, à l’insaisissable, en d’autres mots: le rapport à la nature. En passant par les tablettes de lois de la ville d’Ur ou par l’automate analytique de Babbage, nous contons l’histoire de l’autonomie croissante des artifices à penser, jusqu’à l’émergence éventuelle d’une intelligence artificielle créative. Cette création sonore est une collaboration entre André Ourednik et Daniel Maszkowicz.

Roboraisons, robopoïèses: les intelligences artificielles de la nature

composer | performer | producer
psychoacoustics | brainwaves | ASMR noise

Currently living in Geneva – Switzerland – Daniel Maszkowicz (born Daniel Siemaszko) is at the same time a research scientist, a curator for independent cinema, and a multidisciplinary performer involved in several projects such as LE GRAND CHOEUR NOISE, SM NOISE, and CONFÉRENCE NOISE. Having worked at CERN – European Center for Nuclear Research – he collected numerous field recordings from the fantastic machines he come accros by wandering in the laboratories and abandoned tunnels.

His collaboration with artist Emma Souharce resulted in a massive installation of primitive analogue electronics called BIBLIOTEQ MDULAR, immersive hypnotic music created by an orchestra of obsolete laboratory function generators, often combined with analogue video modular synthesiser Synkie from collective [ a n y m a ] for an audiovisual analogue symbiosis. They released their first LP in may 2018 with label Copypasta Editions and Aussenraum Records.

His solo project makes use of SuperCollider with which he brings together an infinity of digital function generators. With his music, he creates a massive polyphonic and multichannel soundscape where frequencies merge into an intense magma of resonating waves, aiming for immersive hypnotic atmosphere with low frequency beats synchronised with natural brainwaves and molecular resonance patterns. He also audiovisual live creations and action noise performances in collaboration with several visual and sound artists.

Daniel Maszkowicz presented his work internationally and contributed to numerous soundtracks and publications.

SZKMD

Pinned to spotlight

Popular tracks