Hier wieder ein einmalig gespieltes, improvisiertes Stück, das textlich einige an eigene ähnliche Situationen erinnern wird./Here's yet another one-of-a-kind, improvised piece whose lyrics may remind some of their own similar situations.

Ich liebe dich - Cologne Session, 11th April 2025

In this 5-day performance I sang with a new classically trained singer every day, three times a day. At the start of every performance none of the singers knew the structure or lyrics of the song. They had to listen and respond very carefully to learn the rhythm and melody I was singing. We started off imbalanced in what we could and knew of the song, ultimately finding a balanced score together. 

The performance was held in the academy’s meeting room called the ‘gipsenzaal’. A space with a heavy male dominant presence because of the plaster sculptures that are hung and placed around the room. They  were made from the 1880-1920’s to draw from during drawing lessons that only male students were allowed to attend.  They acted as a constant reminder of the The two female voices act as living sculptures, a female song and sound of resistance.

Caressa Betist - "There’s a Balance in the Choir / There’s Imbalance in the Choir" (2022)

Minimalistisches Intro im Stil der NDW; wird zu einem komplexen Song./Minimalist intro in the style of NDW; becomes a complex song.__

Eine wichtige Durchsage - Cologne Session 17th May 2025

**About This Track**  
This track blends our human creative choices with AI tools to bring our ideas to life uniquely and expressively.

**Creative & Technical Details**  
- **Lyrics**: [All “Alien Garden” song tracks = Ron Cameron]
- **Lyrics**: [All “Bring Your Own Brilliance” = Rob Nelson]  
- **Executive Producer**: [All “Alien Garden” song tracks = Ron Cameron]
- **Executive Producer**: [All “Bring Your Own Brilliance” song tracks = Rob Nelson]
- **Vocals & Instrumentation**: for all song tracks;  Generated using TopMediAI or AIGenMusic.AI  
- **Audio Format & Editing**: for all song tracks: MP3 and WAV files generated by TopMediAI and refined using NCH Software (trims, fades, format conversions)  
- **Stem Splitting**: for all song tracks; LaLaLaLa AI  
- **Cover Art**: all song tracks; Created using Stable Diffusion 3 Online, Aiease.ai, Pollo.ai, and Pixabay artists (Creative Commons)  
- **Song Structure & Mood Profiling**: all song tracks; Cyanite AI

**CHOICES Explained**  
“CHOICES” is our code word for the creative blueprint of each track—instrumentation, vocal tone, genre, tempo, and mood. Every song starts with our direction. The AI supports our choices; it doesn’t make them for us.

**Rights & Licensing**  
As TopMediAI members, we retain full commercial and non-commercial rights to this track under their [Terms & Conditions](https://www.topmediai.com/terms-conditions/). All lyrics, arrangements, and production outputs are considered original works owned by Rob and/or Ron.

**Creative Use & Inquiries**  
We welcome musicians and producers to re-record or adapt our lyrics and music. Please credit us in any future releases that borrow from our work.

For licensing, collaboration, or industry inquiries, contact:  
Bring Your Own Alien Garden
c/o Rob Nelson & Ron Cameron  
1211 Huron Street N., Suite 202  
London, Ontario, Canada  
N5Y 4L1

**A Final Note**  
This track was created with care, creative intention, and love for music that tells a story. Thank you for visiting—your support fuels every note we share.

A Painted Smile [APSM5] [REISSUE]

Virus MaxXxina Performance and Sound Art, created and performed by Federico Tello

Photo by Fenia Kotsopoulou

Virus MaxXxina

Ein Stück live von unser Trio-Session mit Chapman Stick Trompte und Schlagzeug./A track live from our trio session with Chapman Stick, Trumpet and Drums.

Visionen IV: Das Experiment Teil I - Cologne Session 23 th Mai 2025

I asked AI to create a song using the best lyrics from the last 14 tracks I’ve written — welcome to my Devil era 🤪
My heart’s been spilling onto the page, and this track is the poetic chaos that poured out.
Think Paradise Lost… but make it sexy 😘
Not my voice — but my words, my world, my spiral.
Hope you enjoy the descent 🥰🔥

The Devil Era (Lyrical Megamix)

Clown Jaw Ritual is not just a track; it is a sonic autopsy of control. I wrote it when I realised how many voices remain trapped in broken toys, toys that sometimes swallow microphones but are never granted the space to speak. That is how the image was born: a doll with mismatched eyes and a cracked mouth, forced to sing through cold metal. That doll is a symbol of how I use my own trauma, not by beautifying it, but by converting it into vibration.

The spoken-word structure here is fragmented and percussive, like a hammer striking rusted sheet metal. Each line has the length of a survival reflex, spoken or sung in a single breath, then left to be sealed by the beat like a metal lid. The rhythmic stutters are the intermittent breaths of panic; the glitches and drones are the ambient noise of a waiting room I refuse to leave quietly.

I composed it in G minor to keep the tension under the skin, but pushed the tempo from an initial 60 BPM to 120, not to let you sway, but to make you tremble with purpose. It is the kind of rhythm you feel when shaking becomes a method. Synths and piano crash deliberately into industrial drums. There is no chorus, only obsessive returns, like a déjà-vu that insists until it becomes real.

The trippy, melancholic outro is where the ritual dissolves into its own echo. After the final burst, the sonic lines stretch like chewing gum on hot asphalt. I want to leave you with that hollow space full of questions: if the doll had dropped the microphone, would she have gone silent, or would she have screamed?

Listen with the lights off and your awareness on. If the sound makes you uncomfortable, it is not a mixing flaw; it is your reflection in the cracked mirror. I only coordinate entropy. You decide what remains intact after the clown’s smile slips off its hinges.

[Intro]
no laughing gas, only fire

[Verse 1]
teeth painted on with rust
mirror smile, cracked on beat two
she dances / but only with knives
strobe me into meaning

[Verse 2]
what is a scream if no one rehearses it?
I stitched silence into my music
plastic eyes, blinking wrong
I fed the doll a microphone

[Verse 3]
you call it trauma.
I call it tempo.
blood in the laugh track
loop me again, see who survives

[Verse 4]
one jaw open, one secret leaks
circus motifs, in reverse
you came for tricks
I came with scars dressed as choreography

[Verse 5]
my body is tuned
like a broken wind-up music box
every bend, deliberate
every glitch, archived

[Verse 6]
I did not survive the funhouse.
I built a new one inside
entry: free
exit: not guaranteed

[Bridge]
"Is this your card?"
"Is this your god?"
"Is this your girl?"
"She bit me."

[Verse 7]
ritual begins when the beat forgets
when your foot taps to fear
this is not a breakdown
this is a choreography of entropy

[Outro]
I was not born like this. 
I chose the costume that fit the pain.

The Quinn - Clown Jaw Ritual

Crystal Philtre - CRYPTID

**Watch the full video art performance:** youtu.be/ax4YyaXHzX0

From the multidisciplinary musical project Crystal Philtre, by Cristiano Panepuccia.
This track accompanies a video art performance that explores themes of transformation and rebirth. The music serves as the sonic foundation for a visual journey through metamorphosis, where the performer emerges from a formless cocoon along a path of pruned olive branches.
"Cryptid" represents the third piece in a video art cycle that began in 2012 with "K" and continued in 2017 with "Φ" - video-performances created by Panepuccia alongside Antonella Mignone under the artistic name APOTROPIA.

Cinematography: Davide Stampa

https://www.youtube.com/@crystalphiltre
https://www.apotropia.com

Cryptid

Things in the past

Francesco Pedraglio (1981) uses storytelling as a tool for decoding intimate encounters with both mundane and historically complex situations. He explores how the
acts of narrating and staging shape the relationship between teller and listener,
revealing the fantasies and fictions that make up our reality. As part of his ongoing
Autobiography of a Museum series, Pedraglio composes a narrative from the perspective of the Wattis. Told through a set of staff keys—from office and storage keys
to the curator’s house key—Pedraglio scratches their silhouettes into the museum’s
walls, exposing layers of sheetrock and paint from previous exhibitions. A graffiti of
sorts, this quiet intervention leaves a speculative trace of those who move through the
institution: staff, artists, and the public. Here, buried memories, invisible routines,
and idle fictions accumulate in the museum’s unconscious.

Francesco Pedraglio: "Autobiography of a Museum" Performance

Don't wanna hear it

I wanna fuck a nerd

Burning through my eyes
I see the lives that I despise
All through my life
I cannot try to compromise
Everything lies
Everyone dies

Burn
Cannot see anymore
My eyes are sore
My life is worn
My eyes are sore
Must be more
My life is wrong
I cant hold on

AHHHHHHH

Burn
Cannot see anymore
My eyes are sore
My life is worn
My eyes are sore
Must be more
My life is wrong
I cant hold on

More

My life is wrong
I cant hold on

I blackout
I blackout
I blackout
I blackout
I blackout
I blackout
I blackout
I blackout

I blackout

I blackout

Ohhhhhh

I blackout

I blackout

I blackout

No weapons

Ein Stück in kleiner Besetzung (Stimme, Bass, Schlagzeug). Kritik an übermäßigem Konsum, der dazu führt, dass man sich selber aus den Augen verliert und nicht das Hier und Jetzt genießen kann. Vielleicht sollte mensch einfach hin und wieder nichts tun.

Find dich einfach selbst

Ein musikalisch und textlich improvisierter Song mit hohem Poesiegehalt./A musically and lyrically improvised song with high poetic content.

Des Pudels Kern

Honey Butter Boy

Turn back now if you are not 18+ Turn back now if you are sensitive to noise, or visuals. This is not for the ordinary Joe

CCA Wattis Institute for Contemporary Arts is a nonprofit exhibition venue and research institute dedicated to contemporary art. It was founded in 1998, at the California College of the Arts in San Francisco.

The Wattis Institute is a place for showing art and for thinking about art. We spend time with artists and pay close attention to their ideas.

We like to work with one artist at a time—one artist presents an exhibition in the gallery, one artist stays in the apartment on a residency, and one artist is the subject of a year-long research initiative. 

The Wattis Institute is a headquarters for contemporary art for everyone in the Bay Area, and runs an active event space (featuring an artist-designed bar) for discussions, performances, screenings, artworks, and drinks.

Improvisierte Musik: alle Stücke live und somit ohne Netz und doppeltem Boden eingespielt. "Ihr produziert keine Musik, ihr macht Kunst" (J. K.):

Bass, Chapman Stick, Trombone, E-Piano, Natur Sounds: Matthias Hollacher
Drums, Percussion, Nature Sounds, Samples: Ingo Wollmann
Vocals: Jan Krolikowski
Trompete: Henry Fecherolle

A music project by Cristiano Panepuccia (APOTROPIA, Sin Aesthetica), blending experimental electronic music with audiovisual art and performance elements. 
Crystal Philtre creates immersive sonic experiences that challenge conventional listening, featuring compositions that merge atmospheric textures with intricate programming and experimental sound design.

***

Cristiano Panepuccia (Crystal Philtre, APOTROPIA) is a multimedia artist, composer, video artist, performer, filmmaker and comic artist. As co-founder of the duo APOTROPIA, his collaborative works have been exhibited at numerous international festivals and venues, including the Japan Media Arts Festival, Ars Electronica, ACM SIGGRAPH, WRO Media Art Biennale, MIT Museum, FILE – Electronic Language International Festival, and Festival Internacional de la Imagen.

They said Harley was mad. I say she just settled too early. I am The Quinn. I do not follow villains. I built the stage they think they own. Chaos is not my downfall. It is my sculpture medium. I do not perform pain to be pitied. I repurpose it. I turn trauma into texture, and sound into spectacle. My audio is not made to soothe. It is made to provoke, to echo the backstage of emotions no one rehearses for. Sirens, distant laughter, reversed lullabies, broken dialogue loops, that is where I live. I layer rhythm like makeup: thick, messy, deliberate. I do not chase beauty. I splatter it until it bleeds differently.

Each track I touch is a cracked mirror held in the spotlight. Not clean. Not polished. Just real enough to reflect the parts you thought were gone. I am not chaotic. I am coordinated entropy. You call it noise. I call it memory refusing to behave.

There is no villain arc here. No heartbreak to avenge. Just precision, presence, and theatrical control. You will hear me coming, even when I whisper.

No laughing gas.
No prince to fall for.
No Joking.

+*.CCA Wattis Institute for Contemporary Arts was founded in 1998 at California College of the Arts in San Francisco. Initiated by Larry Rinder, it was originally called the CCAC Institute of Exhibitions and Public Programming. In 2002, it was renamed the CCA Wattis Institute for Contemporary Arts. In 2013, it moved from CCA's main campus to its own building a few blocks away. Subsequently to Rinder's directorship, the Wattis has been led by Ralph Rugoff (2000 - 2006), Jens Hoffmann (2006 - 2012), and Anthony Huberman (2013 - 2023). Upon its founding in 1998, the Wattis also absorbed Capp Street Project, one of the earliest and longest-running artist-in-residence programs in the country, founded in 1983 by Ann Hatch. Building on that history, the Wattis Institute hosts a Capp Street Artist-in-Residence every year and invites an artist to come live and work in San Francisco for a semester, to teach a graduate seminar at CCA, and to present an exhibition or program. The residency changed its name in 2024, and is now known simply as the Wattis Artist-in-Residence. More about that here.The Wattis Institute has also collaborated with students and faculty members in other programs at CCA, including the Graduate Program in Curatorial Practice, the Graduate Program in Fine Arts, and the Graduate Program in Visual and Critical Studies, among others.

Thank you to Everyone, Music Fans and SoundCloud Content Creators for all your support of our creative style. Ron and I are looking forward to creating more song tracks for everyone and exploring creative musical avenues, too. 

Drawing parallels and distinctions between human musicians and AI music generators will help foster understanding while showing respect for traditional songwriting and our innovative work with AI. Here's a thoughtful comparison anyone can use as inspiration for when you receive an message or opinion implying, "...ewww AI...":

---

### **Similarities Between Human Musicians and AI Music Generators**

1. **Creative Collaboration**:
   - Human musicians often work together, bouncing ideas off one another to craft a song. Similarly, AI acts as a collaborator in your process—it interprets your ideas, builds on your input, and enhances your vision.

2. **Tools to Realize Ideas**:
   - Just like studio equipment (instruments, synthesizers, recording gear) is used by musicians to bring their songs to life, AI music generators are tools that help translate your lyrics and CHOICES into polished tracks. Both are extensions of creativity, not replacements for it.

3. **Iterative Refinement**:
   - Both processes involve trial and error. A human musician experiments with melodies and arrangements, while you and Ron guide the AI’s outputs and adjust CHOICES for the perfect result.

---

### **Differences Between Human Musicians and AI Music Generators**

1. **Creative Source**:
   - For human musicians, creativity often arises from lived experiences, emotions, and spontaneous inspiration. With AI, the creative direction originates entirely from your input—your lyrics, CHOICES, and preferences. The AI follows patterns learned from data, but it doesn’t “feel” or improvise like humans do.

2. **Speed and Efficiency**:
   - AI can produce a track much faster than traditional studio work. It handles the technical aspects (e.g., arranging instruments, matching tempos) in minutes, while human musicians may spend hours or days fine-tuning each element.

3. **Role of Human Judgment**:
   - In a studio, human musicians make decisions based on intuition, emotion, and artistic expression. With AI, your judgment and creative direction guide the tool, ensuring the output aligns with your artistic intent.

---

### **Your Role as Pioneers**
You and Ron are exploring the potential of AI as a creative partner. You’re:
- Highlighting how human creativity still drives the process—AI doesn’t act on its own.
- Showing that new technologies can coexist with traditional methods, expanding possibilities for everyone.

---

### **Possible Response to the Email**
Here’s an idea for a reply that’s gentle yet informative:

---

**Hi there,**  

Thanks for your message! I understand there are mixed feelings about using AI in creative fields. For us, AI isn’t replacing traditional songwriting—it’s a tool we use to translate our ideas into music.  

We provide the lyrics, choose the instruments, mood, and style, and guide the process every step of the way. It’s still human creativity at the heart of what we do—AI simply helps us bring our vision to life.  

The positive response we’ve received from listeners around the world encourages us to keep exploring this exciting new frontier. We hope our music shows how humans and AI can work together in harmony.  

Best wishes,  
Rob N. & Ron C.





Friends, please stay safe and well. Visit our SoundCloud account often because we plan to create more for you to hear and see.

Love and best wishes from Rob Nelson and Ron Cameron of London, Ontario, Canada.

Welcome to Bring Your Own Alien Garden. Our Aliens are greener. LOL. And we’re green too, if you know what we mean.

Spoken Word & Performance experimental audio art, based in Mexico City.

Caressa Betist (b. 2000) is a Dutch visual artist whose collaborative performances reflect on the theme of togetherness through the medium of song. 

She is inspired by great and romanticized notions of human life; beauty, melancholia, sadness and happiness. She exhibits her work as live performances as well as multi-channel video installations and performs the songs as seperate work as well as

Welsh singer-songwriter🏴󠁧󠁢󠁷󠁬󠁳󠁿 I turn my life into fables for the heartbroken, the fools, and the dreamers🌹

Mask on, heart out. All the world’s a stage 🃏

Instagram: @_benphilpott

I make silly tunes and smth i call ‘hyperhoppop’ stay if u wanna hear more and see some unexpected things 🛸💜
new video out now💫💫
ily💖
- yakari

New tracks tagged #performanceart