{"id":1039,"date":"2016-02-27T10:01:54","date_gmt":"2016-02-27T10:01:54","guid":{"rendered":"http:\/\/apo33.org\/?p=1039"},"modified":"2016-02-28T09:41:19","modified_gmt":"2016-02-28T09:41:19","slug":"audioblast-artists-2","status":"publish","type":"post","link":"https:\/\/apo33.org\/?p=1039","title":{"rendered":"AUDIOBLAST ARTISTS"},"content":{"rendered":"

Schedule : http:\/\/apo33.org\/index.php\/en\/2016\/02\/26\/audioblast-schedule-2\/<\/a><\/p>\n

Emily Godden & Audit Chaos<\/strong> – Ipswich (UK)<\/a><\/p>\n

Handle with care<\/strong> : 18:00 Fri 26 Feb
\nThe project “Handle with care” uses the collection at Gainsborough’s House, Sudbury as source data to be processed and re contextualised to be listened to through sound prints.<\/p>\n

The process begins using a graphics tablet to draw out the lines\/cracks formed over time as a result of the deterioration of the paintings at Gainsborough’s House. These drawings focus on the hands in the paintings and have been drawn in Adobe Photoshop CS6 and are then exported as bitmap prints to be imported into bespoke software. Through a process of plotting the pixels from the bitmap files the software uses a means of pixel feedback to construct grids from the pixels to plot out waveforms, which are then output as .wav files which can then be listened to.<\/p>\n

This processing of data within the project allows a mediation to occur through data use and re-use which challenges typical expectations of image and media reproduction. Instead of merely exploiting the serial nature of print I have applied a haptic approach to the textures felt in the sound as being representative of the spaces that the sound has been extracted from. A feedback loop is established and the data transposed into a new form to create a state of flux.<\/p>\n

The sonification of the intangible leads the sound files to act and function as prints which isolate the visual sense to engage in a haptic materiality which explores the vicissitudes of listening within virtual realities over the spatiality of Gainsborough’s House.<\/p>\n

www.auditchaos.co.uk<\/a>
\nhttp:\/\/soundcloud.com\/gainsborough-project\/sets\/handle-with-care<\/a> <\/p>\n

Bio<\/strong>
\nEmily Godden – Ipswich (UK)
\nb.1994
\nEmily Godden’s practice is currently focused around printmaking stretched into its broadest sense of existence to explore, document and translate both physically and naturally occurring traces through the medium of print.<\/p>\n

In recent work she has used sound as a mechanism to transmit data and communicate traces to exploit the essence of print in a post-digital landscape.<\/p>\n

Living in Ipswich Emily Godden is currently studying BA (Hons) Fine Art at UCS and has exhibited work at Tate Britain, Firstsite, The Sainsbury Centre for Visual Arts and was recently shortlisted for the Batsford Prize for Fine Art.<\/p>\n

\n

Nicola Zolin<\/strong> – Italy<\/a>
\nBe Careful, Little One<\/strong> : 19:00 Fri 26 Feb
\nBe Careful, Little One is a work made by Nicola Zolin in 2015. Is a 42 minutes lenght track made with a digital synth, a piano, an electric guitar and a series of field recordings. The various field recordings are taken in the most particular isles of Venice, between Murano, Burano and the Lido. They include an actor that scream in a public space, some Murano’s broken glasses in my hand, the classical sea waves and a little orchestra that play “Ode To Joy”. The piece take inspirations by the work and the method of the great minimal music composers, like Steve Reich and Terry Riley and from artists like Ben Frost and Christian Fennesz (in particular the use of the piano and the guitar, modified through the computer and various effects).<\/p>\n

Be Careful, Little One is connected to the theme through the idea of deconstruction. The Shout, this interruption of information and ideas, is correlated with my work of destruction and reassembly. Where the neurosn stops carrying the information through our bodies, my sound samples are being destroyed. There’s no more classical music form (verse – refrain – verse), only these series of soundscapes. This idea born from the image of the broken glasses in my hand, used for the field recording in Murano. A broken thing that produce a new born sound. The electrical vs. digital theme is also reflected on the analog part of the track (the guitar, the piano, etc..) and on the digital part ( the field recording, the digital effects and the digital synth).<\/p>\n

Bio<\/strong>
\nNicola Zolin
\nb. 1992
\nNicola Zolin is a student of Visual Art in Venice. His work is based on the use of sound as a primary element, applicated in installation, video and performance. In 2014 he worked with Alberto Cattani for a series of performances in the cities of Venice and Vicenza. The performance are based on a research about the gregorian and religious music, mixed with experimental sounds. In 2015 he produced his first Ep called “SPV”, a work of sound art based on the landscapes of the rural zone of Vicenza, where the natura meet the industries. The main theme of his work is the deconstruction and the reassembly of various sounds that came from different sources.
\nhttps:\/\/soundcloud.com\/nzolin<\/a><\/p>\n

\n

WICHE<\/strong> : Rouen (FR)<\/a>
\n20:00 Fri 26 Feb
\nWICHE est de la musique concr\u00e8te improvis\u00e9e. Des mati\u00e8res enregistr\u00e9e (Fieldrecord, synth\u00e8se, anecdotique, corps sonore) sont la banque de son du Concr\u00e8tophone. Le Concr\u00e8tophone est un patch informatique pilot\u00e9 par un controleur avec les transformations basique de la musique concr\u00e8te. AU final le r\u00e9sultat est une musique live electronics qui est d\u00e9pendant des mati\u00e8res inject\u00e9e mais aussi de l?\u00e9tat d’esprit dans lequel se trouve l?instrumentiste. Wiche pour \u00eatre entendu \u00e0 besoin au minium d’une enceinte Mono pleine bande, et plus y’en a plus c’est fun. (dans la limite de 16 HP avec sub)
\n
\nVoix et utilisation de sons g\u00e9n\u00e9r\u00e9 par la mise en r\u00e9seau de machine, par ailleurs j’ai bien envie d’utiliser des extrait de la c\u00e9l\u00e8bre conf\u00e9rence de Jacques lacan \u00e0 l’universit\u00e9 de Louvain<\/em><\/p>\n

Bio<\/strong>
\nWICHE \/ AKA Hubert MICHEL- Rouen (FR)
\nCompositeur de musique concr\u00e8te. A fait ses armes autour de roland Cahen, Christine groult et Roger Cochini. A collabor\u00e9 avec L’IMEB et C\u00e9sar\u00e9. Pasionn\u00e9 de spatialisation, poss\u00e8de son propre acousmonium La B\u00e9tonneuse.<\/p>\n

A \u00e9galement un projet de musique concr\u00e8te improvis\u00e9 appel\u00e9 WICHE.<\/p>\n

\n

<\/p>\n

Federico Dal Pozzo<\/strong> : 21:00 Fri 26 Feb<\/a><\/p>\n

\n

Janusz Brudniewicz<\/strong> : Montpellier (FR)<\/a>
\nXNS Project<\/strong> : 22:00 Fri 26 Feb
\nExp\u00e9rimentations sonores multiples .
\nhttps:\/\/soundcloud.com\/januszbrudniewicz<\/a>
\nhttps:\/\/januszbrudniewicz.bandcamp.com\/<\/a>
\nhttps:\/\/vimeo.com\/januszbrudniewicz<\/a><\/p>\n

https:\/\/www.facebook.com\/people\/Janusz-Brudniewicz\/100008461083366<\/a>
\nhttp:\/\/januszbrudniewicz.tumblr.com\/<\/a><\/p>\n

Bio<\/strong>
\nJanusz Brudniewicz
\nArtiste interdisciplinaire
\nN\u00e9 en Pologne en 1965. Depuis 1990, il vit et travaille \u00e0 Montpellier en France.<\/p>\n

\n


\nMichael Trommer<\/strong> : Toronto (CA)<\/a>
\nTransmissions from the Technological Sublime<\/strong> : 23:00 Fri 26 Feb<\/p>\n

\"highway-overpass0372-copy1\"<\/p>\n

Transmissions from the Technological Sublime is a recursive, animated narrative that evokes and explores the technotope upon which we have come to depend for our survival, a circumstance that simultaneously ? and paradoxically ? both alienates and seduces us.<\/p>\n

Although the video references the atmospheric aspects of film noir, the visual elements within the piece are reduced to basic ur-objects; they are simplified and synthetic. These sparse visuals allow the sound to conjure the environment ? to fill in the spaces, so to speak. The fact that the narrative unfolds in a perpetual penumbra (and that the installation is presented in total darkness) is intended to force the primal response of straining to hear what can?t be seen ? to focus on the sonic. In addition, the exaggerated landscape aspect ratio also encourages the viewer to scan the image rather than focus on one specific area of narrative activity. Correspondingly, the narrative is intended to be recursive and textural, rather than linear and literal ? to evoke, without giving too much away. The protagonist in the car remains elusive; as they wander the vast, perspectival spaces (though it?s not clear if they?re wandering towards or away from), they remain entrapped, both within a circular, looping chronicle and the sonically and spatially sealed confines of their car.<\/p>\n

Bio<\/strong>
\nMichael Trommer – Toronto (CA)
\nProducer and sound artist; his experimental work has been focused primarily on psychogeographical and acoustemological explorations via the use of field recordings and video, with releases on an unusually diverse roster of labels, including Transmat, Wave, Ultra-red, and\/OAR, Audiobulb, Audio Gourmet, Gruenrekorder, Impulsive Habitat, Stasisfield, Serein, Flaming Pines, Unfathomless, 3leaves and con-v.<\/p>\n

His installation and performance work has been presented at Australia?s ?Liquid Architecture?, Kunsthalle Schirn in Frankfurt, Cordoba?s art:tech soundLAB in K\u00f6ln, FILE Sao Paolo and the 2008 and 2013 editions of Mutek’s a\/visions series. He also regularly improvises with Toronto-based AI collective ‘i\/o media’.<\/p>\n

This project focuses on the all-encompassing nature of technological infrastructure – its almost hyperreal vibrational omnipresence which both echoes and permeates our psyches.<\/p>\n

https:\/\/vimeo.com\/123253559<\/a><\/p>\n

\n

Jorge Bachmann<\/strong> : San Francisco (USA)<\/a>
\n[ruidobello]<\/strong> : 10:00 Sat 27 Feb
\nSoundscape journey based on field recordings of natural events and urban too.
\nSometimes precessed.
\nSince 2005 I have been delving into neuroscience. I have been researching and producing Saoundscapes where I apply certain frequencies to induce mental states, like using a square wave of 10Hz to induce alpha state.<\/p>\n

http:\/\/ruidobello.ch<\/a>
\nhttp:\/\/soundcloud.com\/ruidobello\/<\/a>
\nhttp:\/\/soundcloud.com\/snowsteps\/<\/a>
\nhttp:\/\/soundcloud.com\/collision-stories\/<\/a><\/p>\n

Bio<\/strong>
\nJorge Bachmann aka [ruidobello], is a media artist, experimental composer and curator based in San Francisco , USA. He is also a founder member of MEI.collectiv a multi-disciplinary group of artists.
\nWorking across a wide range of explorations, bachmann’s work is eclectic, going from subtle “musique concrete” soundscapes, to harsh industrial, to analog synth minimalism.
\nSince the early 1980’s he has been exploring the strange, unique and microcosmic sounds of everyday life, collecting field recordings and creating soundscapes meant for deep listening. Form 2003 to 2007 he created the music for MOBU Dance troupe. jorge has exhibited and performed in North America, Europe, Japan, Taiwan and South America. In 2009 he performed his audio-visual piece, Coleoptera, at the 10th Francisco Electronic Music Festival. In recent years he has performed and improvised with the likes of Bryan Day, Michael Gendreau, Mason Jones, David Graves and Takahiro Kawaguchi.
\nAt present he is one half of the synth duo “snowsteps” and one fourth of “Collision Stories”<\/p>\n

\n

lo\u00cfC frejaville<\/strong> : Nantes (FR)<\/a>
\n\u00e0 mon ZZIG’NAL!<\/strong> : 11:00 Sat 27 Feb
\nLe projet \u00c0 MON ZZIG’NAL! se pr\u00e9sente par un m\u00e9lange de mati\u00e8res sonores et de textes \u00e0 l’aide de mon ordinateur, j’utilise quelques micros pi\u00e9zo, j’ oscille ente l’improvisation et une certaine pr\u00e9cision sonore. La proposition s’oriente par le m\u00e9lange son\/texte cela forme le cri des neurones
\net par d\u00e9finition le cri de mes neurones!
\nhttps:\/\/soundcloud.com\/the-delighted-la-cr-che<\/a><\/p>\n

Bio<\/strong>
\nlo\u00cfC frejaville – St Brieuc ( c\u00f4tes d’armor)(FR)
\nn\u00e9 en 1959
\n\u00c9tude audiovisuelle.
\n\u00c9laboration de divers projets audiovisuels \u00e0 paris.
\nParticipation au festival electropixel 2015.
\nSet 30′ au blockhaus diy.
\nJe r\u00e9side \u00e0 Nantes depuis 3 ans, actuellement je me passionne beaucoup pour le sonore, et Nantes brille de mille feux \u00e0 ce niveau!<\/p>\n

\n


\nSho\u00ef Extrasystole<\/strong> : \tFrance<\/a>
\nBUTTERFLY EFFECT<\/strong> : 12:00 Sat 27 Feb
\nIl va \u00eatre question de champs d’informations, de modes de transmission et de mise en rupture de ces messages et de ces liens.<\/p>\n

Dans les lign\u00e9e de mes travaux sur la transmission, des t\u00e9moignages sonores, des respirations d’objets et de logiciels vont \u00eatre mis a mal par interventions, palpitations de la main de l’homme ? hardware \/ software vs human ? dans une contextualisation nulle et non avenue. C’est la d\u00e9cision d’intervention qui importera et non le r\u00e9cit, la mise en abyme et non la temporalit\u00e9. C’est l’impulsion qui d\u00e9terminera l’acte et non sa forme m\u00eame. Telle une d\u00e9charge \u00e9lectrique, quelque chose d’inconnu mais neuronal traversera le r\u00e9seau nerveux et les fibres musculaires pour impacter radicalement la source jusqu’\u00e0 d\u00e9former dans l’oreille de l?\u00e9coutant \u00e0 l’autre bout du globe terrestre ce qui aurait pu \u00eatre \u00e9crit.<\/p>\n

Tel le battement d’aile du petit papillon qui peut devenir ouragan de l’autre c\u00f4t\u00e9 de la plan\u00e8te?<\/p>\n

La notion de jeu en temps r\u00e9el et le streaming permettent de mettre en valeur l’accident, l’instant, les sursauts et la place de l’homme au milieu de son instrumentarium. La diffusion de s\u00e9quences sonores impact\u00e9es par non plus la volont\u00e9 de construction mais les tentatives de destruction vont faire basculer la narration d’un concert en une oeuvre compacte, dense, unique et indivisible ; la pr\u00e9sence de l’homme rend l’Histoire secondaire, le contexte primordial : il est le commencement de la r\u00e9flexion sur le chaos source pr\u00e9cis\u00e9ment de sa pr\u00e9sence sur Terre. Tout commence par un cri.<\/p>\n

http:\/\/extrasystole-music.blogspot.fr\/<\/a><\/p>\n

Bio<\/strong>
\nSho\u00ef Extrasystole – France
\nBorn in 66 in France. Graduated in literature and linguistic, ex teacher, musician since 1987, curator and promoter of events since 91, producer and sound engineer since 2007. 23 albums, 19 ost (films, videos, theatre, exhibitions), 4 short films, 450 concerts in Europe, dozen exhibitions, a subjective and collective sound cartography in progress.<\/p>\n

Artist in a craftsman way, always questioning my work to evolve it and in it, also use collaborations and transmissions. As ex professor, develops different sorts of transmission modes for my practices, in hearing, playing, recording and creating. Regularly working with other musicians, no limits in transferring using tools and languages’to exchange and create new forms. Based on humanity, reading and re-writing nature sounds (including civilisation \u00e9chos) to interprate what is not hearable, and make visible the poetic part of elements. It’s founded in a subjective reading of environment; I work in multimedias and transmedias, going farther than the only artistic field like anthropology and earth’s sciences like French CNRS and Musee de l’Homme.<\/p>\n

\n

2batmol<\/strong> : 13:00 Sat 27 Feb<\/a><\/p>\n

\n

Solar Return <\/strong> : Nantes (FR)<\/a>
\n14:00 Sat 27 Feb
\nNantes based duo Jenny Pickett and Julien Ottavi created Solar Return in 2009. Taking electromagnetic phenomena as a starting point for their audio creations. They have produced various scores for dual audio synths\/oscillators\/DIY electronics etc…which reflect patterns and electromagnetic events such as solar flares and inner city mobile phone mast end as well as the unfathomable audio world of kitchen appliances. Through their performances the duo tunnel deep into the world of frequency, static and sound as a physical experience.
\nThey have performed at various events and festivals in Berlin, London, New York, Montreal, Rotterdam, Marseilles, Brussles, Washington, Boston & Nantes.
\nhttp:\/\/solarreturn.bandcamp.com\/releases <\/a>
\nhttp:\/\/www.noiser.org <\/a>
\nhttp:\/\/www.jennypickett.co.uk\/<\/a> <\/p>\n

\n


\nOFFAL<\/strong> : International<\/a>
\nunion_OFFAL_improv_mk_i<\/strong> : 15:00 Sat 27 Feb
\nUnion is an algorithmic system for mediating collaboration in telematic improvisation. This proposal is for a performance with the system by OFFAL (Orchestra For Females And Laptops), a geographically dispersed collective of female sound artists and musicians.<\/p>\n

Remote artists will send audio streams from their locations to the performance venue in a live collaborative improvisation. The musicians interact via the Union system which is an algorithmic mechanism which aims to mediate interaction between performers and find musical consensus in the incoming audio streams.<\/p>\n

The system analyses the incoming audio streams in realtime using a Music Information Retrieval library. Streams which are sonically most similar to the others are mixed louder than divergent streams. The algorithmically mixed streams are played in the performance space and sent back out to the network so performers can also hear the final mix as played in the performance venue.<\/p>\n

The mixing process is regulated by an algorithm which generates a sonic density graph for the performance to ensure a musical ebb and flow and tries to give all performers approximately the same amount of ‘air time’.<\/p>\n

The performance plays with ideas around consensus and musical agency within a system that blurs the boundaries of cooperation, unity, presence and temporality.
\nhttps:\/\/soundcloud.com\/femalelaptoporchestra\/klang-festival-050615<\/a>
\noffal.github.io<\/a><\/p>\n

Bio<\/strong>
\nOFFAL (Orchestra For Females And Laptops) is an international collective of women laptop performers who devise performances involving multi-location collaborative improvisation.<\/p>\n

OFFAL was formed in 2015 in response to research around gender in digital technology and laptop ensemble practice (can we cite WisWos?). As a non-hierarchical collective it aims to connect an international group of women engaged in electronic music by developing technological systems and organisational structures that facilitate collaboration. The group provides a platform for the creation and performance of new laptop music by women.<\/p>\n

Current members include Shelly Knotts (UK), Joanne Armitage (UK), Jenny Pickett (FR), Andrea Young (USA\/CA), Libertad Figuerao (MX) and Alexandra C\u00e1rdenas (CO). <\/p>\n

\n

sonosFera(JP)<\/strong> : <\/a><\nthe radio is broken<\/strong> : 16:00 Sat 27 Feb
\nThe radio is broken is a serie of assorted mixes from sonosFera soundbase.
\nThe base sound are fields recordings reimagined with some software that are used to build a neural landscape.<\/p>\n

https:\/\/sonosfera.bandcamp.com\/<\/a><\/p>\n

Bio<\/strong>
\nsonosFera (JP) is a field recording, sound art and other media project since 2013 that appears in the following events: Radio open call by Jennie Savage – Trienal de Lisboa – Osso Ecos 2 – Mapping The Space Between A and B – Vila Vi\u00e7osa Walk – 19 – 22 September 2013; Open call radio by BrandonLabelle – The stranger Next to Me – The Stranger That Is Over There – Osso Ecos 4 – Stress FM Lisbon 6-9 March 2014; The Stranger Next To Me audio installation by Brendon LaBelle at Errant Bodies\/Sound Art Project Space – Berlim 9 July 2014; Open call radio for Stress FM – Festival Cale 2014 – Fund\u00e3o – 1-3 August 2014; Mercado Medieval Elvas; The Stranger Next To Me audio installation by Toni Dimitov at Macedonia – Skopje 13 February 2015; Compilations from Haze Net Label Sound Interpretations series and other sound projects like Moma Share Your Silence; World Listening Day 2014 ( STR014 – Decisions – Rialto Market Closing Time ) and 2015 ( STR023 – H2O I water sounds in the track Cities And Memory – Sound Waves ) compilations from Sonic Terrain; participation at global project UTOPIA from Cities and Memory ( track\/square D1 ); Sound+Video art collective Tomorrow Today Will Be Yesterday at Guimar\u00e3es Noc Noc Festival, 3-4 October 2015; Sound+Video art collective Tomorrow Today Will Be Yesterday installation in Centro para os Assuntos da Arte e Arquitetura ? Guimar\u00e3es, 12 December to 13 February; collaborations on several sounds archives. <\/p>\n

\n


\nQuentin CONRATE Patrick GUIONNET Lionel PALUN<\/strong> : Lille (FR)<\/a>
\nFAST RADIO BURST <\/strong>: 17:00 Sat 27 Feb
\nDes mini antennes radio FM de faible port\u00e9e situ\u00e9es en diff\u00e9rents points d’un espace diffusent sur une m\u00eame fr\u00e9quence radio les sons fabriqu\u00e9s en direct par Lionel Palun, Patrick Guionnet et Quentin Conrate, chacun sur un \u00e9metteur diff\u00e9rent.
\nUn dispositif visuel adapt\u00e9 \u00e0 chaque espace donne \u00e0 voir le son et les mouvements des spectateurs. Chaque antenne diffuse un des musiciens dans le but de cr\u00e9er des zones pr\u00e9cises emp\u00eachant de capter la totalit\u00e9 du concert dans l’ensemble de l’espace. Les spectateurs ont \u00e0 leur disposition, pour rendre audible le concert, des postes radio de faible intensit\u00e9 sonore. Le mixage sonore et visuel d\u00e9pend enti\u00e8rement des mouvements du public.
\nCe que nous proposons de voir et d’entendre est une adaptation de la pi\u00e8ce pour une diffusion sur le r\u00e9seau
\n1\/ \u00e0 Lille la proposition sc\u00e9nique compl\u00e8te, avec diffusion d’ondes visuelle et sonores gr\u00e2ce aux t\u00e9l\u00e9visons cathodique et poste de radio
\n2\/ \u00e0 Nantes le parcours sonore (et potentiellement visuel) d’un ou deux postes dans le r\u00e9seau \u00e9lectromagn\u00e9tique diffus\u00e9 en streaming et en quadriphonie.
\n3\/ les partenaires potentiels pour ce projet sont l’association Muzzix et Radio Campus pour la technique et la diffusion.<\/p>\n

“Un cri qui est produit par un musicien, juste l\u00e0, \u00e0 c\u00f4t\u00e9 de vous, mais que vous n’entendez pas ou seulement gr\u00e2ce au poste de radio que vous tenez \u00e0 la main, doit \u00eatre un cri \u00e9touff\u00e9, int\u00e9rieur. Il prend tout le corps de celui qui le produit, le fatigue. C?est un cri retenu qui n’en rend pas moins l’intensit\u00e9 d’un tumulte int\u00e9rieur!
\nUn cri qui sort d’un poste de radio, c’est un cri qui entre dans votre cuisine, votre voiture ou pr\u00e8s de votre lit. Un cri intime et quotidien…”
\nPatrick Guionnet utiliser plusieurs \u00e9metteur radio comme source d’\u00e9mission, c’est cr\u00e9er un r\u00e9seau d’\u00e9mission d’ondes \u00e9lectromagn\u00e9tique qui se parasitent.
\nLes auditeurs\/porteurs de postes, comme autant de neurones, provoquent par leurs d\u00e9placements de profonds changements sonores, radicaux, qui influenceront les musiciens d\u00e9clenchant ainsi des variations sonores qui favoriseront les d\u00e9placements des auditeurs qui entraineront de nouvelles impulsions musicales encourageant de nouveau d\u00e9placement des auditeurs et ainsi de suite…
\nL’association des musiciens et des auditeurs se comporte comme un r\u00e9seau neuronal o\u00f9 le r\u00e9sultat sonore n’est pas le fruit d’une volont\u00e9 particuli\u00e8re mais la synth\u00e8se des actions de chacun.
\nPoser un cri dans ce r\u00e9seau, dans ce larsen sensoriel, mais pas n’importe quel cri, un cri intime, quotidien, apparaissant, disparaissant, r\u00e9apparaissant, \u00e9voluant sans cesse, malgr\u00e9 lui, dans ce milieu \u00e9volutif c’est le rendre plastique, fluctuant, it\u00e9ratif mais latent, sorte de cri neuronal ou cri de fond, calme et violent, cr\u00e9pitant au fin fond du syst\u00e8me.<\/p>\n

http:\/\/www.lionelpalun.com\/fastradioburst\/<\/a><\/p>\n

Bio<\/strong>
\nLionel Palun a un parcours universitaire de physicien : ing\u00e9nieur de l’ENSPG (Physique) et docteur de l’UJF (nano\u00e9lectronique). Il a travaill\u00e9 2 ans comme enseignant chercheur \u00e0 Grenoble au LPCS (\u00e9lectronique). Apr\u00e8s une rencontre avec la danse contemporaine et en particulier le travail de la Cie Pascoli, il bifurque vers une recherche singuli\u00e8re autour du rapport entre l’image et la sc\u00e8ne, visant \u00e0 faire de ce m\u00e9dia un acteur \u00e0 part enti\u00e8re du spectacle, au m\u00eame titre que la danses, le texte, le son ou la lumi\u00e8re. Lionel Palun est co-fondateur de l’association 720 Digital, membre de la coll\u00e9giale du 102, membre du comit\u00e9 de r\u00e9daction du magazine trimestriel Revue & Corrig\u00e9e et a \u00e9t\u00e9 membre pendant 5 ans du conseil d’administration de Cit\u00e9Danse. Professionnel dans le spectacle vivant depuis 2001, il travaille l’image num\u00e9rique sous ses aspects les plus divers.<\/p>\n

Quentin Conrate
\nC’est au croisement du son, du geste et de l’espace que se situe la d\u00e9marche de Quentin Conrate. Son long apprentissage de la batterie lui permet d’axer sa recherche sur la musicalit\u00e9. Les pratiques chor\u00e9graphiques et d’interpr\u00e9tation crois\u00e9es \u00e0 son apprentissage de la sc\u00e9nographie et des arts plastiques le m\u00e8nent \u00e0 penser l’espace et le visuel de son travail sonore. Il est r\u00e9guli\u00e8rement invit\u00e9 \u00e0 se produire dans des \u00e9glises, galeries, mus\u00e9es ou salles de concerts. Il a \u00e9t\u00e9 compositeur en r\u00e9sidence lors d’une ann\u00e9e pass\u00e9e aux \u00c9tats-Unis. Son travail plastique a \u00e9t\u00e9 pr\u00e9sent\u00e9 de nombreuses fois \u00e0 la galerie de l’universit\u00e9 Lille III ainsi qu’\u00e0 la foire d’art contemporain Lille Art’Up en 2014. Il a cr\u00e9\u00e9 une pi\u00e8ce sonore en r\u00e9sidence \u00e0 Chamarande pour l’installation des Saprophytes. \u00ab Exposition Vivre(s) \u00bb, domaine de Chamarande, mai \u00e0 octobre 2014 (exposition collective avec Michel Blazy, Rirkrit Tiravanija, Barth\u00e9l\u00e9my Toguo…). Il sera en 2016 interpr\u00e8te de deux pi\u00e8ces de Fr\u00e9d\u00e9ric Tentelier. (P)rendre la parole, cr\u00e9ation sur la Sc\u00e8ne\/Louvre-Lens, et Spelunca, pi\u00e8ce en solo, la Condition Publique. <\/p>\n

Patrick Guionnet propose un parcours singulier dans le monde du spectacle vivant. Pur autodidacte, il est \u00e0 la fois clown (pour le cirque Joseph Bouglione (1999-2000), depuis 1999 \u00e0 l’h\u00f4pital avec l’association ” Les Clowns de l’Espoir ”, en d\u00e9ambulations improvis\u00e9es de rue avec les compagnies ” Les Pas Sages de Clowns ” et ” Articho ”, en avril 2009 il part aux Philippines avec ” Les Clowns Sans Fronti\u00e8res ”), chanteur, ou plut\u00f4t ” joueur de voix ”, dans le collectif Muzzix et diff\u00e9rentes formations
\nLilloises (” Mafalpa ”, ” La Pieuvre ”, ” One DPI ” ou ” Les Princes De l’Univers ”) et danseur, ou plut\u00f4t ” joueur de corps ” pour les compagnies ” Intro Visu ” (Jean-Luc Caramelle), ” la Spirale de Caroline ” (Olivia Granville) et ” Hop L\u00e0 Nous Vivons ” (Corine Petitpierre et Yvan Cl\u00e9dat)…
\nSans v\u00e9ritable technique mais poss\u00e9dant une v\u00e9ritable \u00e9nergie, Patrick Gionnet se consid\u00e8re avant tout comme un improvisateur performeur cherchant toujours \u00e0 d\u00e9velopper et mettre en avant l’intimit\u00e9 qui peut exister entre des improvisateurs et autant que faire se peut, toucher celle du public.<\/p>\n

\n

Hildegarde von Stick<\/strong> : Paris (FR)<\/a>
\nLes m\u00e9andres du cri int\u00e9rieur <\/strong> : 18:00 Sat 27 Feb
\nLes Hildegarde von Stick sont un g\u00e9n\u00e9rateur de connexions neuronales. La musique issue de ce duo se comporte comme des ext\u00e9rocepteurs. A l’instar des synapses, des r\u00e9seaux de fibres sonores se superposent en strates complexes. G\u00e9n\u00e9rateur de processus affectifs infinis, la musique exp\u00e9rimentale des Hildegarde se comporte comme le neurone empathique : le cri est int\u00e9rieur, celui-l\u00e0 m\u00eame qui engendre le neurone suivant. Ainsi se construisent les micro-organismes vivants, mati\u00e8re organique de cette musique.<\/p>\n

Musique Vegan. Aucun animal n’a \u00e9t\u00e9 maltrait\u00e9 durant les enregistrements.<\/p>\n

https:\/\/soundcloud.com\/hildegarde-von-stick<\/a>, pour \u00e9couter sur soundcloud
\nhttps:\/\/www.facebook.com\/hildvonstick<\/a> pour des photos et infos
\nhttps:\/\/youtu.be\/3YWVEvRxr7Y?list=PLvM9YssT5EUI5SLnJeOOCsMuNwXbcde2Y<\/a> vid\u00e9os et son
\nhttp:\/\/www.hildegarde-von-stick.com<\/a>\/, pour notre site.<\/p>\n

Bio<\/strong>
\nLaurence Bouckaert :
\nDans la pratique musicale de Laurence Bouckaert tout oscille entre deux p\u00f4les. Electroacoustique et nouvelles lutheries. Composition et improvisation, produites seule ou en collectif. Ouverture aux arts plastiques et aux spectacles vivants, en solo ou \u00e0 plusieurs. Ainsi s’\u00e9quilibre les exp\u00e9riences de LB, par deux. Initialement nourrie de la musique de sons fix\u00e9s, elle a r\u00e9alis\u00e9 plusieurs pi\u00e8ces de musique acousmatique en st\u00e9r\u00e9o ou multi-pistes. Au gr\u00e9 des rencontres, elle s’est enrichie d’autres liens musicaux en collaboration avec la danse, le multim\u00e9dia, la sculpture, la po\u00e9sie, la voix, le th\u00e9\u00e2tre ou encore la vid\u00e9o. Ceci l’a conduite \u00e0 se produire tant avec les institutions et les compagnies qu?avec les milieux alternatifs (INA-GRM, CDMC, Ecole Normale de Musique, le Palais de Tokyo, la Cit\u00e9 de la Musique \u00e0 Paris, La Grande Fabrique, Les Vo\u00fbtes, La Guillotine …). Ses musiques ont \u00e9t\u00e9 entendu dans le cadre de festivals internationaux : Mexique, Allemagne, Angleterre, Portugal, France. En 1997, elle co-fonde le collectif des Phonog\u00e9nistes (Francis Larvor, Pierre Couprie et LB) qui l’ouvre sur le champ des musiques improvis\u00e9es et du jeu sonore en temps r\u00e9el. Ils sont particuli\u00e8rement tourn\u00e9s vers l’interdisciplinarit\u00e9. Elle participe ensuite \u00e0 la cr\u00e9ation du collectif ONE (PUCE MUSE), o\u00f9 elle tisse des liens musicaux toujours f\u00e9conds dans l’improvisation. D’autres duos, par deux, viennent s’ajouter. aLLea avec la contrebassiste Laurence Jordan et Les Hildegarde von Stick avec V\u00e9ronique Wilmart. L.B. articule son m\u00e9tier de compositeur et sa pratique de l?improvisation avec l’\u00e9ducation et la transmission. (Universit\u00e9, Philharmonie de Paris, professeur de musique \u00e9lectroacoustique au conservatoire de Chelles). L’un vient nourrir l’autre dans une circulation fluide et continue.<\/p>\n

V\u00e9ronique Wilmart :
\nL’atmosph\u00e8re tr\u00e8s particuli\u00e8re induite par les profondes mutations que V\u00e9ronique Wilmart fait vivre aux sons \u00e9voque des structures dont on ne saurait dire si elle touche l’infiniment grand ou l’infiniment petit. Les sons, au del\u00e0 des instruments organiques sont familiers, absolument transfigur\u00e9s. Tintement de verres, kalimba, tout est transform\u00e9 en rythmique instable et secr\u00e8te qui vient m\u00e9tamorphoser en profondeur le jeu des autres musiciens qui s’emparent de cette architecture sonore. V\u00e9ronique Wilmart ne fait pas que discuter avec ses comparses, elle les pousse \u00e0 refonder leur espace, leur clart\u00e9, leurs alliances traditionnelles, qu’elles soient rythmiques et m\u00e9lodiques. Franpi V\u00e9ronique Wilmart est pianiste, organiste,compositrice et improvisatrice. Elle a \u00e9tudi\u00e9 au CNSM de Paris de 1975 \u00e0 1985. Elle y a obtenu les prix d?Harmonie, Contrepoint, Fugue, Orchestration et Composition Electroacoustique et Recherche Musicale. Elle a compos\u00e9 de nombreuses oeuvres pour le GRCOP (groupe de recherche chor\u00e9graphique de l?Op\u00e9ra de Paris), l’ONJ (orchestre national de jazz) et Philippe Decoufl\u00e9, Andrew Degroat, Blanca Li, Rapha\u00eblle Delaunay, Marie-Agn\u00e8s Gillot, David Drouard, Elle a cr\u00e9\u00e9 au festival Pr\u00e9sences \u00e0 Radio-France deux pi\u00e8ces mixtes,”Shopping interruption” et “miroirs” En 2008-2009, elle tient la chronique \u00ab Les impressions \u00e9lectroacoustiques\u00bb dans l’\u00e9mission \u00ab Le Cabaret de France Musique \u00bb. V\u00e9ronique Wilmart aborde aussi la musique \u00e9lectroacoustique par l’improvisation. Elle a jou\u00e9 dans diverses formations avec Jean-Fran\u00e7ois Zygel, M\u00e9d\u00e9ric Collignon, Andy Emler, Jean-Luc Fillon, Louis Sclavis, Jean-Paul C\u00e9l\u00e9a, Fran\u00e7ois Moutin, Louis Moutin, Michel Portal, Carlo Rizzo, Philippe Garcia, Jean-Charles Richard… et se produit r\u00e9guli\u00e8rement avec Antoine Herv\u00e9 et leur groupe \u00abPierre et Marie Tuerie \u00bb.Elle a fond\u00e9 avec Laurence Bouckaert le duo d?improvisation “Hildegarde von Stick” Wilmart capte des mati\u00e8res sonores qu’elle sculpte et transforme jusqu’\u00e0 les rendre m\u00e9connaissables. Elle nous fait alors d\u00e9couvrir des profils inou\u00efs issus de micro- montages, et des atmosph\u00e8res insaisissables qui naissent de boucles asym\u00e9triques compos\u00e9es et d\u00e9compos\u00e9es en direct.<\/p>\n

\n

A. P. Vague<\/strong> : Wichita, Kansas, USA<\/a>
\n19:00 Sat 27 Feb
\nMy piece will use the PureData programming environment to create audio inspired by the practice of musical improvisation. The software will use pseudo-artificial intelligence strategies to generate tones with changing harmonies, dynamics, and timbres based on Western musical logic. Drawing from drone music and minimalism as well as classical composition, this piece will develop in real-time as the software is running. This will be an attempt to create a model for perception in PureData as the program will continuously monitor its own output in order to analyze aspects such as volume, density, and consonance while altering the composition based on this analysis.<\/p>\n

This idea was activated by the relatively poor ability of software to make musical decisions based on aural input. As human musicians are adept at continuously altering their performance in relation to the overall sound, such feedback is largely absent in computer music and algorithmic composition. My piece will be a strategy for generating responses to the idea of telling a computer to “shout.”<\/p>\n

apvague.wordpress.com<\/a>
\nhearthis.at\/dXRT3MnL<\/a>
\nsoundcloud.com\/apvague<\/a>
\napvague.bandcamp.com<\/a><\/p>\n

Bio<\/strong>
\nA. P. Vague studied photography at Wichita State University, where he developed a body of work that focussed on nonobjective imaging and experimental processes. By conceptualizing the darkroom as a set of tools in itself, this work sought to highlight the specific communicative properties of photographic media. Vague also worked closely with Tallgrass Film Festival and the Ulrich Museum of Art in Wichita. While obtaining an MFA at Rutgers University, Vague incorporated more use of audio, performance, and programming into his processes. This work is concerned with translation and explores the connections between human speech, digital audio, and abstract visuals. While living in Philadelphia and working with Aux Performance Space, Vague participated in exhibitions and performances with Philadelphia Sound Forum, Eris Temple Arts, and Bridgette Meyer Gallery, among others. Currently teaching courses in digital media and technology at Wichita State University, Vague?s work is now concerned with the mechanics of real-time communication in an effort to connect with various parts of the world. Vague has participated in various long-distance collaborations and telepresent performances occurring between Kansas and New York, Philadelphia, Brazil, England, and Romania.<\/p>\n

\n

Dr. NoiseM<\/strong> : 20:00 Sat 27 Feb<\/a><\/p>\n

\n

Robert B. Lisek<\/strong> : Poznan\/Poland<\/a>
\nBRAIN TO BRAIN – PSYCHO_MODULATOR<\/strong> : 21:00 Sat 27 Feb
\nIn BB-Psycho-Modulator project I am using a brain-machine interface (BMI), which reads the activity of cerebral cortex that is subsequently used as a source of number sequences. These numbers are translated into values that power the stochastic processes and are synthesized into complex sound structures. Reading of waves and stochastic sound modulation take place in real time. The final project uses two human brains. Signals from one brain are sent to the other and back on the basis of brain to brain interface (helmet). Impulses are delivered in the form of very low frequency waves. Initial tests have shown the ability of establishing a sophisticated communicational connection between two brains and complex interferential patterns. The connection between brains may deliver solutions, which can’t be achieved by the brains working independently – new central nervous system consisting of two brains. The project examines systems of stimulation, perception, game and exchange between numerous brains.<\/p>\n

https:\/\/lisek.bandcamp.com\/<\/a><\/p>\n

Bio<\/strong>
\nRobert B. LISEK is an artist, mathematician and actioner who focuses on systems and processes (computational, biological, social). He is involved in the number of projects focused on critical art strategies, creative coding and interactive art. Drawing upon post-conceptual art, software art and meta-media, his work intentionally defies categorization. Lisek is a pioneer of art based on machine learning and artificial inteligence. Lisek is also a composer of contemporary music, author of many projects and scores on the intersection of spectral, stochastic, concret music, musica futurista and noise.<\/p>\n

\n

Stefano D\u2019Alessio <\/strong>: Vienna \/ Austria<\/a>
\nState of Awareness<\/strong> : 22:00 Sat 27 Feb
\nState of Awareness is a generative music piece, created by a digital system that chaotically transforms its characteristics, following hints and peaks generated from its own sound, circularly interacting with itself.
\nThis self generated sounds are used as main layer and as structural basis in the final piece.
\nOther layers and sound processing are juxtaposed as support, following the lead of the main track.
\nThe piece has been entirely created in ten days (03-12 October 2014).
\nIntegra Live used as generative music environment.
\nComposed in Logic.<\/p>\n

The piece is an audio recording generated by a generative digital system. This system creates and manipulates sounds in an automatic manner, mutating strategies, taking decisions, reacting to the sounds produced by its own self. It is a digital entity, which has certain set of behaviours but acts unpredictably as it constantly interacts with itself, listening to its own production and “inperfectly” replying to it, changing (or not) its actions. This attitude is comparable to the neuronal one, a complex set of rules and probabilities, actions and reactions, inputs, processes, decisions and outputs. One system with a definable behaviour\/function\/attitude that interacts within itself and produce lively and unpredictable results.<\/p>\n

https:\/\/soundcloud.com\/stefanodalessio\/state-of-awareness<\/a>
\nhttp:\/\/cargocollective.com\/stefanodalessio<\/a>
\nhttp:\/\/2321audio.tumblr.com<\/a>
\nhttps:\/\/www.facebook.com\/le.cocode<\/a>
\nhttps:\/\/twitter.com\/Ste_DAlessio<\/a><\/p>\n

Bio<\/strong>
\nStefano D’Alessio (1987 Italy) Media artist, programmer and composer, lives and works in Vienna (Austria). He creates interactive performances and installations, combining visuals, sound, physical computing and performance thru programming. Their research addresses the digitalization of the human in new technologies, virtual representations of the “real” and the distortions and perceptive amplifications caused by them. His work involves the human body as incipit for analyzing coding and decoding processes of the real\/physic, in to digital\/abstract, enquiring the ephemeral limits between machine and body, artificial intelligence and consciousness.<\/p>\n

\n

Randall Packer<\/strong> : Washington, DC (USA)<\/a>
\nThe Post Reality Show<\/strong> : 23:00 Sat 27 Feb
\nThe Post Reality Show is broadcast live from my underground studio bunker in Washington, DC. The project concerns our media diet that consists of a smorgasbord of undifferentiated news, entertainment, and the latest viral media in shockingly fragmented doses. With the rapid-fire ingestion of media, overtaking our experience of the physical world, we are clearly losing the distinction between that which is real and that which is not, between the real and the imaginary, hence: the post reality.<\/p>\n

The Post Reality Show is staged for live performance via a real-time audio-visual system configured for Internet broadcasting. As the host of The Post Reality Show, I situate myself in the spectacle of media and the elements of seduction through a total embrace of its intoxication and disorientation of the senses. I perform in an elaborately staged studio environment consisting of a battery of cameras aimed from multiple angles, along with microphones, networked computers, MIDI controllers, video signal routers, wireless iPad control, stage lighting, and synchronized audio-visual interfaces that enable the performance of live audio-visual manipulation, spoken word, and live mixing.<\/p>\n

For the AudioBlast Festival, I will present a live broadcast from my studio, performing a real-time collage of spoken word, digital musics, hacked Internet media, deconstructed live cable news, etc: a total immersion in the sheer density of the media flow.<\/p>\n

The Post Reality Show is a critique of the speed and density of our daily media diet, the need to stimulate the senses through media saturation, neurons pumping. It is in the space of this media torrent that I perform spoken commentary, improvised texts, and processed noise-utterances accompanied by a live, broadcasted musical performance.<\/p>\n

For the past five years, I have developed The Post Reality Show as as an ongoing investigation of media addiction by musically and visually invoking the speed and velocity and rhythm of the data that crosses our screens each and every day. The rapid-fire sampled sounds and digital effects are intended to activate our never endings and our pleasure-synapses in the ultimate quest for the turned-on lifestyle. This blast to the nervous system is nothing less than the very essence of the everyday media life we live in the blazing fast lane of the high-tech post-reality.<\/p>\n

The Post Reality Show
\nhttp:\/\/zakros.com\/projects\/postrealityshow\/<\/a><\/p>\n

MediaTorrent10_Cycle4
\nhttps:\/\/vimeo.com\/102425766<\/a><\/p>\n

Reportage from the Aesthetic Edge (blog)
\nhttp:\/\/www.randallpacker.com\/<\/a><\/p>\n

Bio<\/strong>
\nSince the 1980s, multimedia artist, composer, writer and educator Randall Packer has worked at the intersection of interactive media, live performance, sound and networked art. He has received critical acclaim for his socially and politically infused critique of an increasingly technological society, and has performed and exhibited at museums, theaters, and festivals internationally, including: NTT InterCommunication Center (Tokyo), ZKM Center for Art & Media (Karlsruhe), Walker Art Center, (Minneapolis), Corcoran Gallery of Art (Washington, DC), The Kitchen (New York City), ZERO1 Biennial (San Jose), Transmediale Festival of Media (Berlin), and Theater Artaud (San Francisco). Packer is also a writer and scholar in new media, most notably the co-editor of Multimedia: From Wagner to Virtual Reality and the author of his long running blog: Reportage from the Aesthetic Edge. He has also written extensively on art, technology, society and culture for publications including: MIT Press, Johns Hopkins University Press, the Leonardo Journal for the Arts & Sciences, LINK, ART LIES, Hyperallergic, and Cambridge University Press. He holds an MFA and PhD in music composition and has taught multimedia at the University of California, Berkeley, Maryland Institute College of Art, American University, California Institute of the Arts, Johns Hopkins University, and the Museum of Modern Art. He is currently a Visiting Associate Professor at the School of Art, Design & Media at Nanyang Technological University (NTU) in Singapore, where he teaches networked art practice. Most recently, he was the organizer and co-chair of the Art of the Networked Practice | Online Symposium at NTU, a global event which featured participants from more than 40 countries around the world.<\/p>\n

\n

Hopkins\/neoscenes <\/strong> : Prescott, Arizona (USA)<\/a>
\nThe Dipole Moment<\/strong> : 10:00 Sun 28 Feb
\nA one-hour live stream (or possibly two simultaneous stereo streams) of material drawn from a sizable analog\/digital archive: the multi-tracked material will be selected based on a criteria of neural resonance — during a lead-up to the performance, and during the improv performance itself. There will be various electric field disturbances, recorded in a variety of ways, along with the neural traces of memory, re-constituted from ancient electromagnetic 4-track and cassette tapes.<\/p>\n

The controlled behavior of a magnetic dipole is the primary model for all material used to store information via electromagnetics — both tape and hard-drives — to relinquish control of the dipole moment is to spin into chaos and noise.
\nhttp:\/\/tech-no-mad.net\/blog\/archives\/category\/performances\/changing-the-course-of-nature<\/a>
\nhttp:\/\/neoscenes.net\/index.php<\/a>
\nhttp:\/\/tech-no-mad.net\/blog\/archives\/category\/project\/aporeemaps<\/a>
\nhttp:\/\/tech-no-mad.net\/blog\/<\/a><\/p>\n

Bio<\/strong>
\nDr. Hopkins is a media artist and learning facilitator. He holds a creative practices PhD in media studies; an MFA from CU-Boulder (where he studied film under renown experimental film-maker, Stan Brakhage); and a BSc in geophysical engineering. His trans-disciplinary research and workshops explore issues surrounding sustainable creative systems, distributed and community-based DIY processes, and developing empowered approaches to technology. His international creative practice explores the role of energy in techno-social-bio systems and the effects of technology on energized human encounter through performance, image and sound work, and writing. He has taught across more than twenty countries. He is currently practicing from a base in high deserts of central Arizona while helping re-write the Ecosa Institute regenerative design curriculum. The traces of his praxis may be found at http:\/\/tech-no-mad.net\/blog\/<\/a>.<\/p>\n

\n

Roger Mills<\/strong> : Sydney, Australia<\/a>
\nSonic Autopoiesis : An indeterminate soundscape for webcams and browsers<\/strong> : 11:00 Sun 28 Feb
\nOur embodied interaction with the world shapes our responses and interventions with each other, and the environment; each responsive action firing off billions of neural pulses to achieve its end. Sound is at the centre of this second order cybernetic vista, sonifying self-generating actions and events, coloured by distributed acoustic environments. This performance will amplify this sonic autopoiesis by mixing and manipulating live sound streams from webcams from around the world. Each webcam producing an indeterminate soundscape of sonified actions and events that will be layered and processed in real-time, creating a dynamic and richly textured audio performance, which will be streamed to Audioblast Festival via a Nicecast link.<\/p>\n

The work seeks to shine a light on the multiplexity of distributed life events and their sonified actions as a metaphor for the millions of neural impulses that responsively produce them.<\/p>\n

This sound project takes the theme of the “Neurons Shout” as a way of conceptualizing our embodied interaction with the world through the billions of neural impulses involved in producing our actions and responses to our environments. “Neurons Shout” exemplifies the notion that our acoustic environments are spaces of interactive neural messaging that are sonified in the material actions they create.<\/p>\n

Experimental mix of the work is available at http:\/\/eartrumpet.org\/AUDIO\/WEBCAMMIX.mp3<\/a>
\nhttp:\/\/www.eartrumpet.org<\/a>
\nhttp:\/\/ethernetorchestra.net<\/a><\/p>\n

Bio<\/strong>
\nRoger Mills is a musician, sound artist and writer whose practice and research focuses on improvisation, networked music, sound installation and experimental radio. He is the founder of the networked music ensemble Ethernet Orchestra, which explores interdisciplinary audio-visual tele-improvisatory performance. Roger’s principal research interest is examining the role of embodiment in processes of signification and meaning making in digital and networked environments. Recent publications include The Metaphorical Basis of Perception in Network Music Performance. Cyposium: The Book, Brescia, Italy, Link Editions and forthcoming “Flight Of the Sea Swallow: Increasing Tele-immersion in Cross-Reality Networked Music Performance”, Transactions, Leonardo, MIT Press 2016. The debut album Diaspora by Ethernet Orchestra is released through Pueblo Nuevo.<\/p>\n

\n

Urska Aplinc & Florine Mougel<\/strong> : Slov\u00e9nie \/ France<\/a>
\nOuter Spqce<\/strong> : 11:30 Sun 28 Feb
\nDeux performers combinent 6 t\u00e9l\u00e9phones et par l\u00e0 m\u00eame 6 conversations t\u00e9l\u00e9phoniques en direct.
\nCes permutaions entra\u00eenent des probl\u00e8mes sur le r\u00e9seau. Les personnes aux bout du fil n’envoient plus que des messages pour tenter d’\u00e9tablir la communication alors que l’\u00e9cho de leurs voix se perd dans le flux des signaux de t\u00e9l\u00e9communication.<\/p>\n

Ces plan\u00e8tes se tournent autour et s’entrechoquent. Se ne sont que des bribes de voix que l’ont captent et qui, lorsqu’elles disparaissent ou s’affaiblissent, nous donnent l’impression d’\u00eatre tomber dans un vide intergalactique.<\/p>\n

Ce projet traite de l’erreur et de la perte au sein des r\u00e9seaux. Si une liaison vient \u00e0 manquer, le neurone est isol\u00e9. Qui peut alors savoir s’il est encore vivant ? Le signal de vie \u00e0 disparu.<\/p>\n

En interferant avec la tentative de contact des intervenants au t\u00e9l\u00e9phone, on entend montrer la plasticit\u00e9 des flux dans une grande disruption po\u00e9tique.<\/p>\n

Bio<\/strong>
\nUrska a \u00e9tudi\u00e9 le chant avant d’entreprendre des \u00e9tudes d’art en Slov\u00e9nie et Florine a \u00e9tudi\u00e9 le cin\u00e9ma avant
\nd’entrer \u00e0 l’\u00e9cole d’art de Marseille. Elles se rencontrent durant leur ann\u00e9e d’\u00e9change \u00e0 Linz, en Autriche.<\/p>\n

\n

Cambia<\/strong> : 12:00 Sun 28 Feb<\/a><\/p>\n

\n

khaled Kaddal<\/strong> : London (UK)<\/a>
\nTrapped Sounds <\/strong>: 13:00 Sun 28 Feb
\n“Trapped Sounds” is a conceptual sound performance, by Khaled Kaddal, that aims to examine the relationship (conflict) between the individual and the collective intelligence, manifested in the mass-produced noises observed in our surroundings.<\/p>\n

The culminating social behavior regarding modern society as we know and participate in it, has inevitably led to an impact on human individuality. The intrinsic alienation of the modern individual from his inner self has not only developed into social isolation but into other forms as well.<\/p>\n

We spend the majority of our time so immersed in our materialistic existence, taking in unwanted outwardly distractions and distortions (noises) that cut us from the truth of being, and proposing necessary existential questions.
\nThus, this project attempts to contrast these dichotomies (internal versus external, the individual versus the society etc…) that ultimately represent the dissonance of our existence in relation to sounds emitted by the human body.<\/p>\n

Trapped Sounds is focusing on the individual “SHOUT” toward the collective masses, as a responsive act of the self-anxiety. By using the live body sounds of the performer (heart beats, and breathing..etc) manifested into electronic mediums, with a focus on the Social Networks and CyberMasses.<\/p>\n

Website: www.Khaledkaddal.com<\/a>
\nTrapped Sound: http:\/\/www.khaledkaddal.com\/#!trappedsounds\/x32dy<\/a><\/p>\n

Bio<\/strong>
\nKhaled Kaddal is an Egyptian Musician|Sound Artist. Engaging the boundary between Sounds and Concepts, his music\/sonic practices are marked by an attention to the Urban, from a social and political aspect, through the exploration of the varieties of Sonic phenomena.<\/p>\n

Currently, based in London pursuing a Masters degree in Creative Research into Sound Arts Practice (University of the Arts London) focusing on the theme of the sonic identity of a social systems and political authority.<\/p>\n

\n

Justin Randolph Thompson and Andre Halyard <\/strong> : Florence (IT)<\/a>
\nNeuromelanin Ring Shout<\/strong> : 13:00 Sun 28 Feb
\nNeuromelanin Ring Shout is a sound performance by Justin Randolph Thompson in collaboration with Andre Halyard that addresses the neuroprotective associations in melanin in dialogue with the tradition of the ring shout as an African tradition preserved by African Americans as a form of spiritual protection and expression. The performance employs a drum machine, a lap steel guitar, hybrid percussive instruments, two turntables and two microphones for a sound work that engages a mix of folk traditional ring shouts mixed with abrasive textures drawn from the realm of hip hop and heavy metal. The performance is a dialogue between electronic and live instruments and examines the audio therapy techniques associated with combatting neurodegeneration post trauma common in witnesses to gun battle. The techniques revolve around the creation of audio drones meant to soothe constant inner sounds that lead to anxiety and depression.<\/p>\n

Notions of inner city violence and the need for spiritual healing are the backdrop for this sound journey, which engages theories around sonic torture common in the detainment of war prisoners and the circular movement and stomping of the ring shout. The two artists engage in a vocal exchange as they navigate sculptural hexagonal and pentagonal forms that are the structural description of Neuromelanin in a quest for compositional balance and discord. The sound is emitted in part from sculptural snare drum rigged woofers and mobile speaker sets as well as from the PA system and the artists perform backed by an abstract video loop consisting of a 16mm shot of a man running desperately through a barren landscape filmed projected against a brick wall which enhances the cultural inability of escape.<\/p>\n

This project has been developed based on the theme and the artists understanding of neuroprotection linked with the need for spiritual protection within the context of the African Diasporic communities. The project is developed based on sonic therapeutic healing and the spiritual healing of traditional Ring Shouts performed originally in isolated slave populations of the Southern United States and the West Indies. Furthermore the performance hybridizes distinctions between electronic and digital as well as those between analogue and acoustic sound forms.<\/p>\n

http:\/\/www.justinrandolphthompson.com<\/a>
\nhttps:\/\/soundcloud.com\/justin-randolph-thompson<\/a><\/p>\n

Bio<\/strong>
\nJustin Randolph Thompson is a sculptor and new media artist born in Peekskill, NY in ’79. Living between Italy and the US since 2001, he has exhibited internationally and participated in numerous residencies in the US and in Europe. His work explores the historic implications of triumph, victory and ascension by re-contextualizing references from Roman antiquity and mending these with aspects of African-American culture both past and present. Exploring cultural displacement or imposed hierarchies and adorning status symbols with hybrid connotations through a talismanic application of culturally specific materials his work encompasses sculptural installation, performance, video and sound. Reflecting upon the socially constructed communal legacy, he examines expectations and shortcomings through the absence of a concrete linear foundation.<\/p>\n

\n

Carbon Sink (Ga\u00ebl Angelis, Magali Sanheira)<\/strong> : France<\/a>
\nSo clear was the omen of the birds<\/strong> : 14:00 Sun 28 Feb
\nL’instrumentation se compose pour
\nGa\u00ebl: bobine Tesla, tubes n\u00e9on, micros et \u00e9lectroniques.
\nMagali : Appeaux, bol, micros et \u00e9lectroniques<\/p>\n

Le dispositif est constitu\u00e9
\nd’un c\u00f4t\u00e9 ce qui attrait \u00e0 l’\u00e9lectricit\u00e9, \u00e0 ses d\u00e9couvertes en jouant avec le champs magn\u00e9tique g\u00e9n\u00e9r\u00e9 entre la bobine Tesla et des n\u00e9ons o\u00f9, le corps du musicien faisant masse, le simple fait de se d\u00e9placer module la fr\u00e9quence du son.
\nde l’autre c\u00f4t\u00e9, dans un \u00e9cho infini, surgissent des cris d?oiseaux produits par des appeaux qui se substituent ici \u00e0 la nature.<\/p>\n

Le puits de carbone est une jonction virtuelle entre deux niveaux. Cette image de la nature est \u00e9galement \u00e9vocatrice dans un paysage digital.
\nC’est en utilisant le r\u00e9seau comme lieu de diffusion, que nous aimerions jouer \u00ab So clear was the omen of the birds \u00bb :
\nTourbillon magn\u00e9tique et hypnotique d’o\u00f9 surgit les cris d’oiseaux d’une nature toute factice mais qui par son amplification et son syst\u00e8me de diffusion prend corps, devient vivante.<\/p>\n

La fronti\u00e8re est mince entre ce qui distingue le cri et le chant de l’oiseau, on consid\u00e8re alors ce dernier comme plus persistant dans la dur\u00e9e et d\u00e9veloppant des modulations plus complexes.
\nLe cri quant \u00e0 lui fonctionne telle une alarme, exprimant un appel, une menace, la peur, ou un signal d’avertissement.
\nEn ne gardant que les signaux de d\u00e9tresse, l’enregistrement de cris d’alarme peut \u00eatre utilis\u00e9 comme \u00ab effaroucheur \u00bb, afin d’\u00e9loigner certaines esp\u00e8ces du danger.
\nIci, un rossignol, une m\u00e9sange bleue, et une hulotte babillent, chantent, gazouillent, jabotent, piaillent, piaulent, \u00e0 travers des champs magn\u00e9tiques, et dans l’\u00e9cho des feedbacks telles des cr\u00e9atures \u00e9lectroniques de l’Anthropoc\u00e8ne qui, dans un \u00e9ternel retour, se transmettent jour apr\u00e8s jour le secret de l’origine du monde.<\/p>\n

http:\/\/carbonsink.bandcamp.com<\/a>
\nhttp:\/\/soundcloud.com\/g-angelis<\/a>
\nhttp:\/\/magalisanheira.org\/travaux\/musique<\/a><\/p>\n

Bio<\/strong>
\nCARBON SINK est un duo \u00e9lectro-acoustique.
\nIl marque notre int\u00e9r\u00eat commun pour des syst\u00e8mes d’amplification et des syst\u00e8mes \u00e9lectrom\u00e9caniques “auto-g\u00e9n\u00e9ratifs”, permettant d’activer des objets et mat\u00e9riaux par frottements, percussions ou vibrations.
\nL’Instrumentation est prot\u00e9\u00efforme. Chaque dispositif combine divers objets : poutre IPN, percussions et syst\u00e8mes de feedback, scanner, charbon et field recordings, ou encore synth\u00e9tiseur et divers petits moteurs et objets?
\nCes associations de formes et d’objets permettent d?improviser autour d’une id\u00e9e, d’une histoire. Notre intention, construire un environnement musical immersif, “noise” et organique, aux couleurs concr\u00e8tes et minimales, r\u00e9cits imaginaires sur une nature en p\u00e9ril.<\/p>\n

GA\u00cbL ANGELIS
\nN\u00e9e en 1973. Vis et travaille \u00e0 Paris.
\n1999 DNSEP, Ecole Nationale Sup\u00e9rieure d’Arts de Paris-Cergy, France.
\nArtiste et musicien, batteur\/percussionniste de formation.
\nAu d\u00e9part, mes pratiques plastiques et musicales sont distinctes, je cherche des liens entre elles avec la potentialit\u00e9 du son \u00e0 introduire du mouvement et de la temporalit\u00e9 dans l??uvre sculpturale. Ma r\u00e9flexion sur l’instrumentalit\u00e9 de l’objet m’am\u00e8ne \u00e0 concevoir la sculpture comme r\u00e9alisation instrumentale.
\nJe r\u00e9alise alors mes premiers dispositifs de \u00absculpture\/instrument\u00bb o\u00f9 sont mis en vibrations divers instruments, objets et mat\u00e9riaux par ph\u00e9nom\u00e8ne de feedback.
\nConjointement, je r\u00e9alise des actions urbaines, captations environnementales, et bandes originales de films.
\nCollaborations musicales. : Ewen Chardronnet, Z’EV, Frederic Galliay, Joachim Montessuis, Arnaud Rivi\u00e8re, Julien Sirjacq, Alan Boans, Otto Von Schirach, Loris Greaud.<\/p>\n

MAGALI SANHEIRA
\nN\u00e9e en 1977. Vis et travaille \u00e0 Paris.
\n2003 DNSEP, Ecole Nationale Sup\u00e9rieure d’Arts de Paris-Cergy, France.
\nMa pratique s’inscrit dans un champ multi-disciplinaire.
\nAudiophile, j’int\u00e8gre le son dans ma pratique comme un mat\u00e9riau sculptural \u00e0 part enti\u00e8re, me permettant de travailler sur une dimension suppl\u00e9mentaire : l’espace acoustique.
\nJe d\u00e9veloppe une recherche autour de formes, de volumes g\u00e9om\u00e9triques et de gestes simples, voire \u00e9l\u00e9mentaires afin de mieux diss\u00e9quer et analyser des processus de fonctionnement qui nous entourent.
\nAinsi, je renverse, d\u00e9monte, re-combine divers objets et mat\u00e9riaux comme pour expliquer des logiques, celles de certains arch\u00e9types mythologiques, les r\u00e8gles d’un jeux, ou cartographier des territoires.
\nJ’explore des techniques artisanales, d\u00e9tourne des technologies industrielles, et transforme des restes pour souvent les laisser bruts.
\nCes objets tentent d’interroger les syst\u00e8mes d’une soci\u00e9t\u00e9 fond\u00e9e sur la violence, l’obsolescence programm\u00e9e, la chute, le leurre, et notre relation \u00e0 l’autre dans cette soci\u00e9t\u00e9.<\/p>\n

\n

Benoit Bories<\/strong> : Toulouse\/Paris (FR)<\/a>
\nEtat d’urgence<\/strong> : 15:00 Sun 28 Feb
\n“Etat d’urgence” est une r\u00e9flexion sur les modes de communication ulta-rapides bas\u00e9s sur le r\u00e9seau web et leurs utilisations dans un contexte s\u00e9curitaire. Cette rapidit\u00e9 accentue les flux d’informations qui nous sont donn\u00e9s \u00e0 assimiler tous les jours. Des faits divers anecdotiques peuvent alors devenir \u00e9l\u00e9ments centraux d?information et leur omnipr\u00e9sence dans les canaux de communication donne un sentiment de prise au pi\u00e8ge. Il accentue un climat de peur et justifie le contexte d?\u00e9tat d?urgence qui se nourrit de cette surabondance de donn\u00e9es.<\/p>\n

Le cri est alors une \u00e9chappatoire qui permet de rompre ce cercle vicieux. Il rompt un \u00e9quilibre et appelle au silence et au temps de la r\u00e9flexion n\u00e9cessaire pour mettre en perspective.<\/p>\n

\u00ab Etat d’urgence \u00bb est une performance \u00e9lectroacoustique live construite \u00e0 partir de plusieurs mati\u00e8res sonores :
\nDes extraits d’archives sonores radio et t\u00e9l\u00e9 depuis l’institution de l’\u00e9tat d’urgence.
\nDes sonorit\u00e9s de cluster d’ordinateurs en r\u00e9seau, de ventilation, artefacts num\u00e9riques.
\nD’extraits d?entretiens de physiciens th\u00e9oriciens sp\u00e9cialistes des quarks et des neutrinos \u00e9voquant ce que pourraient \u00eatre pour eux le son de ces tr\u00e8s petites particules \u00e9l\u00e9mentaires.
\nUn cri dont le timbre se construit et se nourrit peu \u00e0 peu gr\u00e2ce aux mati\u00e8res sonores apport\u00e9es par les sons de clusters.<\/p>\n

Un certain nombre de mati\u00e8res sonores et d?extraits de compositions sont tir\u00e9es d?une cr\u00e9ation documentaire \u00e9lectroacoustique produite pour France Culture intitul\u00e9e \u00ab L?humain n?est pas une science exacte \u00bb.<\/p>\n

http:\/\/www.franceculture.fr\/emission-creation-on-air-l-humain-n-est-pas-une-science-exacte-2015-11-18<\/a><\/p>\n

Quelle est la place \u00e0 une relation intime entre le chercheur et son outil de travail ? Une fa\u00e7on d’appr\u00e9hender la recherche scientifique th\u00e9orique en dehors d’une vision trop technicienne.<\/p>\n

http:\/\/faidosonore.net<\/a>
\nhttp:\/\/arteradio.com\/auteurs\/benoit_bories<\/a><\/p>\n

Bio<\/strong>
\nBenoit Bories
\nMon activit\u00e9 de cr\u00e9ation sonore est principalement tourn\u00e9e vers le documentaire sonore. Elle s’est transform\u00e9e peu \u00e0 peu avec le temps vers des productions plus hybrides alliant des formes empruntant au h\u00f6rspiel, \u00e0 l’\u00e9lectroacoustique et au paysage sonore tout en en conservant cette volont\u00e9 de documenter des questions soci\u00e9tales. Je travaille pour la radio (Arte Radio, France Culture, RTBF, Mediapart, RFI, Deusthland Radio Kultur, ABC Australian Radio). Depuis maintenant deux ans, j’oriente ma production sonore vers des installations cross-media et le spectacle vivant. Ces exp\u00e9riences m’ont permis de repenser mon travail de dynamique et de rythmique du son en fonction d’un espace sc\u00e9nique et du jeu des acteurs. Cette remise en cause de mon rapport au son m’a amen\u00e9 vers de nouvelles comp\u00e9tences concernant le travail de spatialisation (captations binaurales, multidiffusion, double st\u00e9r\u00e9o AB).<\/p>\n

En effet, de par ses caract\u00e9ristiques physiques propres, le son permet l’\u00e9laboration d’espaces acoustiques complexes ouvrant des possibilit\u00e9s vers une r\u00e9\u00e9criture des sons capt\u00e9s du r\u00e9el. M\u00ealer ces possibilit\u00e9s avec les nouvelles technologies, de dispositifs de prises de sons en binaural offrant une sensation d’\u00e9coute en 3D \u00e0 la diffusion de pi\u00e8ces sonores en acousmonium ou pour des supports type \u00e9coute mobile, ouvre de nouveaux champs \u00e0 explorer pour la cr\u00e9ation sonore.<\/p>\n

\n

Chlo\u00e9 Tallot <\/strong> : Paris (FR)<\/a>
\nSamsara<\/strong> : 16:00 Sun 28 Feb
\nLe samsara terme sanskrit signifiant \u00ab ensemble de ce qui circule \u00bb; en tib\u00e9tain signifie \u00ab transition \u00bb mais aussi \u00ab transmigration \u00bb, \u00ab courant des renaissances successives \u00bb.
\nDans le bouddhisme, il s’agit du cycle des existences conditionn\u00e9es successives, soumises \u00e0 la souffrance, \u00e0 l’attachement et \u00e0 l’ignorance. Ces \u00e9tats sont conditionn\u00e9s par le karma.
\nCe projet sonore met en sc\u00e8ne des atmosph\u00e8res o\u00f9 une qu\u00eate de transcendance et ses difficult\u00e9s se m\u00ealent \u00e0 des d\u00e9couvertes. Les connexions sont multiples et le hasard semble nous guider dans un espace sans fin.
\nLe projet “Samsara” est une cosmogonie de sons qui forme une \u00e9trange po\u00e9sie faite d’explosions, d’\u00e9lans, d’attente et autres m\u00e9canismes vitaux myst\u00e9rieux.
\nLe choc et la connexion des neurones pourrait en \u00eatre l’origine ainsi que le bruissement apparement chaotique du web.<\/p>\n

projet : http:\/\/chloetallot.com\/works\/audio_2011_Samsara.php<\/a>
\nwebsite : http:\/\/chloetallot.com<\/a>
\naudio : https:\/\/soundcloud.com\/chloetallot\/samsara<\/a>
\nsocial media : https:\/\/www.facebook.com\/ChloeTallot<\/a><\/p>\n

Bio<\/strong>
\nChlo\u00e9 Tallot (1973, Paris) est une artiste fran\u00e7aise qui s’exprime \u00e0 travers de multiples m\u00e9dias.
\nElle est dipl\u00f4m\u00e9e de l’Ecole Nationale Sup\u00e9rieure des Arts D\u00e9coratifs de Paris en 1999.
\nSes d\u00e9marches nourries de sciences et de philosophie, se d\u00e9ploient dans une collection d’objets visuels et sonores interrogeant le vivant, le rapport aux mots et les hybridations.
\nSon travail est pr\u00e9sent\u00e9 en France et \u00e0 l’\u00e9tranger dans des institutions, festivals et galeries.<\/p>\n

\n

TMS (Tina Mariane Krogh Madsen, Malte Steiner)<\/strong> : Berlin (D)<\/A>
\n5-HT<\/strong> : 17:00 Sun 28 Feb
\nFor the Audioblast online audio festival TMS will compose a piece based on the structural qualities of the neurotransmitter serotonin. These dynamics will be improvised and performed live in a dynamic noise act that deals with both the balances as well as the imbalances caused by disruption of this unit in the brain. The piece is a translation of a physiological entity into a mixed analogue and digital composition, transmitted via the digital system of the live-stream and thus inserted into the online neuro-system of the Internet.<\/p>\n

The audio performance is created specifically for the call of the audioblast festival and as described in the concept, it is based on the structure of the neorotransmitter serotonin and thus a translation of a physiological entity into a improvised composition, transmitted via the digital system of the live-stream and inserted into the online neuro-system of the Internet.<\/p>\n

TMS on Soundcloud: https:\/\/soundcloud.com\/tms_noise<\/a> <\/p>\n

Bio<\/strong>
\nTMS is an experimental noise-performance project by Malte Steiner and Tina Mariane Krogh Madsen.
\nThe format of the TMS project is improvisational performances built out of Steiner and Madsen’s sonic interactions, where noise-scapes and complex structures emerges from intense layering of various sonic in- and outputs. The physical interaction with materials has an additional focus in TMS’ performances, and thus to create a more performative and visual sound experience. The choice of elements for each performance is important, where each plays an important role. The inputs are analogue as well as digital; modulated, transformed and distorted.<\/p>\n

Tina Mariane Krogh Madsen is a Danish, Berlin-based artist and researcher, who works in the intersection between performance art and media. Madsen’s artistic work deals with theory as well as practice and how these are intertwined as inseparable entities. The main focus points of her work and research are: performative practices, networked performance, site specificity, system aesthetics, notation, open technology, sound and embodiment. http:\/\/www.tmkm.dk<\/p>\n

Malte Steiner is a German, Berlin-based media artist, electronic musician and composer. Steiner started creating electronic music and visual art around 1983, developing his own vision of the interdisciplinary Gesamtkunstwerk. Steiner’s musical projects are primarily the experimental electro-acoustic Elektronengehirn, the industrial outfit Notstandskomitee, Akustikkoppler (with Matthias Schuster), Das Kombinat, Embedded Artist (with Wolfgang Spahn) and TMS (with Tina MK Madsen). http:\/\/www.block4.com<\/p>\n

\n

Simon Coates <\/strong>: United Arab Emirates<\/a>
\nFor All the Sea the Land Remains<\/strong> : 19:00 Sun 28 Feb
\nA long-form sound art piece originally commissioned for Resonance FM’s Free Lab radio progamme, ‘For All the Sea the Land Remains’ features features field recordings from Dubai, Fujairah, Istanbul, Bangkok and Vientiane in Laos. In addition to the field recordings, Coates plays harmonica, keyboards and guitar alongside digitally-manufactured acousmatic sounds. The work samples the songs ‘Shagufa’ by Geeta Dutt (1953), ‘Hum Aur Tum Aur Ye Khushi’ by Surendra (from the 1940 film ‘Alibaba’) and ‘Aahen Na Bharin Shikve Na Kiye’ by Zeenat (1945). There are also samples from Parviz Kimiavi’s 1970 film ‘Oh, Protector of the Gazelle’. Additonal vocal contributions from English performance artist Caroline Smith, Emirati artist Sara Al Haddad and Denise Coates.<\/p>\n

‘For All the Sea the Land Remains’ is a native piece created to function first and foremost as a radio programme that takes the listener on a journey that navigates both electrical and digital principles. Subverting the radio format in terms of length and composition, the piece draws on traditional electrical radiophonic tropes as well as exploiting digital technology for creation and execution.<\/p>\n

www.simoncoates.com<\/a>
\nwww.facebook.com\/simoncoatesart<\/a>
\nwww.tsetseflymiddleeast.org<\/a><\/p>\n

Bio<\/strong>
\nSimon Coates is an English artist, writer and curator living and working in Dubai. He is also the founder of Tse Tse Fly Middle East, the regional platform for Middle East-based sound artists and experimental musicians. Tse Tse Fly will open the Other Worlds Festival in the UK in April 2016.<\/p>\n

\n
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