24h-rave

trialPressure

Liam Pram (NZ)

The work explores a number of sonic environments manipulated through a custom interface utilising hand controlled pressure sensors, foot controlled potentiometers, and reactive incandescent bulbs. All gestures used for control could be conceived of as exerting pressure on the mechanism, and so the sonic and visual environments are arranged to react in some manors which may represent such a relationship. The interface utilised a Bela, a K8064 DC Controlled Dimmer, and is coded in Pure Data.

forme cangianti

Fabio Morreale (IT)

forme cangianti is an audiovisual live-coding composition. Before the performance, hundreds of mathematical functions were coded to govern the behaviours of the sound (Supercollider) and the visuals (shaders). At performance time, the performer gradually summoned these dormant functions, who “live code” variables of these equations. This artwork is part of ongoing research aimed at developing a visual identity to computer-generated and experimental electronic music.

Landing

Jessica Robinson (NZ)

Landing is a soundscape exploring additive, subtractive and FM synthesis, created in Supercollider. These techniques are used to generate atmospheric textures with varying degrees of familiarity, investigating the feeling of exploration.

5 Episodes

Zak Argabrite (US)

5 Episodes is an audio-visual performance work which traces the lifecycles of electronic devices: from their origins as extracted land to their eventual deaths in sacrificed lands. The performance of 5 Episodes involves a collaboration between Zak and a collection of discarded electronic devices and media from second-hand sources such as electronic waste recycling centres.

Ceci n'est pas un mix

ATP (FR/LR)

ATP spent his 20's playing in various free parties and festival as part of the duo Frapading with his best bro Dezaks. Together they developed their signature sound, gathering influences from tribal freetekno, psytrance and electronic madness between piles of speakers and diesel emanations. Since then ATP has been pursuing his own sonic exploration from electronic to speedcore with a strong emphasis on heavy drum beats and screeching, psychedelic synth lines.

Sonic Garden

Farzan Badie (IR)

Farzan Badie is a DJ/music producer/audio engineer and radio host based in Tehran. He got his Diploma in Sound Engineering from the S.A.E Malaysia. Since then he has played in Iran, Germany, Hungary, Malaysia, Dubai, Cyprus and Turkey. He formed a DJ/Live act with British DJ Jules Dickens in Kuala Lumpur and worked in a public studio in Budapest for 2 years. Farzan is the co-founder and music director of “Beshknow”, an online radio and collective from Tehran.

Sonic Garden

Moss (IR/FR)

Mohsen Ataei AKA Moss is a veteran Iranian underground DJ, starting electronic music back in 2000. Collecting and playing music has been an obsession with Moss since his teenage years, eventually leading him to study Audio Engineering and Electronic music production at SAE Paris. In the late 2000s, he became a member and producer of the Parisian underground cult band "Big Daddy’s Dead" performing at most of the city’s prestigious clubs.

Uncanny Dream

ildar iakubov, diana burkot, maksim silenkov

The participants of the multimedia performance Uncanny Dreams construct a disturbing image of an everyday global catastrophe, elements of which surround us during the third decade of the 21st century. Impressions of a persistent aggressive environment are assembled from multiple debris, visual images and sound patterns.

Sound performance “Techno-soils. Vibrofabricat”

Boris Shershenkov (RU)

Sound performance “Techno-soils. Vibrofabricat "isdedicated to working with vibrationalfields of urban techno-soils. The streams of mechanicalenergy captured with the geophonesbecome audible when the equilibrium states of theauthor's electroacoustic system of thePhonotrone type are violated.

Noise Entropy

Philippe Esling (FR)

Music can be seen as organized noise. The limit between these concepts has been shaped through centuries of evolution, but nowadays, we are continuously enforcing the fronteer to the point it has become nothing more than a blurry delimitation. Each person has its own subjective fronteer where it start considering music as noise. This performance is a battle between music and noise that takes place within each one of us.