Cybercinema is a special screening program prepared for projection spaces in galleries or event spaces or cinema environements. It includes short films and animations from CyberBrothers.tv authors selected on themes and blossoms a culturally rich insight into new digital media and creative visual arts.
Cybercinema has already successfully screened in Melbourne, Moscow, New York City, Kyoto, Tokyo, London, Osaka, Berlin, Gijon, Madrid, Manchester, Bucharest, Valencia and Tenerife.
Martins Rokis has been experimenting with various electronic music forms since the late 90’s, hiding under short lived aliases and co-producing radio show on local underground radio. While studying philosophy and delving into sound programming his focus gradually shifted away from musical aspects of sound more towards experiential relationships between sound, space and body in general. Currently he is crossing boundaries between so-called computer music, psychedelic noise and
sound art, blending generative strategies with improvisation.
In 2012 he founded [duh-noh], an independent platform for digital and physical releases.
Toms Auniņš is a Latvian experimental music sound artist and composer from Rīga, Latvia, who currently performs both as a solo artist and as a member of his electroacoustic Noise`n roll band 1/2H 1/2W. In recent years he has written music for theatre performances, films and has experimented with various genres and techniques perfroming as a solo artist including noise, techno, idm, electeoacoustic music and more.
Le Petit Garçon a.k.a. Christian Hollingsater is a 30 years old musician from the small city of Horten, Norway. After growing up under hard times with mellow guitar-based music he stayed at home a lot, tweaking sounds from his guitar. He discovered Arne Nordheim and then the possibilities there are in the terms of producing music.
After just some weeks in Tromsø he found his way into the Tromsø music and art scene. Le Petit Garçon is producing and recording his debut album at the moment.
V4W.ENKO is a MEDIA project. Sound and videostreams are generated in real time by manipulating self-programmed algorithms. Algorithmic sound, robotic envelope, generative visuals.
In 2010 the audio/visual CD album of V4W.ENKO – “Harmonic Ratio”(2009) was mentioned by “Qwartz Awards” (under direction by Alva Noto and Matali Crasset) as nomination in “Discovery” category.
Ujif_notfound is a pseudonym for George Potopalsky, a media artist from Kiev, engaged in the construction of algorithmic interpretation systems by means of programming languages. For several years he studied audio and video processing with MAX / MSP / Jitter.
His work with sound combines concepts such as minimalism, algorithm, stochastics. George has created a number of automatic sound systems for his friends’ art installations. The basic rule of his live performances is to create audio and video streams in real time without the use of pre-recorded tracks in order to draw audience’s attention to the beautiful process of creating algorithm-based soundscapes.
Conference – Ubiquitous Art and Music: Art and the everyday
Presented by ECAS – European Cities for Advanced Sound in cooperation with the Nextsound Festival
Meet & Greet Cocktail: Thursday May 16 ı 18h30 ı Club Prostir (5 Cheslava Belinskoho lane)
Conference: Friday May 17 ı 11h-18h ı House of Architects (7 Borisa Hrinchenko way)
ECAS network representatives present:
Cimatics v.z.w (Cimatics ı Brussels, Belgium) http://cimatics.com/ http://thedigitalnow.be
DISK – Initiative Bild & Ton e.V. (CTM Festival ı Berlin, Germany) http://diskberlin.de/ http://www.ctm-festival.de
Fundacja Tone Muzyka i nowe formy sztuki (Unsound ı Krakow, Poland) http://unsound.pl/en
FutureEverything CIC (FutureEverything ı Manchester, UK) http://futureeverything.org/
Österreichischer Rundfunk (ORF musikprotokoll im steirischen herbst ı Graz, Austria) http://musikprotokoll.orf.at/
Skaņu Mežs Association (Skaņu Mežs ı Riga, Latvia) http://www.skanumezs.lv/home/
Stichting The Generator (TodaysArt ı Den Haag, Netherlands) www.todaysart.nl
Stiftelsen Insomnia Festival (Insomnia, Tromsø, Norway) http://www.insomniafestival.no/
Trans-Media-Akademie Hellerau e.V. (Cynetart ı Dresden, Germany) http://t-m-a.de/cynetart/f2012
Sound and digital image are everywhere. A consequence of the ever-spreading reach of advertising, the rise of new technologies such as ubiquitous and pervasive computing, and also of networks as the de facto means of working within the arts and indeed most fields. Never before has creativity and new artistic trends spread so rapidly between different regions and communities. Never before have artists and the general public been so active in using networks, both as producers and consumers at the same time. Facilitated through computers and the internet, the intertwining of networking and creativity is changing the way artists, professionals and the public work and play, as well as dissolving the boundaries between them.
Uniting 9 European digital music organizations (the ECAS project), as well as guest speakers, the conference aims to explore the changing relationships of art and music within networks, and also to examine the role that creativity has in shaping the networks themselves. The conference also aims to stimulate dialogue between the visiting network and local Ukrainian artists and professionals.
11h – 11h10 Oliver Baurhenn (CTM Festival, DE)
Introduction to ECAS and Conference Theme
11h15 – 12h40 Monika Mokre (EIPCP/ Focus/ Austrian Academy of Sciences, AT)
Between a Rock and a Hard Place: EU Cultural Politics as Identity Politics and/or Economisation
From 2014 onwards, EU cultural and media policies shall be integrated into the common programme “Creative Europe”. This programme is meant to support “the cultural and creative sectors and to help promote their important contribution at EU level. It offers the best basis to focus attention on the challenges currently facing these sectors and to target EU support on those measures that provide EU added value by helping them optimize their potential for economic growth, job creation and social inclusion.”
The strong economic focus of the new programme stands in clear contrast to “Culture 2000” striving for support and participation of European citizens by placing “greater emphasis (…) on their common cultural values and roots as a key element of their identity and their membership of a society founded on freedom, democracy, tolerance and solidarity”1 , and also to the program of 2008 aiming “to achieve three main objectives: to promote cross-border mobility of those working in the cultural sector; to encourage the transnational circulation of cultural and artistic output; and to foster intercultural dialogue.”
1DECISION No 508/2000/EC OF THE EUROPEAN PARLIAMENT AND OF THE COUNCIL of 14 February 2000, establishing the Culture 2000 programme
A discussion of the development of EU cultural politics will not only allow us to analyze its context and rationalities but also to gain insights in the opportunities, challenges, and fault lines of cultural politics in their relationship to identity politics, external relations, and economic goals.
12h45 – 13h10 Sarah Lauzemis (Cimatics, BE)
Different perspectives within a network. ICAS case study.
Intercultural communication issues and the challenge of a common sustainable network development strategy Counting 38 members over 5 continents, the ICAS – International Cities of Advanced Sound Network and Related Arts network regroups a large number of culturally diverse organizations. The heterogeneity of its members and their cultural backgrounds is undoubtedly an artistic strength as much as a cultural enrichment for all organizations, but also poses structural challenges for the network’s internal functioning.
The variety of cultural identities, expectations, and motivations raises the issue of how to bridge the network’s diverse viewpoints while fostering and maintaining the diversity of its cultural, intellectual, and artistic exchanges. This case study reflects on how to manage a sustainable network development strategy by focusing on intercultural communication issues.
13h15 – 14h15 Dmytro Fedorenko (Kvitny, UA), Mat Schulz (Unsound, PL), Toms Aunins (artist, LV)
Moderator: Viestarts Gailitis (Skanu Mezs, LV)
Is Experimental and Underground Music a Western Monopoly?
“Experimental music” and “underground music” are terms that immediately conjure certain images and connotations. For many of today’s listeners, their character is often suffused with western aesthetics – not surprising given that currently these musics are predominantly gaining exposure in the west. What are the defining traits of “experimental/underground music” aesthetically, socially, politically, and in terms of marketing? How can eastern europe and the rest of the world contribute to it, or is it destined to remain a fundamentally western endeavor dictated by western aesthetics and politics?
14h15 – 15h15
15h15 Christian Hollingsaeter (Insomnia, NO), Tim Terpstra (TodaysArt, NL)
Announcement of the Winners of the ECAS Open Call for Residencies.
15h30 – 17h30
Registration required: http://ecasnetwork.org/blog/archives/5211
Short, 10-minute sessions where pre-registered participants meet one-on-one with different ECAS members as well as a representative from The Wire magazine in order present their work and get acquainted with the network and its individual members.
17h45 Oliver Baurhenn (CTM Festival, DE)
About the ICAS network and the ECAS project
ICAS – International Cities for Advanced Sound & Related Arts – is a network of over 35 independent, non-profit digital arts festivals and organizations from around the world. Officially inaugurated in 2009, the network aims to increase exchange of artists, works, information, and resources to create a sustainable and vibrant international platform for the field they support.
In 2010, nine of the European ICAS members (named ECAS) launched a 5-year namesake project. Benefiting from considerable financial support received from the European Union, the ECAS project consists of numerous dimensions including co-commissioned works, increased circulation of artists, publics and professionals, the exploration of new methods of artistic collaboration, and the consolidation of connections between member festivals as well as professionals in the cultural sector. Ukraine has been pinpointed as the official meeting point for the ECAS project’s yearly partner meeting in 2013, in order to increase knowledge exchange with Ukrainian and Eastern European artists/professionals.
The Austrian trio Radian is a post-rock/electronic group who uses both acoustic and electronic instruments. The group’s members often play even their acoustic instruments in such a rhythmically precise manner that Radian sounds more like an electronic act than a band.
Radian – which includes bassist John Norman, drummer Martin Brandlmayr, and synth player Stefan Németh – formed in Vienna in 1996, although the group did not play its first show until a full year later. Soon after, the Rhiz label released the group’s self-titled EP in Austria. The group’s first full album, TG11, was released jointly by Rhiz and Mego in 2000. In 2002, Radian traveled to Chicago to record with producer John McEntire, and the Thrill Jockey label released the resulting full-length, rec.extern, later that year. Rec.extern was the first Radian release to receive widespread distribution in the U.S., and in October 2002 the group toured the Northeast and Midwest to support the album. Juxtaposition saw Radian team up with John McEntire again and was released on Thrill Jockey in August of 2004.
The Kammerflimmer Kollektief crafts music which should not be written down, for it would scorch the paper. The project whose music meanders between precision and freedom was founded in 1996 by Thomas Weber. So far the Kollektief has released eight albums in all sorts of line ups. Live performances all over the world feature a trio with Heike Aumüller and Johannes Frisch. The Kammerflimmer Kollektief is emotive and impassioned. It is also as lucid and precise as those moods which Robert Musil (who is above suspicion of a being a romanticist) called “daylight mysticism”. The lyrics and the music demand to be heard, they want to be explored, even suffered through. Sound builds songs which are made of sounds, and yet they’re no longer songs.
Tape’s music moves between experimental music and pop without effort and has been recognized internationally for it’s particular sound where electronics blend with all sorts of acoustic and electric instruments.
Tape was formed in 2000 by brothers Andreas and Johan Berthling together with Tomas Hallonsten. Their first recording Opera came out in 2002, the second Milieu in 2003, both released on Häpna. Tape has done shorter tours in Europe, the US and Japan. In August 2005 Staalplaat released a live CD of Tape in their “Mort Aux Vaches” series. Luminarium is Tape’s fourth album and it was recorded in their Summa studio in Stockholm. The album was released on CD by Häpna in 2008. Immune is proud to release the album on vinyl for the first time. Tape is currently in the studio recording a follow-up album for release later this year. Luminarium is Tape’s fourth album and it was recorded in their Summa studio in Stockholm. The album
was released on CD by Häpna in 2008. Immune is proud to release the album on vinyl for the first time. Tape is currently in the studio recording a follow-up album for release later this year.Luminarium is Tape’s fourth album and it was recorded in their Summa studio in Stockholm. The album was released on CD by Häpna in 2008. Immune is proud to release the album on vinyl for the first time. Tape is currently in the studio recording a follow-up album for release later this year.Luminarium is Tape’s fourth album and it was recorded in their Summa studio in Stockholm. The album was released on CD by Häpna in 2008. Immune is proud to release the album on vinyl for the first time. Tape is currently in the studio recording a follow-up album for release later this year.
Sisters are Raphael Rogiński, one of the most interesting jazz guitarists in Poland today, together with turntablist-champion DJ Lenar. Cooperation of these musicians lies in the attempt to link two music styles – alternative turntablism meets electric guitar vanguard. They are improvising at the intersection of jazz instrumental music and dynamically processed electronic and hip-hop samples, and thus go beyond reality bringing the audience into the world of dreams and surreal fantasy.
Andrey Kiritchenko is a person known among experimental music fans as author and contributor of various critically acclaimed projects, founder of Nexsound records, producer who has contributed his significant share into the development of electronic music scene in Ukraine.
Born in 1976 in Kharkiv / Ukraine and started his musical career in 1995 as a singer / song-writer in a local rock band. Being involved mostly in experimental electronic and electroacoustic music for the last 10 years, Andrey gains recognition among the musicians and followers of this style all over the world. His recent activities range from indie-pop to free-improvisation, from melodic electroacoustic music to experimental techno.
So far he collaborated with Francisco Lopez, Kim Cascone, Martin Brandlmayr(Radian, Trapist), Anla Courtis, Jason Kahn, Jeff Surak, Saralunden, the Moglass and others; remixed by Andreas Tilliander/Mokira, Frank Bretschneider, Mikael Stavostrand, Frans de Waard/GOEM, Brian Lavelle, Scanner, Marcus Maeder and others; under all aliases he released more than 40 albums on labels such as Staalplaat, SPEKK, Ad Noiseam, Nexsound, Zeromoon, Bip-Hop, Neo Ouija, etc.; in 2006 nominated by Qwartz Electronic Music Awards in categories Discovery and Most Promising Artist, awarded in category Discovery; in 2006-2007 curates Detali Zvuku international festival for experimental music and related visual arts in Kiev; in 2007 participates in Ukrainian exhibition on the 52th Venice Biennale; in 2008-2009 curates Ukrainian magazine for contemporary music – Gurkit.https://www.youtube.com/watch?v=tRaM3EuHZ5U
Cristian Vogel is a composer, music producer and sound artist known worldwide for his experimental DJ sets and live performances. Born in Chile and raised in the UK, the long-term innovator spent several years in Geneva working with Swiss choreographer Gilles Jobin, composing electronic music scores for a number of contemporary dance pieces before relocating to Berlin, where he is currently based. Over a 20 year career at the vanguard of European electronic music, he has been acknowledged for blueprinting the “minimal” and “wonky” techno music styles back in the mid-nineties, as well as outstanding work in the field of avant-garde composition for contemporary dance, film and sound art.
Rightly earning the title of the “producer’s producer,” Cristian has made remixes for artists such as Radiohead, Maximo Park, Chicks on Speed and Thom Yorke amongst others, whilst his work for Swiss contemporary dance has been highly acclaimed for its delicacy and attention to detail. Cristian is also a proven performer and songwriter, collaborating in the past with Jamie Lidell as Super_Collider, and for a brief spell as Night Of The Brain band member on vocals and guitar. Meanwhile he has maintained an enviable Techno stronghold through nurtured affiliations with Mille Plateaux, NovaMute and Tresor. After a protracted break from the dance floor, in 2012 Cristian delivered ‘The Inertials’ for Shitkatapult, an ominously post-apocalyptic record that sparked a long-awaited return to the club circuit.
In parallel to his music, Cristian actively pursues a range of scholarly endeavours. He has designed and lead a number of workshops and symposiums, notably: the 1st Kyma International Sound Symposium (Barcelona, 2009), Dialog:Sound and Movement (GVASessions, Geneva, 2011), LiveConnections Workshop (Electron Festival, Geneva, 2011), and Club Glop (wine tasting and music events, Barcelona, 2009). He has also made presentations of research and interventions at RedBull Music Academy (2001 / 2010 / 2011), Kyma International Sound Symposium (2009, 2010, 2011), and Sound and Music Computing Conference (Barcelona 2010). Cristian Vogel has a degree in 20th Century Music studies from University of Sussex, under the tutorship of Jonathan Harvey and Martin Butler. He is a true 21st Century musical modernist.
Born 1978 in France, he lives and works in Berlin. Kangding Ray evolved as a guitarist and drummer in bands whose influences ranged from noise-rock to jazz, before buying a sampler and moving on to electronic music. Kangding Ray’s music reflects his wide musical background, and a particular way of merging beats and atmospheric soundscapes into slowly evolving compositions. Kangding Ray combines machines with “real instruments” in a subtle and rhythmic suite, integrating noises, walls of distortion, massive bass lines, voices and field recordings, blending techno grooves with dark textures, always on the edge between experimental music and club culture.
Jan Jelinek’s approach is about transformation of sound, about translating parameters of popular music into abstract, reduced and textural electronics.
In 1998 he started to release his works under a number of pseudonyms (Farben, Gramm) adapting his primary sampling premise to a surprising range of different sounds. During the following years Jan Jelinek collaborated with artists like Sarah Morris or German author Thomas Meinecke, played a range of laptop or gadget-/ synth-based live sets, worked with improvisation ensembles from Japanese trio Computer Soup to the Australian jazz formation Triosk, wrote and produced radio-plays/collages for the SWR, created a number of audio-visual performances with video artist Karl Kliem for the Centre Pompidou in Paris among others, and founded the improvisation trio Groupshow with Andrew Pekler and Hanno Leichtmann, which refuses any
repertoire or standard performance durations. In 2008 Jelinek started the label faitiche as a platform for his own sound experiments. To date, the label has released ten works : faitiche 01 & 05, the forgotten oeuvre of an early electronics composer; faitiche 02 & 07, which explores the question of copyright in public space, and faitiche 03, a collaboration with the vibraphon player Masayoshi Fujita. The vinyl series faitiche 08/09/10/11 brings together Jelinek’s commissioned work and collaborations of the last five years.
Grischa Lichtenberger was born in Bielefeld 1983. In 2009 he released his debut EP ~treibgut ununbium on German label Raster-Noton. ~treibgut – a system of references to the river Rhein – operated as a motto for various expressions: installations, videos, music, painting and drawing. Beginning in 2006, after moving to Duesseldorf, Lichtenberger decided to rethink the artistic process from scratch – its ethical legitimization and its epistemological backgrounds – all in regard to the concreteness of the biographical situation in its landscape and history. With the new “supertitle” andyrchie iv he tries to process the idea of revaluating the reference to landscape as to “the place we live in”.
Lichtenberger’s focus is not only the musical expression, but the process of creating art in general. Always regarding the complexity and difficulties of communication and material referenciality, he seeks to overcome the dominance of functional interpretations, while maintaining an open access to technology and production. The archive of samples and fragments of overcome and discarded technological artifacts and everyday livestock is enabled by an ethical figure, wherein art is to address and regard the other, without economizing or confining them.
Assimilation Process sounds vigorous, digital, futuristic, rough & uneven, spherical and dark at the same time. The new project of Stefan Senf (aka Noize Creator) absorbs all sorts of musical influences from many years of music production merged to one new unit. It is a balancing act between experimental listening music and modern rhythmic structures. The intensity of this project based on the hefty contrast created with the use of field recordings and digital processed sounds. Analog recordings, characteristics of imaginary soundtracks and tidy, razor-sharp sounds are brought to new form with Assimilation Process.
In 2006 Dmitry Nikolaienko initiated a project which is an attempt to study the musical aspect of aesthetics and futurism of the mid-twentieth century, to interpret it in today’s cultural context. Technically and stylistically it’s “musique concrète” collage of sounds, loops and sound fragments of various electro-acoustic origins, combined with manipulations with magnetic tapes. In 2010 Ukrainian Nexsound label issued his debut mini-album “Loops and Cuts Soup”.
Tenpoint are a collective of Kyiv (Ukraine) based visual artists Maxym Poberezhskyi and Oleksii Tyshchenko who practice live video performances and explore interactive digital art. Participated in Detali Zvuku festival since its foundation, Kvitnu fest (experimental electronic music festival), Gogolfest (since 2008).
At the same time Tenpoint are co-founders and resident vjs of KIEVBASS — Kyiv (Ukraine) based nights which found to become a meeting point for Ukrainian higher context audience and present up to date electronic dance sound + modern visual-arts.
Tenpoint’s own style has sound form, often with provocative content. Combination of narration and abstraction is also one of the most important components.
Tenpoint has collaborated as a visual support team with such musicians as Extrawelt, Scorn, Sex in Dallas, Goldie, Tobias Schmidt, Juno Reactor, Esthetic Education, Dakha Brakha, Shpongle, Hallucinogen, Controlled Weirdness, Distance, MRK1, Neil Landstrumm, VEX’D, DMX KREW, Ottosiderspunk, Kalbata, iTAL Tek, Tim Exile, SCANONE, Radioactive Man, Cursor Miner, Jerome Hill, Elemental, Noyeahno, Warlock, DARQWAN, Kotra, Dunaewsky 69, Andrey Kiritchenko, Valta, Minikin, DJ Feelaz, Nôze and many others.