Junin / Buenos Aires
Today, is a typical hot summer day when Wilfried is making his acrobatic exercises to be at different places on the globe simultaneously – in Buenos Aires, Sao Paulo, Brussels, Stavanger and Tampere – many collaborations – individual and curatorial art works – Play IV Festival 2006 a collaboration with Silvio de Gracia from Junin/Buenos Aires , File Electronic Language Festival 2006, Hipersonica 2007, Mobile Institute 2007, Westcoast NuMusic and Electronic Art Festival 2004 and Strata Foundation in 2013. Wilfried is experimenting, in each collaboration is Wilfried trying something new – in order to avoid any repeating – he is experimenting with new aspects of curating, global networking and choosing new topics for his own videos and his curatorial work – that’s one meaning of all the different venues and collaborations. Wilfried would not like just to keep the status quo, but step continueously forward on not yet gone paths. Experimenting means always also to do things in vain, to fail – and one thing Wilfried finds really frustrating – that his attemps to install a really “creative” collaboration with different partners at different places are not successful. Wilfried is going always too many steps ahead, so that his potential partners cannot or would not like to follow him. So, what remains possible is more than limited – keeping the status quo – thus there is no future in it, at least from Wilfried’s point of view. The reason why so many initiatives stop after a promissing beginning, has sometimes to do with a lack of funding, but mostly with a lack of imagination and willing to take risks. Most professional activities have rather the state of being a “hobby”. Most people are too much focussed on themselves instead of open up themselves for new ideas and new fields to enter.
PLAY IV Video Art Festival Buenos Aires/Argentina 24-27 August 2006
Curated by Agricola de Cologne for
Play Video Art Festival Junin/Buenos Aires (Argentina)
25-27 August 2006
Daniel LoIacono (GE) – Digital Snapshots 2’30’’
Agricola de Cologne (GE) – House of tomorrow – 3’00’’
J.G. Periot + Tom de Pekin (France) – Devil Inside – 2’50’’
Li Hyung Kim (South Korea) 3:34 – Women. World
Alla Girik and Oksana Shatalova (Kazakhstan) – Warning! Women – 3’12’’
Rafael Alcala (Puerto Rico) – Smoked – 3:00
Joao Paulo Simoes (Portugal) – Take.This.Turn – 5’43’’
Unnur A. Einarsdottir (Iceland) – Toilet – 5’00’’
Agricola de Cologne (GE) – Evolution – Involution – 10’00’’
“Unexpectedly real” refers to different meanings, states and definitions of reality. The 10 videos selected and curated by Agricola de Cologne from the base of VideoChannel, a project environment dealing with the subject of “memory & identity”, approach the “real” and the “reality” from different artistic point of views. The viewer becomes confused as the limits between the “objective” and the “subjective” become more and more vague changing continuously their values. The technological possibilities of the medium “digital video” enforce and encourage the artists to manipulate what is generally recognized as the “real” and give the classical theme in art which is exploring the different states of reality a new dimension. – 9 artists surprise the audience with these 10 films.
Sao Paulo – Paulista Avenue
*FILE – Electronic Language Festival Sao Paulo – 25/08 – 05/09 2006
Message from Behind A Wall
Message from Behind a Wall, 2005, 10:00
The segregation wall in Palestine is a fact. In November 2004, an artistic action against the wall ended, taking place at six different places in Palestine where walls were under construction, initiated by Palestine artists by inviting artists from different countries to paint an artistic message on the concrete.
When Agricola de Cologne was in Bethlehem in February 2005, he visited several places where the Israeli were erecting the wall. The part of the wall he was filming, is situated in opposite of the AIDA refugee camp (UN), and was at that time a temporary playground for children. And these children made their own contribution to the huge wall paintings.
“Message from behind a Wall”is transporting different messages, but the main message represents the action of children’s innocence.
The moving picture is a unique document of the day of 17 February 2005. Meanwhile, the construction of the wall in Bethlehem is since long time completed, and the area around the wall does not motivate children to use it further as a playground.
FILE Hipersonic Festival Sao Paulo/Brazil – 13 August – 9 September 2007
SoundLab IV – Memoryscapes (part III)
includes these artists—>
Andreja Andric (Serbia/Italy)
Rich Bitting (USA)
Bibi Calderaro (USA)
Chelsea Cargill (UK)
Matt Dotson (USA)
Alex Hetherington (UK)
Stephanie Loveless (UK)
Jeff Morris (USA)
Luz María Sánchez (Mexico)
Peter V. Swendsen (USA)
JEFF THOMPSON (USA)
unclejim – Goard, David & Robinson, Rob (UK)
Title: 1.Tuesday, February 28th, 19:10:22 2006 2006, 5min2.Tuesday, February 28th, 22:55:32 2006
In recent years I’ve liked to work with the sound of a music box. It is gentle and tranquilizing, yet, even in a loud bar atmosphere it can be heard clearly, due to its high pitch and bright sound color.
Lullaby Generator is a program for MS-DOS/Windows that generates music for music box. The mood, tonality and phrasing changes from piece to piece, thus forming a unique cycle of music pieces. No input is required. Just start the program and it will create a final wav file with a new composition. As calculating the waveform from 20-voice polyphony is a complex task, the process might take several minutes.
Title: Toaster, Knife & Percolator from The Breakfast Suite
Toaster 2006, 3:52
The Breakfast Suite is an exploration of the micro-acoustic sound world of some humble kitchen appliances. These common but little-regarded kitchen appliances are an all-but-ignored part of the morning breakfast ritual. As we wait each morning in Pavlovian anticipation while our eggs sizzle to sunrise perfection and our coffee is perking to its savory conclusion, do our minds register the fantastic soundscapes that are being revealed? If a crumb falls in a toaster and no one is there to hear it does it make a sound?
We Twenty-first Century humans have come to rely primarily on our sense of sight, while our brains function as earlids to filter out “noise” and process only that sound we deem necessary as information. I invite you to close your eyes, open your mind, and listen to the world through fresh ears.
Title: In-Deed 2005. 8:54 minutes.
IN-DEED is a collage of words and sentences belonging to the Lenape, Choctaw and Navajo languages, extracted from teach-yourself tapes. Mixed with it are some of the English translations to these sentences which I turned to chanting.
The title of this piece is a pun composed by using a dash between the words IN and DEED. It speaks of a transaction whose translation, as between languages, is always not pure, always hiding another layer of meaning, making uncertain what the outcome of that transaction may be.
IN-DEED is both an assertion and a negation, as in the fact that an almost extint language is recorded for the purpose of being taught in the future to English speakers, although its signified elements might be already lost.
With this piece I would like to raise questions concerning identity and language, such as: Is it possible to speak a language whose culture is gone?
When is a language considered dead? How does a second language interfere or influence in the formation of identity?
Title: st mary 2006, 3:04
In St Mary I recorded my own voice improvising vocal sounds that are sung with delay and stereo panning effects. Vocal phrases emerge almost by accident and are alternately inchoate and complete – only to be obscured by breath, vocal and static sound. Throughout the piece the same musical motifs are repeated but never emerge predictably; they are always posited differently within the overall structure of sound. Overall, the piece concerns the unreliable nature of memory and its ability to obscure and embellish.
Title: Memory 2005, 9:34
Title: House/Lights Kate Valk Radio 2006, 2.00 mins
This sound work is an element in my research on the theater production House/Lights by New York’s The Wooster Group. This work combines the libretto from Gertrude Stein’s Dr Faustus Lights the Lights with the text from Joseph Mawra’s film Olga’s House of Shame. I have been systematically connecting this work with the biography of Raphael Carlos Gordon, a Scot
and one-time Mayor of Madrid, who briefly ruled Spain during the Franco era in Spain and to the Wardhouse Estate, the seat of the Gordon family, in Aberdeenshire, Scotland. I have been researching the aristocracy of Spain and to laws and regulations that supported them. This sound work employs a combining of texts using a public radio broadcast where Kate Valk of the
Wooster Group describes some of their working methods. This is accompanied by a stage direction from Gertrude Stein’s original libretto, a tone that mimics a chorus. In Stein’s modernist libretto Faustus sells his soul for electricity. I am interested in notions of radical theater, behaviors intrinsic to making performance, theater, art and mapping the real with the
fictional. In this work I want to establish a correspondence to the memory of theater, the memory of identities, the memory of meaning.
Titles: “when you go” (5:00), 2006“trying” (7:11), 2006
“When You Go” and “Trying” are two from series of five short sound pieces based on instrumental compositions recorded in an empty house in my hometown (Montreal, Canada). These recordings were brought into a sound-processing environment with the intention of discovering additional sonic material through their manipulation with relatively simple digital processing tools. I am interested in this mining of a sound source for the sonic, musical and
affective material within it — trying not so much to take the original sounds to new places, as to make them even more themselves. Smaller sounds (floorboard creaks, breath, piano groans) are privileged, and become an intrinsic part of the composition. The pieces are emotionally melancholic, as were the original instrumental compositions, and this emotional state is also mined, stretched — hopefully — to a point of transcendence.
Titles: 1. StillMotion 2004 — 5’00”2. Harmonies (They Spin) 2003 — 5’42” 3. Tappatappatappa 2005 — 9’22”
All source sounds have been recorded during an average day in the lives of different people. In performance, the sound clips are fractured, so that the treble, middle, and bass frequencies of the sound act as three facets of a flexible beat pattern that articulates time. As they are played, the sounds travel toward, past, and away from the observer independently, causing their speed and pitch to be warped in time and space. The result is a texture of fragmented scenes, woven together, from multiple and mobile points of view in time and space, presenting the sound events as ephemeral strands of instants in time. StillMotion explores the ordinary sublime: on the one hand the impossibility of recording the everyday (as soon as it is marked, it is elevated in some way), and the impossibility of recording a performance (as soon as it is recorded it is a frozen text).StillMotion was originally created for a collaboration with guest choreographers Rosane Chamecki and Andrea Lerner, and the dance and visual arts departments of Texas Woman’s University. Photographs and sounds were taken of the dancers acting out an average day in their lives. The photos were used as a basis for the choreography, and the music, choreography and set design grew together organically. The performance (January 31, 2004) consisted of dance depicting functions or feelings captured in the photos, stylized versions of photos on scrims hanging within space (sometimes invading the dance space), and this music, from processed sounds of the “average day.”
Harmonies (They Spin):
The title is an anagram of “Riemann Hypothesis,” one of seven mathematical mysteries that are part of the Millennium Problem challenge (offering a $1 million prize for a solution). It suggests that there is an underlying order to the distribution of prime numbers, which otherwise seems to be unpredictable. In a similar spirit, “Harmonies (They Spin)” conjectures an underlying order to the seemingly ungraspable or irreconcilable. The counterpoint of sound and image presents an interaction between the attainable and the elusive, the harmonious and the dissonant. Binary oppositions are established, including noisy versus pitched timbres and regular pulses versus freely sweeping gestures, to explore the stable and unstable qualities of each when juxtaposed in various ways, approaching or diverging from a common center.
This performance was created live by the composer tapping on a microphone and improvising with custom software. In a complex system of feedback and self-imitation, complex textures and gestures are built up from a small simple sound of being alone.
Title: 2487 year of production: 2006
“Spoken names sound from spare, low-mounted speakers in 2487. A role-call of absent persons, the installation records 2,487 of the estimated 8,000 who have died while trying to traverse into the United States from Mexico since 1993. Like the border, this list is not exclusive. It reflects the breadth of Latin America’s poverty-driven exodus, including old and young, male and female, and an ethnic spectrum of Mexican-nationals as well as other foreign citizens. (…) Written specifically for 2487, [a MAX/MSP] program raises name after name out of silence and into organic arrangement. This act of calling, basic but defining, restores these lost individuals to the present. Overlapping in time the names become forceful together, a symbol of common escape and shared fate.”
Kurt Dominick Mueller
Interview for SIP – SoundLAB Interview project
Title: “Little Girl Lost” 2003, 12 minutes
“As daughters we possess a sense of our mothers that is physical. There are parts of her in us—the sound of her voice, similar facial expressions, maybe even the same life choices. What do we find when we mine these aspects of our mothers from within us and what of ourselves gets lost.” – Mary Carbonara, choreographer for Little Girl Lost The score for Little Girl Lost is based on many hours of interview recordings made by the composer. These recordings were edited to their most focused and basic elements before being layered and arranged. Additional text came from stories written by the dancers of the piece. Violin recordings were also made and much of the material results from similar processes being applied to the text and violin. The live violin part straddles the worlds present in the piece, sometimes driving the rhythms, sometimes providing melodic material, and sometimes merging with the pre-recorded violin through the use of live processing. The music seeks to provide both internal and external dialogue for the performers. Special thanks to violinist, Rodica Filipoi.
Title: “Performance with Toys” 2006, 04’ 08
Created during an artists’ residency at Elsewhere, a former thrift store in Greensboro, North Carolina USA. The piece was created using contact microphones and the signal-processed sounds of toys found within the store. As the thesis for my stay at the residency, I attempted to draw out the lives of the former owners of the objects left in the store. By rubbing, moving, and manipulating the toys, sounds are pulled from them and layering, forming a soundscape that bridges the past and present, memory and tactility.
Goard, David & Robinson, Rob
Titles: 1. in a vertical city 2006 – 3.05
This piece is intended to evoke memories and emotions related to the more unsettling aspects of high-rise city life. Menace is implied by the insistent rhythm that provides the backdrop for the track. The rhythm is broken by interjections – of unidentifiable sounds and disembodied speech – insinuating and emphasising a sense of displacement.
gesicht describes a fleeting moment in time – a state of semi consciousness, immediately after a serious accident for example, when one half of the brain struggles to perceive immediate surroundings – faces looming, the sound of breathing etc – whilst another part of oneself attempts to restore a sense of personal identity with thoughts of home and loved ones.
includes following artists—>
N.B. Aldrich & Zach Poff (USA)
Arcanum – Alan Lechusza (USA)
Back Ted N-Ted aka Ryan Breen (USA)
Becoming Animal (~)
Martin John Callanan (UK)
hp stonji aka Hans Platzgumer & Jens Döring (GER/Austria)
Panayiotis A. KOKORAS (Greece)
Peter Prautzsch (Germany)
Jake Whittaker (UK)
Title: The Baltic Sea (2004), 4’33”
The Baltic Sea (2004) was created as part of the performance piece Variatsioonid, by MAP Intermedia, during a residency at Polli Talu Arts Center in Vatla, Estonia. The audio components were recorded during our stay there. The mix is done in real-time during the performance, generated by a computer program that monitors a video, also of the Baltic Sea (which we shot while there as well), which is used as the backdrop for this section of the performance. The computer program uses information gathered from the activity of the pixels on the screen to make varying decisions about how to mix the different audio tracks. This version is taken from the FOH mix desk of a performance at the Stonington Opera House in Stonington, Maine, USA, in September, 2004.
Titles: 1. Alan Lechusza composition 2004/05 (running time 6 minutes)
Work for Electric Cello and Processed Woodwinds: Sounds are stretched through a turbulent array of procedures and strategies etching toward an imagined ceiling. Sounds fall apart as quickly as they are erected only to be realized within their dynamic soundspan.
Work for Saxophone and Electronics: Minimal complexity embracing pressure points along a continuum of techniques. The saxophone revisited in an electronic world not so far from it’s
Titles: 1. Emo Bar 2005, 3:37
Emo Bar is an attempt to arrange sporadic sounds and sample into a linear and tonally correct
composition incorporating original poetry.
Sorted and Oriented uses digital processing and New York Subway Recordings to disguise the voice of the artist. 3. Casio Song 2004-2006, 1:31
Casio Song is a stripped down attempt to create a melodically interesting composition incorporating spoken word digital effects and an early eighties casiotone keyboard.
Titles. 1.”Like Water in Water” 2006, 3:36
“A drop in the ocean”
“As the water gets warmer our iceberg gets smaller.” 3. “A bird probably” 2006, 0:59
“I tried to understand their language better. Without having recourse to mine. They were the longest, loveliest days of all the year. “
Titles: 1. 041209-032004, 4.14
Audio originally released by MirakelMusik (Sweden), and online. Constructed from intercepted satellite communications in Latvia. Added to the SONUS online archive, Canada, in September 2005.
041209-07 was performed on February 9, 2006 at ÉuCuE (Électroacoustiques Université Concordia University Electroacoustics) 2005-2006 Series XXIV, Oscar Peterson Concert Hall, Concordia University, Canada. A 20 speaker sound projection sonore was used. 3. 041209-09 2004, 2.58
As part of the FRAMED Broadcasts, 041209 was played in full, with additional previously unreleased tracks, on Resonance 104.4fm: 23, 24, 25 March 2006 between 1-7am, and 24 and 30 March 2006 between 7-8pm.
Title: piano expeditions, 2min51s, 2005
Hp.Stonji’s music speaks instead of it being spoken. While the duo’s sounds were purely digital on their first releases “Metic” and “Melaina Cholé”, they now introduced classic analouge instruments to their sounddesigns: a concert piano, a church organ and a classical guitar. Whereas Freidrich Gulda’s favourite instrument apparently turned out to be a japanese digital piano, hpstonji now use the warmth and complexity of the sounds of a real piano instead. They transform it into the cold, abstract digital world. This makes the ping-pong play of their numeric encodings suddenly become something transparent, something seizable which finally is vanishing into non-codeable patterns. The analouge sound travels to the digital wastebin and its potential and inspiration that slumbers at the binary edges of the data. In Hp.Stonjis laptops molecular chains of sound-stuttering organise new languages. They make new kinds of sound-statements and sound-asthetics. They create multi-dimensional listening: sounds that bend their own ranges. Their sounds and beats move ahead and back between the beauty of analouge tonality and their mutations and variations. In most parts the root of sound remains recognizable. And always it remains something else: pop music. pop music for advanced listeners that is, but pop. Aural stretchings, bendings and breakings of what we are used to hear. And just like the music, along with it travel their visuals: short films and clips and stills by Munich-based videoartist Georg Gaigl. They also started out in the real world and eventually collapsed in outer reamls. Two films are simultaneously projected onto the laptop cases of the musicians, as they hide behind them. As they are merely projections on the backs of their powerbooks.
Whatever is real and what isn’t: Hp.Stonji’s music is.
And do remember what R.A. Wilson said: There ain’t such thing as water. It’s just melted ice!
Title: Anechoic Spin (2003-2004) for tape, Duration 5’
The life of the piece began in York, England in August 2003, where most of the sound material recorded at the anechoic chamber at the University of York. A couple of months later I returned back to Greece after a long stay in England and I restarted to work on the material at my personal home studio. However, a new move stopped me again from its development. Finally, everything came together one year later during the summer of 2004 where the piece finished at the Mastering Studio of the Department of Music Technology and Acoustics in Rethimno, Crete.
Having the luxury to work without deadlines and on a non real-time environment I tried to refine and control the finniest sound detail. I tried to create a kind of virtuosity of the medium. The sound material, not easily
recognized most of the time, undergoes a rather simple transformation in terms of sound processing using editing tools such as hard-limiting, maximizers, cut n paste, dynamic envelope changes, time stretches, and binaural spatialization.
The work is dedicated to the composer Sungji Hong. – Panayiotis Kokoras, Rethimno August 2004.
title: of salt and water (version2, 2006)
Titles: I. Felhõk – Gyilkos Bába Verzió
Clouds – Murder Midvife version
Ultrahang Fest, Budapest, 2005
No More Pain 2005, 3:58
Havizaj, Budapest, 2005
Titles: 1. Evidence of Activity 2006, 8min
This work uses an improvised stylus on a displaced tone arm from a found HiFi (part of a Pro-line HiFi system). The Tone arm was adapted to be allowed freedom to move onto an adjacent turntable or to play other objects around the studio. The stylus is crudely made, having two points of hard wire taped to the pickup headshell. The sounds are generated by leaving the tone arm on an adjacent record (The World of Johann Strauss) while a nearby printer printing a document shakes the table vibrating the tone arm creating the work. The sounds are amplified and through a found Genexxa mixer and are effected by the built in echo effect.
An early experimental work using two turntables with improvised adapted styli, one a staple the other a more flexible two pointed piece of wire. 3. Loveloops 00 2004, 4min 03sec
Several ‘Dansette’ style record players combine loops from different classic love songs. The recording has a particular sound owing to the fact that there was no mixer used, the turntables were arranged in an arc on the floor around an old Sony microphone. The internal speakers were used while the volumes are adjusted individually.
All my work uses found objects. My aim is to use them as much as is possible, in the state in which they are found. The problems leading to their being discarded being an important part of the composing process. Any repairs carried out are basic and merely to achieve some sound production. All work is then produced live without headphones using randomly selected loops from often randomly selected records. By making work in this way I hope to reassess the nature of the objects and their ‘useful’ life, explore notions of musical consistency and examine the ontology of recorded sound.
includes following artists—>
Mauro Arrighi (Italy)
Michael Beijer (Netherlands)
Catherine Clover (UK)
Scott F. Hall (USA)
Juan Kasari (Finland)
Sean O’Neill (UK)
Dawn Salvia USA)
(Koji Kawai, Rui Ogawa, and Kenya Kawaguchi) (Japan)
Duncan Whitley (USA)
Simon Whetham (UK)
1. Sensible Buildings, 3:37
Memory can be considered also in terms of perception of time. We tend to think about the feelings that living beings manifest. I try to imagine what kind of emotional states the other objects that surround us could experience. Are houses sensitive? Are buildings watching us? Maybe they can remember many things and thus feel empathy for us. In addition: how can buildings communicate with each other? If we accept that humans use their physical form to do so, then I would suggest that edifices could use their structures instead.
The entire building becomes a projective surface, on which images flow on the walls.
This work deals with daily activities that occur within every apartment such as cooking, washing, listening to music and so on. All these moments are fragments of individual identities. These pieces are not only the memories of the subject in question, but are also those of the potential viewer.
Since the behaviors occur in different places and at different times they cannot be perceived by the human viewer simultaneously, but a computer can see, record and represent all these circumstances together.
With the consent of the inhabitants of different flats, I will record them going about their daily household activities at moments when they are unaware of being recorded. Those recorded moments will then be divided into smaller pieces and elaborated during the performance. There will be as many movies projected simultaneously during the performance as there are people recorded. This is fundamental in giving the spectator a sense of contemporaneousness.
Each movie will be sliced, looped and time-manipulated in real time to create the soundtrack. The music will be the result of the combination of fragments of spoken words, ambient noise and background music. Basically, this music is made of identities and memories.
The work is site-specific: the live recording will be made in places that in someway related, in space and time, to the event.
1. NNN 2005; 09’57:2. INRI2INRI 2005; 05’51: 3. 0029 2005; 02’01:
NNN, INRI2INRI & 0029 all form part of a series called Error, which investigates error as a guiding principle in human memory and identity. The online text In Said City may be seen as a running commentary to the Error series.
Title: Extract 01 2006, 5’11”
This sound work is a piece based on the lift shaft and stairwell of the Melbourne Town Hall, the centre of civic power for the city of Melbourne. The particular site of the stairs and lift were chosen specifically for their transitional and apparently peripheral nature. Little time is spent here yet it is a vital link within the building and is constantly in use. The work engages with ideas surrounding transition, change, and flux.
Title: 1. Ear Shark 0:28, 2006.
Ear Shark (Statement for this work): A very odd bunch of sounds indeed carefully coaxed in one take out of an ordinary four-string electric bass, pedal effects, and a 1 mm thick pick.
Flyover (Statement for this work): Subsonic rumblings in stereo captured in one take. I created this piece using an ordinary four-string electric bass, pedal effects, and a 1 mm thick pick. 3. Electric Tromba Marina 4:01, 2006.
Electric Tromba Marina (Statement for this work): This work was created by me in one take using a four-string electric bass unusually tuned to the usual low E and E one octave higher. I concentrated on one of the two low E strings with a violin bow played near the top nut while my left index finger sought out harmonics on the same string. Occasionally, I drew the bow across all four strings, but often the unplayed 2nd, 3rd, and 4th strings rang out merely via sympathetic vibration.
Titles: 1.Drive2.No More
Both songs are improvised works, analog effects, 2 guitars, live drums.
These songs included: 80juan80 (guitar, effects, computer), Lari Koppinen (drums) Ville Koppinen (Guitar
Title: BTK 2006 – 3:08
This piece attempts to reminisce upon the sonic movements of Bangkok Thailand, a city consumed with a rich, swirling soundscape, a mixture of both modern and ancient. My impressions of the city, its people and culture, are preserved in small part through the binaural recordings I took during my three month stay. I used excerpts of these recordings, the voices/street noises/ambience, to recreate the sense of motion experienced while surrounded by Bangkok’s endless pace. The sounds were processed with extreme transposition and layered to produce evolving patterns.
Title 1. 1201AM (9mins45s) 2005
made from my voice saying ‘There is nothing you can do’
recorded from electrical devices then cut copy and filtered beyond recognition.
(Koji Kawai, Rui Ogawa, and Kenya Kawaguchi)
Title: Deep Ecological Music (2006), 4’30” (3,6M)
Deep Ecological Music is expressing Japanese traditional soundscape. And It consists of three elements, Such as White Noise, Shamisen sound (a Japanese traditional instrument like guiter),
and Sisiodosi sound (a Japanese traditional sound object like metronome). Shamisen sound protects man from white noise as nature wonder. Sisiodosi exists in the boundary of white noise as the exterior and Shamisen sound as an inside, and comes and goes between them . When sonic energy reaches the climax, natural contingency and man’s vitality are synthesis and are generated in the world. That is, Deep Ecological Music shows the symbiosis of man and nature.
Titles: Excerpts from “My Only City – The Sounds of the West Terrace” 2004
1. CovLeic01, 2min06
My Only City – The Sounds of the West Terrace is a sound and new media project in development, which focuses on the supporters of Coventry City Football Club (CCFC) during the final 10 matches at their Highfield Road stadium. Highfield Road closed its doors in 2005, having been ‘home’ to City supporters for 106 years.
The project aims towards a searchable audio archive, comprising some 500 minutes of binaural audio recorded at matches from within the stadiums much loved ‘West Terrace’. The My Only City archive documents a roller-coaster final season at Highfield Road, in which CCFC avoided relegation to the First Division on the eve of the move to a multi-million pound new arena.
My Only City combines elements of phonography, oral history, new media, and sound as a spatial art form, in a public artwork with a strong documentary bias. The project focuses not on the football club or on the stadium itself, but rather on the supporters and how they articulate their relationships to this place.
The archive subtly explores a semiotics of football crowd sound and its collective vocalisations (often referred to, dismissively, as “noise”). By examining and deconstructing the soundscapes of football stadia, the archive reveals the complexities of the language of football crowd sound, and illuminates some of the meanings conveyed by it.
The audio clips submitted for SoundLab IV were recorded at a match against local rivals Leicester City, on 16 October 2004.
_01. jokulsarlon_introduction (4:22)
water drips from a huge iceberg into the lake at jokulsarlon, making musical sounds – the water runs from the lake – the glacier creaks and breaks
the sound of a cello followed by a train, caused by the gangplank in track 08
_03. route1_engine (2:00) – unfortunately, to get to the remote spots we visited, you need transport – the 4×4 was invaluable, and part of the team
includes following artists—>
Chris Bors (USA)
Fernand Fernandez – Thomas Michalak (France)
Flow Ir In (USA)
David Kasdorf (USA)
Kazuo Kawasumi (Japan)
Gregory Lasserre, & Anais met den Ancxt (France)
Les Riches Douaniers (France)
Wolfgang Peter Menzel (Sweden)
Marco Puccini (OTO) + virgilio VJ (Italy)
Title: That’s What PhD’s Call Letters 2003, 2:29
(from the audio cd Love Letters Greatest Hits, Vol. 1)
Love Letters Greatest Hits, Vol. 1 is a 46 minutes audio CD featuring me reading aloud ten of the best love letters out of seventy-six sent to me by a former girlfriend. This is the first track on the CD.
Title: Elemant Phan
date: 2005/2006 ( in constant evolution )
running time: live performance, between 5 and 15 mn
Description of the process:
It all starts with nothing. Thomas Michalak’s computer’s material is Fernand Fernandez’s voice. It is the starting element, that will be transformed and reconfigured. The collaboration evolves like a growing structure made of spasmatic and spited words struggling with the texturized process. The two performers mix together through a sound improvitation beyond voice texture. Fernand Fernandez has a dark creature-controller stuck to his arm, which enables him to pick consonants, vowels and pieces of words. He uses it as a random partition. The process is in a real-time performance played live. Elemant phan has been performed twice in the past.
Titles: alien nursery (CD remix)alien hypnosis alien lover
these three tracks compose my ‘alien trilogy’. i began with a scientific theory – that of beat production in focused beams of off frequency energy, useful for generating localised low fequency oscillations for, say, a hyperspace transmitter. i used Cubase to run a series of looped midi sine waves (at a range of frequencies), then ran that as a controller for a chaotically resonant system built in NI’s generator. the instrument was designed to create key beat frequencies near and around neurophysiologically important landmarks – 6Hz, 40Hz, 16kHz etc.
i then ran the software and fine tuned the parameters until i could feel clear bodily responeses to the sounds – a ball rolling through my teeth, my leg being stroked, etc. then, i meditated and played a midi keyboard loaded with samples, generated from scratch. I made unexpected contact with an alien race, and with them, recorded these tunes. the first, nursery, is a basic primer in their language, listen to it three times over headphones while dropping off to sleep. the second, hypnosis, prepares the human nervous system to accept a visitor. the third, lover, puts out a call for contact.
Titles: 1. What A Friend
2006, digital audio, rt: 1m:35s
What a Friend hearkens back to a boyhood on the prairie, the seeming freedom of endless rural vistas in continuous conflict with isolation and an indigent community’s harsh conception of God and Salvation.
2006, digital audio, rt: 3m:06s.
The piece, simply a voice, a fragment of a developing body of work, reflects a single aspect of the gradual breakdown of stability in the lives of my family and myself. Seemingly compassionate at first, the voice turns cajoling, manipulative, demanding, and ultimately disturbing. 3. Smile (Just Breathe)
2005, digital audio, rt: 3m:06s.
Smile (Just Breathe), an ongoing series of audio and video works, is an attempt at immediacy, making work in the here and now, a more direct expression of self. We all perform and I enjoy it as long as I can do it. But it is at the point where performance breaks down, where the internal and the external begin to overlap, when the smiling stops and things become real, that it becomes interesting. When all that’s left is to keep breathing which, at the very least, is a way of moving forward. This unmasking is what Smile… is about.
Titles: Quartet now 2006, 6 min 4 sec
In Quartet now, the artist expresses his memories as sound by arranging four separate works as a quartet ensemble. The running time of each piece is 1 minute and 2 minutes for a quartet ensemble, although the total running time could be longer by continuing the refrain.
The first movement is construed as a heartbeats combined with subliminal sounds from nature such as drops of water or streams. The heartbeats might be his mother’s as vibrated to him in her womb and the subliminal sounds might be coming from her body fluid. The second movement is expressed by a violin, guitar, contrabass, and percussion also imbued with subliminal nature sounds, which might come from all of his profound memories. Vocal sounds in the third movement might be a first voice which vibrated his ear drum. In the fourth movement, the vibraphone with subliminal sound reverberates in triangle tone, which the artist feels is a universal harmony with which to communicate with the universe.
Quartet now was composed and edited by the artist and the music was performed by New York-based musicians.
Glass breaking sound wakes up the artist’s memory like in flashback, which links to a profound relationship between people and Glass. The artist feels that the physical features of Glass—hard, brittle, transparent and reflective—brings in the metaphysical which invites people to a intangible mysterious world.
The sound piece belongs to a series of his Glass work, which was performed by vibrating huge Glass window in the Royal Library building in Copenhagen. Glassophy is the individual sound work but also could be represented by and with vibrating Glass which is a reality of the sound. The artist has worked for this series since 2003.
is made of a half-spherical structure and of an evolutionary device wich makes man, image ans sound interact thanks to digital tools. The machine becomes the creator’s ally to produce pictural and sonorous shapes. This space is ideal for collective performances; it accomodates in its center a constellation of visible shapes, spinning sound loops and luminous vibratory
elements. The dome-bubble hosts universes and objects endowed with life. They are articulated like subtle microcosms in conversation.
Title: Appearance (Apparition) march 2005 – 4:46
Dans le système utilisé, le piano scande le début comme des éclairs, disparaît dans le mirage des nuages. L’éloignement tendre des sonorités se déliquéfie, s’amplifie, disparait. L’attente s’installe avant l’apparition des graves au loin et le piano revient marteler l’informel. Il génère ainsi le souvenir et réinstalle l’identité musicale.
Title: Virtual rescue 2006, `3:46
Even this work is a sound collage, partly based on stochastic algorithms of the sound grinder KVARNEN at www.ssshhhhh.dk. The piece tries to give expression for one of the tasks of our memory, to survive with our own history in mind, individually and together. I used a lot of stringwork and the rhythmic sound of a wind power station.
Titles: 1. sad (2005) time: 02.562. 03.46 (2006) time: 03.00
I made any songs with a miniMac with the support of Ableton live 5.01.I also used some hardware stuff to make that songs like CASIO VL-TONE,ELEKTRON SPS-1UW MACHINEDRUM,ROLAND TR 909,ACCESS VIRUS C,YAMAHA RM1X,YAMAHA SU200,YAMAHA DX7,EDIROL PCR-50 & M-Audio Firewire Audiophile.
List of videos
Arzu Ozkal Telhan (Turkey) Entitled, 2003, 3:34
Andrew Johnson (USA) – Black and White, 4:30
Elia Alba (Domincan Republic) If I were a…, 2004, 4:30
Alla Girik and Oksana Shatalova (KZ) Warning! Women, 2005, duration: 3 min. 12 sec
Eleanor Gates Stuart (Australia)Title: Knit, 2005, 9:04
Ina Loitzl (Austria) Title: Snow-white and red like a rose, 2005, 5:00
Joao Paulo Simoes (Portugal)Title: Take.This.Turn, 2005
Elisabeth Smolarz (Germany)Title:You and Me, 2003, 3:00
Beatrice Allegranti (UK) Title: IN MY BODY, video 2005, 4 min
Unnur A. Einarsdottir (Iceland) – Title: Toilet (2005),
Sonja Vuk (Croatia) – Title: Cosmo Club,2004, 6:05
Irène Tétaz (France) – Title: Il Nue (the nude), 2006, 4_00
Risk Hazekamp (the Netherlands) – Gay King, 3 min., year: 2005
Rahel Maher (Australia) – Misstar, 2002, 2:00
EILEEN BONNER (UK) – I THOU, 2004, 3:40
Sinasi Günes (Turkey) – Work title: ANDROGEN, video 2004, 3:34
Michael Brynntrup (Germany) – TV-X-perm, 2002, 8:00
Fred Koenig (France) – Title: The Vodoo Diva’s International, 2004, 6:40
Joey Hateley (UK) – Title: A: Gender, 2005, 5:530c
Ane Lan (Norway) – Title: Ane Lan, 2004, 2:46
Carlo Sansolo (Brazil) – Title: PANOPTICA, 205, 3:23
Erika Frenkel (Brazil) – Title: Cascadura Baby – 5:00 – 2004
Jamil Yamani (Australia) – Title: All Quiet on the Western Front, 2004, 4:53
Ruben James Preston (UK) – Remembering (4:40) (2005)
The RRF Project
An independent cultural production in progress —>
The project was initiated in October 2003 in order to start in March 2004 the realisation of the global network by presenting [R][R][F] 2004 –>XP at Museum of Contemporary Art Bucaresti/Romania, Bergen Electronic Arts Center Bergen/Norway and New Media Art Festival Bangkok/Thailand and later at different places around the globe and starting a variety of associated processes developing and running during 2005 as [R][R][F]2005—>XP, as [R][R][F]2006—>XP in 2006 etc.[R][R][F] 200x —>XP is an experimental New Media art project created and developed by media artist and New Media curator Agricola de Cologne which he is developing and organising completely online. [R][R][F] 200x–>XP includes a variety of online and offline components
The basic subject –>“Memory and Identity”
The basic operating aspect –>”networking as artworking”.
The basic presentation aspect –>physical installation – the exchange/combination of virtual and physical space.
Due to its complexity, [R][R][F] 200x —>XP is constructed of two parts, a low tech administrative body which contains all relevant project related information in a textual form, and an high tech artistic body based on an interface developed in Flash. Both together form the art work to be transported or distributed via the Internet. The artistic body includes all art related components which may come from most different sources.
The interface of the artistic body refers to the human brain and its complex networking structures by visualizing them in different ways. The essential nodes of connection are reduced to some basic sections , named: “Memory Channels”. Each of these “Memory Channels” (currently eight) is focussing on different aspects of “memory and identity” – the main subject of [R][R][F] 200x –>XP – and may carry some sub-sections as well, modules which contain specific project environments or individual art works.
In this way, [R][R][F] 200x–>XP does not represent a complete art work, but Internet specific as it is, the project is ongoing. Corresponding to the collage principle the brain is using for its associative system, the project represents rather a framework for options to start processes. By following them, the actual art work can take shape in most individual ways, in a kind of dynamic virtual sculpture, a kind of hyper-dimensional collage or patchwork.
The composition of the work is as simple and simultaneously as complex as it can be. Agricola de Cologne holds the position of a creator who is building an Universe of hisown in which most different networking instances are acting. He is creating a specific system, which is based on filtering, associating and linking on different level, starting from his personal view based on specific filters, then by inviting curators, who select artists of their choice, the next filtering and networking level is installed,. The artists who are selected via curating form the next following level. As they may come from different cultural, religious, political and social backgrounds and more than 45 countries on the globe, they are installing a complex filtering system of their own via the artworks and the specific view the art work is based on. Each included art work has and gets a very special meaning in this networking context.
The active user anywhere on the globe, finally, forms another level by contributing his personal filtering system via associating and reflecting, it is him who is initiating actively processes which lead finally to his personal art work.
The term “global” has a fundamental meaning in many concerns, not only related to the global aspect in terms of this Universe the creator is building, but even more to the networking structure the creator is installing in the global context of this “one” world we all are living in, by inviting/involving/incorporating physical networking instances as curators, artists, institutions, organisations etc, which can form the basis for external/affiliated local networks consisting optionally again of a variety of virtual and physical components, but also in the sense of distributing the specific project contents which may have again complex relations to the term “global”.
Without the existence and the rapid developments of the new (and above all affordable) communicating technologies and the virtual environment of the Internet, which allows communicating in real time to any place on the globe, a project like [R][R][F] 200x –>XP would have never been started .Agricola de Cologne is using these technologies in most different ways according their rules –>the Internet as a whole not only as a database, but as an environment for creating art, for distributing net based art in its various forms and in this way the specific content of his project via the net in real time to any part on the globe.
Thus, “networking” in terms of “ artworking” is not reduced to a certain aspect of artistic creating in which several artists work on a common project under mutual influence and inspiration, but includes all possibible elements and their mutual relation and dependence the actively involved networking instances are producing .
Networking is a specific form of communicating, and communicating as such forms the fundament of the project, in general. Consequently, an essential part of the project consist of components which may become visible only as the result of a communicating process, but are actually acting entirely in the background , as the communicating between the physical networking instances which keep the project running.
The exchange/communication between physical and virtual space has a specific relevance. One main goal of [R][R][F] 200x–>XP represents its installation/presentation in physical space at locations in most different parts on the globe, whereby [R][R][F]200x —>XP does not provide any physical component, but exclusively its art related contents distributed via the Internet. Each single physical installation represents an unique action, not only due to the different conditions space and the dimension the technical equipment may have, but also to the inclusion of new aspects and components in this continuously expanding project environment.
[R][R][F] 200x —>XP is an open system, not in the sense of “open source”, but, independently from any restricting ideology, it is open for all developments which might come .
Agricola de Cologne shows himself as a universal instance which incorporates most different functions in one single person, in first place the artist, but also the programmer & multi-media developer of its content, the creator of an universe of itsown, a director of a virtual institution, the chief –curator who curates curators, the curator who curates artist and contents, the co-ordinator and organiser of virtual and physical events, initiator and central networking instance withing the entire networking structure, but rather as a “primus inter pares” than in an hierarchic sense.
100 (The RRF Project) (((controller-band (Germany), 8gg (Beijing /China), A.Andric & I.Vasiljev (Serbia), Abinadi Meza (USA), Adam Beebe-Infanticide (USA), Adam Nash (Australia), Adam Overton (USA), Adam Willets (New Zealand), AGGTELEK (Spain), Agricola de Cologne (Germany), AL (France), Alan Sondheim USA), Aldo Peredo (Chile), Alejandra Perez Nunez (aka Elpueblodechina)(Argentina), Alejandro Delgado (Philippines), ALEJANDRO GOMEZ TOLOSA (Argentina), Alejandro Jaimes-Larrarte (Venezuela), Alessandro Orlandi (Italy), Alex Dragulescu (Romania), Alex Riviera (Peru/USA), Alexander John Castro II (Philippines), Alexander Kharkovsky (Russia), Alexey Tschebykin (Russia), Alfred Anton Po (Philippines), Alfred Mark Trajeco (Philippines), Alfredo Ramírez Castruita (Philippines), Alice Arnold (USA), Alicia Partnoy (USA), Alicia Porcel de Peralta (Philippines), Alison Chung-Yan (Canada), Alison Cole (USA), Alvaro Ardevol (Spain), Amanda Earl (Australia), Amiel Lapuebla (Philippines), Anahi Caceres (Argentina), Anatoly Belov (Bulgaria), Andamio Contiguo (Argentina), André Austvoll (Norway), Andre Vallias (Brazil), Andre Zogholy (Austria), Andrea Ferrari, Fiorella Nicosia, Polytimi Patapi (Italy), Andrea Polli (USA), Andreas Genz (Austria), Andreja Andric (Italy), Andres Ingoglia (USA), Andres Yepes (Venezuela), Andrew François (Australia), Andy Cox (USA), Andy Deck (USA), Anna Friz and Annabelle Chvostek (Canada), Anna Teresa Cabardo (Philippines), Anne Bray and Molly Cleator (USA), Annie Abrahams & Jan de Weille (France), anonymous, Antoine Schmitt (France), Antonia Valero (Spain), Antonio Alvarado (Spain), Antonio Sassu (Italy) – Antony Milton (New Zealand), Antti Sakari-Saario (Finland), Archie Yumul (Philippines), Arie van Schutterhoef (NL), ARM with John Hegre (Norway), Arne Rygg (Norway), Arthur X. Doyle (Ireland), Astrêe Galbiatta (France), Atanas Djonov (Australia), audible3 (New Zealand), Austin Camilleri (Malta), Avi Rosen (Israel), Babel (Canada), Babis Venetopoulos (Greece), Bang-Geul Han (South Korea), Barry Smylie (Canada), Bastard Pop (Germany), Beat Suter and René Bauer (Switzerland), Beatriz Caravaggio (Spain), Beeoff (Sweden), Benjamin B. Kinsley (Australia), Big Orange (Germany), Bill Berry, Mark Palmer (USA), Bjørn Wangen (Sweden), Bluescreen, Cendres Lavy, BNC, Jörg Ritter (Germany), Borras Michael (France), Brian Goeltzenleuchter, Brian Judy (USA), Brian Oliver (USA), brocolis VHS (Brazil), Brody Condon (USA), Brook A Knight (USA)
100 Bruce Eves (USA), Bruce Petty (Australia), Bulent Bas (Turkey), Burak Bedenlier (Turkey), C6.org (USA), Caitlin Berrigan (USA), Calin Dan (Romania), Calin Man (Romania), Camilla Tabagan, (Philippines), Carl Priestly (UK), Carla Della Beffa (Italy), Carlito Amalla (Philippines), Carlo Ahillion (Philippines), CARLO FATIGONI (Italy), Carlos Ruiz-Valarino (Purto Rico), Carmen Pezido (Argentina), Caroline de Lannoy (UK), Carrie Gates (Canada), Casaluce/Geiger (Italy), Cassia Kallenah (Brazil), Catalin Rulea (Romania), Caterina Davinio (Italy) , Catherine Clover (USA), Catherine Rose Lasam (Philippines), Cecilia Lundquist (Sweden), CEZAR LÃZÃRESCU (Romania), Chang-Kyum Kim (South Korea), Cherry Ann Tolentino (Philippines), Cheryl HENG and WhooKiat HENG (USA), Chiara Passa (Italy), Chris Funkhouser (USA), Christian Bermudez (San Salvador), Christian Bøen (Norway), Christian Rupp (Austria), Christina McPhee (USA), Christoph Bruno (France), Chua, Cincia Cremona (UK), Cindy Gabriela Flores (Mexico), Clare Ultimo (USA), Claudia Masin (Argentina), Claudia Sohrens (Germany/USA), Claudia Tribin (Colombia), Claudina Pugliese (Italy), Clemente Padin (Uruguay), Coco Gordon (USA), Colin Black (Australia), Coniglioviola (Italy), Conor McGarrigle (Ireland), Cosmic Jinx (Germany), Craig Macneill (USA), Craig Poirier (Canada), Cynthia Payne (UK), Cynthia Whelan (UK), Cyril Rouge (France), Dagmar Kase (Estonia), Damian Stewart (USA), Dana Levy (Israel), Daniel Gontz (Romania), Daniel Hanequand (Belgium), Daniel Lo Iacono (Germany), Danielle E. Lee USA), Dante Smirnoff (Spain), Darko Fritz (Croatia/Netherlands), Darko Vuckovic (Croatia), Darshana Vora (USA), David Cheung (Canada), David Clark (Canada), David Crawford (USA), David Fujino (Canada), David Guez (France), David McCallum (Canada), David McKenzie (USA), David Phillips and Paul Rowley (USA), David R. Mooney (USA), David Vegezzi (USA), Davida Kidd )Canada), Deb King USA), Deodato Pairez (Philippines), DerWarst (Germany), Dimitris Zouroudis (Greece), Dirk Wichmann (Germany), DJ Noor (Germany), DJ Sascha (Germany), DJRABBI (USA), Dlsan (Italy), Dmitry Bulnygin (Russia), Don Juan Paolo Torres (Philippines), Donald Bousted (UK), Doppelpluss – Brigitte Kuepper (voc/tb/div), Wolfgang Simons (git/sax/div), Konrad Doeppert (synth/perc/div), Peter Wolf (voc/perc/div), Doron Golan (USA), Dorothea B. Wegelein (Germany), Dotcom Poppa Disasta (Germany), Downwind Productions (USA), Dyian Anguelov (Bulgaria), Dylan Graham (USA), ED Mole (France), Eduardo Angel (Colombia)
100 Eduardo Nava (El Salvador/USA), eduardo paz carlson (Uruguay), Edward Marszewski (USA), ego (Italy), Eileen Bonner (UK), Eldad Tsabary (USA), Eleanor Alfante (Philippines), Elena Stanic (Croatia), Elia Alba (Domenican Republic), Elyasaf Kowner (Israel), Emilie Pitoiset (France), Emilio Jiménez Sánchez (Spain), Empar Cubells (Spain), Enrico Tomaselli (Italy), Enrique Radigales (UK), Ensemble All-Tag – Frank Bersziek (sax, bcl), Konrad Doeppert (analogsynth, objects), Matthias Kaiser (violin), Joerg Koenig (git), Eric Flores (Philippines), Eric Parnes (USA), Eric Sandellin (Sweden), Eric van Hove (Belgium), Eric Wennermark (Sweden), Erkki Kirjalainen (/Santtu Rantanen) (Finland), ESTHER BOURDAGES (Canada), Eugeny Umansky (Russia), Eva Lewarne (Canada), Eva Sjuve (Norway), Eyewash (Germany), F.I.M. (Free improvised music cologne) – Nobert Zajac (voc), Matthias Kaiser (violin), Frank Bersziek (sax, basscl), Michael Haverkamp (sax, perc), Karl Kruetzmann (fl, tr, piano), Joerg Koenig (git), Axel Hoeptner (piano), Frank Homburg (sax), Wolfgang Simmons (git), Fabian Giles (Mexico), Fabio Oliveira Nunes (Brazil)Fabio Paolizzo (Italy), Fanny Aboulker (UK), Fatih Balci (Turkey), Feargal O Malley (Irland), Feedbuck Galore (Germany), Fernanda Bragone (Argentina), Fernando Baena (Spain), Fernando Palmeiro (Spain), fishtank – Giovanni Antignano, Fernanda Veron (Italy/Argentina) , Fran Ilich (Mexico), Francesca da Rimini (Australia), Francis Rafael Sanbuenabuentura (Philippines), Francisco Lopez (USA), Franck de las Mercedes (Nicaragua), Fred, Fennollabate (France), Fruit (Germany), Future Remix (USA), G.H. Hovagimyan (USA), Gabi Bila-Günther (Germany) , Gabriel Otero (Argentina), Garrett Lynch (Ireland), GAST BOUSCHET/Nadine Hilbert (Belgium), Gaumen (Germany), Gem Alexandria Tuano (Philippines), Genco Gulan (Turkey), Geniwate (Australia), Geoffrey Thomas (USA), Gerald Schwartz (USA), Gerard Baja (Argentina), Giacomo Picca (Brazil), Gijs Gieskes (Netherlands), Gildardo Cruz Rojas (Philippines), Giles Trendle (UK), Gimo Lanot (Philippines), Gina Bremen (Germany), Gina Valenti (Argentina), gintas K (Lithuania), Giovanni Antignano (Italy),, Giselle Beiguelman (Brazil), Gita Hashemi (Canada), Glenn Bach (USA), Glorious Ninth (Patrick Simmons & Kate Southworth)(UK) , Goh Lee Kwang (south Korea), Grègoire Zabé (F), Gregory Chatonsky (France), Gruppo Sinestetico (Italy), Gudrun Bittner (Austria/Spain), Guido Braun (Germany), Guillaume Dimanche (France), Guillermo García de la Torre (Philippines), Hae-Min Kim (South Korea), Haleh Niazmand (Iran), Hardpressed Collective (Canada/Pakistan), HarS – Harold Schellinx (Netherlands), Helen Thorington (USA), Helga’s Ephemeris (Russia), Hervé Constant (UK), Holger Eggert (Germany), Holly Daggers (USA), Home Team, Hugues Rochette (Frane), Humberto Ramirez (USA/Chile), I8U (Canada), Ian Flitman (UK), Ickejana (Germany), Igor Baskin (Russia), Igor Marinkovic (Serbia) <7font>
100 Igor Ulanowsky (Israel), Ilse Hilpert (Germany), Indira Montoya (Argentina), Irena Paskali (Macedonia), Irene Coremberg (Argentina), Irene Marx (Germany), Irvis Gonzalez (USA), Isabel Aranda Yto (Chile), Ivan Abreu (Cua), Ivan Bachev (Bulgaria), Ivan Monroy-Lopez (Mexico), Ivana Ozetsky & Jadanko Pongrac (Croatia), J Sundheim & Reuss (Germany), J Trautwein (USA), Jack Messenger & Chirstinn Whyte (UK), Jamelie Hassan (Pakistan), Jane Fenton Keane (UK), Janek Schaefer (UK), Janne Vanhanen (Finland), Jaqueline Heer (Germany), Jaromil (Italy), JASON SWEENEY (Australia), jean-françois flamey (France), Jeanne Fremaux (Croatia), Jeff Gurecka (USA), Jelena Vukotic (CRoatia), Jen Ross (UK),, Jen Simmons & Sarah Christman (UK), jen, Jennifer and Kevin McCoy (USA), Jennifer Helia, DeFelice (Czech Republik), Jens Salander /Mikael Stroemberg (Sweden), Jeremy Owen Turner (Canada), Jerusalem Pimentel (Philippines), Jerzy Kolasinski (Canada), Jess Loseby (UK), Jevgeny Palamarchuk (Russia), Ji-Hyun Kim (South Korea), jimpunk (FRance), Jo Cook (Canada), Jo-Anne Green (USA), Joaquin Ivars (Spain), JODY ZELLEN (USA), Joerg Gruenberg (Germany), Joerg Piringer (Austria), Joey, Claronino (Philippines), Johanna Thompson (USA), Johannes Finke (Germany), John E. Bower (USA), John Ervin General (Philippines), John Hopkins (USA), John Johnston (USA), John Kannenberg (USA), John Michael Acevedo (Philippines), John Plenge (USA), Jojoti Wylie (New Zealand), Jon Burgerman (UK), Jon Vaughn (Canada), Jonathan Cardillo (Argentina), Joon-Yong Jung (outh Korea), Jørgen Larson (Sweden), Jose Cuckier (Argentina), Joseph Raz, Jr. (Philippines), Josephine Lipuma (USA), Josh McPhee (USA), Joy Garnett (USA), Joyce Charis (Greece), Juan Alcón (Spain), Juan Antonio Lleó (Spain), Juan Carlos Carrazón (Spain), Juan Del Gado (UK), Juan Devis and OnRamp Arts (Colombia/USA), Juan Domingo Ferris (Spain), Juan Manuel Ruiz (Puerto Rico), Judith Villamayor (Argentina), Judson Wright (USA), Juergen Trautwein (USA), Julian Alvarez (Spain), Julie Andreyev (Canada), Jürgen Bysard Adams (Germany), Kaesha KvK (Germany), Karla Brunet (Brazil), Karo (Croatia), Kathrin Kur (UK/Germany), Katie Bush USA), Katrina De Dios (Philippines), Katrinka Moore (USA), kdag (Colombia/Spain), Kenji Siratori (Japan), Khaled Sabsabi (Lebanon/Australia), Kirsten Reese (Germany), Kirsty Boyle (Australia), Klaudia Kemper (Chile), Klaus Schrefler (Austria), Knut Eckstein (Germany), Komninos Zervos (Australia) , KPHB (France), Kristin Norderval (Norway),Ksenija Kovacevic (Serbia), Kyon (Germany), Larry Caveney USA), Lars Vilhelmsen (Denmark), Laura Amigo (Spain), Laura Chiari (Italy), Laurie Halsey Brown (Netherlands/USA), Lawrence English (Australia), Le Tuan Hung & Ros Bandt (Australia), Le Tuan Hung (Vietnam/Australia), Lea Segarra (Philippines), Lee Kwang, Goh (Malaysia), Lee Welch (Ireland), Leif Inge (Norway), León Ferrari (Argentina), Les Riches Douaniers (France), Lewis LaCook (USA), Li-Chi Hsieh (South Korea), Lionel Wainsztok (Argentina), Lisa Cianci (Australia), Lisa Gye (Australia), LISA HUTTON AND MARK POLISHOOK (USA), Lital Dotan and Eyal Perry (Israel), Liz Miller (USA), Lizamae Orola (Philippines), Lorenzo Oggiani (Italy), Lorenzo Taiuti (Italy)
100 Loy (Poland), Lu(x)z (Germany), Luc Fierens (Belgium), Luca d’Angelo (Italy), Luca di Gregorio (Italy), Lucia Leuci (Italy), Lucky Pierre (USA), Ludovic Guerry alias 20000volt (France), Luigia Cardarelli (Italy), Luke Duncalfe (New Zealand), Lunar (Croatia), Luther Blisset (Netherland), Lynne Williams(UK), Magnus Torstensson (sweden), Maite Camacho (Spain), Makis Faros (Greece), Malte Steiner (GE), Manuel Schiesches (Germany), Mara Infidelious USA), Maral Yakshieva (Russia), Marc Garrett UK), Marc Lee (Switzerland), Marcello Mercado (Germany), Margarida Paiva (Portugal), Maria Blondeel (Belgium), Maria Miranda (Australia), Maria Papadimitriou (Greece), Mariam Ghani(Afghanistan/USA), Marianne Holm Hansen (Denmark), Marielle Nadal (France), Marina Zerbarini (Argentina), Mark Amerika (USA), Mark Anthony Alvarado,, Mark Kammerbauer (USA), Mark Mangion (Malta), Mark Polishook (USA), Marko Stamenkovic (Serbia), Markus Christian Koch (Germany), Marta Sacco (Argentina), Martin Koplin (Germany), Mary Grace Tenorio (Philippines), Mashica (Spain), Mason Petrie (USA), Massimiliano Viel (Italy), Matt Roberts (USA), Matt Rogalsky (USA), Matze Schmidt (Germany), Mauro Ceolin (Italy), Max Haiven Canada), May Trubuhovich (Australia), Maya Kalogera (Croatia), Maysa Arabit Philippines), Medea (Austria), Melinda Rackham (Australia), Merwin De Mesa, Jr. (Philippines), meta (USA), MEZ (Australia), Michael Angelo Lampayan (Philippines), Michael Crane (USA), Michael Grimm (Australia), Michael Kargl (Austria), Michael Sagcal (Philippines), Michael Sellam (France), Michael Szpakowski (UK), Michael Takeo Magruder (USA), Michael Yuen (Australia), Michel Cleempoel (Belgium), mIEKAL aND (USA), Miguel Carlos Labra (Philippines), Miha Ciglar (Slovenia), Miika Nyyssönen (Finland), Mike Haskett (Sweden), Mike Salmond (USA), Miklos Legrady (Canada), Mikrokiko (Germany), Milos Jovanovic (Croatia), Mira Burt-Wintonick (Australia), Mireille Astore (Australia/Lebanon), Miss Johnny (Germany), Mollum (Germany), Monica Delgado (Philippines), Mostra (Germany), Moya Devine (USA), Mustafa Maluka (South Africa), mutantlab (USA), Myron Turner (Canada), Nadja Kutz (Germany), name diffusion (France), Nancy Atakan (Turkey), Nancy Jane Moore (USA), Nancy Mauro-Flude (Australia)
Nanette Wylde (USA), Natalia Ludmila (Mexico), Natalie Bewernitz + Marek Goldowski (Germany), Nathaniel Stern (South Africa), navn (Bulgaria), Nazrin, Neide Jallageas (Brazil), Neil Jendon (Canada)
Néstor Olhagaray (Chile), Nicholas Ruiz III (USA), Nick Barker and Rob Jacobs (UK), Nick Fox-Gieg (USA), Nicolas Clauss (France), Nicolas Economos (USA), Nicolas Ojeda (Argentina), Nicole Lawter (Australia), Nikki Johnson (USA), Niko Loren Dela Cruz (Philippines), Nita Mocanu (Romania), Norie Neumark (Australia), NOTUS (USA), Noya Abdelaziz (Egypt), Oleg Lystsov (Russia), Oliver Dyens (Canada), Oliver Griem (South Korea), Olivia Lopez (Argentina), Olja Stipanovic (Croati)
100 Omar Emir Barquet (Brazil), on Air (Spain), Oren Ben Yosef (Isarel), OSTROWSKI (Poalnd), Osvaldo Cibils (Uruguay), otium (Belgium), Owen Plotkin (USA), Ozge Yilmaz (Turkey), Pablo Bas (Argentina), Päivi Hintsanen (Finland), panoptica (Canada), Panos Kouros (Greece), Pat Badani (USA), Patricia Carini, Patrizia Alemanno (Italy), Pau Pascual Galbis (Spain), Paul Alexandru (Romania), Paul Catanese (USA), Paula Gimenez (Argentina), Paula Miiklosevic (erbia), Paulo Vinluan (Philippines), Pawel Janicki (Poland), Per Pegelow (Germany), Petar Brajnovic (Croatia), Pete Stollery (USA), Peter Jacobi (Romania), Peter John Sprenkeler (Australia), Peter Lind (Denmark), Peter Prautzsch (Germany), Petra Lindholm (Sweden), Pierre Elie Mamou (France), Pierre Portelli (Malta), Pierre Proske (France), Pighed (UK), popcrash (Bulgaria), Post-Exile Collective (Pakistan), PRISM/lars nagler (Austrai), Procemik (Germany), Rafael Alcalá (Puerto Rico), Raivio Keelomes (Estonia), Ramesh Srinivasan (India/USA), Raphael Lyon USA), Raquel Meyers & Raul BB (Spain), Raquel Partnoy (USA), re:combo (Brazil), Regina Célia Pinto (Brazil) , Remigio Coco (Italy), Renee Kellner (Austria), Restate (USA), Reuben James Preston (UK), Ricardo Baez (Venezuela), Ricardo Mbarak (Lebanon), Ricardo Miranda Zuñiga (USA/Nicaragua), Richard Monge (Puerto Rico), Rick Silva (USA), Rika Ohara (USA), Rikki Carmelo Baranda, Criselda Cac (Philippines), Robert Ciesla (Finland), Robert Dohrmann (USA), Robert Echen (Argentina), Robert Finder (USA), Robert Kendall (Canada), Robert Labor (France), Robert Sazdov (Australia), Rodrigo de Toledo (Brazil), Rogelio Santos, Jr. (Philippines), Roland Schappert (Germany), Roopesh Sitharan (Malaysia), Rosa Revsin (Argentina), Rozalinda Borcila (Romania/USA), rüdiger schlömer (Germany), Ruediger Axel Westphal (Germany), Ruth Catlow (UK), Ruth Irupe Sanabria (USA), Ruth Kathryn Santiago (Pgilippines), Ry Sedrick Bolodo (Philippines), Ryan Griffis USA), RZL – Luca Fruzza (Italy), Sabine Scholz (Italy), Sabrina De Leon (Phippines), Sachiko Hayashi (Sweden), Sadiq Bey (USA), Sandra Crisp (UK), Santiago Perez Alfaro (Mexico),santo-File (Spain), Sarah Savage (Canada), Sarawut Chutiwongpeti (Thailand), SCART, Scott Becker (USA), Sebastian Tomczak (Canada), Seng Tat Liew (Malaysia), Serge Smilovich (USA), Sergej Jakovlev (Russia), Sergej Teterin (Russia), Sergio Varela (Argentina), Sergiu Negulici (Romania), Seth Lew USA), Sharon Harper (USA), Sheryl Valencia (Philippines), Shilpa Gupta (India), Shira z. Carmel, Shay Kun (Israel), Shirin Kouladije (Canada), Simon Fildes and Katrina McPherson (UK), Simon Longo (Italy), Sinasi Gunes (Turkey), skylined (Germany), Sol Kjok (Norway/USA), Somaya Langley (UK), Sonic Kitchen (Germany), SonicBoost (Geramany), Soundso – Bettina Wenzel, Brigitte Kuepper, Norbert Zajac, Peter Wolf (all vocal), Speranza Casillo (Italy), Ste van de Minng (Germany), Stefanie Alice Vandriesche (Spain), Stephane Barron (France), Stephane Tomora (France), Stephanie Bouvier (France)
90 Stephen Dixon (Sweden), Stephen Gard (USA), Steve Bradley/Timothy Nohe (USA), Sue Huang (Sweden), Suguru Goto (Japan), Susan Collins (UK), Susana Mendes Silva (Portugal), Svetlana & Andi Wallwhore (USA), swag (Germany), Sylvestre Evrard (France), Szabolcs KissPál (Hungary), TACTICAL20 (USA), Tae Hong Park (South Korea), Tamar Schori (Israel) , Tamara Lai (Belgium), Tan Chui Mui (Malaysia),, Tania Fraga (Brazil), Tautvydas Bajarkevicius (Lithuania), Team of Get Carded (USA), Thadeus Frazier-Reed (USA), Thanasis Beroutsos (Greece), Thanos Chrysakis (GReece), Thomas Petersen (Denmark), Thomas Reiner (Australia), Thorsen, Lossius, Bastiansen (Norway), Thorsten Wieckert (Germany), Threadbare Coalition (Canada), Tigran Tovmeysyan
Tiia Johannson (Estonia), Till Nikolaus v. Heiseler (Germany), Tim Coster (New zealand), Tim Nikolai Hoffmann (Germany), Timothy Bowen (USA), Tjader Knight Inc. (Finland/Belgium), Tobias C. van Veen (Canada), Todd Jokl (USA), Tolya Glaukos (Germany), TOMAS PHILLIPS and DEAN KING (Canda), Tomislav Brajnovic (Croatia), Toni Mestrovic (Croatia), Trace Reddell (USA), Trebor Scholz (USA), Trevor Thomas (USA), triggerMotion (Germany), Trond Lossius (Norway), Tsila Hassine (USA), Tsunamii.net (Thailand), Un Mundo Feliz, Guerrera de Interfaz (Spain), Uriel Colomo (Philppines), URTICA (Serbia/Montenegro), user (ctrl) (Italy), UsineDeBoutons (Lionello Borean+Chiara Grandesso) (Italy), Valentin Chincisan (Romania), Valery Grancher (France), Vanesa Turcinhodzic (Croatia), Ventsislav Zankov (Bulgaria), Vicdan Nalbur Tasdemir (Philippines) , Viki Betsou (Greece), Vince Briffa (Malta), Vincent Paul Samson (PHilippines), Vladimir Todorovic (Serbia), Wehrtheater Leineweber (Germany), Welmo E. Romero Joseph (Puerto Prico), Werner Cee (Germany), wildfirejo (UK), Wilton Azevedo (Brazil), Winchell Saludares, (Ph), Winston Yang (China), Wirecrossing (Singapore), Wittwulf Y Malik (Germany), Wolf Kahlen (Germany), Won-Kon Yi (South Korea), x mac dunlop (UK), Xavier Cahen (France), Xavier Leton (France), Xavier Malbreil & Gérard Dalmon (France)
Ximena (Spain), Yevgeniy Fiks (USA), yosuke hayashi (Japan), Yuri Vasiliev (Bulgaria), Yvonne Martinsson (Sweden), Zhel (Croatia), Zoltan Pabon (Philippines), Zulma Ducca (Philippines)
Since 01 January 2007 presented as [R][R][F]200x—>XP
65. IN-Difference IV Festival Belgrade/Serbia
12/11 – 17/11 2007
64. ENTER Festival Caravansarai Istanbul/Turkey
27-30 May 2007
63. Dutch Electronic Art Festival Rotterdam – unDEAF –
11-15 March 2007
62. CeC & CaC India International Centre New Dehli/India
61. MACRO – Museum of Contemporary Art Rosario/Argentina
3 March -10 April 2007
60. MAC – Museum of Contemporary Art Santa Fe/Argentina
10 December 2006 – 7 March 2007
59. Casoria Contemporary Art Museum Naples/Italy
16 December 2006 -30 January 2007
presented as [R][R][F]2006—>XP —>
58. CROMA – 8th Audiovisual Festival Guadalajarra/Mexico
11-17 November 2006
57. Festival Arte Digital Rosario/Argenina
16-18 November 2006
56. PI 5 Intermedia Festival Szczecin/Poland
20-22 October 2006
55. Officyna Art Space Szczecin/Poland
20 Oct – 20 Nov 2006
54. Play IV VideoFestival Buenos Aires/Argentina
24-27 August 2006
53. Al Kahf Art Gallery Bethlehem Palestine 1-30 July 2007
52. VIII SALON Y COLOQUIO INTERNACIONAL DE ARTE DIGITAL
Havanna/Cuba – 17/06-17/07 2006
51. MAF’06 -New Media Art Festival Bangkok/Th
50. FILE – Electronic Language Festival RIO–
Telemar Cultural Center Rio de Janeiro/Brazil
–> Internet based works from [R][R][F]200x—>XP
20 March – 20 April
49. India International Center New Dehli/India–
CeC & CaC – The Carnival of e-Creativity & Change-agents Conclave
–> VideoChannel –> SELECTION’03
48. The Art Gallery of Knoxville/USA–
Global Groove (Nation Building as Art) –> VideoChannel
presented as [R][R][F]2005—>XP —>
47. Biennale of Video and New Media– Santiago/Chile
46. State University – Rio de Janeiro/Brazil
presentation 7 November
45. Univercidade – IAV (Institute of Visual Arts)– Rio de Janeiro/Brazil
presentation 7 November
44. Select Media 4 Festival– Chicago/USA
20 October – 13 November
43. Finis Terrae University– Santiago/Chile
presentation 25 October
42. MAC – Museum of Contemporary Art– Santa Fe/Argentina
presentation 21 October
41. National University/Art Department– Rosario/Argentina
presentation 18 October
40. MACRO – Museum of Contemporary Art– Rosario/Argentina
presentation 17 October
39. Recoleta Cultural Centre– Buenos Aires/Argentina
presentation 11 October
38. National Library– Buenos Aires/Argentina
presentation 12 October
37. Interferencias – University of North West of Buenos Aires– Junin/Argentina
presentation 14 October
36. PI Five Video Festival– National Museum Szczecin/Poland , Aktionsbank Berlin
VideoChannel – 9/10 – 17/10
35. “Groundworks” – Regina Gouger Miller Gallery at Carnegie Mellon University– Pittsburgh/USA-
14/10 – 11/12
34. FILE – Hipersonica Festival– Sao Paulo Brazil –
SoundLab Channel – 05 November
33. FILE – Electronic Language Festival– Sao Paulo Brazil – 31 October – 05 November
32. prog:ME – 1st Electronic Art Festival– Rio de Janeiro/Brazil – 18 July – 28 August – VideoChannel
31. EAST’05 – Norwich Gallery Norwich/UK – 02 July – 20 August
30. Salon Arte Digital – Maracaibo/Venezuela –
“Women: Memory of Repression in Argentina” – 20 June – 03 July
29. MAF05 – New Media Art Festival Bangkok/Thailand – 25-29 June
28. Hic et Nunc – San Vito a/Tagliamenti Italy –
VideoChannel – 11 June – 17 July
27. Israeli Digital ArtLab Holon/Israel 16 April – 16 July 2005
26. Version’05 Festival Chicago/USA
“Women: Memory of Repression in Argentina” – 22 April – 01 May
25. Images Festival Toronto/Canada – 7 – 13 April
24. ZKM Karlsruhe/G – Making Thinks Public –
“Women: Memory of repression Argentina” – 20 March – 08 August
23. Camera Obscura Academy Tel-Aviv/Israel – lecture – 02 March
22. MAF05 – New Media Art Festival Bangkok/Thailand – 25-29 February
21. Musrara Media Art Academy Jerusalem/Israel – lecture – 22 February
20. Bethlehem International Center – presentation as lecture – 19 February
19. Bethlehem University – presentation as lecture – 17 February
18. CAVE Gallery at ICB Bethlehem/Palestine – solo exhibition 17 February – 14 March
presented as [R][R][F] 2004 —>XP —>
17. University of Bremen/Germany –
[R][R][F]2004—>XP – New Media event – 18/19 December
16. 404 New Media Art Festival Rosario/Argentina (7-15 December)
15. FILE –
Electronic Language Festival Sao Paulo/Brazil (23 November-12 December)
14. 1st International Exhibition of Digital Art – Orilla’04 –
Museum of Contemporary Art Santa Fe/Argentina (04 November – 04 December)
13. 24h of Nuremberg/Germany – VideoChannel
International Shortfilm Festival 15/16 October
12. Biennale of Electronic Art Perth (Australia)
1 September – 7 November
11. West Coast Numusic & Electronic Arts Festival
Stavanger/Norway 17-22 August
10. public_space_festival Yerewan/Armenia
23 July – 03 August
09. International Festival of New Film and New Media
Split/Croatia (26 June-2 July)
08. VI SALON Y COLOQUIO INTERNACIONAL DE ARTE DIGITAL
Havanna (Cuba) 21-24 June
07. BASICS Festival
Salzburg/Austria – 8-16 May 2004
06. Electronic Art Meeting
PEAM 2004 – Pescara (Italy) 19-23 May
05. Version’04 Festival –
Invisible Networks – Chicago/USA – 16 April-01 May
04. Now Music Streaming Festival Berlin (Germany)- – 7 April
03. New Media Art Festival Bangkok (Thailand) (20-28 March)
02. Bergen Electronic Arts Centre
Bergen/Norway (5 March – 28 March)
01. National Museum of Contemporary Art
Bucaresti/Romania (5 March – 30 April)
00. Interactiva 03 Biennale for New Media Art
Museum of Contemporary Art Merida/Mexico – June-August 2003
Strata Foundation Pisiö Finland- 24 August 2013
The NewMediaFest2020 selection includes
Videos on the topic – art & nature
QNQ/AUJIK (SWE) – A Forest within a Forest, 2010, 5:10
Adele Rackövi (Austria) – Croax – Evolution Errors, 2012, 4:00
Claudia Borgna (Italy) – The Final Accord I, 2016, 6:05
Lois Patiño (Spain) – Forest Echoes, 2011, 7:20
List of videos
Manuel Ferrer and Alena Mesarosova (Spain/Slovakia) – Irreal Time, 2012, 3:30
exDoc – experimental documentary film festival -curator Agricola de Cologne
Claudia Borgna (It) – Sweep and weep, Weep and sweep, Under, Over, In, Out, Away, 2010, 11:09
CologneOFF VII (Gwermany) – curator: Agricola de Cologne
QNQ/AUJIK (SWE) – A Forest within a Forest, 2010, 5:10
animateCOLOGNE – curator: Agricola de Cologne
Adele Rackövi (Austria) – Croax – Evolution Errors, 2012, 4:00
VideoChannel (Germany) – curator: Agricola de Cologne
Wei Ming Ho (Taiwan) – The Art Qaeda Project, 2010, 4:11
Manipulated Image (Los Angeles/USA) curator: Alysse Stepanian
Louise Coetzer (RSA) – Dead Air, 2011, 5:12
Letters from the Sky Festival Capetwon (South Africa)- curator: Kai Lossgott
Derek Larson (USA) – Landscape, 2011, 10:34
STRATA Foundation (Finland) – curator: Pekka Ruuska
Yuliya Lanina (USA) – Dodo Valse, 2010, 2.46
Videoart Festival Miden Kalamata/Greece) – curator: Gioula Papadopoulou
Juliana Alvarenga (Brazil) – Winter Garden”, 2010: 03:56
VideoBabel – Videoart Festival Cuzco (Pru) – curator: Very Tyuleneva
Andre Scucato & Cristina Pinhero (Brazil) – Mago, 2005, 3:26
FONLAD – Digital Art Festival (Portugal) – curator: Sergio Gomes
Dan Hudson (Canada) – River, 2011, 3:00
CologneOFF VIII (Germany) – curator: Agricola de Cologne