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International Calls 2017

Riccardo Torresi,Maxime Lethelier, Asako Fujimoto and
Andrea Cucinottas. [Ephemeral TomorrowCollective]
Berlin. Germany

Project: Satellarium

Satellarium is an audiovisual installation generated by the movement of the satellites above the location of the exhibit. The visuals and the sound are based on the real time satellites position taken by an Internet database and processed with programming tools.

The circular projection represents the fragment of the sky visible from the location where the installation is placed and is imagined to be like a virtual hole on the space above the viewersThe satellites are represented like circles, having a precise diameter and thickness based on the magnitude (actual visibility from earth) of the related satellite. The sound is composed to be interactive with the amount and speed of the satellites passing at the same time and is inspired to the real sounds produce by these space artefacts recorded on earth.

The connection lines between the orbits forms an ephemeral constellation (polygonal solids) generated by the simultaneous passage of the satellites and constantly changing, representing the hidden astronomic presence of these human made objects in the space.

tag: generativearts

Barcelona. Spain

Project: Substance

The VR work is entitled "Substance" and it calls the viewer/experiencer to a mystical experience trough speculative bio/generative created fractal world. It points to us that the universe outside is repeated within us; it makes the distinction between inner and outer obsolete. VR technology becomes an ideal tool for this instance, since it presents a universe which we can only experience on our own. All in all, the works in this exhibition invites us to re-assess our place in the universe and our ties to it: a universe which we are a part of.

When we attempt to represent chaos in graphics, we see fractal structures once again. Order and patterns are everywhere. Perhaps this is why there is a certain serenity to the art of the fractal. This harmony which reveals itself in the midst of all the disorder, perhaps renews our confidence for life.

Fractal is one of the most difficult terms to define in geometry, but if we were to put it in terms which a non-mathematician could also understand, we could say that it is a geometrical figure which repeats the same pattern in all of its parts. This means that, as you get closer to the figure, you start to see the repetition of the same figure. The figure resembles itself and repeats itself ad infinitum. Even though it seems conceptually complex, this is a figure that we come across every day. A snow flake, for instance. or the human being itself. The fact that the DNA strain which forms our skin is the same as the DNA strain which forms our hearts shows that, no matter how small a building block we focus on, we are able to find the same foundation. This makes us all fractal beings. Whether we turn from the recess ledges of the sea shore, to the shape of leaves, from mountain ranges to our neural network, we come across fractal structures. In fact, this means that the entire world is a fractal kingdom.

tag: generativearts

Julian Scordato

Project: Engi

Engi is the transliteration of a Japanese term that means 'acting' and 'performance', but is also part of the English word 'engine' (mechanical device), from Latin 'ingenium' (virtue of making).

Engi is an audiovisual work based on the reading of stellar data represented as graphical objects in relation to sounds. Point and counterpoint. In the performing act, each element manifests itself in its unique particularity. Translation, transmission, and transposition. Hence, also lapse and error.

tag: generativearts

Jean-Michel Rolland

Project: Disobedience

Visualized generative music. The algorithms written in Java make it never repeat itself as long as it plays.

tag: generativearts

Jockel Liess
Londres. UK

Proyecto: Ephemeral

‘Ephemeral’ is an exploration of momentary music. It is an abstract current of pitch, timbre, texture and pulse, propelled by the passing of time. Both fleeting and eternal, the ebbing and swelling of its flow are an interwoven succession of transient events. Each seamlessly growing from its past only to in turn dissolve into its future, becoming the past. The work itself thus improvises its progression. Like an ever-renewing stream, it feels its path through its aesthetic terrain with the unpredictability of a living organism. In this search for its sound, its generative algorithm is boundary as well as behaviour. It allows for the work to simply exist, an environment of infinite self-similar regeneration.


Hugo Paquete
Gondomar. Portugal

Proyecto: Zoe: Actant

"On Friday, June 16-2017, the artist Hugo Paquete will present the work he has created during his residence at the Arquipélago - Contemporary Art Center. A performance in which the sounds, the images, and the objects he found in the Hospital of the Divino Espírito Santo are recreated by a system of generative relations made possible by technology, using a software specially designed by the artist. This action combines the recording of the electromagnetic fields produced by the machines in the hospital with a projection of light, and photos of viruses and bacteria. Immersing the spectators in an environment composed of hospital paraphernalia, lights and shadows, the sound piece conflates the invisible and the tangible, creating a new bridge between science and creativity." (Carolina Grau, 2017)

This work is developed around concepts such as limit, interaction, unpredictability, and culture. It acts upon the extrapolation of scientific and technical realities that were discovered during the artistic residency. Interpreted in a performative approach in which sounds, images, gestures and found objects (found in the hospital or recreated) emerge in a system of generative relations made possible by digital technology. These relations refer to the technical space of diagnosis as a means of intermediation between the fields of representation and aesthetic potential. The contingency of the piece is based on intangible visual and sound phenomena, such as the recordings of the electromagnetic fields produced by the hospital's machines, variations of luminosity in the building converted into sound in real-time using solar panels in the context of the performance and image generated by hyper-optic and hyper-sonic medical technology. Unfolding sound, luminous, and actuating events as viruses and bacteria in a state of immanence and disappearance that can only be revealed through the mediation of the technologies that generate transformations, effects and reactions that break through our consciousness and are contextualized as culturally implicated elements. Creating a space of immersion and scientific subjectivity in which active spectators activate the work as individuals within a system of interdependencies. In this system, sound events emerge as minimal granular elements that, in an allegorical process, multiply as bacteria while they are accompanied by small music scores, compositions for objects that refer to the memory of the hospital soundscapes. This material is played live, and its constant hybridization is ensured by the performative gesture, the applied technology and the interaction with the audience, who acts as the catalyst within a living and unpredictable system. The sum of all these interactions is the experimental diagnosis. (Hugo Paquete, 2017)

tag: genaretaivearts


Francesca Fini

Proyecto: SKIN / TONES

/// The living installation

A landscape that always tells a different story, our skin, is scanned with a digital microscope showing details that look like maps of unknown planets. An infinite variety of colors, textures and shapes, patterns and imperfections - sometimes beautifully frightening - are transformed into digital information producing live generative sounds and visuals, in the synergy of the random movement of my hand.

I’m naked in front of two neon lights, backing the audience so that only the outline of my body is visible. I pass a digital microscope all over my body, scanning the different textures of my skin (hair, lips, tongue and so forth).

The custom software created with Isadora, then calculates the average color of each segment of my skin, transforming the data flow into generative live sound and video (the different sounds and samplings blend and mix exactly according to the mix of red, green and blue, that is, the RGB code that is recorded in real-time by the microscope). The visuals projected in front of me are the result of the image coming from the microscope, processed into mesmerizing kaleidoscopic renderings, turning even the smallest imperfection into live art. Scars, wounds, benign melanomas, wrinkles and stretch marks become mandala, crystals, jewels.

/// The audience experience

I offer my back to the audience, absorbed as I am in observing and getting lost in the kaleidoscopic and hypnotic digital processing of my own skin. The audience has a voyeuristic role here; watching not my body, but the macroscopic and deformed processing of it, as in a sort of super-selfie transmitted through a filter (in this case not the filter of the Net, but that of the fourth wall produced by the accurate theatrical staging).

/// Skin color and gender are just an illusion, in macroscopic view

SKIN / TONES exhibits the skin, processed by the digital microscope and the kaleidoscopic filter, becoming a mesmerizing work of art.

The performance plays ironically on the concept of biometrics, as the study of that system of variables that could allow reliable identification of individuals, through fingerprint, retina or iris recognition devices, conversely celebrating the chaos, the mistake, the unpredictability of individual identity.

The color of the skin, analyzed by the microscope lens and processed by the digital flow, becomes an endless and unpredictable variety of green, red and blue combinations, loosing any possible connection to the Cartesian, narrow and separative reality visible to the naked eye. As well, under the digital microscope, the female and the male bodies lose their sexual identity (and the vagina becomes just the “pinkest” tissue of all).

SKIN / TONES is a visual and sound celebration of cellular life itself.

tag: generativearts


Eugenia Fratzeskou
Londres. UK

Proyecto: Inter-Surfaces

Inter-Surfaces reveal unexpected shifts between different kinds of geometry through challenging the limits of volume-based digital modelling. The presence of unexpected complex dynamics and other behaviours can be registered through applying simple geometrical transformations of extreme values to digital 'solids'. Dystopian architectonics are generated through the shifting multi-dimensional surfaces, inspiring new insights and innovation in art and design.

tag: generativearts


Edouard Beau
París. Francia

Proyecto: La Barricadas Misteriosas

Las Barricadas Misteriosas is an immersive audiovisual installation project concerning the memory of the Spanish civil war. Starting from the impossibility of writing an objective history, this installation proposes to carry a particular view of the Spanish civil conflict through a notion that lies at the crossroads of cognitive sciences; of the study of dreams, of the unconscious and of the trauma (traum): the experience of recall, the flashback. An immersive environment is created that treats the memory of a conflict by constructing an atmosphere, using sound and photographs. The atmosphere generates an integration of related sound information from archives of the conflict. The gaze of the participant rests on the photographs, thus provoking a sensory experience: a resurgence of the memory beyond the visible wounds and closer to the psychic pains and amnesia engendered by this conflict. It is a question here of treating memory by proposing, without moving, to perform four displacements of different forms and different aspects: an historical displacement by a temporal compression between the past and the actual time; a Spanish journey through the photographs, and its poetics; a comparison of the contemporary Spanish world to historical events and finally a paradigm shift in the perceptions of a given event. I have tried to create an autonomous and complex structure of diffusion using sound documents. The structure works as a brain and contains a number of period documents as well as sound recordings made at the historic sites. A stochastic diffusion system as well as detection of stimuli has been integrated using PureData, and tries to get closer to the functioning of the brain by the formation of images or mental words. The voice or sounds emitted by the participant create an interaction, finding their echo in the system of diffusion, and engage in destructure of the narrative. This diffusion system recreates the 'mirror effect' which in clinical cases attenuates phantom pain due to trauma. Assuming that each of these sources is a potential memory of this period, the system of diffusion mimics the memory which can be permanently activated by an external stimulus which would modify the evolution of its content as well as the nature of the sounds produced and which resurfaces at the participants' consciousness. A mass of historical information collides here and is utilised by the technique of assembly in cut-up, resulting in a deconstruction of the narrative and the mode of narration. The encounter of the present and collective memories allows the participant an analysis of the facts passed through the causal links that they have with their present lives. The use of a random and chaotic system makes it possible to the affect that can be put by the creator in his work. Like some painters or writers, I wish to encourage involuntary gestures, without seeking to control the documentary material or favour direct interpretation by others. The deconstruction of the chronology leaves the participant free to interpret the different combinations of meaning, contradictions and anachronisms. The piece is intended to encourage the participant to feel emotions about the collective memory of a European trauma.

tag: generativearts


Marc Lee

Proyecto: 10.000 Moving Cities – Same but Different, VR (Virtual Reality)

10.000 Moving Cities – Same but Different deals with urbanization and globalization in the digital age. The user moves through visual worlds posted publicly by others on social networks such as YouTube, Flickr or Twitter. Here these personal impressions are streamed in real time like windows to our changing world. The viewer participates in the social movements of our time and makes a virtual journey into constantly new image and sound collages in which one experiences local, cultural and linguistic differences and similarities. In virtual space, this information is visualized on cubes that rise at different heights to become a kind of skyline.

The work deals with how our cities are continuously changing and increasingly resemble one. This results in more and more non-places/places of lost places in the sense of Marc Augé’s book and essay Non-Places, which could exist all over the world without any true local identity (mostly anonymous transition zones such as motorways, hotel rooms or airports).

tag: generativearts VR


Salice Giovanni

Project: Nano Sound

The images you are about to see have been discovered in 2013 at the Center for Functional Nanomaterials – Oak Ridge.They appear for the first time on the screen and show nanostructures that have never been seen before. However, the widest physical manifestation of these processes is still so small that it can only be described by using data.

In order to make even the deepest layer of the matter comprehensible, the data has been transformed into sound by the process of sonification.

tag: nanotechnoly