Ephémère April 2011
Younes Riad live electronics
The performance will be a solo improvisational piece. It will be performed with a new environment which is still a work in progress. The environment establishes a duet between computer and performer. The performer can choose from a couple of instruments to play live. The computer has a couple of instruments which at a lower level are controlled by several stochastic algorithms which respect a couple of parameters derived from the way the performing is playing. The performer has some higher level control over those computer instruments. Younes Riad started making music on guitar as a kid. Played in several bands. Got introduced and interested in electronic music around the age of 15. Joined the first band doing live-electronics at age 17. Did a little solo project called Jens Weber 2 years later. Developed interest in improvised electronic music and started building MaxMSP patches. Been part of several ensembles since, among other things: Senga Etna, Dejima Ensemble, Beukorkest and On a Green Slope in Dark Water.
The sharawadji is quoted in the guide Sonic Experience (ed. Augoyard and Torgue) as follows: An aesthetic effect that characterizes the feeling of plenitude that is sometimes created by the contemplation of a sound motif or a complex soundscape of inexplicable beauty. This exotic term, introduced in Europe in the seventeenth century by travelers returning from China, designates the beauty that occurs with no discernible order or arrangement. When Chinese people visit a beautiful garden that strikes their imagination because of its absence of design, it is commonly said that its sharawadji is admirable. This virtual order, imperceptible and present, produces fascination and is breathtaking. The sharawadji effect is unexpected and transports us elsewhere, beyond the strict representation of things, out of context. In this brutally present confusion, we lose both our senses and our sense. This experience is driven by some of those moments, heard, felt and intuited. Hopefully it might transport the listener out of context too. Pablo Sanz is an interdisciplinary explorer with a particular fascination for sound and listening. Since 2001 he has made eclectic forays into photography, live video, radio, djing, experimental sound work and a number of editorial projects, in combination with his professional background in audiovisual media. Following his participation in the international course at the Institute of Sonology in 2007, he enrolled the ArtScience interfaculty program in The Hague. In addition, he has taken part in workshops and seminars held by people such as Chris Watson, Francisco Lopez, Kim Cascone, Manuel Rocha or Pauline Oliveros. His recorded work circulates mainly on the internet. Live events include a few festivals and venues in Spain and The Netherlands. In the fields of mutant remix and dj culture, he has been producing the project ‘From 20 to 20000 hz’, performing live mixing sessions and creating online/radio releases, with thirty volumes available up to date. Since 2004 he has been involved on Mediateletipos.net, an online publication and collective platform devoted to the dissemination of sonic arts and aural culture, contributing as blogger and editor for commissioned projects. He is also a member of the community ArteSonoro.org and coordinator of its online radio network. His current practice and research are mainly focused on site related sound art, phonography and the development of strategies for the (ab)use of contextual and decontextualized environmental sound matter, in an attempt towards the creation of auditory experiences which usually explore issues related to noise, space, memory and perception. http://www.20020.org/
Wen Chin Fu and Nenad Popov : Light, Sound body
Wen Chin and Nenad are working with Sound and Image. They are interested in different ways of researching the relationship between sound, space and vision. Wen Chin focuses on the body as an instrument in space or specific location. Nenad is concentrated on relation between sound, Image and Space. His work ranges from the live cinema performances to large scale outdoor projections. In this collaboration, they are exploring intersections between light and sound through the body. Most intriguing points of these intersections will be basis for the piece present in Ephemere. Wen Chin Fu (Taiwan) graduated in Shih-Chien University, Music Department, Taipei, Taiwan (2006) gratuated in The Royal Art Academy, ArtScience Interfaculty, Den Haag (2010). Performing with choreographer Kirstie Simpson and contact improvisation dance company Ku dance company since 2004. Collaborate with Rebecca Ballestra for sound composition since 2007. Experimenting with sound for site-specific project. At the same time, collaborating with video artist, dancers, and musicians in Europe. Nenad Popov (Serbia, 1978): While researching the relation between sound, image and space, Nenad Popov specialised in video analysis and real-time image processing. His work ranges from live cinema performances to large scale outdoor projections. He collaborated with many artists and technicians working in the field, such as Daan Brinkmann, Electronic Opera, Thomas Koner and Lillevan/Rechenzentrum. At the same time he has been developing visual improvisations and related home-brew realtime animation software and hardware. He had solo performances on festivals like Dis-Patch, TodaysArt and Share.
Born in 1985 in Japan. Came to Berlin in 2009. He plays experimental-noise music with slide guitar, some pedals and toys. Sometimes singing.