Connie Manadale makes use
of Artificial Intelligence and Machine Learning as means to explore connections
between the Pan-American traditions of Cumbia and the new languages of experimental
electronic music, finding associations between their migrant musical
characteristics and their cultural global contexts.
Diffractions (2022 – )
4D Sound Installation
As part of the SVS Collision Festival @ Muffathalle in Munich
quantum particles, this set of pieces explores diverse interactions of sonic
particles in order to induce a series of disturbances in the virtual time-space
configuration of the sound system. The diffractions,
reflections, superpositions and collisions of sound material present a nuanced perspective
on the role of perception in speculative quantum physics. By considering the
different stages of sound as wave-particle entity through diffracting patters,
ecological and phenomenological relations emerge between material, bodies,
space and time.
Laboratoire Kontempo Miziki: Decolonizing Music Technologies
In this conversation/performance, Khyam Allami, Alejandra Cardenas “Ale Hop” , Moises Horta "Hexorcismos” and Musicologist Romain Malwengo Kingenzi will share their inputs and exchange perspectives on music technology, performative potentiality and production tools for musical worlds. From Artificial Intelligence, musical instrument creation in Kinshasa, to open source software.
Each participant will present In a 20 minute presentation, sharing their inputs on how to create spaces of musical experience beyond the western canon. Musicians and researchers will bring along autonomous instruments, musical imagination and narratives, compositions and performance.
This presentation will be moderated by artist - researcher Nico Daleman.
As part of the technical team, I developed the algorithmic patch that controls the sound and movement of the pendulums, as well as the sound design of the different samples and its different modes. Link to project description
This is an explanation of the work:
Seconds tick by weightily; minutes, hours, days, weeks, months, years: the essence of the pendulum of a grandfather clock is to measure time precisely by the repetitive beat of the pendulum. A metronome, on the other hand, as a timer in music, is able to combine variable tempos within a scale. Jutta Ravenna’s latest work Zeiten-Pendel, explores the metronome as a sound event that oscillates between stability and instability within multiple ‘sound objects’: swinging loudspeakers in the space. To explore the physical as well as the spatial sonic effects, the size of individual metronomes has been varied and increased to architectural proportions.
As part of “Reflections” at the Schwartsche Villa in Berlin-Steglitz
The Hanging Wires of Babylon is a multichannel sound installation that explores the possibilities of modular synthesizers, speakers and cables as sculptural material. Various Doepfer A-100 modules are single-positioned around the space, interconnected by audio and electric powers, generating a network of electromagnetic and sonic interaction. Through the use of different sensors, the installation reacts to the public and creates a generative composition that reflects on the perceptual capabilities of technology and their influence in our artistic experience. Speaker cones reproduce the processes and bring attention to the sounds that are always happening on top of our head. The audience is then confronted with a mediated perception of the space, that evoke the images of promised pasts and possible futures, generating a new virtual reality.