The journey takes us from the 1980’s USA to Japan and 1990’s Berlin. Music stories emerges from Merzbow, Zbigniew Karkowski and ear plugs, Amsterdam squats, Aphex Twin’s influence to the great tradition of counterpoint reborn as disco in Germany. How shared technology and evolution of music relates to culture ? What it means spatializing music and inclusivity in The CUBE at Virginia Tech with a festival created around Afrofuturism and immersive music ? As a composer Eric Lyon talks about pushing the boundaries further and interstices in music, like for example composing for a violin duo, with String Noise, accidents in the process and nuclear wars, random encounters, rewriting the Bad Brains’ music and the intemporal in the arts.
Eric Lyon is a composer and audio researcher focused on digital interventions, post-hierarchies, high-density loudspeaker arrays, and the inspiration of performer-based creativity. His publicly released audio software includes “FFTease” and “LyonPotpourri.” He is the author of “Designing Audio Objects for Max/MSP and Pd,” a guidebook for writing audio DSP code for live performance. In 2015-16, Lyon architected both the Spatial Music Workshop and Cube Fest at Virginia Tech to support the work of other artists working with high-density loudspeaker arrays. Lyon’s creative work has been recognized with a ZKM Giga-Hertz prize, MUSLAB award, the League ISCM World Music Days competition, and a Guggenheim Fellowship. Lyon teaches in the School of Performing Arts at Virginia Tech, and is a Faculty Fellow at the Institute for Creativity, Arts, and Technology.
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France Jobin has a long career in experimental music. She introduces her works as related to the sonic and architecture, and how she developed works inspired and informed by quantum physics, including the challenges induced by art and science collaborations
“This album seems to mark a shifting in Jobin’s sound, one that departs from the strictly ultra-minimal ethos she’s known for, and I for one am excited to hear where this goes.
Darren McClure Intrication, No. Toneshift (December 2018)
“We detect imperceptible subsurface discolourations, brief dissipations of energy across the harmonic flawlessness, a few dynamic weaknesses and slight distortions in an otherwise rather narcotic flux. It’s sorrow-inducing, brain-quietening, and profoundly individual.
Massimo Ricci Death is perfection, everything else is relative EMEGO 276 Touching Extremes (July 2020)
France Jobin is a sound / installation / artist, composer and curator residing in Montreal, Canada. Her audio art can be qualified as “sound-sculpture”, revealing a minimalist approach to complex sound environments where analog and digital intersect. Her installations express a parallel path, incorporating both musical and visual elements inspired by the architecture of physical spaces. Her works can be “experienced” in a variety of unconventional spaces and new technology festivals across Canada, the United States, South America, South Africa, Europe, Australia, Japan and South Corea. Since 2009, her focus has been related to Quantum mechanics. Many of her projects are inspired by theories related to topics such as vacuum decay, string theory and more recently, what she feels to be the most perplexing phenomenon in the world of the quantum , entanglement resulting in a first presentation, Entanglement A/V, with visual artist Markus Heckmann, which delves into the realms of quantum physics premiered at Mutek Mtl 2021.
In November 2019, she presented her first modular concert (Buchla 100) at the Ernst Krenek Institute in Austria. Jobin has created solo recordings for Editions Mego(AT), No-ware (CL-DE), Silent Records (USA), popmuzik records (JP), bake/ staalplaat (NL), ROOM40 (AU), nvo (AT), DER (US), ATAK (JP), murmur records (JP), Baskaru (FR) and the prestigious LINE label (US). Jobin’s sound art is also part of countless compilation albums, notably on the ATAK (JP), bremsstrahlung (US), Mutek (CA), murmur records (JP), and/oar (US), tsuku boshi (FR), everest records (CH), and Contour Editions (US) labels. She is also featured in the influential book and recording, Extract, Portraits of Soundartists (book + 2 cd), released on the nonvisualobjects label (AT). The collaborative album ligne, created with sound artist Tomas Phillips, was released on the ATAK label (JP) and her recent collaboration with acclaimed artist Richard Chartier, DUO, is released on the mAtter label in Japan.
DUO A/V premiered at Mutek Mtl 2019 with sound artist Richard Chartier and visual artist Markus Heckmann and was presented at the Precxte festival in South Corea. Her installations and screenings have been shown internationally at museums and festivals. Her work P Orbital released on LINE (Valence, LINE054) was presented in the context of ESCUCHAS, a first sound art exhibit for the Museum of Modern Art in Medellin, Colombia. P Orbital was also presented at CONTEXT-ing / Listening as CONTEXT at the Miami Art Fair in Florida, Call &Response, London Uk as well as at the Haunted formalism exhibit in LA curated by Volume. An invitation to the AIR Artist-In-Residence program in Krems, Austria enabled her to create und transit, a sound installation set in the MinoritenKirche cloister in Stein (AT) and und transit.03 has been presented in the sound art exhibit “Dock” at the Ancien Palais de Justice in Lièges, Belgium.
Her two ongoing collaborations with visual artist Cédrick Eymenier (FR) have resulted in EVENT HORIZON, an audio/video piece, and The Answer, a movie, with the soundtrack by France Jobin and Stephan Mathieu. EVENT HORIZON was screened in Paris (2010), at the Venezuela Biennale in Merida state (2010) and was performed live at the Torrance Art Museum in Los Angeles (2010) and ISEA RUHR 2010 (DE). The Answer was screened at IAC, Villeurbanne, France in March – May 2016. In 2011, Jobin was one of five international artists selected to present her sound installation, Entre-Deux, in the new media exhibit Data/Fields, curated by Richard Chartier at Artisphere in the Washington, DC area, along with Ryoji Ikeda, Mark Fell, Caleb Coppock, and Andy Graydon. Her proposition received critical acclaim from the national press. Entre-Deux was presented at N38E13 in Palermo, Sicily (2017). She premiered the audio visual performance of “intrication” at Mutek AR 2018 with the Argentinian visual duo prifma. Her audio visual collaboration: “Mirror Neurons” with sound artist Fabio Perletta (IT) and xx+xy visuals (IT) was screened as a world premiere at A x S / ak-sis / FESTIVAL 2014 | CURIOSITY as part of the Synergetica Screening in Los Angeles in September 2014. In October 2015, France was invited to take part in an artist residency at EMPAC (Troy,NY) which resulted in the creation of a new light sound work entitled 4.35 – R0 – 413, a collaboration with Alena Samoray, lighting designer.
Her latest installations, ‘Inter/sperse’ and ‘Entre/temps’ both premiered in Italy. ‘Inter/sperse’ is a site specific installation created in the context of an international residency organized by Museolaboratorio, LUX and farmacia901. It opened May 27 2017 at Museolaboratorio, Città Sant’Angelo Italy. ‘Entre/temps’ is a site specific installation commissioned by Enzo De Leonibus, artistic director of the EaRrEtMeI festival which opened in Palena, Itally, June 4 2017.
She has also participated in numerous music and new technology festivals such as Mutek (Montreal, 2001, 2004 – 2009, 2014, 2017, 2019 AR 2018), Festival Novas Frequencies (Rio, Brazil, 2019) Prectxe (South Korea, 2019), Interference (Austin, 2019), Suoni Per Il Popolo (Montreal 2019), EM15 (Montreal 2014), EMPAC (US 2011, 2015), roBOT 8 (Italy 2015) Angelica Festival (Italy 2016), Portobeseno (Italy 2014), Interferenze – Liminaria (Italy 2014), Flussi Media Arts Festival (Italy 2014), FIMAV, SEND + RECEIVE (Winnipeg, 2003, 2005), Club Transmediale (Berlin, 2004), Shut up and Listen (Vienna, 2009), ISEA RUHR 2010 (Germany), the surface tension tour (Japan, 2012) and the Symétrie tour (Japan 2016).
“immersound” is a concert event/philosophy concept initiated by Jobin, which proposes the creation of a dedicated listening environment by focusing on the physical comfort of the audience within a specifically designed space. The premise of “immersound” is to seek out/explore new perceptions in and experiences of the listening process by pushing the notion of “immersion” to its possible limits. She created and produced “immersound” from 2011 to 2015 at Oboro in Montreal.
She was a finalist at the Sonic Arts Awards 2014 (IT) in the Sonic Research category. In January 2013, the Conseil québécois de la musique (CQM) awarded the prestigious Opus Prize for Concert of the year to France Jobin for her concert at AKOUSMA 8.
Jobin’s work continues to evolve as technologies enable her to create new environments. France Jobin is published by Touch Music/Fairwood Music UK Ltd
Maria Mannone describes the links between her professional backgrounds as physicist, musician, composer, conductor, and how it inspired her to define links between proportions found in nature, and mathematics toward music and the visual arts. This includes projects exploring sonification, a method to render data audible, in the medical domain.
Maria Mannone is a theoretical physicist and composer. She gained her MSc in Theoretical Physics and three masters in Piano, Composition and Orchestral Conducting in Italy, her Master 2 ATIAM at IRCAM-UPMC Paris VI Sorbonne, and her Ph.D. in Composition in the US, at the University of Minnesota. Her interdisciplinary research deals with music, mathematics, and forms of nature. She invented the “CubeHarmonic”, a new musical instrument based on the Rubik’s cube. She is currently postdoctoral researcher at the University of Palermo and “subject expert” at Ca’ Foscari University of Venice. Her most recent books are “Mathematics, Nature, Art” and “Simmetrie fra Matematica e Musica” (Palermo University Press).
The power of the voice (s) allied with poetry and (deep) listening are perhaps ways to deal with urgent terrestrial and human problems caused to the biosphere, which have been urgent for a long time now.
The work is a sonic collage, like a surrealist poem based on podcasts conducted since 2018 and available at www.ubqtlab.org. The platform engages with interdisciplinary and transnational collaborations in an attempt to decolonize knowledge. It proposes a unique combination of fields, such as ritual studies, anthropology, phenomenology, cognitive science, technology, poetry and the sonic arts, and allows for the mechanisms of listening and questions about phenomenal consciousness to be addressed from a sonic perspective by fusing theoretical writing with sonic artworks as research-creation. It also counterbalances a dominant visual and Western, techno-scientific perspective.
Luca Forcucci (CH/IT): Distinguished artist and scholar. His research observes the perceptive properties and the field of possibilities of the first-person experience, which is explored as an artwork. Forcucci is interested in perception, subjectivity and consciousness. His installations, performances, electroacoustic compositions, photography and texts have been exhibited worldwide on a regular basis. Since 2009, he has collaborated with scientists in the field of cognitive science. He is particularly fascinated by visual mental imagery and the sonic imagination to explore the conceptual idea of the sonic architecture. www.lucaforcucci.com
With the voices of Jocy de Oliveira (BR), JIll Scott (AU), Pamela Z (US), Jorge Antunes (BR), Stanley Moss (US), Phill Niblock (US), Matt Black (UK), Paulo Bruscky (BR), Eduardo Kac (BR)
After a year, things have quite changed since the pre- pandemic ‘normal’ life we had. Social behaviours, social injustice, gender and economical inequalities, and psychological effects of the current situation still have to be studied in the human biosphere. However, vaccines were created in a record time, workers and students have moved to the home office, at least some or those who can, and won’t probably easily go back.
What about the earth biosphere’s mutations? What is normal there, what is a network for Gaia? In his books Gaia: Eight Lectures on the New Climate Regime, Bruno Latour insists on climate mutations, and with his book Critical Zones – The Science and Politics of Landing on Earth, he mentions the new revolution that comes when thinking over what it means to be earthly nowadays. These issues will definitely inform our behaviours in the near post-anthropocentric future, but also how we will integrate them in our political opening to our collective future and our interconnected knowledges and cultures. Moreover, at a time when a rover and that some of us are preparing to land on Mars.
<NO-ON>: No-Normalidades. Mutaciones, redes y política de la descolonización.
En tan solo un año, nuestra vida ha cambiado dramáticamente desde aquella vida normal pre-pandémica. Los comportamientos sociales, la injusticia social, las desigualdades económicas o de género, los efectos psicológicos de esta etapa aún tienen que ser analizados dentro de la biosfera humana. Sin embargo, las vacunas se han desarrollado en un tiempo record, los trabajadores y estudiantes se han trasladado a su casa-oficina, al menos aquellos que pueden, y no volverán de allí fácilmente.
Pero ¿cuáles son las mutaciones inflingidas en la bioesfera terrestre? ¿Cuál es su normalidad? ¿Cuál es la red en Gaia? En su libro “Facing Gaia: Eight Lectures on the New Climatic Regime”, Bruno Latour insiste sobre las mutaciones climáticas, y con la edición del libro “Critical Zones – The Science and Politics of Landing on Earth” advierte sobre la revolución que aparece al analizar los significados de la actual condición terrestre. Todos estos conflictos definen nuevas rutas para identificar comportamientos e identidades de nuestro futuro post-antropocéntrico, pero también para integrarlas como vías políticas que abran un futuro colectivo definido por conocimientos y culturas interconectadas. Más aún cuando, en paralelo, los rovers y algunos de nosotros se preparan para colonizar Marte.
Panel 1: Archeology, Science or Fiction. Time to interpret and re-understand science.
Elisa García Prosper (UCV)
Short Bio: Elisa García Prósper, PhD in Archaeology from the University of Valencia (UV), Specialist in Forensic Anthropology from the Complutense University of Madrid (UCM), Associate professor of Criminology at the Catholic University of Valencia (UCV), and director of the research group Grupo Paleolab® (Funerary Archaeology, Paleopathology, Physical and forensic Anthropology).
Theme: Forensic archaeology and anthropology. Two tools for the future.
Archaeology is a science that has traditionally been considered as belonging to the area of knowledge of the humanities. For its part, forensic anthropology derives directly from osteoarchaeology, or explained in another way, from classical physical anthropology, the science in charge of bioanthropologically identifying the skeletons discovered by Archaeology. Both disciplines are inseparable, the information they offer is of great value for history since it allows us to reconstruct the past through its protagonists. For years both disciplines have also been perfectly combined in the field of forensic sciences and human rights, constituting a fundamental tool for the investigation of missing persons and their restitution to society.
Anyely Marín Cisneros (UAB)
Short Bio: Anyely Marín Cisneros combines a commitment to decolonial and black feminist methodologies in pedagogical spaces with her academic research on the relationship between a politics of the body and the historical racial logics of science. She has a master’s degree in Critical Theory and Museum Studies, and is currently a student at the UAB History of Science doctoral program, where she teaches in the History, Gender and Medicine seminar. Since 2014 she has co-run the artistic research collective @Criticaldías.
Theme: Deracialise the eye
In this talk race and racism will be situated throughout history as an affective algorithm of difference and indifference, while paying attention to the distinctive set of socio-technical conditions that give rise to 21st century racism. Departing from an introduction to the historical Spanish ‘Black Codes’, a few tools will be proposed towards the deracialising of the eye in the present.
Abelardo Gil-Fournier (FAMU)
Artist and researcher, he holds a PhD from the Winchester School of Art and is a postdoc at the School of Film and TV in Prague where he is working with theorist Jussi Parikka on a book on vegetal archaeology of the contemporary image. His artistic practice approaches the materiality of media from a wide variety of techniques and formats, and has been shown at international festivals and exhibitions.
Theme: Excavating the vegetal image. A media archaeological approach
The use of early photographic and moving image techniques in the context of the scientific analysis of plant growth unveils a space of transfers between the living and the animate. This entwining can be observed too in other domains such as agriculture and landscape management. An experimental media archaeological excavation of this transfer, presented as a form of artistic research, brings in additional dimensions to the nuances of this entanglement. Its links to a wider cultural context will be emphasized, including science fiction and speculative design.
Panel 2: Interdisciplinary tools and resources. Caring to the network, to the knowledge and to the media.
Paula Fernández Valdés
Short Bio: Graduate in Conservation and Restoration of Cultural Heritage from the Complutense University of Madrid and Master in Conservation and Restoration of Cultural Heritage (2017-2019) from the Universitat Politècnica de València. She is currently pursuing a PhD in Art: Production and Research with a Predoctoral Grant (FPI-UPV) at the same University and is part of the MICIU I+D+i EShID Project. Her research focuses on the preservation of technological art and copyright.
Theme: Preservation of technological art: the curator as a mediator of collective knowledge
Works of art produced at the art-science intersection are increasingly present in the so-called Art World, both in the private sphere and in public institutions, and have undoubtedly become part of our collective culture and memory. Moreover, the restrictions imposed during the covid-19 pandemic have caused a massive digital transition of the cultural industry, which has been forced to seek new ways for the commercialization and dissemination of artistic production. In this context, the curator must pursue new strategies to ensure, on the one hand, the preservation of technological devices, which are fragile and obsolescent in nature, and, on the other hand, the community’s access to its own culture, mediating between the work of art and its collective implications.
Núria Vallès Peris (UAB)
Short Bio: Phd. Sociologist, she is a researcher in the Barcelona Science and Technology Research Group (STS-b) at Universitat Autònoma de Barcelona. Her main research work is focused on the ethical and social controversies in social robotics, from the study of imaginaries and the ethics of care.
Theme: In her presentation she will propose an approach to the robotics of care, based on the alignment between the ethics of care and STS. From this approach, artefacts can be understood as materialised morality, which opens up new controversies in the introduction of these artefacts in the service of good care and good living.
Short Bio: Lissette Lemus is technology transfer manager at the Artificial Intelligence Research Institute of CSIC and co-director of the ARTIFICIA platform. She is committed to digital transformation from a social and ethical perspective promoting the use of Artificial Intelligence research results to social challenges such as social integration, citizen participation, mental health and the development of more open and collaborative models in areas such as education and creativity. Born in Havana, she has developed her career as a computer engineer in research centers, startups and in her own entrepreneurship projects.
Theme: We are constantly shaping our present and future with a systematic innovation that changes our behaviors’ nature. One of the most sophisticated and complex human behaviors is creativity, and we are redefining it by implementing new advances in science and technology, particularly through Artificial Intelligence. In this intervention, we will focus on how AI is configuring creativity. What is augmented creativity, how artists and other collectives use AI to analyze from a critical point of view the social and political powers. Can democracy, participation, civic action be more powerful with AI?
Guillermo Muñoz Matutano (UV)
Short Bio: Senior researcher in the Institute of Materials Science (ICMUV), Universitat de Valencia. PhD in physics, in the field of condensed matter, semiconductor physics and quantum optics. Principal Investigator (PI) of the project “Two-Dimensional Semiconductor Photonic Dots – 2D SPD” funded by the Spanish Ministry of Science and Innovation. Student of the Master’s Degree in Philosophy for Contemporary Challenges (Universitat Oberta de Catalunya).
Theme: Decolonizing quantum technologies. Narratives, metaphors and critical thinking from the quantum world.
Quantum physics and quantum technologies are revolutionizing our understanding and our mutual relations in the world/universe. There is an increasing interest in developing key research areas, usually divided into quantum computing, quantum communication, quantum metrology and quantum simulation. However, new possible exploitation of the quantum features arises when including arts and humanities as possible allies. Quantum technologies offers a new paradigm to build new narratives and explore powerful metaphors for critical thinking and empowering our communities.
Sergio Lecuona (UPV)
Artist and PhD fellow from the research group “Laboratorio de Luz” Universitat Politècnica de València, he is currently investigating the conjunction of data, sound art, music and new technologies, towards the upcoming ways of sound performance and composition.
Theme: Beyond the sound practices of Artificial Intelligence. Artificial Intelligence technologies are slowly getting introduced in every corner of our living, so is sound art and music practices. But these implementations don’t lead just to a higher level of automatization. With the new methodologies and concepts that these technologies unfold, ideas such as authorship, creativity and collaboration become susceptible to mutation.
During this interview, Matt Black drive us into more than 30 years of music, activism, ecology, internet, vw bus, pirate tv, Max Headroom, kissfm, london best dj’s, pirate radio, warehouses, encoders, turning Radiohead to electronic, Zen Delay, Vjamm Pro software and more. Black also discuss his latest album, and his experiences in the township of Khayelitsha in Cape Town, South Africa, or recording with the drummer Tony Allen and leading to a collaboration with the The Watts Prophets.
Matt Black is half of legendary DJ duo and multimedia pop group Coldcut, formed in 1987, and founders of Ninja Tune, the UK label. In 2020 Ninja Tune celebrated 30 years as one of the world’s leading electronic music labels and a beacon for the independent music spirit. In 2017 Coldcut celebrated 30 years in electronic music with a string of gigs releases and special projects. A new album ‘Keleketla’ was released July 2020 to ‘universal acclaim’ (Metacritic).
Matt is known for innovations in DJing, remixing, mashup, VJing, software, digital art and multimedia. Over 34 years as part of Coldcut he has combined cutting edge artistic expression with positive activist themes in such pieces as Journeys by DJ, The Only Way is Up, People Hold On, Stop This Crazy Thing, Timber, Panopticon, Re:volution, Energy Union, Walk a Mile, True Skool, and many more. Coldcut have worked with a wild range of artists, activists and other groups and luminaries eg Steve Reich, James Brown, Mark E Smith, Queen Latifah, Jello Biafra, Saul Williams, Robert Owens, Lisa Stansfield, Crass, Roots Manuva, Lee Scratch Perry, Adrian Sherwood, Tony Allen, Joe Armon-Jones, the BBC Radiophonic Workshop, the RCA, Greenpeace, and Avaaz.
In 2011 Matt designed the iOS app Ninja Jamm, Ninja Tune’s first music app which has had over 600,000 downloads; in Feb 2020 the new advanced version Jamm Pro was released. Matt uses his software to perform, lecture, and give workshops on audiovisual art, technology and music- so people can use these tools for their own art and music. In 2017, 2 more apps he designed were released: Pixi a visual synth, and Robbery a satirical video game. Midivolve, a music software collaboration with Ableton was released July 2017. The Zen Delay hardware unit released 2019 is also his co-creation and was rated as one of the top effects of the decade by Music Tech.
At Splice festival 2017 Matt showcased his experiments with Style Transfer, a cutting edge new style of visual processing using AI techniques. For his AV show, done in conjunction with his wife filmmaker Dinaz Stafford, Jamm triggers visual clips so every sound has a matching visual.
Matt collaborated with artist Wolfgang Buttress (the Hive, Kew) for BEAM AV installation Glastonbury 2019. In lockdown 2020 Matt revived PirateTV the netcasting project he started in 1998, and is currently doing AV shows via Twitch.
Matt’s stated ambition is to ‘create positive art, music and spiritual technology to blow the minds of the entire planet and advance cooperative strategies’. He continues to gig, lecture, DJ, VJ, record, make films, develop software and bridge the worlds of technology, club culture, art and activism.
Machines, algorithms and data are increasingly entering the landscape. They are already present in our intimate spaces. During the current pandemic situation, algorithms and data are omnipresent due to our online presence. Further, our landscape is indeed becoming monasterial, because the pandemic forces populations to self-isolate. The utopian landscape is perhaps within oneself then ?
Ticino is the Italian speaking and southern part of Switzerland. In term of transit (cultural and economic), it plays a role as a geographical articulation between North and South of Europe. Inside, deep inside, in the entrails of the landscape of Ticino, the new world longest 57 km long railway San Gottardo tunnel was recently achieved. A utopian invisible landscape made by men and machines. On the surface, the Ticino architecture school is widely acclaimed worldwide since the 1960’s, an architecture, which has been described also as an architecture of resistance. In addition, since the early 1900’s the artistic avant-garde was indeed present in Ticino with the Dadaists for example, and Bauhaus architecture emerged there too between the two world wars. What to expect from an architecture when insights from augmented intelligence, cognition, data and machines are applied to it ? What kind of utopian landscape shall emerge in a not so distant future ?
Davide Macullo (b. Giornico, CH, 1965) is a Swiss architect. His international design studio, Davide Macullo Architects, based in Lugano, Switzerland, was founded in 2000.
The ethos of the studio is one that promotes an open and cultural exchange with architects, artists and collaborators coming from different backgrounds. The diverse contributions promote a dialogue between the specificity of the project, the universality of the contexts and the psychology of space. This ‘drawing from context’ encourages and helps sustain a local-meets-global, embracing approach to architecture, spanning from the theoretical to the practical and detail level, to territorial analysis, pedagogy and sustainability in construction.
The work of the studio includes graphic design, branding consulting and custom designed furniture, and spans to the creation of contemporary art collections for clients. They have also recently produced a customized collection of rugs for the new Chenot Palace Weggis, and a large series of Davide’s drawings (ca. 400nr.) is included in its art collection.
In Rossa, Canton Grisons, he is a founding member of the Rossarte foundation which promotes public and private interventions in situ by international artists to influence daily life through contemporary art.
The first building is the Swisshouse XXXII (Sinusoïde) created in collaboration with Daniel Buren and Mario Cristiani of Galleria Continua.
Prior to the foundation of his own studio, he was project architect in the atelier of Mario Botta with responsibility for over 200 international projects worldwide (1990-2010).
We are living in an historical moment of epochal change, where the attitude to inhabit the earth, built over millennia, does not reflect the current and future conditions. With the advent of new technologies, unimaginable scientific discoveries and the doubling of the world population, man faces, (with no way back), a completely new universe, in which he must affront from all points of view, taking care of all ecologies. Our generation has the urgent duty to prepare this new territory to allow new generations build on solid foundations and above all for our psychological health, manage an environment that has become extremely complex and potentially hostile.
The development of think tanks and laboratories focused on social sensitivity, inclusive of historical and scientific knowledge, are the terrain on which we move to respond to the call as citizens. The Rossa project in Valle Calanca seeks solutions that go beyond the economic revival of a region, bowing to the principle expressed by Bruno Munari, that a civilized people lives in the midst of their art.
Carole Haensler, born in Lausanne in 1974, was appointed curator of the Museo Civico Villa dei Cedri in Bellinzona in 2013, with the task of conserving and enhancing the artistic heritage of the Museum, redefining and strengthening the identity of the institution, developing the offer of cultural mediation as well as synergies with other city and regional cultural institutions. She also accompanied the creation of the Ente autonomo di diritto pubblico Bellinzona Musei – the new administrative structure created in 2017 that manages the Museo Villa dei Cedri – of which she is director since 1.01.2018.
Holder of a master’s degree in art history and archaeology from the University of Neuchâtel (1999), she has worked for various private and public collections in Switzerland, as well as the Thyssen-Bornemisza Foundation in Lugano and Thyssen-Bornemisza Art Contemporary – TBA21 -, Vienna, the Zentrum Paul Klee in Bern and the Centre for Contemporary Art in Geneva. She is mainly specialized in modern and contemporary art, in particular in French art and literature of the second half of the 19th century and in French and German art of the period 1900-1950, and focussed her programme at Museo Villa dei Cedri on the renewal of art language and expression after Second World War. She has introduced thematic exhibitions of contemporary art in Bellinzona seeking to reflect the concerns of art and contemporary society: “Dimensione Disegno. Posizioni contemporanee” (2016), “In(de)finiti luoghi. Utopie architettoniche e realtà artistiche” (2017), “Memoria del Sublime. Il paesaggio nel secolo XXI” (2019) e “Icone vegetali. Arte e botanica nel secolo XXI” (to come in 2022).
The Museo Villa dei Cedri is an interesting starting point to understand how to connect artistic, architectural and natural heritage. Starting from the considerations that led to the thematic exhibitions “Memoria del Sublime. Il paesaggio nel secolo XXI” (2019) and “Icone vegetali. Arte e Botanica nel secolo XXI” (to come in spring 2022), the presentation will also explore the role of the museum in its own ecosystem, which is that of art, and its ability to position itself as a place of critical reflection on contemporary society. Does the Museum have a role to play in building the future of society? And can it be an active role?
During this interview we discussed ideas around embodiment, re-embodiment, kimospheres, atmospheres, technology and issues related to the practice of Johannes Birringer as a choreographer, director and professor of performance technologies. His publications have taken up important issues surrounding the body and technologies, theatre, dance, and choreography. Birringer underlines the pivotal moment when he attended a Pina Bausch performance, as a young student, and how it affected and redirected his career. Other figures like Stelarc haunt this discussion. With the DAP-Lab he has created numerous stage works, installations and short films. Recent research, conducted in Texas in 2019, explores underground space and caves and how they are linked to deep listening methodologies proposed by Pauline Oliveros.
Johannes Birringer is a choreographer/media artist and co-director of DAP-Lab at Brunel University where he is a Professor of Performance Technologies. He also directs the Houston-based AlienNation Co. and is the founder of the Interaktionslabor (http://interaktionslabor.de). He has created numerous dance-theatre works, films and video installations that have been shown in Europe, the Americas, China, and Japan. DAP-Lab’s “Suna no Onna” was featured at festivals in London; the mixed-reality installation “UKIYO” went on European tour in 2010. The dance opera “for the time being [Victory over the Sun]” premiered at Sadler’s Wells (2014). DAP-Lab’s most recent dance installations, “kimospheres” III-VI (2016-2019) explore the convergence of physical-sensory and augmented VR spaces, and were shown in Madrid, Paris, London and Durban, SA. The dance performance “Mourning for a dead moon” (December 2019) addresses the climate crisis. His books include “Media and Performance,” “Performance on the Edge,” “Performance, Technology & Science,” “Dance and ChoreoMania,” “Tanz der Dinge/Things that Dance,” and a new book, “Kinetic Atmospheres: Performance and Immersion” (Routledge) that probes the implications of environmental immersion and mixed reality digital architectures.
We explore the links between art and science through an exhibition, a talk and a concert. The 2020s of the 21st century have apparently wrecked our experience of the normality. Invisibility and Omnipresence refers here, among other possibilities, to organisms / parasites / viruses, perceptions (virtuality, augmented or not), social and territorial prejudices (racisms), or our biosphere for example. What are the major challenges waiting for us in such context ? What will be the new normality ? Where is the reality, is it a virtual construction ? Which is the role of consciousness in such context ?
Pictures: Xavier Voirol
Jeremy Narby Indigenous people mention since a long time ago, the existence of an invisible world supporting the world we perceive, establishing it to a certain extent, and with which we needs to negotiate. Science, on the other hand, tell us about DNA molecules and virus, which are actually visible, and influencing our life. We know now that all the living beings of the planet, including viruses, are integrally part of the ecological web of the planet, and altogether we are part of a planetary mega entity fully interconnected: the biosphere. This delicate layer of life surrounding the planet is self regulated on multiple levels, but its scale is so broad that we struggle to perceive it. Could a dialogue between science and Indigenous knowledge extend our way of dealing with the world, and help us to conceive the biosphere too ?
Biography In charge of Amazonian projects for « Nouvelle Planète », Jeremy Narby is an anthropologist, who supports Indigenous amazonian people initiatives since thirty years.
Al Comet / Alain Monod / Mahadev Cometo In dialogue/interview with Luca Forcucci about his career as a musician with The Young Gods, his experiments with electronic music and lately his study in India of the sitar instrument. Moreover, Al Comet is a trained military pilot, who continues to fly.
Biography Member of The Young Gods during more than twenty years, Alain has contributed to define the industrial sound of the 1980s. In 2014, Al Comet leaves the Young Gods et focuses his energies on his very own self development under the name Mahadev Cometo. Always looking for new sonorities, he studies classical music in Benares. and publish a sitar record in 2017. Today, with his new generation modular sampler, he works on the elaboration of a new sitar album more revolutionary that ever “ the futur is now”.
The environment shapes our experience of space in constant interaction with the body. Architectonic interiors amplify the perception of space through the bodily senses; an effect also known as embodiment. The interaction of the bodily senses with the space surrounding the body can be tested experimentally through the manipulation of multisensory stimulation and measured via a range of behaviors related to bodily self-consciousness. Through the association of egocentric, first-person view of a dancer to a virtual point of view, the choreography creates a virtual architecture. Isabella Pasqualini is an architect (ETHZ 2000) and a scientist with a PhD in architecture and cognitive neuroscience (EPFL 2012).
Biography Her works explore the mutual and intimate relationship between body and space using immersive and interactive multimedia, with a particular interest in the multisensory enhancement of the user’s horizon. For her post-doc project Visual Touches, touching Views at the Center of Neuroprosthetics EPFL, she received the prestigious fellowship grant from the cogito foundation in 2013. Currently, she is a faculty member of the >> LeaV at the École Nationale Supérieure d’Architecture de Versailles and of the NAAD Master class at IUAV University of Venice. She has been a guest researcher at the Laboratory of Cognitive Neuroscience EPFL. Isabella has planned a new City in Angola and built a temporary bank building in Luanda. She is a scientific reviewer, and works as an expert for Innosuisse as well as other innovation platforms.
Bruno Herbelin Our body is our anchor in the world. Neuroscience of bodily self-consciousness investigates how this primitive subjective experience emerges into consciousness and, thanks to recent developments using new technologies for evaluating the impact of artificially mediated disruptions of this subjective experience, is now providing the first pieces of evidence of its complexity and multisensory aspects. Virtual Reality is particularly suited for this experimental research on bodily consciousness but, in parallel, it follows a massive industrial development that neglects the impact it can have on our experience of the self. Self-body representation is, for technical reasons, simply ignored in most VR experiences, although in effect this means providing the user with the strong and uncanny experience of invisibility. What I question and propose to discuss here, is if it makes sense to consider VR as the ultimate technology of telepresence (and omnipresence) if in practice it abstracts us and removes our body from the world.
Biography Bruno Herbelin is senior researcher in virtual reality and cognitive neuroscience in the laboratory of Prof. O. Blanke at the École Polytechnique Fédérale de Lausanne (EPFL, Switzerland). From 2012 to 2019, he was deputy director of the EPFL Center for Neuroprosthetics. From 2005 to 2009, he was Assistant Professor at Medialogy Department of Aalborg University, Denmark. He obtained his PhD from EPFL School of Computer and Communications in 2005 for his research work on virtual reality exposure therapy under the supervision of Prof. D. Thallmann (Virtual Reality Laboratory).