Guy Marc Hinant / the artist as curator (in french)

More than 500 references have been issued on the Subrosa label since the 1980’s. Guy Marc Hinant, poet, writer, publisher, music producer and cinematographer together with Fred Walheer, started the label, with recordings of William S. Burroughs. Here he discusses the journey where noise and spectres enter the discussions (literally).

Guy Marc Hinant / Interview by Luca Forcucci – July 17th 2019 / Berlin-Bruxelles

Guy Marc Hinant dirige le label indépendant Sub Rosa spécialisé en musique électronique et expérimentale dont il est le créateur. Il y édite la série An Anthology of Noise and Electronic Music. Il a écrit plusieurs fragments narratifs et notes sur l’esthétique pour les Éditions de l’Heure, diverses revues internationales telles que Leonardo Music Journal (SF), Luna-Park surtout (édité par Marc Dachy à Paris), la revue Pylône (Bruxelles) et pour la revue Lapin (L’Association, Paris). Par ailleurs, il donne des conférences sur l’émergence du bruit dans la musique occidentale – preuves à l’appui. Compagnon de l’auteur de bandes dessinées Dominique Goblet, il apparaît dans ses albums sous le nom de « GM » . Au début des années 1980, il était membre du groupe Pseudo Code avec Alain Neffe et Xavier Ess. En 2001, il fonde OME – L’Observatoire – avec Dominique Lohlé, ensemble ils réalisent une série de documentaires sur l’art de l’écoute et le bruit.

Guy-Marc Hinant (Charleroi, 1960) is a Belgian poet, writer, publisher, music producer and cinematographer. In the late 1980s Hinant, together with Frédéric Walheer, founded the Belgian record label Sub Rosa, which specializes in avant-garde, electronic and noise music. The name of the record label was deduced from the first sentence of Gilles Deleuze’s book Mille plateaux. He lives and works in Brussels. From 2002 to 2004 Hinant worked on the musicological project Anthology of Noise and Electronic Music. Hinant wrote poetry and prose to the works of his lover, the Belgian visual artist Dominique Goblet.

Stanley Moss about Dr John

The discussion turns around the long friendship that Stanley Moss developed with the iconic musician from New Orleans Dr John. Stories emerging from their twenties in Los Angeles while working for a musical label, in New York in the 1980’s for parties in loft space where David Byrne was present too, and New Orleans until today. Graphic design, brand strategy, and Dr John: the story of a friendship

Stanley Moss / Interview by Luca Forcucci – July 9th 2019 / Berlin – Verona

Stanley Moss (b. 1948), is founder of DiGanZi Group, a brand advisory, and The Club of Venice, a private conversation on brands and branding. He is global brand ambassador for Gottschalk + Ash of Zürich. He’s also author of novels including The Hacker, HACK IS BACK, The Crimson Garter and Fate & The Pearls, and The Book of Deals. A brand guru, philosopher, writer, and artist, he divides his time between Europe, India and Southern California. He served as CEO of The Medinge Group, the Stockholm-based think-tank on international branding, 2004-2012. He was a fine artist, sponsored by Absolut and Johnnie Walker Black Label, and exhibited landscapes in the US State Department Art in Embassies program.  His “New Wave Cookbook” is in the permanent collection of the MoMA NY. He is a faculty member at Academia di Belle Arti Cignaroli of Verona, Italy; Travel Editor for Lucire, a New Zealand fashion magazine; and served on the Board of the Rocket Mavericks Foundation.  

Dr. John belongs to a prestigious lineage of New Orleans keyboard greats that includes such names as Professor Longhair, Huey “Piano” Smith and Fats Domino.

His name has become synonymous with the city in which he was born. Dr. John’s music is stamped with the rhythms and traditions of the Crescent City, and he has spent a career that now spans more than half a century championing its music.

His best-known work includes Gris-Gris (1968), an album steeped in the otherworldly sounds of Louisianan voodoo culture; Gumbo (1972), wherein he offered an authoritative overview of New Orleans’ finest music; and In the Right Place (1973), which gave him the Top Ten hit “Right Place, Wrong Time.” His concerts are ritual invocations of New Orleans’ enduring musical spirit. More broadly, he has helped bring the sound of New Orleans into the national mainstream.

Born Malcolm John “Mac” Rebennack, he learned piano and guitar as a child. As a child growing up in the 1940s, he was steeped in the music of the city. “It was a special time in New Orleans,” he told USA Today’s Edna Gunderson. “The radio stations played basically New Orleans music, and I thought that was what the whole world heard.” His father ran an appliance store that carried records, and he also repaired P.A. systems for clubs around town; it was through him that young Mac gained exposure to the world of music in New Orleans.

As a musician, he was schooled by local legends like Walter “Papoose” Nelson (Professor Longhair’s guitarist), guitarist Roy Montrell, keyboardist James Booker and Cosimo Matassa (whose J&M Studio was the hub of the city’s recording scene). Rebennack became one of the first white sessionmen on the local scene. A fixture in New Orleans’ clubs and studios, Rebennack found himself making music night and day. “We used to work twelve hours a day, seven days a week, on Bourbon Street,” he told interviewer Robert Santelli. “That was real easy to do because there were so many clubs.”

He participated in sessions for records released on such labels as Ric and Ron, Minit, Ace, Ebb, Specialty and AFO (“All For One,” started by a cooperative of New Orleans musicians).

In short, Mac Rebennack was a pure product of New Orleans. “The old-timers schooled me good,” Dr. John reflected. “They brainwashed me to respect music, whether we were playing rockabilly or blues or rock and roll.”

Rebennack began recording as far back as 1957 and released his first single, “Storm Warning,” under his own name in 1959. As much as he loved New Orleans, he moved to Los Angeles in 1962, joining an exodus of local musicians who left town after a new district attorney began cracking down on clubs and nightlife in an effort to curb vice. Working in L.A. with producer Harold Battiste, a fellow Crescent City expatriate, he created the character of Dr. John the Night Tripper, a voodoo sorcerer and healer. His first album, Gris-Gris, masterfully evoked the mystical spirit of back-alley voodoo in a musical setting of otherworldly “N’Awlins” swamp funk. It meshed perfectly with the age of psychedelia in which it was released. Dr. John cut this startling release during unused session time for a Sonny and Cher album, as that duo had become involved in a movie project. Such cuts as “I Walk on Gilded Splinters” evoked a late-night, back-streets netherworld of ritual and mystery. The album remains a unique achievement in the realm of popular music, a touchstone to a world that few even knew existed.

Gris-Gris was followed by three more albums in the same vein: Babylon (1969), Remedies (1970) and The Sun, Moon & Herbs (1971). The last of these was intended to be a three-record set, each reflecting a different time of day. Some sessions were conducted in England, with such musicians as Eric Clapton and Mick Jagger participating. However, because of technical and budgetary issues, it was pared down to a single album. 

In the first half of the 1970’s, Dr. John released a series of albums that mixed New Orleans classics with original material, all driven by his remarkable piano playing and superb bands. This change in direction from underground mystic to overground eminence began with Gumbo, Dr. John’s fifth album, released in 1972. The idea that he pay tribute to New Orleans’ musical legacy came from Jerry Wexler, the renowned producer and talent scout for Atlantic Records, who co-produced Gumbo with Harold Battiste. Dr. John was signed to Atco, an Atlantic subsidiary, and Wexler made the suggestion after hearing him warm up with such material in the studio. It brought broader exposure to both the artist and his city’s musical heritage.

This paved the way for a pair of albums, In the Right Place (1973) and Desitively Bonnaroo (1974), that carried his career to the next level. Both were made in collaboration with Allen Toussaint and the Meters, longtime stalwarts of the New Orleans scene. “Right Place, Wrong Time,” from In the Right Place, became a Top Ten hit that spent nearly half a year on the chart. The album’s other hit single was “Such a Night,” which Dr. John performed at the Band’s The Last Waltz farewell concert.

In the late Seventies, he moved to New York and worked with producer Tommy LiPuma and lyricist Doc Pomus, resulting in the albums City Lights (1978) and Tango Palace (1979). In the early Eighties he made his first solo piano recordings (Dr. John Plays Mac Rebennack, 1981, and The Brightest Smile in Town, 1983). He ended the decade with In a Sentimental Mood (1989), an album of standards that reunited him with LiPuma.

The Nineties witnessed an artistic rebirth and rekindled connection with his New Orleans roots. In 1992, as remarkable as it may seem, Dr. John actually recorded his first album in New Orleans. Entitled Goin’ Back to New Orleans, it was “like a little history of New Orleans music—from way back in the 1850s to the 1950s,” Dr. John explained. In 1998 he returned to the mystical aura of his Gris-Gris period on Anutha Zone, which included cameos from such younger British admirers as Paul Weller and members of Spiritualized and Supergrass. Creole Moon, released in 2001, assimilated the various aspects of New Orleans music into a tasty gumbo. In 2004, Dr. John again saluted the Big Easy’s musical heritage on N’Awlinz: Dis, Dat or D’Udda, which rounded up such New Orleans legends as Earl Palmer, Clarence “Gatemouth” Brown, Willie Tee, Snooks Eaglin, Eddie Bo, the Dirty Dozen Brass Band and a member of the Preservation Hall Jazz Band.

Beyond his vast discography as a recording artist, the list of sessions on which he has played for others is lengthy and impressive enough to merit his induction into the Rock and Roll Hall of Fame as a sideman, too. Dr. John’s bottomless sessionography includes releases by Maria Muldaur, Johnny Winter, Buddy Guy and Junior Wells, Van Morrison, the Band, Frank Zappa, Ringo Starr, Canned Heat, the Rolling Stones and countless others. He has even done well for himself as a jingle writer, tinkling the ivories on funky-sounding commercials for Levi’s blues jeans and Popeye’s Chicken.

For more than three decades Dr. John has been a perennial performer at the New Orleans Jazz and Heritage Festival. He has also become an unofficial spokesman and ambassador for the city and its musical history. Meanwhile he continues to make creative, challenging records in the New Orleans style.

In 2008 Dr. John and his band, the Lower 911, released City That Care Forgot. The most topical and hard-hitting album of his career, it addressed the toll taken on his beloved hometown by decades of neglect and its near destruction by Hurricane Katrina in 2005. City That Care Forgot won Dr. John a Grammy for Best Contemporary Blues Album—the fifth of his career. Meanwhile, he continues to keep the city’s musical heritage and history alive.

“The most important thing to remember is this: New Orleans music was not invented,” Dr. John noted in 1992. “It kind of grew up naturally…joyously…just for fun. That’s it. Just plain down-to-earth happy-times music. When I was growing up in the Third Ward, I used to think, ‘Oh, man, this music makes me feel the best!”

Pamela Z / Sonic gestures extraordinaire (in English)

During an afternoon we sat together under the trees and birdsongs at the SAVVY art space in Berlin, where she was presenting works, for a long, beautiful conversation on sonic gestures, different accents and letter writing.

Pamela Z / Interview by Luca Forcucci – May 24th 2019 / Berlin

Pamela Z is a composer/performer and media artist who works primarily with voice, live electronic processing, sampled sound, and video. A pioneer of live digital looping techniques, she processes her voice in real time to create dense, complex sonic layers. Her solo works combine experimental extended vocal techniques, operatic bel canto, found objects, text, and sampled concrète sounds. She uses MAX MSP and Isadora software on a MacBook Pro along with custom MIDI controllers that allow her to manipulate sound and image with physical gestures. Her performances range in scale from small concerts in galleries to large-scale multi-media works in theaters and concert halls. In addition to her performance work, she has a growing body of inter-media gallery works including multi-channel sound and video installations.

Pamela Z has toured extensively throughout the United States, Europe, and Japan – performing in international festivals including Bang on a Can at Lincoln Center (New York); La Biennale di Venezia (Italy); the Interlink Festival (Japan); Other Minds (San Francisco); and Pina Bausch Tanztheater’s 25 Jahre Fest (Wuppertal, Germany). She has composed, recorded and performed original scores for choreographers and for film/video artists, and has done vocal work for other composers (including Charles Amirkhanian, Vijay Iyer, and Henry Brant). Her large-scale, multi-media performance works, including Memory Trace, Baggage Allowance, Voci, and Gaijin, have been presented at venues like the Kitchen in New York, Yerba Buena Center for the Arts, and Theater Artaud (Z Space) in San Francisco, the Museum of Contemporary Art Theatre in Chicago, as well as at theaters in Washington D.C. and Budapest Hungary. Her one-act opera Wunderkabinet inspired by the Museum of Jurassic Technology (co-composed with Matthew Brubeck) premiered at The LAB Gallery in San Francisco, and was presented at REDCAT in Los Angeles and Open Ears Festival in Canada. She has shown media works in exhibitions at the Whitney Museum of American Art (New York); Erzbischöfliches Diözesanmuseum (Cologne); the Tang Museum (Saratoga Springs NY); the Dakar Biennale (Sénégal); Krannert Art Museum (IL), and the Kitchen (NY).

Ms. Z has had chamber music commissions from Kronos Quartet, the Bang On A Can All Stars; Ethel String Quartet, the California E.A.R. Unit; the Left Coast Chamber Ensemble; the Empyrean Ensemble, and St. Luke’s Chamber Orchestra. She curates and produces “the ROOM Series”, a San Francisco avant-chamber series featuring the work of a variety of virtuosic solo artists and chamber groups playing experimental music. She has collaborated with a wide range of artists including Joan La Barbara, Joan Jeanrenaud, Brenda Way (ODC Dance), Miya Masaoka, Jeanne Finley + John Muse, Shinichi Iova Koga (Inkboat), Christina McPhee, and Luciano Chessa. She has participated in several New Music Theatre events (including John Cage festivals), and has performed with The San Francisco Contemporary Music Players. Her interactive web-based work Baggage Allowance can be viewed at baggageallowance.tv where it is permanently installed.

Potential Realities and Perspectives: Dreams, (Mental) States and (Electronic) Sheep

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The Italian director Federico Fellini’s movies were based on his own dreams, and as part of a Jungian psychotherapy with the psychoanalyst Ernst Bernhard.

In the book Do Androids Dream of Electric Sheep? The American author Philip K. Dick questions realities and perspectives from the machines in a dystopian science fiction novel.

It seems that the (virtual, augmented and mixed) contemporaneous realities are about to join the fiction. The main question for the current talk observes the different typologies of realities, being in dreams, pathological, from machines or computers. This will be explored through the work and research of an artist and a neuroscientist.

Michael Gaebler / Cognitive Neuroscientist

Max Planck Institute for Human Cognitive and Brain Sciences in the Neurology Department’s Mind-Body-Emotion group and the MindBrainBody Institute.

Biography

Michael Gaebler studied cognitive and neurosciences in Osnabrück, Montreal, Paris, and London, before he completed his PhD at the Charité/Humboldt-Universität zu Berlin. In his research at the Max Planck Institute in Leipzig, he investigates how mental processes (i.e., thinking and feeling) are neurophysiologically realized. To this end, he also combines virtual reality with measurements of brain activity.

Abstract

The mind is situated, that is, mental phenomena depend on an organism’s interaction with the environment. I will discuss why virtual reality (VR) can help the cognitive and brain sciences and present own projects, in which we use VR in neuroscientific and clinical investigations. I will also mention previous work with depersonalization-derealization disorder patients, for whom the real world feels unreal or dream-like.

Mert Akbal / Artist and Researcher in Neuroscience

Saarbrücken Art School and Max Planck Institute for Human Cognitive and Brain Sciences in the Neurology Department’s Mind-Body-Emotion group and the MindBrainBody Institute.

Biography

Mert Akbal explores as a cognitive artist phenomena from cognitive science field. He teaches and researches  in two institutions: Academy of Fine Arts Saar in Saarbruecken and Max Planck Institute for Human Cognitive and Brain Sciences in Berlin. His works are presented on diverse platforms such as by ZKM in Karlsruhe, Prix D’Arts Robert Schuman, Kunstmuseum Stuttgart, Kunsverein Ulm, Amber Art and Technology Festival in Istanbul, IEEE in Boston, ISEA 2016 in Hong Kong and ISEA 2018 in Durban.

Abstract

I follow my curiosity to observe, understand and question cognition and consciousness through visual art. I aim to reproduce  dream image and experience in artistic media in order to explore them as models of conscious experience. I will present some of my current works at the intersection of art and science.

Paulo Bruscky / a Legendary Brazilian Artist (in Portuguese)

The works developed by this artist span over 40 years of research and includes important ones proposed as performances, mail art, brainwaves experiments and poetry among others. Paulo Bruscky discusses these during an interview in Recife.

Interview by Luca Forcucci / 22 November 2018 in Recife

Paulo Roberto Barbosa Bruscky (Recife, Pernambuco, 1949). Artista multimídia, poeta. Na década de 1960, inicia pesquisa no campo da arte conceitual, e a partir de 1970 desenvolve pesquisas em arte-xerox. Em 1973, atua no Movimento Internacional de Arte Postal, sendo um dos pioneiros no Brasil nessa arte, e no ano seguinte lança o Manifesto Nadaísta. Organiza duas exposições internacionais de arte postal no Recife nos anos de 1975 e 1976, sendo esta última fechada pelos militares brasileiros. Realiza 30 filmes de artistas e videoarte entre 1979 e 1982, e começa a produzir videoinstalações em 1983. Cria, em 1980, o xerox-filme com base em sequências xerográficas. Com a Bolsa Guggenheim de artes visuais recebida em 1981, reside por um ano em Nova York. Nesse ano, expõe na sala especial sobre arte postal montada na 16ª Bienal Internacional de São Paulo. É editor de livros de artistas e mantém em seu ateliê no Recife importante coleção de livros e documentos sobre arte contemporânea, entre eles correspondência com integrantes dos grupos Fluxus e Gutai. Em 2004, seu ateliê é integralmente transferido do Recife para São Paulo, sendo remontado em uma das oito salas especiais da 26ª Bienal Internacional de São Paulo.

b. 1949, Recife, Brazil | lives and works in Recife, Brazil

Paulo Bruscky’s work reflects a simultaneous engagement with both the Brazilian artist’s local framework of Recife and a global network, which he documents in artist’s books, performative projects, and photographs. Associated with Fluxus, and a key participant in the international mail-art movement, he investigates meaning through action, collage, installation, film, and poetry. Produced during his first trip to New York as part of a Guggenheim Fellowship and in collaboration with Daniel Santiago, Air Art Proposal of Composition of Colored Clouds in the Sky of New York (1982) is one of a series of classified ads published in Brazilian and other newspapers that advocate absurd or impossible situations.

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Jorge Antunes / a musical visionary maestro (in Portuguese)

From his early experiment while studying violin and physics in Rio de Janeiro
to his exil in Argentina, Netherland, Paris and more during the difficult Brazilian period in the1960-1980s, Antunes collected a number of prizes for his exceptional compositions. He embarks us in his journey.

Jorge Antunes interview by Luca Forcucci / 20 November 2018 / Recife / Brazil

Jorge Antunes formou-se em violino, composição e regência. Em 1961 se destacou como precursor da música eletrônica no Brasil. Realizou estudos pós-graduados na Argentina, na Holanda e na França. Foi Professor Titular na Universidade de Brasília de 1973 até 2011 quando se aposentou. Obteve vários prêmios nacionais e internacionais. É membro da Academia Brasileira de Música. Suas obras são publicadas por Salabert, Breitpkof&Hartell, Gerig, Ricordi, Sistrum, Billaudot e Suvini Zerboni.

Escritor

Sua produção literária é vasta, embora pouco conhecida. A divulgação de seus poemas, crônicas e outros escritos tem se restringido à inclusão em algumas coletâneas, livros coletivos e jornais e revistas. Em 1998 a editora Hemisfério Sul, de Blumenau, publicou seu livro de literatura juvenil A Morte do Arco-Íris. Em 2001 ganhou o primeiro lugar no concurso de contos da Revista Poiésis. Em 2006 recebeu menção honrosa no Concurso de Contos Yage, em Salzburg, na Áustria.

Artista Plástico

Participou dos Salões Nacionais de Belas Artes, do Salão de Abril no MAM e dos Salões Nacionais de Arte Moderna. Partindo do princípio de que “o grau de recepção de uma mensagem artística é proporcional ao número de sentidos usados na recepção”, criou obras as quais denominou “arte integral”, pelo apelo direto aos cinco sentidos, inclusive o paladar. Emprega assim os diferentes recursos audiovisuais e cinéticos, além de odores, elementos gustativos e possibilidades táteis.

JORGE ANTUNES

was born in Rio de Janeiro in 1942. He completed his musical studies at the University of Brazil: violin, composition and conducting. From 1961 he stands out as a precursor of electroacoustic music in Brazil and begins research in the field of the correspondence between sounds and colors.

He took postgraduate courses in Buenos Aires, Paris and Utrecht, studying with Ginastera, Kröpfl, Gandini, Koenig, Bayle, Reibel and Schaeffer. From 1973 he is a full professor at the University of Brasilia, having retired in 2011. In 1976-1977, he completed his doctorate at the University of Paris VIII under supervision of Daniel Charles.

Antunes works with electroacoustic music and computer music, but his instrumental production is very great. Its scientific production is also vast, with articles published in several specialized journals and annals of congresses. He has published five books on techniques and theory of contemporary music.

Their scores are published by Suvini Zerboni, Billaudot, Breitkopf & Hartell, Durand and Sistrum. In 2002 he was appointed Chevalier dans l’Ordre des Arts et des Lettres by the French Ministry of Culture and Communication. In 2012 Antunes received the Ibermusicas prize. In 2013 he was a resident-composer at CMMAS, Mexico. In 2014 was done, in Brasilia, the world premiere of his new opera “A Cartomante”. In March of 2017 was done the world premiere, in São Paulo, of his new opera “The Mirror”.

Their scores are published by Suvini Zerboni, Billaudot, Breitkopf & Hartell, Durand and Sistrum. In 2002 he was appointed Chevalier dans l’Ordre des Arts et des Lettres by the French Ministry of Culture and Communication. In 2012 Antunes received the Ibermusicas prize. In 2013 he was a resident-composer at CMMAS, Mexico. In 2014 was done, in Brasilia, the world premiere of his new opera “A Cartomante”. In March of 2017 was done the world premiere, in São Paulo, of his new opera “The Mirror”.

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Phill Niblock: the life of a living icon in experimental intermedia

The artist evokes is journey into photography, films and music, and the technology he used over the years for each discipline. Moreover, he talks about his loft in New York where concert of ‘new’ music took place through Experimental Intermedia organization.

Phill Niblock / Interview by Luca Forcucci – May 21st 2018 / Berlin

Phill Niblock (b. 1933, USA) is an artist whose fifty-year career spans minimalist and experimental music, film and photography. Since 1985, he has served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation’s record label XI. Known for his thick, loud drones of music, Niblock’s signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. In 2013, his diverse artistic career was the subject of a retrospective realised in partnership between Circuit (Contemporary Art Centre Lausanne) and Musée de l’Elysée. The following year Niblock was honoured with the prestigious Foundation for Contemporary Arts John Cage Award.

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Salvador de Bahia / 29.11.2018

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Laser Nomad Salvador

French theatre theorist and writer Antonin Artaud was probably the first person to coin the term ‘virtual’, in The Theatre and Its Double (1938). He compared alchemy with theatre by declaring that both are visual arts, which don’t convey their end. Both theatre and alchemy are fictional in the sense they are immaterial, but they always make allusions to the material. Alchemy is frequently mentioned by the historians and the philosophers when refering to the history of chemistry.

Laser Nomad Talk in Salvador proposes a dialogue exploring points of contagion between art and science, understood as fields of symbolic production, implied in worldviews and submitted to social, political and economic contexts.

If, on the one hand, science as a mode of production of hegemonic knowledge has served as a basis for legitimizing the most diverse epistemicides perpetrated by the colonial expansion project, art, on the other, has been consumed by an avid market ignoring ritual dimensions, where healing, care and aesthetics are indissociable aspects of the same whole.

How to think of models and interfaces, which reconsider the magical and mythical origins that are at the root of both of them? Which epistemologies and cosmovisions can we bring to this conversation?

CHAIRED BY: Luca Forcucci

Bárbara Carine Soares Pinheiro 

Graduated in chemistry from Federal University of Bahia (UFBA) , Master and PhD mestrado e doutorado em teaching, philosophy and history of science UFBA/ UEFS. Currently Professor and vice director of the Institute of Chemistry UFBA.

Paola Barreto

is an audiovisual artist an researcher trained as a filmmaker. She has a BA in Film Studies, a MA in Aesthetics and Technology and a PhD in Interdisciplinary Poetics at the School of Visual Arts at Rio de Janeiro Federal University. Between 2014 and 2015 she was a visiting scholar at the Flusser Archiv at the Berlin University of the Arts. Her theoretical and practical production is based on analog and digital video circuits, media archeology and hybrid systems, unfolding in installations, interventions and science fiction. As a filmmaker she has received awards in Oberhausen and Buenos Aires and has exhibited her films at the Havana, It’s All True and São Paulo festivals. Her video interventions and installations have been exhibited at Festivals such as Live Performers Meeting, Rom; Vorspiel/ Transmediale, Berlin and Eletronika BH, Belo Horizonte. She lives and works in Salvador as a Professor at UFBA, and has been designing video circuits for film, theatre, performance and exhibitions since 2002.

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Recife / 19 November

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laser Recife

Perception is a topic of increasing importance due to the evolution of artificial in intelligence, augmented and virtual reality. Does this mean that artificial intelligence lead to artificial perception ? These technologies will and are entering our life deeper everyday in many fields. The idea of patterns of perception is central indeed. However do artificial perception/intelligence have illusions ? Philip K. Dick already asked if Androids would dream of electric sheep. For the second edition of LASER Nomad, the project lands in Recife, Brazil. Laser Nomad will explore and tackle perception. The topic is broad indeed, and we will frame it through art, music, computer science, anthropology and museology by inviting two major figures of art from Brazil, and two scientists.


CHAIRED BY: Luca Forcucci

9am – 12pm Laser Nomad Talks

Paulo Bruscky

Paulo Bruscky was born in 1949 in Recife, and received his BA in journalism at the Universidade Católica de Pernambuco, Recife, in 1978. Bruscky’s work reflects a simultaneous engagement with both the local artistic framework of Recife and a global network, which he documents in artist’s books, performative projects, and photographs. A key participant in the international mail-art movement and associated with Fluxus, he investigates meaning through action, collage, installation, film, and poetry.

Jorge Antunes

Avant-garde composer Jorge Antunes is known as the man who pioneered electronic music in Brazil. During the ’50s and ’60s, he studied the violin, conducting, composition, and physics, and as a result of the latter wrote his “Cromoplastofonias” series. Starting in the late ’60s, he worked in electronic studios in Buenos Aires (with Alberto Ginastera (link is external) and Umberto Eco, among others) and Paris, with Groupe de Recherches Musicales (with Pierre Schaeffer (link is external)). He served as a professor, studio director, and orchestra conductor at the University of Brasilia. Over the years, he founded the Chromo-Music Research Studio and the new music ensemble Group of Musical Experimentation. In his compositions, Antunes has explored the relationship between sound and colors, flavors and odors (in “Ambiente I”), and ‘commented’ on work by Claude Levi-Strauss with a percussive performance art piece. He has won several awards including the International Tribune of Composer’s UNESCO prize twice in the ’90s.

Alexandro Silva de Jesus

Adjunct Professor of the Department of Anthropology and Museology of the Federal University of Pernambuco and member of the Research Ethics Committee of the same institution. Holds a Bachelor’s degree in History from the Olinda Higher Education Foundation (1999), a Master’s in History from the Federal University of Pernambuco (2003) and a PhD in Sociology from the Federal University of Pernambuco (2010). Research interests encompass relationships between science and technology, politics of patrimonialization and museology in postcolonial spaces. His work problematizes, on the one hand, the policies for culture developed in spaces of decoloniality, and, on the other, the relations between scientific research and ethics.
Sofia Galvão

Sofia Galvão has a technical background in Electronics, a degree in Computer Engineering and a Master’s Degree in Computer Science. In her work with technology, she developed an interactive object for the exhibition Silence of the Form, by the sculptor Corbiniano Lins, and guided works by Oi Kabum students! School of Art and Technology. Conducted several workshops in different contexts: Construction of Digital Musical Instruments (National Science and Technology Week), Musicality and Technology (Agreste Academic Center UFPE), Low Cost Technologies and Gambiarras for Interactive Applications (Recife Summer School) and Lab of Textile Electronics – Stitching Sounds (SESC Belenzinho). She is part of MusTIC – Research Group on Technology and Design of Products and Experiences for Education, Arts and Entertainment. Coordinated a collective exhibition of the results of a series of artistic residencies that took place during the past year in the context of the MOVEMENTES project, a research in art and technology.
Yuri Brusky

is a sound artist and researcher, doctoral student in sociology at the Federal University of Pernambuco/UFPE. Has a master’s degree in communication from the UFPE. Develops artistic investigation exploring intersections between noise, language and everyday practices. Maintain since 2010 the label Estranhas Ocupações, through which releases records, publications and organizes concerts. Co-creator of the sound art and experimental music festival Rumor and the seminar and artistic residence program (Entre) Lugares Sonoros.

 

5 – 7pm  Concerts

Jorge Antunes

Ballade Dure, Electroacoustic piece (1995) 20’30”

Miró Escuchó Miró, for piano, electronic sounds and images  (1998) 17’40”

Piano: Mariuga Antunes

 

Luca Forcucci

B(L)(E)(E)(N)DINGS, Live electronic and images (2018), 35’00”

 

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