The mystery of the music in the brain is far from being understood. Through his career and while exploring brain music interfaces, quantum computing, cognition and biocomputers, Eduardo Reck Miranda take us into a field of possibilities for the future (of) music. Unlocking new opportunities and crossing boundaries of medical science and arts, we here discuss why music technology offers (again) new perspectives for music composition.
Eduardo Reck Miranda’s distinctive music is informed by his unique background as an Artificial Intelligence (AI) scientist and classically trained composer. He is internationally known for his research in neurotechnology for music and is championing investigation into quantum computing for musical creativity. Eduardo was a research scientist in the evolution of language group at Sony CSL Paris. He is a professor at the University of Plymouth, UK, where he leads the Interdisciplinary Centre for Computer Music Research (ICCMR). Currently, he is working with Quantinuum to develop applications of quantum computing in music. His opera ‘Lampedusa’, composed with sonification of subatomic particle collisions and live-electronics was premiered by BBC Singers.
In collaboration with nexCafé event, Swissnex in Japan
November 16th, 2022 from 6:00 PM to 9:00 PM (Kyoto)
1F, 1 Chome-13-22 Sonezakishinchi, Kita Ward WeWork Midosuji Frontier Osaka, 27 530-0002 Japan
The first Japanese edition of LASER NOMAD continues its investigation and critic of the implicit biases found in academic publishing, or the disconnect between work within a university and that going on outside, by decompartmentalizing knowledge, namely by creating bridges, and here asking what is the role of science and technology in art and humanities. The quest relates to interdisciplinarity, and indisciplinarity generated by art and science collaborations. Such pervasive fields are now mostly approached from a techno-scientific and Western perspective, and looking outside well established Western academic methodologies, focusing on the rituals involved within such collaboration through a nomad lab as mobile and multi-sited ethnography might lead to new questions and answers.
We investigate the role of science and technology in art and humanities. We invite Ryuta Aoki, a Tokyo-based artistic director and social sculptor, and Adrian Altenburger, professor for building technology in Lucerne, Switzerland, for an exclusive discussion.
18:00-18:10 Welcome and Intro 18:10-19:00 Presentation 19:00-19:20 Discussion 19:20-21:00 Networking Reception with music performance by Luca Forcucci / The Room Above
Tokyo-based artistic director and social sculptor. I have been creating invisible structures that maximize people’s creativity to explore the form of “society as it could be” that terraforms cultural deserts into cultural forests. I currently plans, designs, directs and implements research projects, exhibitions, and artworks in the interdisciplinary art and science technology field.
Professor and Head of Institute / Course Building Technology and Energy at the Lucerne University of Applied Sciences and Arts since 2015. Former partner, board member and co-owner Amstein+Walthert AG from 1999-2015. Lecturer and adjunct professor in the field of energy and building services engineering in Switzerland and abroad (ETH Zurich, HTW Chur, Harvard University – Graduate School of Design and Harvard University – Extension School, University of Zurich, Kyoto Institute of Technology).
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
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)
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 (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.