$15
Digital Audio + Zine
With writing by: Michelle Lou, Stefan Maier, Michael Flora, Dominic Coles, Hunter Brown, Seth Brodsky, and Sunik Kim
Michelle Lou: Untitled
Michelle Lou’s untitled is an unrelenting exploration of repetition,
breach, and difference. Like some cybernetic hound chasing its tail,
Lou’s work careens around its own materials making tangible an absence
at the core of each looping segment. Over the course of the piece,
these absences come to take on new forms and meanings.
Stefan Maier: The Arranger
(Live at HKW)
(Live at HKW)
For modular synthesizer, Machine listening software, sound system,
and radio-transmission headsets.
Machine listening demonstrates how artificial intelligences not only “hear” sound by way of linear signal processing but also actively “listen” based on abstract statistical modelling. The dawn of such artificial listeners implies that the capacity of listening might not exclusively belong to the human after all, and that the “machinic listening” native to these tools might differ considerably from our own. However, the potential forms of difference that these machine-listeners might offer seems out of reach for the human ear.
Stefan Maier’s The Arranger explores the interplay between a precomposed work and an arrangement of that work generated by machine-listenering-driven granular resynthesis. The software, uniquely trained to rearrange Maier’s composition unpredictably, gives a glimpse into the inner-workings of an artifactual listening relationship. The arrangement of Maier’s composition was transmitted via a radio-translation system in tandem with the original work over loudspeakers, thereby creating a dialogue wherein each listener could explore the interplay between composerly intention and machine intelligence.
The Arranger was commissioned for the opening of Haus der Kulturen der Welt’s Radiophonic Spaces exhibition as a part of Der Ohrenmensch.
Machine listening demonstrates how artificial intelligences not only “hear” sound by way of linear signal processing but also actively “listen” based on abstract statistical modelling. The dawn of such artificial listeners implies that the capacity of listening might not exclusively belong to the human after all, and that the “machinic listening” native to these tools might differ considerably from our own. However, the potential forms of difference that these machine-listeners might offer seems out of reach for the human ear.
Stefan Maier’s The Arranger explores the interplay between a precomposed work and an arrangement of that work generated by machine-listenering-driven granular resynthesis. The software, uniquely trained to rearrange Maier’s composition unpredictably, gives a glimpse into the inner-workings of an artifactual listening relationship. The arrangement of Maier’s composition was transmitted via a radio-translation system in tandem with the original work over loudspeakers, thereby creating a dialogue wherein each listener could explore the interplay between composerly intention and machine intelligence.
The Arranger was commissioned for the opening of Haus der Kulturen der Welt’s Radiophonic Spaces exhibition as a part of Der Ohrenmensch.
Michael Flora: Emergent Spectra
Michael Masaru Flora’s Emergent Spectra stages a series of quizzical
and confounding psychoacoustic experiments. In its material reduction,
Flora uncovers an impactful vitality and organicism at once completely
surreal yet entirely natural.
Other Plastics: almost leisure
Other Plastics’ irreverent suite examines the rhythmic profile of
various forms of contemporary leisure. Using an idiosyncratic
toolkit to analyze the rhythmic character of a series of club nights,
parties, and public ragers, Other Plastics seeks to uncover the very
form of how we unwind.
December 2nd 2022