BlackBoxEcho & Squarpusher || Damogen Furies World Tour

Show Design, Art Direction & System Programming: Zak Norman

Technical Supervisor:  Martin Harvey

Visual Programmers: George Toledo, Peter Sistrom of [namethemachine] vade

Projectionists : Rupert Dean, Abigail Portner

Black Box Echo have designed Squarepusher’s innovative and fully generative new visual system.

The algorithms use geographical and meteorological data on each location we visit to define the starting points for an entirely generative visual environment. The patches are then controlled in their evolution by the audio and midi data they receive live from Squarepusher during the performance. Only he can control their development throughout the set by his chosen interactions with his own machines.

It is truly a visual instrument – defined by data; driven by audio.

I wanted to create something that confronted the concept of fear. For myself, it was the fear of losing control of my environment. After giving the system some basic rules and parameters to work inside during pre-production, I surrendered my ability to control the output, rendering it fully dependent on the feeds it receives and how it processes them. Each performance can be interpreted differently, with a continuously developing level of sophistication.

I have relinquished control of the machine, for better or worse.


Bruno Ribeiro || RESONANT

Installation interactive lumineuse et sonore composée de LED à travers laquelle la voix de l’utilisateur se transforme en matière musicale sculptant l’espace en lumière.

Concept / Design /Sound Design / Réalisation: Bruno Ribeiro
Concept / Sound Design: Turnsteak
Design / Réalisation structure: 0H1
Programmation / Interactif: Studio Bruyant


Bruno Ribeiro-RESONANT

Bruno Ribeiro || RESONANT



Candas Sisman || SYN-Phon

Graphical notation and composition by Candas Sisman

Barabás Lőrinc: Trumpet
Ölveti Mátyás: Cello
Candas Sisman: Electronics and Objects

Budapest Art Factory (BAF)  est heureux de vous présenter la pièce SYN-Phon, une performance sonore basée sur une notation visuelle graphique de Candas Sisman accompagné de Barabás Lőrinc & Ölveti Mátyás. L’artiste a résidé au BAF pendant un mois en juin 2013. L’oeuvre à été présentée à la fin de la résidence sous forme de performance ,découpée en acte et accompagnée des musiciens.

Budapest Art Factory (BAF)  pleased to present to you SYN-Phon; sound performance based on graphical notation by Candaş Şişman featuring Barabás Lőrinc & Ölveti Mátyás. Candaş Şişman resided at BAF for the month of June as part of its cross-cultural fertilization residency program. SYN-Phon will be exhibited to act, as a visual linguistic delivery through a cogitation segment followed by the sound performance on June 29th.

Coming about to understand the human nature of comprehending linguistics is that of a complex take –on. The constituent elements of language, in general content, bring forward the theory of other minds sharing, with intentioned communication.

Thought varies with the use and absence of language that comes to be found in line with the development of thinking and impulses from our daily surrounding. Eventually language creates our point of view just as much as our ideas and perception of matters, individualistically.

Art plays a crucial role in demolishing the boarders of our comprehension our mindset is framed into by literate language. Human language serves as a rather conservative form of communication when comparison to musical language; where the freedom of space employs as a resort for that broad horizon of that, that in search of cutting-edge form of broadcast.

Candas’s trials of combing various forms don’t necessarily imply the mere creation of a pioneering flash but rather the use of the endless possibilities in associating the known and unknown. Through the unknown, we come about with a new way of thinking that tries to substitute and make space for a new tool of self-expression. Conclusively the graphical notation gives liberate opportunity in creating one’s personal language that holds its basis on feeling the visual and sound in parallel.

Phonation, in accordance to Candas is the presence of sound language in SYN- Phon where the structure is supported by the synthesis itself. Music in its myriad forms extends to exploiting a communicative human language, thereby making the conceptual idea much more of significant importance than the actual tool. For Candas the presence of music in positively charged negatives spaces is a key element for substitution of the unknown seeking to be expressed. By the happening of SYN-Phon the line of musician will be crossed into a rather freely inflicted composer. Lőrinc and Mátyás as the musical inputs , on trumpet and cello respectively, of the performance will attain free expression 
rightfully to the impulses in line of creating a new language.

SYN-Phon sound performance will demonstrate an articulation based on Candas’s intimate collective findings of Budapest during the month of June. Buda and Pest in the separate geographical allocation hold different quintessence natures, in addition to the anecdote of recent flooding events of Duna the performance is meant to reach out to the audience as a sensual expressive language. The sound performance will include sounds, constructed and picked up in Budapest recorded by Candas himself. 
The whole bulk graphical notation will be available in print form to be part of the introductory assimilation.

Yuri Suzuki|| Looks like music

Yuri Suzuki – Looks Like Music
Mudam Publics Summer Project

Curated by Nadine Erpelding
Production by Dentaku Ltd
Sound Programming by Mark McKeague

Pour son projet d’été, le département publique du Mudam a invité le créateur japonais Yuri Suzuki à concevoir Looks like Music, une installation audiovisuelle basée sur son travail Colour Chaser. Il est composé d’un robot miniature qui détecte et suit un circuit – une ligne noire tracée au stylo marqueur – entrecoupés de points de référence de couleur que l’appareil traduit en son. Le public est invité à contribuer activement à la mise au point de l’installation dans l’espace d’exposition en étendant le circuit dessiné sur le papier. Les visiteurs participent ainsi à la création d’une œuvre d’art à grande échelle et enrichissent une pièce sonore composée collectivement. Une série d’événements et d’ateliers ont accompagné le projet au cours du mois d’Août.

For its summer project, Mudam’s Publics Department invited the Japanese creator Yuri Suzuki to conceive Looks Like Music, an audiovisual installation based on his work Colour Chaser. This consists of a miniature robot which detects and follows a circuit – a black line traced in marker pen – interspersed with coloured reference points that the device translates in sound. The public is invited to actively contribute to the development of the installation in the exhibition space by extending the circuit drawn on paper. Visitors thus participate in the creation of a large-scale artwork and enrich a collectively composed sound piece. A series of events and workshops accompanies the project during the month of August.

Layers A/V || No Hista

Performance audiovisuelle de 25 min

Montréal 2012

extrait live de la présentation lors de Sight and Sound 2012 @ Eastern Bloc

Layers is an audio/visual performance about perception and memory, with the goal of creating a choreography for a digital crowd.

Using audio-video fragments of anonymous pedestrians, Nohista confronts the public with his personal experience of the urban crowd.

Here, space and time are dissolved through tables and reassembled throughout a partition where the audio and visual material becomes an instrument, propelling the viewer into a evanescent universe.

Gyorgy Ligeti || Artikulation


György Ligeti est un compositeur roumano-hongrois né en 1923. L’oeuvre Artikulation est une composition éléctronique de 1958.

Dans les années 70, Rainer Wehinger a interpreté visuellement la music de Legeti, voici le rendu.

To describe Artikulation, a composition created by György Ligeti in 1958, Rainer Wehinger determined he would need to develop a graphical score for the piece. In order to capture the dynamics of the performance Rainer abandoned the conventions of standard notation, concluding it was ineffective in dealing with compositions devoid of regular meter and harmonic scale. The alternative system he developed relied on color, shape, width and position to capture Ligeti’s work. Color in the score was used to denote pitch or timbre, combs represented noise, dots marked impulses and the width of the elements indicated their duration. The video below maps Ligeti’s compostion on to Rainer’s graphical score to demonstrate how effectively it describes the performance. The Art of sound 


À propos de Artikulation :

Artikulation est une expérience de musique purement électronique, c’est à dire que tous les sons sont générés par un ordinateur, contrairement aux sons acoustiques. Cela implique une non intervention totale du facteur humain dans l’exécution de l’œuvre. Cela est en soi une révolution. L’absence de notes traditionnelles entraîne un rapport  nouveau à la musique: on ne peut parler ici de mélodie ou d’harmonie. L’œuvre est faite sur des bandes magnétiques collées, découpées, recollées, par montage.

«On produit, grâce à un générateur de courant alternatif, des sons purs en formes d’oscillations sinusoïdales que l’on enregistre séparément sur une bande magnétique, puis on découpe les fragments de cette bande aux différents sons et on les colle dans un ordre choisi. (…) On peut ensuite enregistrer le mélange de deux bandes sur une 3e et ainsi de suite. La vitesse de déroulement de la bande étant très rapide (76cm seconde) et les fragments de bande pouvant être très petits (jusqu’à 1 cm), on obtient des sons qui se succèdent à un intervalle de temps inférieur à 1/20 de sonde»         Ligeti, Pierre Michel, Editions Minerve