MTF Labs Aveiro 2022 Projects
A week of creative brainstorming and co-creation in response to grand challenges under the theme ‘Ecosystem Living’ resulted in 18 original new collaborative projects that were presented at the Saturday night showcase event, in addition to a final improvised performance by all participants.
1.
Mussel Manifesto
Max Baraitser Smith’s investigation into Ecosystem Living through analysis and extrapolation of principles from a ubiquitous organism found in the Aveiro region.
9 LESSONS FROM MUSSELS ON ECOSYSTEM LIVING
- Live together with multiple generations and multiple species
- No need to move, just stay put
- Get tangled up
- Create something bigger than yourself
- Ecosystem living doesn’t have to be pretty
- Incorporate whatever floats past
- Interspecies interactions are not always mutual
- Create an environment where you are comfortable and safe
- Incorporate technologies
Presentation + concept by Max Baraitser Smith
Informative input on marine ecosystems by Ana Rodrigues - Teacher in the Biology Department in the University of Aveiro
1.
Mussel Manifesto
Max Baraitser Smith’s investigation into Ecosystem Living through analysis and extrapolation of principles from a ubiquitous organism found in the Aveiro region.
9 LESSONS FROM MUSSELS ON ECOSYSTEM LIVING
- Live together with multiple generations and multiple species
- No need to move, just stay put
- Get tangled up
- Create something bigger than yourself
- Ecosystem living doesn’t have to be pretty
- Incorporate whatever floats past
- Interspecies interactions are not always mutual
- Create an environment where you are comfortable and safe
- Incorporate technologies
Presentation + concept by Max Baraitser Smith
Informative input on marine ecosystems by Ana Rodrigues - Teacher in the Biology Department in the University of Aveiro
2.
Ec(h)osystem Game I - Synec(h)o
How far are we synchronised with each other in this particular moment and spaces? In some ancient tribes before discussing an important topic, people were sitting together in a circle and waiting for their heartbeats to synchronise.
For some ecosystems, synchronisation is critical. For example with mussels, there is a need that the eggs and sperms of the female and male of the species, even at a distance from each other, are released at the same time for the fertilisation to occur.
The performance Synec(h)o explores how two individuals synchronise using a simple sound based spatial system using sine tones. Do they synchronise together or are they synchronised?
Max Baraitser Smith, Micaela Silva, Jung In Jung, Romain Muller
All of us discussed the theme Ecosystem Living and we questioned whether there is any ecosystem without echoes. As ecosystems are so interdependent, we wanted to explore this idea in our performance. Jung In created the interactive sound system using two hacked Gametrak controllers. Depending on the distance between the tethered controllers and the performances, the frequency of the sine tones changes. So the challenge is that the two blindfolded performers have to play the same frequency of sine tones by moving around and finding the right distance only by focusing and listening to the sound they are playing. For the final performance, Romain opened the piece by talking about the concept of Synec(h)o, Micaela and Max performed the piece, and Jung In set up the system and took care of the system throughout the performance.
2.
Ec(h)osystem Game I - Synec(h)o
How far are we synchronised with each other in this particular moment and spaces? In some ancient tribes before discussing an important topic, people were sitting together in a circle and waiting for their heartbeats to synchronise.
For some ecosystems, synchronisation is critical. For example with mussels, there is a need that the eggs and sperms of the female and male of the species, even at a distance from each other, are released at the same time for the fertilisation to occur.
The performance Synec(h)o explores how two individuals synchronise using a simple sound based spatial system using sine tones. Do they synchronise together or are they synchronised?
Max Baraitser Smith, Micaela Silva, Jung In Jung, Romain Muller
All of us discussed the theme Ecosystem Living and we questioned whether there is any ecosystem without echoes. As ecosystems are so interdependent, we wanted to explore this idea in our performance. Jung In created the interactive sound system using two hacked Gametrak controllers. Depending on the distance between the tethered controllers and the performances, the frequency of the sine tones changes. So the challenge is that the two blindfolded performers have to play the same frequency of sine tones by moving around and finding the right distance only by focusing and listening to the sound they are playing. For the final performance, Romain opened the piece by talking about the concept of Synec(h)o, Micaela and Max performed the piece, and Jung In set up the system and took care of the system throughout the performance.
3.
ComeToLife
The ComeToLife project emerged from a presentation from Luís Menezes (Geoscientist) of a project in which he is involved dedicated to children from Pediatric wings from NSF Hospitals. This project, coordinated by Dr. Ana Maria Príncipe is now focused on the United Nations Ocean Decade and the protection of the Ocean.
For this collaborative project, we chose some of the children’s illustrations and brought them to life through animation, turning them into living ecosystems If children understand it, adults will also.
The idea, coordination, animation, and presentation - Diana Ferreira
Supplier of illustrations, the transmission of the experience with pediatrics children, and suggestions during the execution phase - Luís Menezes Pinheiro and Ana Principe.
Recording of sea waves placed at the beginning and end of the presentation - Ivo Prata
Creating a sound suitable for the presentation and animations of the illustrations - Tomás Oliveira Pediatric Wings Project coordinator - Ana Principe
3.
ComeToLife
The ComeToLife project emerged from a presentation from Luís Menezes (Geoscientist) of a project in which he is involved dedicated to children from Pediatric wings from NSF Hospitals. This project, coordinated by Dr. Ana Maria Príncipe is now focused on the United Nations Ocean Decade and the protection of the Ocean.
For this collaborative project, we chose some of the children’s illustrations and brought them to life through animation, turning them into living ecosystems If children understand it, adults will also.
The idea, coordination, animation, and presentation - Diana Ferreira
Supplier of illustrations, the transmission of the experience with pediatrics children, and suggestions during the execution phase - Luís Menezes Pinheiro and Ana Principe.
Recording of sea waves placed at the beginning and end of the presentation - Ivo Prata
Creating a sound suitable for the presentation and animations of the illustrations - Tomás Oliveira Pediatric Wings Project coordinator - Ana Principe
4.
AveiroTiles
Life happens simultaneously in different locations and repeats itself everyday. The palette of colours which Aveiro’s ecosystem is coloured with is brought through 9 video loops. They activate a set of sounds to create an immersive experience by request. It can be a piece of art with single use, or a performance through group collaboration - an hybrid approach exposing modern & natural tiles of Aveiro.
Videos by Carla V. Leite Sounds by Anthony Cowie (Clutch) Development by Colectivo Suspeito Art Concept by Colectivo Suspeito and Carla V. Leite
4.
AveiroTiles
Life happens simultaneously in different locations and repeats itself every day. The palette of colors in which Aveiro’s ecosystem is colored is brought through 9 video loops. They activate a set of sounds to create an immersive experience by request. It can be a piece of art with single-use or performance through group collaboration - a hybrid approach exposing the modern & natural tiles of Aveiro.
Videos by Carla V. Leite Sounds by Anthony Cowie (Clutch) Development by Colectivo Suspeito Art Concept by Colectivo Suspeito and Carla V. Leite
5.
Aveiro Play the MAP
This web application (mtf.pmtric.com) visits different locations on the map that points to certain important values in (eco)systems, such as valuable resources. In this idea every device connecting to the application will be part of the same ecosystem by sending signals to all other devices, translated into ambient tones and colors on the map. Since users are in different spots on the map this creates a feeling of non-linear and continuous play, being part of a whole while still focusing on your own value-bringing to the ecosystem. Ideally, the devices should play in the same room sharing their sound and screen (over the shoulder) to create one full landscape of sound and animated graphics.
The map is connected to a REST API and signals during the performance were sent to the map using a MIDI controller as well as a “rainbow easter egg” API call that colors all the water polygons according to a predefined color scheme. The connection to MIDI and REST makes it possible to create all sorts of “instruments” that trigger the map sounds and colors.
The next version will show specific circular value supply chain flows that lets users continuously affect the behavior of the flow by sending data signals to affect the resources. This would be a bit more educational. This will also show a parallel flow chart including graphics of the different resources such as different materials, their quantities (as played by the users) as well as the connected environmental values. This is to combine the expression of music and visuals with concrete values used for ecosystem living planning and design.
Tim Canfer, Jung In Jung, Geraint Rhys, Terhi Marttila, Pavel Ápisov, JP Carrascal, Ravi Kapur, Nuno Barbosa, Andreas Rudenå
Tim - Mixolydian theme (this is the theme played continuously on the map) Jung In - Sound recordings from Barra, fish market and salt pans Geraint - Sounds from the ocean (credits: AWI, HIFMB) Terhi - Sound recording from bird tree. Provided the “Rainbow easter egg” idea and provided the color scheme Ápisov - Programmed the sound that plays when a signal is received on user device JP - Provided code for MIDI connection as well as the controller (hardware) for the performance Ravi - Video that played in the midsection referring back to “ecosystems at all scale” mixing between salt pans footage and the Aveiro map Nuno - Video footage of the salt pans used in the video by Ravi Andreas - Application and map programming, production
5.
Aveiro Play the MAP
This web application (mtf.pmtric.com) visits different locations on the map that points to certain important values in (eco)systems, such as valuable resources. In this idea every device connecting to the application will be part of the same ecosystem by sending signals to all other devices, translated into ambient tones and colors on the map. Since users are in different spots on the map this creates a feeling of non-linear and continuous play, being part of a whole while still focusing on your own value-bringing to the ecosystem. Ideally, the devices should play in the same room sharing their sound and screen (over the shoulder) to create one full landscape of sound and animated graphics.
The map is connected to a REST API and signals during the performance were sent to the map using a MIDI controller as well as a “rainbow easter egg” API call that colors all the water polygons according to a predefined color scheme. The connection to MIDI and REST makes it possible to create all sorts of “instruments” that trigger the map sounds and colors.
The next version will show specific circular value supply chain flows that lets users continuously affect the behavior of the flow by sending data signals to affect the resources. This would be a bit more educational. This will also show a parallel flow chart including graphics of the different resources such as different materials, their quantities (as played by the users) as well as the connected environmental values. This is to combine the expression of music and visuals with concrete values used for ecosystem living planning and design.
Tim Canfer, Jung In Jung, Geraint Rhys, Terhi Marttila, Pavel Ápisov, JP Carrascal, Ravi Kapur, Nuno Barbosa, Andreas Rudenå
Tim - Mixolydian theme (this is the theme played continuously on the map) Jung In - Sound recordings from Barra, fish market and salt pans Geraint - Sounds from the ocean (credits: AWI, HIFMB) Terhi - Sound recording from bird tree. Provided the “Rainbow easter egg” idea and provided the color scheme Ápisov - Programmed the sound that plays when a signal is received on user device JP - Provided code for MIDI connection as well as the controller (hardware) for the performance Ravi - Video that played in the midsection referring back to “ecosystems at all scale” mixing between salt pans footage and the Aveiro map Nuno - Video footage of the salt pans used in the video by Ravi Andreas - Application and map programming, production
6.
Aveiro on a plate
Aveiro on a plate is a sensory performance that emphasizes the importance of smell for our understanding of what a sense of place means. It poses the question: What scents do we connect with the idea of healthy ecosystems?
In an immersive experience audience members are encouraged to explore a carefully curated set dinner table. Void of words and explanations the performers gesture the invitation to explore the locally foraged ingredients through their senses - feeling the coarse texture of shells at the fingertips, crushing fresh wild mint to release its fragrant smell or sensing the crunchy saltiness of fresh salicornia.
Spectators then engage in live-action as we collectively cook a dish on a connected stovetop with all sounds and actions amplified to enhance the experience for the audience. What ingredients they add or take away impacts the smells of our “dish” and thus, the composition of the ecosystem depends on what the audience contributes.
As the pink salt crystal sheets (freshly harvested from the local salinas) would hit the pan with a sharp sizzle it would reverberate gently through the space of the otherwise silent performance. From the boiling sound of braising clams & mussels picked from the beaches of the Atlantic to the clutter of kitchen utensils, and the distinct noises of frying Costa Nova seaweed: Cooking the selected local ingredients invoke the local smells of Aveiro, with fire as one of the oldest techniques vital to human ecosystems. All this, reminds us that making sense of the complexity of the world necessitates us to engage with all of our senses.
Making Of:
The concept began with Geraint and Ivo studying the materials that Monica had presented in her provocation session and then wondering how we could incorporate smell into the performance. They knew sound, vision and touch would be well represented but wondered what a healthy ecosystem smells like? Having been inspired by Fransisca’s food talk they started to discuss between the three of them, what they could do. Very quickly the idea of having a participatory cooking performance developed.
As they continued throughout the week to discuss what exactly they would do, they all collected various materials on our excursions from seaweeds, to mussels, to sand, to salt, that could be cooked to invoke the smells of Aveiro. After gathering and collecting kitchen and cooking material, the iteration process then began: exploration and in loco research and tryouts were made to achieve interesting feelings or emotions or sensations, audible and smellable. MTFlabs got really appetizing for a while and the fear of the sprinklers was a reality! Experiments with oil, seawater, and sea weeds were the main focus here, and also very important was the different results they got with different cooking temperatures.
For the final performance, Fransisca designed the beautiful layout of the table, and then Geraint and Fransisca performed the piece where they would encourage the audience to pick up and smell the local materials, adding them to the pan to play with the various smells of Aveiro, along with the sound being created.
Concept & Art Directory
Fransisca Tan, Geraint Rhys Whittaker, Ivo Prata
Materials - organic and inorganic
Mónica Pedro, Ângela Cunha, Ivo Prata, Fransisca Tan Mic rigging and audio experimentation Geraint Rhys Whittaker, Ivo Prata
Research & Production
Fransisca Tan, Geraint Rhys Whittaker, Ivo Prata
Set Design
Fransisca Tan
Performers
Fransisca Tan, Geraint Rhys Whittaker
Making Of:
The concept began with Geraint and Ivo studying the materials that Monica had presented in her provocation session and then wondering how we could incorporate smell into the performance. They knew sound, vision and touch would be well represented but wondered what a healthy ecosystem smells like? Having been inspired by Fransisca’s food talk they started to discuss between the three of them, what they could do. Very quickly the idea of having a participatory cooking performance developed.
As they continued throughout the week to discuss what exactly they would do, they all collected various materials on our excursions from seaweeds, to mussels, to sand, to salt, that could be cooked to invoke the smells of Aveiro. After gathering and collecting kitchen and cooking material, the iteration process then began: exploration and in loco research and tryouts were made to achieve interesting feelings or emotions or sensations, audible and smellable. MTFlabs got really appetizing for a while and the fear for the sprinklers was a reality! Experiments with oil, seawater, and sea weeds were the main focus here, and also very important was the different results they got with different cooking temperatures.
For the final performance, Fransisca designed the beautiful layout of the table, and then Geraint and Fransisca performed the piece where they would encourage the audience to pick up and smell the local materials, adding them to the pan to play with the various smells of Aveiro, along with the sound being created.
Concept & Art Directory
Fransisca Tan, Geraint Rhys Whittaker, Ivo Prata
Materials - organic and inorganic
Mónica Pedro, Ângela Cunha, Ivo Prata, Fransisca Tan Mic rigging and audio experimentation Geraint Rhys Whittaker, Ivo Prata
Research & Production
Fransisca Tan, Geraint Rhys Whittaker, Ivo Prata
Set Design
Fransisca Tan
Performers
Fransisca Tan, Geraint Rhys Whittaker
6.
Aveiro on a plate
Aveiro on a plate is a sensory performance that emphasizes the importance of smell for our understanding of what a sense of place means. It poses the question: What scents do we connect with the idea of healthy ecosystems?
In an immersive experience audience members are encouraged to explore a carefully curated set dinner table. Void of words and explanations the performers gesture the invitation to explore the locally foraged ingredients through their senses - feeling the coarse texture of shells at the fingertips, crushing fresh wild mint to release its fragrant smell or sensing the crunchy saltiness of fresh salicornia.
Spectators then engage in live-action as we collectively cook a dish on a connected stovetop with all sounds and actions amplified to enhance the experience for all the audience. What ingredients they add or take away impacts the smells of our “dish” and thus, the composition of the ecosystem depends on what the audience contributes.
As the pink salt crystal sheets (freshly harvested from the local salinas) would hit the pan with a sharp sizzle it would reverberate gently through the space of the otherwise silent performance. From the boiling sound of braising clams & mussels picked from the beaches of the Atlantic to the clutter of kitchen utensils, and the distinct noises of frying Costa Nova seaweed: Cooking the selected local ingredients invoke the local smells of Aveiro, with fire as one of the oldest techniques vital to human ecosystems. All this reminds us that making sense of the complexity of the world necessitates us to engage with all of our senses.
7.
The Black Box Experiment
How might we create an ecosystem of creativity consisting of both human and technological actors, that operates on interpretations and allows each actor to play to their strengths?
The Black Box Experiment is a trialogue to accomplish this between three actors and their interplay:
- The audience proposing inspirational topics to explore
- AI systems, synthesizing and interpreting the audiences inputs into images
- Performers (musicians & movers) interpreting these images as a performance for the audience
The purpose is to turn everyone (including technological entities) in the ecosystem into active co-participants in the creation process. The system can be run as a continuous loop and it is designed to enrich the playful emerging explorations by preserving ambiguity between each step.
Theme curators
Angela, Sara, Audience
Musicians
Tim, Craig, Max, Terhi, Lou, JP, Geraint, Nuno
Movers
Tom, Vanessa, Romain
MC & Initiator
Tuuli
Computer sounds, electronics and mixing
Craig
AI-generated prompt image
7.
The Black Box Experiment
How might we create an ecosystem of creativity consisting of both human and technological actors, that operates on interpretations and allows each actor to play to their strengths?
The Black Box Experiment is a trialogue to accomplish this between three actors and their interplay:
- The audience proposing inspirational topics to explore
- AI systems, synthesizing and interpreting the audiences inputs into images
- Performers (musicians & movers) interpreting these images as a performance for the audience
The purpose is to turn everyone (including technological entities) in the ecosystem into active co-participants in the creation process. The system can be run as a continuous loop and it is designed to enrich the playful emerging explorations by preserving ambiguity between each step.
AI-generated prompt image 1
Theme curators
Angela, Sara, Audience
Musicians
Tim, Craig, Max, Terhi, Lou, JP, Geraint, Nuno
Movers
Tom, Vanessa, Romain
MC & Initiator
Tuuli
Computer sounds, electronics and mixing
Craig
Input words from the audience
Life and death, Cocoon, Shell, Synchronization, Time, Harmony, Serenity, Fun, Fire, Soft, Loud, Drum, Sensuous, Zing, Care, Extremofiles, Veins, Overflow, Saturated, ceremonial juju, Lion running away, Vibrating, Energy, social prescriptions, Space, Planta, Water, River, Fungi, Birds, Forest, Replacement, Wood, black, Drugs, Pink, Puppy looking at a kitchen door, Nicotine Valium Vicodin maijuana ecstasy alcohol, Flamingo, Cats covered in ketchup eating flowers, Cats, A tiny studio in an attic, Lipsticks, Coliving, Decay, Peace, emotional support reindeers, Jungle animals monkeys and stuff and stuff monkeys, Lobotomy, Circular flows, capitalism, Moving, Bacteria, Symbiosis, Global warming starts again, Fungi, Fish, Dancing bears, Interdependency, bubbles, Fish, anxiety, Wood wide web, Religion, Interaction, Hierarchy is energy, SLB, Mud, Race, How can we live together, Courage, Consequently, Ladder, Fluid, Cycle, Circle, Resume, Dynamic balance, Complexity, Circle, Waste, Comprehensive, Predation, Regeneration, Death, Life, Competition, Love, Interdependence, Care, Symbiosis, Dependence, Multiple species, Sharing, Communication, Belonging, Mutualism, Biodiversity, Peace.
AI-generated prompt image 2
8.
Sparkle
The inspiration for this piece arose from a desire to image the response that water has under the influence of sound, triggered by a question posed by a student, Sara. Water is a strange fluid and essential to all life on earth. It is at its most dense at 4 °C, and when it freezes it will float. It is the universal solvent that biochemical cycles can’t function without. Solutes affect the very nature of this vital fluid, and the chemical landscape in which we live is partitioned by what will and won’t dissolved in water. We wanted to see how it danced. In particular we wanted to see how it danced to the beats of Spacebarman’s live music.
- Peter Keen
- Luis Menezes Pinheiro
- Juan Pablo “JP” Carrascal Ruiz
- Daniel Rosero
Peter wore sparkling flashing goggles of shark skin and electronics while taking responsibility for switching a light on and off. He also mounted the apparatus that made this possible. Luis helped Peter, also wearing the fancy goggles and played with the volume switch during the performance. Sara raised the initial question and provided the recipient for the aparatus. Juan Pablo and Daniel helped with electronics and provided the live music.
8.
Sparkle
The inspiration for this piece arose from a desire to image the response that water has under the influence of sound, triggered by a question posed by a student, Sara. Water is a strange fluid and essential to all life on earth. It is at its most dense at 4 °C, and when it freezes it will float. It is the universal solvent that biochemical cycles can’t function without. Solutes affect the very nature of this vital fluid, and the chemical landscape in which we live is partitioned by what will and won’t dissolved in water. We wanted to see how it danced. In particular we wanted to see how it danced to the beats of Spacebarman’s live music.
- Peter Keen
- Luis Menezes Pinheiro
- Juan Pablo “JP” Carrascal Ruiz
- Daniel Rosero
Peter wore sparkling flashing goggles of shark skin and electronics while taking responsibility for switching a light on and off. He also mounted the apparatus that made this possible. Luis helped Peter, also wearing the fancy goggles and played with the volume switch during the performance. Sara raised the initial question and provided the recipient for the aparatus. Juan Pablo and Daniel helped with electronics and provided the live music.
9.
Resonant Network
The resonant network is a game/installation/performance. The network is a fun, visual, physical, and audible representation of an ecosystem where the system’s ability to resonate and stay coherent depends on each player’s envolement. As every system has limits, the resonant network is limited to the number of handles and the length of wire and the operation/playing/performance of the network is dependant on the engagement of each player.
Details/Instructions
A ring is made of 10-30 players, each facing inwards, holding a metal node handle (ideally at an angle of about 30 degrees from the horizontal, left hand up). A drum of braided wire is passed between players until a chaotic network of wires crisscrosses and connects all players. The network is then tensioned by players pulling back on the handles.
Two types of games can be facilitated on a resonant network: manual and electrical.
Manual games include Messages, Waves and Trust leaning (and many others that we have not thought of).
Messages - sending plucked ‘messages’ with the player’s right hand and receiving with the thumb of the left hand. The messages can then be sent around the network. Waves - ‘Mexican waves’ can be explored using lead and follow and chaotic co-creation.
Trust leaning - depending on shoe/floor grip, players can lean back at incrementally larger angles, each one holding the others up. (Please be careful with this!)
Electrical games
Using one or more surface mount speakers connected to a small amplifier and medial player audio signals can be sent resonating around the network. These signals can be felt in the metal handles by the players, and, by the strategic placing of piezo microphones, can also be heard through a PA. In this way, the resonant network acts like a combination of spring and plate reverb.
1. Setup. 10-30 people stand in a loose circle facing inward, each holding a metal node handle. A reel of wire is past randomly across the circle calling the name, or introducing yourself to another person node and asking their name. The wire is past back and forth until each person has a loop of wire on their handle.
2. Network/Ecosystem games. Lead and follow then co-creation movements.
3. Network/Ecosystem audio. Surface mount drivers will be placed at different parts of the network to be picked up by piezo microphones on other parts of the network, which which is then put through a PA.
4. Pack down. Each person winds the wire back on the reel (somehow scampering under the network, again, to test!)
What could go wrong right? We have the handles and components and several types of wire/fishing line to test. Would be great to have around 10 people to do a test network later today, everyone welcome!
The concept is to have a physical, active, visual, and audio exploration of networks and connections using materials and technology. Everyone is a node, a participant and a performer.
Tim Canfer devised the concept and through collaboration with Craig Scott explored different materials and setups to come up with a working network. Craig Scott led on electronics hardware and Tim Canfer on physical materials.
9.
Resonant Network
The resonant network is a game/installation/performance. The network is a fun, visual, physical, and audible representation of an ecosystem where the system’s ability to resonate and stay coherent depends on each player’s envolement. As every system has limits, the resonant network is limited to the number of handles and the length of wire and the operation/playing/performance of the network is dependant on the engagement of each player.
Details/Instructions
A ring is made of 10-30 players, each facing inwards, holding a metal node handle (ideally at an angle of about 30 degrees from the horizontal, left hand up). A drum of braided wire is passed between players until a chaotic network of wires crisscrosses and connects all players. The network is then tensioned by players pulling back on the handles.
Two types of games can be facilitated on a resonant network: manual and electrical.
Manual games include Messages, Waves and Trust leaning (and many others that we have not thought of).
Messages - sending plucked ‘messages’ with the player’s right hand and receiving with the thumb of the left hand. The messages can then be sent around the network. Waves - ‘Mexican waves’ can be explored using lead and follow and chaotic co-creation.
Trust leaning - depending on shoe/floor grip, players can lean back at incrementally larger angles, each one holding the others up. (Please be careful with this!)
Electrical games
Using one or more surface mount speakers connected to a small amplifier and medial player audio signals can be sent resonating around the network. These signals can be felt in the metal handles by the players, and, by the strategic placing of piezo microphones, can also be heard through a PA. In this way, the resonant network acts like a combination of spring and plate reverb.
1. Setup. 10-30 people stand in a loose circle facing inward, each holding a metal node handle. A reel of wire is past randomly across the circle calling the name, or introducing yourself to another person node and asking their name. The wire is past back and forth until each person has a loop of wire on their handle.
2. Network/Ecosystem games. Lead and follow then co-creation movements.
3. Network/Ecosystem audio. Surface mount drivers will be placed at different parts of the network to be picked up by piezo microphones on other parts of the network, which which is then put through a PA.
4. Pack down. Each person winds the wire back on the reel (somehow scampering under the network, again, to test!)
What could go wrong right? We have the handles and components and several types of wire/fishing line to test. Would be great to have around 10 people to do a test network later today, everyone welcome!
The concept is to have a physical, active, visual, and audio exploration of networks and connections using materials and technology. Everyone is a node, a participant and a performer.
Tim Canfer devised the concept and through collaboration with Craig Scott explored different materials and setups to come up with a working network. Craig Scott led on electronics hardware and Tim Canfer on physical materials.
10.
Sense of Surrounding/DEBASS
Sense of Surrounding/DEBASS is an immersive sonic environment that transforms built spaces into immersive forests of sound.
SOS/DEBASS creates a spatialised and collaborative ecosystem of sound by distributing individually made audio tracks to the mobile phones of audience members. Once connected to the ecosystem each phone becomes an individual emitter and when placed around- and embedded into- the architectural space around them, combines with the other devices to make a multidimensional soundscape that reminds us of the experience of being in natural environments.
The experience of SOS/DEBASS encourages us to reach out with our senses beyond the fortified architecture of our surroundings. It is an attempt to permeate these static constructs and reconnect us with the ecological systems that exist within and without by surrounding us with a thousand tiny voices, stories, and reminders of the ecosystems to which we belong.
SOS/DEBASS challenges our preconceptions of sound creation, participation, and experience by shifting focus away from linear musical construction, the audience/ performer dynamic, and the single source of sound emission to multilinear, participatory, and spatially distributed sound.
SOS/DEBASS is a first-time collaboration between Tom deMajo and JP Carrascal and is a combination and evolution of previous individual works.
Design, sound: Tom deMajo Programming: Juan Pablo “JP” Carrascal
10.
Sense of Surrounding/DEBASS
Sense of Surrounding/DEBASS is an immersive sonic environment that transforms built spaces into immersive forests of sound.
SOS/DEBASS creates a spatialised and collaborative ecosystem of sound by distributing individually made audio tracks to the mobile phones of audience members. Once connected to the ecosystem each phone becomes an individual emitter and when placed around- and embedded into- the architectural space around them, combines with the other devices to make a multidimensional soundscape that reminds us of the experience of being in natural environments.
The experience of SOS/DEBASS encourages us to reach out with our senses beyond the fortified architecture of our surroundings. It is an attempt to permeate these static constructs and reconnect us with the ecological systems that exist within and without by surrounding us with a thousand tiny voices, stories, and reminders of the ecosystems to which we belong.
SOS/DEBASS challenges our preconceptions of sound creation, participation, and experience by shifting focus away from linear musical construction, the audience/ performer dynamic, and the single source of sound emission to multilinear, participatory, and spatially distributed sound.
SOS/DEBASS is a first-time collaboration between Tom deMajo and JP Carrascal and is a combination and evolution of previous individual works.
Design, sound: Tom deMajo Programming: Juan Pablo “JP” Carrascal
11.
Ecosystem Singing
The idea is to use singing in a group as a tool for behavioral changes and/or passing knowledge, synchronising values. Using a mobile app we created polyrhythmic music from the heart rates of the audience and asked people to sing along with us a simple melody.
Pavlo Apisov, Geraint Rhys Whittaker, Sitara Kapur
Pavlo - concept, develop a mobile app, music generation, visuals, signing Geraint, Sitara - concept, composing melody for singing during the performance, singing.
11.
Ecosystem Singing
The idea is to use singing in a group as a tool for behavioral changes and/or passing knowledge, synchronising values. Using a mobile app we created polyrhythmic music from the heart rates of the audience and asked people to sing along with us a simple melody.
Pavlo Apisov, Geraint Rhys Whittaker, Sitara Kapur
Pavlo - concept, develop a mobile app, music generation, visuals, signing Geraint, Sitara - concept, composing melody for singing during the performance, singing.
12.
SALT
Salt is a sonic sculpture and musical instrument that uses repurposed waste materials and salt from the salt pans of Aveiro. Drainage pipes hold a sheet of rusted metal elevated in an angled position, while glaciers of salt slide down and tumble off its edge, landing on various-sized tiles. Contact microphones and surface mount speakers are attached at various positions on the sculpture, amplifying the subtleties of the movement of salt and causing sonic feedback through the system. The feedback in turn causes vibrations, resulting in more Salt being displaced.
Left alone, the sculpture will cyclically vibrate, resonate, and feedback. The work can also be performed to accelerate the procession of salt and exaggerate the system, by either dropping more salt onto the sculpture or by percussive interventions. During our MTF labs showcase, it was performed in accompaniment with edited recordings of ocean sound samples to build a layered rhythmic soundscape.
The use of visibly repurposed junk materials and audible feedback alludes to themes of sustainability and circular economy but equally results in a confrontationally noisy aesthetic, perhaps speaking to the vulgarity and wastefulness of our present moment.
- - Louis McHugh
- - Tiago Margaça
- - Clutch Daisy
Tiago and Clutch collaborated to create the sculptural elements.
Louis built the contact mics and feedback system.
12.
SALT
Salt is a sonic sculpture and musical instrument that uses repurposed waste materials and salt from the salt pans of Aveiro. Drainage pipes hold a sheet of rusted metal elevated in an angled position, while glaciers of salt slide down and tumble off its edge, landing on various-sized tiles. Contact microphones and surface mount speakers are attached at various positions on the sculpture, amplifying the subtleties of the movement of salt and causing sonic feedback through the system. The feedback in turn causes vibrations, resulting in more Salt being displaced.
Left alone, the sculpture will cyclically vibrate, resonate, and feedback. The work can also be performed to accelerate the procession of salt and exaggerate the system, by either dropping more salt onto the sculpture or by percussive interventions. During our MTF labs showcase, it was performed in accompaniment with edited recordings of ocean sound samples to build a layered rhythmic soundscape.
The use of visibly repurposed junk materials and audible feedback alludes to themes of sustainability and circular economy but equally results in a confrontationally noisy aesthetic, perhaps speaking to the vulgarity and wastefulness of our present moment.
- Louis McHugh
- Tiago Margaça
- Clutch Daisy
Tiago and Clutch collaborated to create the sculptural elements.
Louis built the contact mics and feedback system.
13.
Ec(h)osystem Game II - Ec(h)o
This is the second part of Ec(h)osystem Game. Whereas the first part of the game was about synchronization through sound, the second part is about listening back to movement traces. When blindfolded Micaela Silva draws circular lines with her body movement with gravity on a large piece of paper on the floor tethered by two hacked Gametrak controllers, the sound system created by Jung In Jung receives Micaela’s drawing movement data and records it. Once Micaela stops drawing and takes off the blindfold, the system plays sonified movement data. Jung In created the sound materials inspired by the sounds she heard at the beach walk at Bara and salt pan walking in Aveiro.
Micaela Silva, Jung In Jung, Max Baraitser Smith, Romain Muller
All of us created the concept together. Jung In created the interactive sound system and performed it together with Micaela.
13.
Ec(h)osystem Game II - Ec(h)o
This is the second part of Ec(h)osystem Game. Whereas the first part of the game was about synchronization through sound, the second part is about listening back to movement traces. When blindfolded Micaela Silva draws circular lines with her body movement with gravity on a large piece of paper on the floor tethered by two hacked Gametrak controllers, the sound system created by Jung In Jung receives Micaela’s drawing movement data and records it. Once Micaela stops drawing and takes off the blindfold, the system plays sonified movement data. Jung In created the sound materials inspired by the sounds she heard at the beach walk at Bara and salt pan walking in Aveiro.
Micaela Silva, Jung In Jung, Max Baraitser Smith, Romain Muller
All of us created the concept together. Jung In created the interactive sound system and performed it together with Micaela.
Marta de Menezes-> Created the Dataset. Acted as a “microscopic” DJ. Provided the microscope and the Salt Pan water samples.
Sitara Kapur -> Jammed live with the microorganisms “noise” with her voice and ISFx (D.I.Y effects processor made by Daniel Rosero)
Daniel Rosero -> Trained the microorganism classifier. Developed the prototype (client and server). Jammed live with the microorganisms “noise” with an electric bass and ISFx.
14.
miscrOSCopio
This project tries to allow microscopic life to become a “gesture executer” (based on M. Wanderley’s paper titled “Gestural Control of Music”) where using techniques of Computer Vision, we managed to train a classifier for an arbitrary type of microorganism found in the salt pans. Using this classifier we can detect blobs of this microorganism in real-time from the microscope camera feed, and then publish this data (position coordinates, size of the microorganism) in real-time, so it can be consumed by whoever wants to, standardized in OSC protocol (well know the protocol that is used for music and visuals software by digital artist).
The main idea was to provide this tool so that any interested team at MTF could use this data in real-time, and implicitly, get plugged into an ecosystem by itself, whose core goes around the microorganisms being classified.
The project repository and more information can be found here: https://github.com/danielrosero/micrOSCopio
15.
Vorticella
Vorticella is a performanced in collaboration with and inspired by Vorticella – a protozoan parasite found by Marta Menezes in Aveiro’s salt beds. The performance had two separate interactive loops, which were also interacting with one another. One was the digital translation of the Vorticella’s live image into sound through its movement, which created an interactive sound system mediated by vibrating piezo disks that deliver the sound of the vorticella’s movement to its ecosystem. This allowed the integration of sound into the ecosystem, since it enabled it to speak but also to permit listening as a mediator of behavior.
The other was between sound and movement of two moving human bodies, mediated by the “score” of vorticella’s behavior, which emerged from study and observation over the course of four days. Focusing specifically on the contracting movement of the stalks of the parasite in response to vibration, as well as on the extending movement of the stalks as “reaching” for something, the experiment of inhabiting this ecosystem was one of assuming the logic of vorticella with our attention.
Anya Yermakova (movement)
Sitara Kapur (movement)
Marta Menezes (science, VJ)
André Araújo (sound, image and programming)
Mónica Pedro (wardrobe)
14.
miscrOSCopio
This project tries to allow microscopic life to become a “gesture executer” (based on M. Wanderley’s paper titled “Gestural Control of Music”) where using techniques of Computer Vision, we managed to train a classifier for an arbitrary type of microorganism found in the salt pans. Using this classifier we can detect blobs of this microorganism in real-time from the microscope camera feed, and then publish this data (position coordinates, size of the microorganism) in real-time, so it can be consumed by whoever wants to, standardized in OSC protocol (well know the protocol that is used for music and visuals software by digital artist).
The main idea was to provide this tool so that any interested team at MTF could use this data in real-time, and implicitly, get plugged into an ecosystem by itself, whose core goes around the microorganisms being classified.
The project repository and more information can be found here: https://github.com/danielrosero/micrOSCopio
Marta de Menezes-> Created the Dataset. Acted as a “microscopic” DJ. Provided the microscope and the Salt Pan water samples.
Sitara Kapur -> Jammed live with the microorganisms “noise” with her voice and ISFx (D.I.Y effects processor made by daniel rosero)
Daniel Rosero -> Trained the microorganism classifier. Developed the prototype (client and server). Jammed live with the microorganisms “noise” with an electric bass and ISFx.
15.
Vorticella
Vorticella is a performanced in collaboration with and inspired by Vorticella – a protozoan parasite found by Marta Menezes in Aveiro’s salt beds. The performance had two separate interactive loops, which were also interacting with one another. One was the digital translation of the Vorticella’s live image into sound through its movement, which created an interactive sound system mediated by vibrating piezo disks that deliver the sound of the vorticella’s movement to its ecosystem. This allowed the integration of sound into the ecosystem, since it enabled it to speak but also to permit listening as a mediator of behavior.
The other was between sound and movement of two moving human bodies, mediated by the “score” of vorticella’s behavior, which emerged from study and observation over the course of four days. Focusing specifically on the contracting movement of the stalks of the parasite in response to vibration, as well as on the extending movement of the stalks as “reaching” for something, the experiment of inhabiting this ecosystem was one of assuming the logic of vorticella with our attention.
Anya Yermakova (movement)
Sitara Kapur (movement)
Marta Menezes (science, VJ)
André Araújo (sound, image and programming)
Mónica Pedro (wardrobe)
16.
Shimmer
Shimmer is a conceptual piece of art that uses poetry, dance and music as the ingredients to explore the theme of Ecosystem Living. The piece portrays the idea that there are several different entities in the ecosystem and these all live with each other in harmony until there is a disruption and the ecosystem changes and adapts to the new reality. The piece is divided into three acts. First there is the realisation that we are in the ecosystem, that we are part of it. We observe our surroundings and notice the elements, the connections between them. The second act builds on these observations and shows us the interactions between the beings that inhabit the system and the increasing dynamics that these have with each other. It finishes with the disruption of this synergy and tries to elaborate on the process of reaching the equilibrium. Once this is achieved, a new harmony is re-established and the system is still the the same but with a different configuration.
- Xavier Marques (music)
- Tomás Oliveira / DJ Ride (music)
- Hugo Grave (lightning)
- Terhi Marttila (spoken word)
- Anya Yermakova (dance)
- Sitara Kapur (dance)
- Mónica Pedro (wardrobe)
16.
Shimmer
Shimmer is a conceptual piece of art that uses poetry, dance and music as the ingredients to explore the theme of Ecosystem Living. The piece portrays the idea that there are several different entities in the ecosystem and these all live with each other in harmony until there is a disruption and the ecosystem changes and adapts to the new reality. The piece is divided into three acts. First there is the realisation that we are in the ecosystem, that we are part of it. We observe our surroundings and notice the elements, the connections between them. The second act builds on these observations and shows us the interactions between the beings that inhabit the system and the increasing dynamics that these have with each other. It finishes with the disruption of this synergy and tries to elaborate on the process of reaching the equilibrium. Once this is achieved, a new harmony is re-established and the system is still the the same but with a different configuration.
- Xavier Marques (music)
- Tomás Oliveira / DJ Ride (music)
- Hugo Grave (lightning)
- Terhi Marttila (spoken word)
- Anya Yermakova (dance)
- Sitara Kapur (dance)
- Mónica Pedro (wardrobe)
17.
A language for ecosystem living
To question who gets to speak in the discussion on better ecosystem living, this short film poses the question, who has a voice and in which language is that voice expressed?
The participants in the piece were asked one question, what does a healthy ecosystem look like to you?
Through the diversity of answers expressed, we also understand the diversity of languages present at MTF Labs.
The piece also highlights the binary power dynamics of the English language. On the one hand speaking English allows those from numerous cultural backgrounds to communicate with each other and co-create, on the other hand it emphasizes the dominance of English at the expense of linguistic diversity around the world.
As the audio merges into one and the languages become unrecognizable, the piece suggests that creativity is the key language that unites us all.
The phrases that flash up are reflections on the discussions on better ecosystem living which emerged from the week in Averio.
Geraint Rhys Whittaker, Francisca Lourenço
Francisca filmed the interviews whilst Geraint asked the question. We co-edited the film together, with Fransisca being the primary visual editor and Geraint the primary audio editor. Geraint wrote a series of sentences reflecting on some of the key themes and discussion points from the past week, which flashed up on the screen in between interviews.
17.
A language for ecosystem living
To question who gets to speak in the discussion on better ecosystem living, this short film poses the question, who has a voice and in which language is that voice expressed?
The participants in the piece were asked one question, what does a healthy ecosystem look like to you?
Through the diversity of answers expressed, we also understand the diversity of languages present at MTF Labs.
The piece also highlights the binary power dynamics of the English language. On the one hand speaking English allows those from numerous cultural backgrounds to communicate with each other and co-create, on the other hand it emphasizes the dominance of English at the expense of linguistic diversity around the world.
As the audio merges into one and the languages become unrecognizable, the piece suggests that creativity is the key language that unites us all.
The phrases that flash up are reflections on the discussions on better ecosystem living which emerged from the week in Averio.
Geraint Rhys Whittaker, Francisca Lourenço
Francisca filmed the interviews whilst Geraint asked the question. We co-edited the film together, with Fransisca being the primary visual editor and Geraint the primary audio editor. Geraint wrote a series of sentences reflecting on some of the key themes and discussion points from the past week, which flashed up on the screen in between interviews.
18.
Quasimodo - York Satellite
To question who gets to speak in the discussion on better ecosystem living, this short film poses the question, who has a voice and in which language is that voice expressed?
The participants in the piece were asked one question, what does a healthy ecosystem look like to you?
Through the diversity of answers expressed, we also understand the diversity of languages present at MTF Labs.
The piece also highlights the binary power dynamics of the English language. On the one hand speaking English allows those from numerous cultural backgrounds to communicate with each other and co-create, on the other hand it emphasizes the dominance of English at the expense of linguistic diversity around the world.
As the audio merges into one and the languages become unrecognizable, the piece suggests that creativity is the key language that unites us all.
The phrases that flash up are reflections on the discussions on better ecosystem living which emerged from the week in Averio.
Geraint Rhys Whittaker, Francisca Lourenço
Francisca filmed the interviews whilst Geraint asked the question. We co-edited the film together, with Fransisca being the primary visual editor and Geraint the primary audio editor. Geraint wrote a series of sentences reflecting on some of the key themes and discussion points from the past week, which flashed up on the screen in between interviews.
18.
Quasimodo - York Satellite
A VISUAL MUSIC EXQUISITE CORPSE featuring a chain of live feeds, one influencing the other, and looping in on itself.
Inspired by: Quasimodo the Great Lover Alvin Lucier, 1970
For any person who wishes to send sounds [and images] over long distances through the air, water, ice, metal, stone, or any other sound [and image] carrying medium, using the sounds [and images] to capture and carry to listeners [and viewers] far away the acoustic [and visual] characteristics of the environments through which they travel.
The piece is a platform for exploration and play - for the MTF we are imagining this feedback as an ecology - much in the sense of an ecosystem, also a cybernetic system. We will inject into the system heart signals from the human body, climate and environmental data, and signals from plants. Brainstorming and rehearsals will happen today and a video shoot/performance tomorrow- however it would be possible to join in Saturday and connect to the final performance somehow. for example, we can send our data streams via the internet to Aveiro using ShiftrIO (https://www.shiftr.io/). Imagine a telematic heart or realtime updates from our local environment.
