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PROJECTS

In a week of creative brainstorming and co-creation

in response to grand challenges under the theme ‘Just Ocean’,

14 separate projects including a 6-part oceanographic symphony were created, documented and performed.

In addition, live exclusive international contributions

and multiple co-creation projects from 8 global satellites were presented.

Feedback from the event has been overwhelmingly positive right across the board.

1. 

Final Ensemble Performance: Sub-Littoral Mud

An audio-visual piece performed by 15 musicians and 5 visual artists, in six distinct movements.

This performance is inspired by the Marine Ecosystem Service Optimisation (MESO) scientific model of Carr, Keen, Pegg & Tillin (2018) using sound and images to express an underlying Bayesian Belief Network. This network maps human pressures through ecosystem processes to model the effect these have in ecosystem services. Ecosystem services define the benefits provided to us, humans, by a natural ecosystem. Sub Littoral Mud is the dominant habitat of the lagoon and Salinas in Aveiro. It references the fine-grain sediment of this low energy estuarine environment. By interpreting some of the model’s parameters from an artistic perspective, this performance merges two complementary narratives, sound and image, seeking to represent how the Aveiro lagoon’s water ecosystem is impacted by human activities. The piece consists of six movements: Baseline lagoon, Habitat changes, Extractive activities, Physical changes, Contamination, and Cataclysm.

Images captured in the location during the week were combined with archival film from the legacy of Aveiro filmmaker Vasco Afonso Branco. As part of the process, both sound and visuals were produced separately as two distinct, yet complementary narratives responding to the same model and structure, meeting for the first time at the time of the performance. By envisioning future scenarios, we can plan for the recovery and sustainable management of fragile habitats, yet of vital importance, for the benefit of human and non-human inhabitants.

The MTF Ensemble

The MTF Ensemble was born out of a desire to create a multidisciplinary performance that would include and connect a large number of participants from different areas in the 2021 MTF labs edition in Aveiro. With 15 musicians of very different backgrounds and styles willing to perform, Ed Rocha Gonçalves (in the role of musical director) found there was a need to implement an organisational framework that would be able to achieve 3 main outcomes:

  • An organized, coherent final musical performance
  • Every musician would have equal time to perform
  • Every musician would perform in the style of their choosing, without external impositions

Also, since the piece would be accompanied by live visuals, Pedro Carvalho de Almeida (in the role of art director) would also be needing a framework to organize the visual artists in order to:

  • Have a thematic source and structure for image creation and manipulation
  • Create a tangent connection between the music and the visuals
  • Create visual performative content for live implementation

The music team (Ed Rocha Gonçalves, Moullinex, Surma, Klin Klop, João Pedro Cardielos, Dinis Mota, Madeleine Wöbbe, Gonçalo Guiomar, Guilherme Martins, Konstantino Damianakis, Luís Xandy Anjos, Nestor Peixoto, Rui Maia, João Melo and Mandi Chen) and the visual team (Pedro Carvalho de Almeida, Petra Naydenov, Bita Bordbar, Benham Dayyan and Pedro Ferreira) both agreed that, in the interest of allowing total creative freedom to all artists involved, ideally all restrictions would come from an external source, so the teams decided to approach some of the scientific presentations that took place during the week for inspiration. The physical proximity of the Aveiro Salinas and Lagoon (which the whole team visited on the first day) alongside the Marine Ecosystem Service Optimisation (MESO) scientific model of Carr, Keen, Pegg & Tillin (2018) presentation by Peter Keen drew the teams to brainstorm the possibility of connecting the two, and developing the framework from the model presented by Peter.

In essence, the chosen model maps human pressures through ecosystem processes to model the effect these have in ecosystem services. By mapping the human pressures to the musicians as “inputs” and the effects of the ecosystem services to the visual artists as “outputs”, our framework started to take shape. The different pressures and effects present in the model were grouped into 5 “families”: “Baseline lagoon, Habitat changes, Extractive activities, Physical changes and Contamination”. These keywords served as inspiration both for the visual structure and the formation of 5 different groups of musicians, which organized organically according to their musical styles and instrumentations in relation to the group names. By dividing these groups into movements, we could achieve a final piece that would enable all the musicians to freely interpret the concepts in a musical style that is natural to them, and also a unique and original musical composition deeply connected to time and location in which it took place.

 

 

The music team (Ed Rocha Gonçalves, Moullinex, Surma, Klin Klop, João Pedro Cardielos, Dinis Mota, Madeleine Wöbbe, Gonçalo Guiomar, Guilherme Martins, Konstantino Damianakis, Luís Xandy Anjos, Nestor Peixoto, Rui Maia, João Melo and Mandi Chen) and the visual team (Pedro Carvalho de Almeida, Petra Naydenov, Bita Bordbar, Benham Dayyan and Pedro Ferreira) both agreed that, in the interest of allowing total creative freedom to all artists involved, ideally all restrictions would come from an external source, so the teams decided to approach some of the scientific presentations that took place during the week for inspiration. The physical proximity of the Aveiro Salinas and Lagoon (which the whole team visited on the first day) alongside the Marine Ecosystem Service Optimisation (MESO) scientific model of Carr, Keen, Pegg & Tillin (2018) presentation by Peter Keen drew the teams to brainstorm the possibility of connecting the two, and developing the framework from the model presented by Peter.

In essence, the chosen model maps human pressures through ecosystem processes to model the effect these have in ecosystem services. By mapping the human pressures to the musicians as “inputs” and the effects of the ecosystem services to the visual artists as “outputs”, our framework started to take shape. The different pressures and effects present in the model were grouped into 5 “families”: “Baseline lagoon, Habitat changes, Extractive activities, Physical changes and Contamination”. These keywords served as inspiration both for the visual structure and the formation of 5 different groups of musicians, which organized organically according to their musical styles and instrumentations in relation to the group names. By dividing these groups into movements, we could achieve a final piece that would enable all the musicians to freely interpret the concepts in a musical style that is natural to them, and also a unique and original musical composition deeply connected to time and location in which it took place.

The Performance

        BASELINE

Ed Rocha Gonçalves - Behringer Deepmind 6, Moog Minitaur

Moullinex - Moog Grandmother, Soma lab LYRA-8

Surma - FX pedals, Theremin

Klin Klop - AVA violin, Line 6 Helix

        HABITAT CHANGES

João Pedro Cardielos - Ableton Live, Novation Launchkey mini

Dinis Mota - Fender Stratocaster American Special

Madeleine Wöbbe - Lyrics

         PHYSICAL CHANGE

Gonçalo Guiomar - Ableton Live, Earthquaker devices pedals

Guilherme Martins - Brain Drum, hand-built sequencer

Konstantino Damianakis - Ableton Live

Luís Xandy Anjos - Mindwave Mobile headset, Korg Kaossilator

         CONTAMINATION

Nestor Peixoto - Vocals, hand-built kinetic pedal, Traktor scratch pro

         EXTRACTIVE ACTIVITIES

Rui Maia - AKAI MPC Live

João Melo - Eurorack modular system

Mandi Chen - spoken word

         CATACLYSM

All performers playing simultaneously.

         VISUALS

Visuals for all movements performed by:

Pedro Carvalho de Almeida - Art direction, microscope video, handwriting and title design

Petra Naydenov - Photography and video editing, production, live VJing

Pedro Ferreira - Video manipulation, live VJing

Bita Bordbar - Photography and video editing

Benham Dayyan - Photography and video

Archival film excerpts from the documentary “O espelho da cidade” by Vasco Afonso Branco (1961) courtesy of Hugo Branco at VIC, Aveiro. All visuals were composed on Resolume Avenue 6 and performed live.

1. 

Final Ensemble Performance: Sub-Littoral Mud

An audio-visual piece performed by 15 musicians and 5 visual artists, in six distinct movements.

This performance is inspired by the Marine Ecosystem Service Optimisation (MESO) scientific model of Carr, Keen, Pegg & Tillin (2018) using sound and images to express an underlying Bayesian Belief Network. This network maps human pressures through ecosystem processes to model the effect these have in ecosystem services. Ecosystem services define the benefits provided to us, humans, by a natural ecosystem. Sub Littoral Mud is the dominant habitat of the lagoon and Salinas in Aveiro. It references the fine-grain sediment of this low energy estuarine environment. By interpreting some of the model’s parameters from an artistic perspective, this performance merges two complementary narratives, sound and image, seeking to represent how the Aveiro lagoon’s water ecosystem is impacted by human activities. The piece consists of six movements: Baseline lagoon, Habitat changes, Extractive activities, Physical changes, Contamination, and Cataclysm.

Images captured in the location during the week were combined with archival film from the legacy of Aveiro filmmaker Vasco Afonso Branco. As part of the process, both sound and visuals were produced separately as two distinct, yet complementary narratives responding to the same model and structure, meeting for the first time at the time of the performance. By envisioning future scenarios, we can plan for the recovery and sustainable management of fragile habitats, yet of vital importance, for the benefit of human and non-human inhabitants.

The MTF Ensemble

The MTF Ensemble was born out of a desire to create a multidisciplinary performance that would include and connect a large number of participants from different areas in the 2021 MTF labs edition in Aveiro. With 15 musicians of very different backgrounds and styles willing to perform, Ed Rocha Gonçalves (in the role of musical director) found there was a need to implement an organisational framework that would be able to achieve 3 main outcomes:

  • An organized, coherent final musical performance
  • Every musician would have equal time to perform
  • Every musician would perform in the style of their choosing, without external impositions

Also, since the piece would be accompanied by live visuals, Pedro Carvalho de Almeida (in the role of art director) would also be needing a framework to organize the visual artists in order to:

  • Have a thematic source and structure for image creation and manipulation
  • Create a tangent connection between the music and the visuals
  • Create visual performative content for live implementation

The music team (Ed Rocha Gonçalves, Moullinex, Surma, Klin Klop, João Pedro Cardielos, Dinis Mota, Madeleine Wöbbe, Gonçalo Guiomar, Guilherme Martins, Konstantino Damianakis, Luís Xandy Anjos, Nestor Peixoto, Rui Maia, João Melo and Mandi Chen) and the visual team (Pedro Carvalho de Almeida, Petra Naydenov, Bita Bordbar, Benham Dayyan and Pedro Ferreira) both agreed that, in the interest of allowing total creative freedom to all artists involved, ideally all restrictions would come from an external source, so the teams decided to approach some of the scientific presentations that took place during the week for inspiration. The physical proximity of the Aveiro Salinas and Lagoon (which the whole team visited on the first day) alongside the Marine Ecosystem Service Optimisation (MESO) scientific model of Carr, Keen, Pegg & Tillin (2018) presentation by Peter Keen drew the teams to brainstorm the possibility of connecting the two, and developing the framework from the model presented by Peter.

In essence, the chosen model maps human pressures through ecosystem processes to model the effect these have in ecosystem services. By mapping the human pressures to the musicians as “inputs” and the effects of the ecosystem services to the visual artists as “outputs”, our framework started to take shape. The different pressures and effects present in the model were grouped into 5 “families”: “Baseline lagoon, Habitat changes, Extractive activities, Physical changes and Contamination”. These keywords served as inspiration both for the visual structure and the formation of 5 different groups of musicians, which organized organically according to their musical styles and instrumentations in relation to the group names. By dividing these groups into movements, we could achieve a final piece that would enable all the musicians to freely interpret the concepts in a musical style that is natural to them, and also a unique and original musical composition deeply connected to time and location in which it took place.

 

 

The music team (Ed Rocha Gonçalves, Moullinex, Surma, Klin Klop, João Pedro Cardielos, Dinis Mota, Madeleine Wöbbe, Gonçalo Guiomar, Guilherme Martins, Konstantino Damianakis, Luís Xandy Anjos, Nestor Peixoto, Rui Maia, João Melo and Mandi Chen) and the visual team (Pedro Carvalho de Almeida, Petra Naydenov, Bita Bordbar, Benham Dayyan and Pedro Ferreira) both agreed that, in the interest of allowing total creative freedom to all artists involved, ideally all restrictions would come from an external source, so the teams decided to approach some of the scientific presentations that took place during the week for inspiration. The physical proximity of the Aveiro Salinas and Lagoon (which the whole team visited on the first day) alongside the Marine Ecosystem Service Optimisation (MESO) scientific model of Carr, Keen, Pegg & Tillin (2018) presentation by Peter Keen drew the teams to brainstorm the possibility of connecting the two, and developing the framework from the model presented by Peter.

In essence, the chosen model maps human pressures through ecosystem processes to model the effect these have in ecosystem services. By mapping the human pressures to the musicians as “inputs” and the effects of the ecosystem services to the visual artists as “outputs”, our framework started to take shape. The different pressures and effects present in the model were grouped into 5 “families”: “Baseline lagoon, Habitat changes, Extractive activities, Physical changes and Contamination”. These keywords served as inspiration both for the visual structure and the formation of 5 different groups of musicians, which organized organically according to their musical styles and instrumentations in relation to the group names. By dividing these groups into movements, we could achieve a final piece that would enable all the musicians to freely interpret the concepts in a musical style that is natural to them, and also a unique and original musical composition deeply connected to time and location in which it took place.

The Performance

        BASELINE

Ed Rocha Gonçalves - Behringer Deepmind 6, Moog Minitaur

Moullinex - Moog Grandmother, Soma lab LYRA-8

Surma - FX pedals, Theremin

Klin Klop - AVA violin, Line 6 Helix

        HABITAT CHANGES

João Pedro Cardielos - Ableton Live, Novation Launchkey mini

Dinis Mota - Fender Stratocaster American Special

Madeleine Wöbbe - Lyrics

         PHYSICAL CHANGE

Gonçalo Guiomar - Ableton Live, Earthquaker devices pedals

Guilherme Martins - Brain Drum, hand-built sequencer

Konstantino Damianakis - Ableton Live

Luís Xandy Anjos - Mindwave Mobile headset, Korg Kaossilator

         CONTAMINATION

Nestor Peixoto - Vocals, hand-built kinetic pedal, Traktor scratch pro

         EXTRACTIVE ACTIVITIES

Rui Maia - AKAI MPC Live

João Melo - Eurorack modular system

Mandi Chen - spoken word

         CATACLYSM

All performers playing simultaneously.

         VISUALS

Visuals for all movements performed by:

Pedro Carvalho de Almeida - Art direction, microscope video, handwriting and title design

Petra Naydenov - Photography and video editing, production, live VJing

Pedro Ferreira - Video manipulation, live VJing

Bita Bordbar - Photography and video editing

Benham Dayyan - Photography and video

Archival film excerpts from the documentary “O espelho da cidade” by Vasco Afonso Branco (1961) courtesy of Hugo Branco at VIC, Aveiro. All visuals were composed on Resolume Avenue 6 and performed live.

2.

Siren

 

Siren is a ritualized performance inspired by the Aveiro para-hydromorphic Regosal - the constantly changing boundary between land and water. Breathing, voluntary and involuntary muscle movements and dual heartbeats compose the sound. The performance is accompanied by an interactive video-art piece edited from a film taken from a site-specific performance at the Aveiro wetlands.

 

Anya Yermakova (performance, improvisation and composition)

Mónica Pedro (fish skin harvesting and processing and location scouting)

Alexandra Antopoulou (cinematography video art, costume and ritual, spoken word)

Alan Macy (interactive bio-sensing and sound design)

Mark-David Hosale (sound design and live electronic composition)

Konstantinos Damianikis (video art and design)

Diana Vieira (poetry and environmental science)

Cindy Macy (breathing and spoken word)

Débora Umbelino (spoken word)

Gonçalo Guiomar (vocals)

Scott Beibin (data collection assistance)

2.

Siren

 

Siren is a ritualized performance inspired by the Aveiro para-hydromorphic Regosal - the constantly changing boundary between land and water. Breathing, voluntary and involuntary muscle movements and dual heartbeats compose the sound. The performance is accompanied by an interactive video-art piece edited from a film taken from a site-specific performance at the Aveiro wetlands.

 

Anya Yermakova (performance, improvisation and composition)

Mónica Pedro (fish skin harvesting and processing and location scouting)

Alexandra Antopoulou (cinematography video art, costume and ritual, spoken word)

Alan Macy (interactive bio-sensing and sound design)

Mark-David Hosale (sound design and live electronic composition)

Konstantinos Damianikis (video art and design)

Diana Vieira (poetry and environmental science)

Cindy Macy (breathing and spoken word)

Débora Umbelino (spoken word)

Gonçalo Guiomar (vocals)

Scott Beibin (data collection assistance)

3.  

SINK

 

In the city of Aveiro, Portugal, 50 experts from the MTF community representing 22 countries assembled to collaborate, experiment and plan how we are now going to invent new, sustainable, just and equitable worlds.

Like many cities on our coastline, Aveiro will be underwater in 30 years if we don’t do anything about it. SINK is a piece evoking the memories of a city that is about to sink, with singers performing in a sink, recorded with hydrophones. One of the project’s outputs was the creation of a free downloadable software instrument called the “Nestorphone” available for download on Github at: https://github.com/ekkolabs/nestorphone

  • Néstor Peixoto
  • Vesna Petresin
  • Ed Rocha Goncalves
  • Luis Clara Gomes

3.  

SINK

 

In the city of Aveiro, Portugal, 50 experts from the MTF community representing 22 countries assembled to collaborate, experiment and plan how we are now going to invent new, sustainable, just and equitable worlds.

Like many cities on our coastline, Aveiro will be underwater in 30 years if we don’t do anything about it. SINK is a piece evoking the memories of a city that is about to sink, with singers performing in a sink, recorded with hydrophones. One of the project’s outputs was the creation of a free downloadable software instrument called the “Nestorphone” available for download on Github at: https://github.com/ekkolabs/nestorphone

  • Néstor Peixoto
  • Vesna Petresin
  • Ed Rocha Goncalves
  • Luis Clara Gomes

4.

Music for Solo

One of the inspirations to make music that represents the parameters of the physical changes (waves) at the sublittoral mud ensemble performance was to recreate the experience Music for Solo Performer of Alvin Lucier (1965) using electrophysiological signals to trigger MIDI messages sent directly to a custom percussion instrument with mechanical actuators and also to other synths from a brain-computer interface sequencer software (aka [MEME] music).

  • Luis Anjos (MEME, neurosky mindwave mobile, kaossilator korg)
  • Guilherme Martins (custom sequencers and brain drums)

4.

Music for Solo

One of the inspirations to make music that represents the parameters of the physical changes (waves) at the sublittoral mud ensemble performance was to recreate the experience Music for Solo Performer of Alvin Lucier (1965) using electrophysiological signals to trigger MIDI messages sent directly to a custom percussion instrument with mechanical actuators and also to other synths from a brain-computer interface sequencer software (aka [MEME] music).

  • Luis Anjos (MEME, neurosky mindwave mobile, kaossilator korg)
  • Guilherme Martins (custom sequencers and brain drums)

5.

Biohack

Built improvised biological batteries with microbes and used the energy output of these to modulate MIDI signals.

  • Gjino Šutić
  • Daniel Rosero

5.

Biohack

Built improvised biological batteries with microbes and used the energy output of these to modulate MIDI signals.

  • Gjino Šutić
  • Daniel Rosero

6.

Invertebrate Coastline

Recordings of local wildlife and plants turned into a piece of music with overtone singing

  • Néstor Peixoto
  • Daniel Rosero

6.

Invertebrate Coastline

Recordings of local wildlife and plants turned into a piece of music with overtone singing

  • Néstor Peixoto
  • Daniel Rosero

7.

Aqua(l)formings 2.0

Salinas of Aveiro Audio - Visual performance

Aveiro’s salinas, pools of salt in the making, the evaporating ocean, migratory birds, shrimps, highly adapted flora and fauna. This landscape space is at once an interface between the human and the more-than-human, a gradient from the native to extreme. Field recordings of the local conditions, the water acoustics of the pools, countless images and experienced moments are woven together to attempt to unveil the many stories of the salinas: as crucial spaces for biodiversity, as vulnerable spaces to rising seas and weather changes, as a potential for nurturing empathic interspecies development.

  • Feileacan McCormick
  • Sofia Crespo
  • Robertina Šebjanič

    7.

    Aqua(l)formings 2.0

    Salinas of Aveiro Audio - Visual performance

    Aveiro’s salinas, pools of salt in the making, the evaporating ocean, migratory birds, shrimps, highly adapted flora and fauna. This landscape space is at once an interface between the human and the more-than-human, a gradient from the native to extreme. Field recordings of the local conditions, the water acoustics of the pools, countless images and experienced moments are woven together to attempt to unveil the many stories of the salinas: as crucial spaces for biodiversity, as vulnerable spaces to rising seas and weather changes, as a potential for nurturing empathic interspecies development.

    • Feileacan McCormick
    • Sofia Crespo
    • Robertina Šebjanič

      8.

      Oceans

      A letter to the ocean from Mota’s 19 year-old self, made in a beautiful afternoon, with the initial motivation of creating a song about how the ocean can have so much impact on everyone’s life, and what would a 5 year old kid say to the ocean. Instrumental produced by Madeleine Elliott.

      • Dinis Mota
      • Madeleine Elliott
      • Peter Keen
      • Anya Yermakova

      8.

      Oceans

      A letter to the ocean from Mota’s 19 year-old self, made in a beautiful afternoon, with the initial motivation of creating a song about how the ocean can have so much impact on everyone’s life, and what would a 5 year old kid say to the ocean. Instrumental produced by Madeleine Elliott.

      • Dinis Mota
      • Madeleine Elliott
      • Peter Keen
      • Anya Yermakova

      9.

      Mermaid’s Lament

      As the sea levels rise, the former coast becomes diffused in entanglements of ocean and land. Aquatic life forms such as Mermaids move inland and adapt to a new terrain. Mermaid’s Lament aims to raise awareness of the environmental impact caused by the rise of sea levels and the loss of coastline. The sea is rising at an increasing rate in the last years and will continue to affect both the aquatic ecosystem and the population that lives in coastal areas with floods, erosion, storms and threats to the urban infrastructures.

      • Sitara Kapur
      • João Melo
      • Assunta Alegiani
      • Pedro Ferreira
      • Guilherme Martins

      9.

      Mermaid’s Lament

      As the sea levels rise, the former coast becomes diffused in entanglements of ocean and land. Aquatic life forms such as Mermaids move inland and adapt to a new terrain. Mermaid’s Lament aims to raise awareness of the environmental impact caused by the rise of sea levels and the loss of coastline. The sea is rising at an increasing rate in the last years and will continue to affect both the aquatic ecosystem and the population that lives in coastal areas with floods, erosion, storms and threats to the urban infrastructures.

      • Sitara Kapur
      • João Melo
      • Assunta Alegiani
      • Pedro Ferreira
      • Guilherme Martins

      10.

      OSCean

      Music is all about gestures. OSCean focuses on allowing the ocean to act as a gesture executer, so it can be used in real-time by any digital artist by being received as OSC protocol messages, in order to use the data to control their performances / compositions / installations.

      Using low-cost hardware, the prototype streams real-time measurements from the connected sensors to anyone who wants to use this data. The prototype uses a waterproof temperature sensor and external ambient light sensor, but more sensors will be added in the future, such as a 3-axis accelerometer, external temperature, humidity, and so on.

      This project contributes to both arts and sciences. It allows for artistic gesture expression using the ocean but is also a scientific tool for ocean measurement study over time.

      This project can be easily scaled and replicated. The project repository and more information can be found here: https://github.com/danielrosero/OSCean

      • Daniel Rosero
      • Peter Keen

      10.

      OSCean

      Music is all about gestures. OSCean focuses on allowing the ocean to act as a gesture executer, so it can be used in real-time by any digital artist by being received as OSC protocol messages, in order to use the data to control their performances / compositions / installations.

      Using low-cost hardware, the prototype streams real-time measurements from the connected sensors to anyone who wants to use this data. The prototype uses a waterproof temperature sensor and external ambient light sensor, but more sensors will be added in the future, such as a 3-axis accelerometer, external temperature, humidity, and so on.

      This project contributes to both arts and sciences. It allows for artistic gesture expression using the ocean but is also a scientific tool for ocean measurement study over time.

      This project can be easily scaled and replicated. The project repository and more information can be found here: https://github.com/danielrosero/OSCean

      • Daniel Rosero
      • Peter Keen

      11.

      Immersio

      Live performance over video of Vesna walking into the ocean

      • Vesna Petresin
      • Francisca Siza
      • Luis Clara Gomes
      • Néstor Peixoto

      11.

      Immersio

      Live performance over video of Vesna walking into the ocean

      • Vesna Petresin
      • Francisca Siza
      • Luis Clara Gomes
      • Néstor Peixoto

      12.

      In the Morning Hear Them Singing

      Semi-improvised mixed media audiovisual performance (hydrophone field recordings, found objects, live-electronics, live microscope projection, computer vision, supervised neural networks) by Konstantinos Damianakis and Pedro Ferreira.

      Inspired by Italo Calvino’s “Thin City” (from his book, Invisible Cities) as well as the recent events of flooding in various cities around the world, Konstantinos Damianakis and Pedro Ferreira gathered fragments of sounds and objects around the city of Aveiro, Portugal - where the piece was performed - and created an alternative possible world taken over by mythical aquatic creatures: singing nymphs and naiads. The piece was performed by creating a small interactive ecosystem with various interconnected parts, including objects found around Aveiro, a microscope that captured and transmitted a micro-visual perspective of Pedro’s object performance, a laptop that reproduced the precomposed parts and run a supervised (pre-trained) neural network that performed sound as a reaction to the object performance, and a sampler-granulator combo performed by Konstantinos as a reaction to the object-light performance. All sounds were recorded during the week mainly using a hydrophone to explore the soundscape of the salinas’ interior and the city’s canals.

      • Konstantinos Damianakis
      • Pedro Ferreira

      12.

      In the Morning Hear Them Singing

      Semi-improvised mixed media audiovisual performance (hydrophone field recordings, found objects, live-electronics, live microscope projection, computer vision, supervised neural networks) by Konstantinos Damianakis and Pedro Ferreira.

      Inspired by Italo Calvino’s “Thin City” (from his book, Invisible Cities) as well as the recent events of flooding in various cities around the world, Konstantinos Damianakis and Pedro Ferreira gathered fragments of sounds and objects around the city of Aveiro, Portugal - where the piece was performed - and created an alternative possible world taken over by mythical aquatic creatures: singing nymphs and naiads. The piece was performed by creating a small interactive ecosystem with various interconnected parts, including objects found around Aveiro, a microscope that captured and transmitted a micro-visual perspective of Pedro’s object performance, a laptop that reproduced the precomposed parts and run a supervised (pre-trained) neural network that performed sound as a reaction to the object performance, and a sampler-granulator combo performed by Konstantinos as a reaction to the object-light performance. All sounds were recorded during the week mainly using a hydrophone to explore the soundscape of the salinas’ interior and the city’s canals.

      • Konstantinos Damianakis
      • Pedro Ferreira

      13.

      Limbo

      LIMBO (2021) is a Live Sound and Live Visuals performance that reflects on the rise of the sea levels environmental issue, its impact and effects in our cities and countries. Being both the visuals and the sound designs constructed in an improvised live performance, that synesthetic relationship is also indeed dialectic: how to construct a live sound thinking of a visual impact and how to construct a live visual to be “disturbed” by the sound. Or, in simpler terms, how to paint with music and how to play music with paint. From this, the voyage about our impact in the loss of our cities, of our biodiversity, on our heritage is a meditative, immersive, and reflective act, and a both personal and collective experience.

      • André Araújo
      • Nuno Sousa
      • Tiago Margaça
      • Marta de Menezes

        13.

        Limbo

        LIMBO (2021) is a Live Sound and Live Visuals performance that reflects on the rise of the sea levels environmental issue, its impact and effects in our cities and countries. Being both the visuals and the sound designs constructed in an improvised live performance, that synesthetic relationship is also indeed dialectic: how to construct a live sound thinking of a visual impact and how to construct a live visual to be “disturbed” by the sound. Or, in simpler terms, how to paint with music and how to play music with paint. From this, the voyage about our impact in the loss of our cities, of our biodiversity, on our heritage is a meditative, immersive, and reflective act, and a both personal and collective experience.

        • André Araújo
        • Nuno Sousa
        • Tiago Margaça
        • Marta de Menezes

          14.

          Alga

          What will it look like when organisms such as algae start to take over the urban landscapes that are close to shores with the rise of sea levels? This work takes a closer look at algae collected from the Portuguese coast. The work presents algae as moving molecular pieces and fragments that overlap and disintegrate into abstract tactile textures together with an underwater sonically environment.

          • Super 8mm film and sound: Pedro Ferreira

          14.

          Alga

          What will it look like when organisms such as algae start to take over the urban landscapes that are close to shores with the rise of sea levels? This work takes a closer look at algae collected from the Portuguese coast. The work presents algae as moving molecular pieces and fragments that overlap and disintegrate into abstract tactile textures together with an underwater sonically environment.

          • Super 8mm film and sound: Pedro Ferreira

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