'What may have happened…'
(2023)
author(s): Johan van Kreij
published in: Research Catalogue, KC Research Portal
“What may have happened…" is a research driven by the desire to augment the sense of sharing in a decentralized improvisation-a creative musical situation in which the participants are in different locations. It focusses on extending the amount of communication channels in a decentralized improvisation setting—beyond the audible and visible. The aim will be not just adding extra layers of data exchange, but introducing various modes of interaction. This will be realized through the use of software and mobile devices.
The Sound of Software Tranquillity
(2021)
author(s): Erik Natanael Gustafsson, Baudry Benoit
published in: RUUKKU - Studies in Artistic Research
This exposition is an investigation into software tranquillity through sound. One second of activity on a laptop was recorded by tracing the function calls within the Linux kernel. Can software be wild or calm? If so, what would calm software be like? Imagining that the software could experience its own existence, is the nature of its tranquillity or activity apparent to it? Can we as humans experience the tranquillity of software, if it indeed exists, and can we experience it as tranquil? Listen to fragments of one second worth of real software (in)activity while we present and reflect on the outcomes of this investigation.
Capture images through the screen
(last edited: 2025)
author(s): Nicholas Mazzilli
This exposition is in progress and its share status is: visible to all.
In this exposition I invite you to reflect on a part of my artistic research: the screen capture.
The aim is to reconsider this little-explored practice by artistically transforming original images through a double variations in post-production.
In this artistic research I also use experimental software and unconventional methods to carry out images from videogames.
At the same time these methods engage with the European regulations about copyright and American fair use policies. While the extraction of images from three-dimensional, copyright-protected spaces is often restricted, it can sometimes be permitted when used creatively.
Between Data and Breath: Machine Learning, Musical Embodiment and the Emergence of Voice
(last edited: 2025)
author(s): Jonathan Reus
This exposition is in progress and its share status is: visible to all.
From vocal deepfakes to artificial voice actors and pop star avatars, data-driven machine learning has intensified embodied, musical, and social complexities of voice. While disembodiment and decontextualisation of voice have been musical concerns since the invention of sound recording, AI voice synthesis accelerates these processes and adds new perceptual, cognitive, and social layers.
Many ontologies from voice studies imagine voice as resisting fixity, yet in today’s technological climate this resistance may be losing its ontological imperative. Voice is in transformation - possibly crisis - requiring both curiosity and care in paradoxical tension. These changes also unfold within a technological arms race for innovation, profit, and global AI supremacy. Artists are not only early adopters, but experimentalists and bards who participate in the narratives around AI and vocality.
This thesis evaluates the changing vocal condition through first-person artistic research with AI voice technologies, exploring their poetics and potentials in three artworks created between 2021–2025. In Search of Good Ancestors / Ahnen in Arbeit was a year-long generative radio broadcast exploring machine learning as a intergenerational vocal memory. iː ɡoʊ weɪ is a hybrid extended voice performance practice using real-time voice transfer to unravel vocal identity on stage. DadaSets investigates the invisibilized vocal labour of AI voice through collaborations with artists, new scoring systems, the absurdist dataset-making performance Bla Blavatar vs Jaap Blonk, and the invention of the voice synthesis instrument Tungnaá.
These works are analyzed through an interdisciplinary lens: experimental vocal traditions and the embodied musical-technological ethos of STEIM, alongside philosophies of voice, cognitive neuroscience, and material anthropology; while predictive coding theory frames compositional notions of uncanny, pathological and convivial technologisations of voice. Voice data emerges as paradoxical - both disembodied and relational, material and emergent, gift and commodity - functioning as the basis for musical animacy and collaboration within a rapidly changing socio-technical landscape.
Sound Processes / Mellite
(last edited: 2023)
author(s): Hanns Holger Rutz
This exposition is in progress and its share status is: visible to all.
On the development of the computer music framework 'Sound Processes' and the workspace environment 'Mellite' in the context of the research projects 'Algorithms that Matter' and 'Simultaneous Arrivals'.
“What may have happened…" is a research driven by the desire to augment the sense of sharing in a decentralized improvisation-a creative musical situation in which the participants are in different locations. It focusses on extending the amount of communication channels in a decentralized improvisation setting—beyond the audible and visible. The aim will be not just adding extra layers of data exchange, but introducing various modes of interaction. This will be realized through the use of software and mobile devices.open exposition comments (0)
This exposition is an investigation into software tranquillity through sound. One second of activity on a laptop was recorded by tracing the function calls within the Linux kernel. Can software be wild or calm? If so, what would calm software be like? Imagining that the software could experience its own existence, is the nature of its tranquillity or activity apparent to it? Can we as humans experience the tranquillity of software, if it indeed exists, and can we experience it as tranquil? Listen to fragments of one second worth of real software (in)activity while we present and reflect on the outcomes of this investigation.open exposition comments (0)
In this exposition I invite you to reflect on a part of my artistic research: the screen capture. The aim is to reconsider this little-explored practice by artistically transforming original images through a double variations in post-production. In this artistic research I also use experimental software and unconventional methods to carry out images from videogames. At the same time these methods engage with the European regulations about copyright and American fair use policies. While the extraction of images from three-dimensional, copyright-protected spaces is often restricted, it can sometimes be permitted when used creatively.open exposition comments (0)
On the development of the computer music framework 'Sound Processes' and the workspace environment 'Mellite' in the context of the research projects 'Algorithms that Matter' and 'Simultaneous Arrivals'.open exposition comments (0)