As an artistic research project, Almat employs a mix of complementary methods to pursue its questions. The project team develops and employs custom computer music systems, and creates and experiments with studies and pieces based on these and other systems, making them visible and audible in various contexts, from concert to exhibition to conference.
SoundProcesses/Mellite is an open source computer music software framework and environment, respectively.
A modular installation series investigating the relationship between the algorithmic and the corporeal.
A forerunner project on the iterative and durational nature of algorithms, their resistance to coming to completion.
Exhibition project on becoming swarm, becoming a holobiont. Almat contributed to its micro-symposium.
Sound art piece studying the act of re-configuration, coming back to a previous piece and rethinking/remaking it.
A wearable for two or three persons. How do you experience a hybrid shared reality?
An improvisation duo, an attempt of aligning, orienting, coupling systems with one another.
A sound installation and the question of writing and graphematicity, and the process of its repeated reconfiguration.
Process and form in feedback systems. About the positioning of feedback systems for composing and perfomring computer music.
An experimental sound installation for Kunsthaus Graz, investigating the possibility of "parallel movement" betwen four artists, and if they will arrive at a shared algorithmic writing.
Arising from a collaboration between ALMAT and EU project MAST, the outcome is a spatial and sound installation, the sound composition of which—a cascading coupling between systems—has been developed during artistic research iteration 5.
⬀Algorithms that Matter (ALMAT) is an artistic research project within the framework of the Austrian Science Fund (FWF) – PEEK AR 403-GBL – and funded by the Austrian National Foundation for Research, Technology and Development (FTE) and by the State of Styria. It is hosted by the Institute of Electronic Music and Acoustics (IEM) at the University of Music and Performing Arts Graz.
We have organised several research workshops and symposia, often along with our partners, and presented as guests at other events.
BioSynth: coupling physiological signals to sound synthesis; affective computing and physiological effect of emotions;
Contingency and synchronisation; Kuramoto: a model for synchronisation (web installation); Hopf oscillator: sound installation; WRECK: writing a small DSP language; iteration vs recursivity;
Experimenting with ultra-sound; creating feedback configurations with ultra-sound; visiting Riga; talking about Hayles' Unthought; understanding the Patterns library by translating it to a different framework.
A final (?) iteration that centres around the practices of the ALMAT core team and the works created for the 2020 exhibition Algorithmic Segments. From beginning of 2020, Ji Youn Kang joins as guest artist.
A place where everything that happens between iterations, between events, between pieces, can live. A breathing space for thoughts.
Currently for internal use only (not publicly accessible)
Incorporating story telling into live coding perfromances; speech recognition experiments: building a smart classifier / feature detector; SC SynthLibrary class: collects and catalogues synths created during live performances