The iteration with Erin Gee was embedded in Algorithms that Matter (ALMAT). ALMATis a three-year project running from 2017 to 2020, 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 also acknowledge the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country.


Main Events 

 

Erin Gee

Iteration 2

Almat's ⬀methodology is based on iterative reconfiguration. A configuration encompasses the members of the team, Hanns Holger Rutz and David Pirrò, an invited guest artist along with a proposal within which she or he works, a "machinery", including two software systems developed by Rutz (SoundProcesses) and Pirrò (rattle), and possibly more systems brought into the experiment by the guest artists, which we aim to couple and to explore from different perspectives. An iteration takes the form of an online preparation phase, in which the core team and the guest artist engage in a dialogue about their practice and their relation to Almat, as well as the specific preparation of a two months residency period, in which algorithmic sound studies are developed in situ at the IEM in Graz.

The second iteration is conducted with artist and composer ⬀Erin Gee (Canada). This research catalogue entry documents our work process.


March

Signale Soirée

28 May 2018, IEM, Graz

In the artistic talk 'Sounds For The Emotional Body', Erin discussed themes and formats related to her practice, introducing the metaphor of 'human voices in electronic bodies'.


BioSynth @ 

⬀Thresholds Of The Algorithmic

8-15 June 2018, Lydgalleriet, Bergen, NO

At the Lydgalleriet Erin presented her BioSynth installation, developed during the ALMAT residency.

pre-residency

April

May

"Human Voices in Electronic Bodies"

"Electronic Voices in Human Bodies"

Erin's interest in affective computing and physiological effects of emotions drew attention to themes such as embodiment, corporeality and the possible relationships between human bodies and algorithms. 

Many collateral subtopics emerged out of these fields: what are the consequences of categorising physiological data as distinct emotions? Is it possible to amplify our bodily signals, and what is the meaning of this amplification? What happens when two individuals are coupled through their own body's sonification? Which type of feedback is thus established between body and machine?

June

Bergen

post-residency

July