ALMAT @ impuls - Workshop 2019 by Hanns Holger Rutz

Algorithms that Matter (ALMAT) focuses on the experimentation with algorithms and their embedding in sound works. Rather than conceiving algorithms as established building blocks or the a priori formalisation of a compositional idea, we look at them as performing entities whose consequences are irreducible to models. Algorithms “matter” in the sense that matter and meaning cannot be distinguished, neither can artists and their computational tools. Algorithms actively produce spaces and temporalities which become entangled with their physical embeddings. In 2019, we created a workshop within the impuls . 11th International Ensemble and Composers Academy for Contemporary Music, taking place in the Museum of Perception (MUWA) Graz, February 11–21, 2019. It focused on the development of a site-specific sound installation. The installation explored the interactions of algorithmic and physical spaces and their dynamic and mutable properties. Participants worked on the premise that spaces and our perception of them change depending on presence, absence, the movement of visitors, the time of the day, the rhythm of the surroundings as well as the sonic and algorithmic interventions we bring into them. The workshop sought to attract computer music practitioners, sound artists and composers by offering a platform for exchange and reflection about their personal approaches towards algorithmic experimentation. The participants were invited to develop their various approaches within an atmosphere of collaboration, where special emphasis was given to the translation of environmental data (such as sensor input from the surroundings and visitors) through computer music systems developed and assembled by the participants and tutors. The workshop was held with technical infrastructure provided by the Institute for Electronic Music and Acoustics (IEM), including an 48-channel sound system and a selection of sensors. The workshop ALMAT was developed by David Pirrò and Hanns Holger Rutz (both IEM Graz) and was held together with the special support by Robin Minard.

return

A chaotic intermingling of the keys of the flute and the surrounding soundscape. Sound generators controlled in realtime are like gibbering chatterboxes. Their whispers, grunts and prattles are instigated and manipulated by the audience at first, but they increasingly assert themselves in the space and, in the end, obliterate themselves.

{origin: program notes, keywords: [_, key, flute, audience, space]}

Project proposal

My main idea is to play sounds and pitches with my flute if someone wants to experiment with an instrumentalist with her/his project. I’ll bring my flute and microphones.

My interests goes in the direction of how a motion capture system can distribute the sound around 8 speakers, good sound distribution in 8 speakers, techniques of spatialisation…

I am working mainly on Max/MSP and Ableton Live. However I am highly interested to see if I could achieve the same goals of spatialisation (Spat) on Supercollider, for instance.

Bringing some projects but with any intention of showing it to an audience, just playing flute and experiment with my colleagues! I would like to collaborate with other participants, to improve ideas together and to exchange.
{origin: project proposal, keywords: [_, flute, instrumentalist, motion capture, spatialization]}

Jaume Darbra

---
meta: true
date: Feb-2019
event: impuls academy
place: muwa
keywords: [exhibition, sound art]
author: Jaume Darbra
---

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