The European Art-Science-Technology Network arose from the initiative of several European institutions involved in research, technological development, creation and teaching in the field of digital technologies applied to artistic creation and is supported by the European Union under its Culture Program.
EASTN aims at supporting creation and artistic exchanges, promoting European digital creation to the general public and more generaly, at building an active, enduring, widening and recognized community. Through it, several areas of artistic creation are already represented: Music, Animation, Multi-sensory Arts, Architecture, Fine Arts, Graphic communication, etc.
This Network was formed around a common set of concerns that are raised by the term “Tangibility” in the context of Digital Creation. This very notion is unifying but actually not well defined and the EASTN partners, in collaboration with artists and students, through workshops and residencies, propose to shed various lights on it, trying to draw a "family portrait" of tangibility and bringing it to the general public by co-organizing several international artistic festivals.
Find out more about it by checking EASTN's Tangibility Interactive Documentary
Ataraxia and Power of People (PoP), two interactive works presented under the Energy for Life project run by the Agoni Grammi Gonimi non-profit organisation. It is an environmental awareness program that calls on fifteen remote destinations, spreading ideas, thoughts and insights of ecological interest to students as well as to the inhabitants of the places it visits.
During this project I have demonstrated the aforementioned interactive systems in various primary and high-schools in rural locations across Greece. The workshops mainly elaborate in concepts of new digital instruments, and interactive music compositions, such as Ataraxia, as well as in sound art installations using environmental information for sonification systems like PoP, which were developed as research projects.
Students have the opportunity to experiment with the systems and take a look into aesthetical and technical concerns of the projects and get concise knowledge in this particular field of research of interactive music composition. Photo material and further information of the visits can be found here.
An interactive sound installation that employs the concept of wind as a metaphor to explore the notions of tangibility and its opposite: intangibility.
The work La Tabula Rasa is a commission for the Tangible Sound conference run by the center for art and media ZKM in Karlsruhe, Germany, and fits into the topic of the tangibility of sounds and music. The work was premiered in the Klangdom Sound Theatre of the same institution, provided of 47 (43 + 4) loudspeakers in hemispherical disposition.
Given the context, numerous strategies have been chosen to address the notion of tangibility, theme of the conference.
What is tangibility? And how can it be interpreted?
In the modern musical debate tangibility is often approached as a perceptual than physical quality, with works aimed to the understanding of the musical qualities that allow a possible retrieval of the object's size, shape or volume producing the sound in origin, and goes under the name of sonification.
A more complex approach called data sonification is the study of possible interrelations between sound and meaning, in order to provide information through the auditory system about the surrounding environment in support to or in place of visual interaction.
A different approach in matter of tangibility is the application DSP technologies to non-musical instruments. Aim of this approach is the improvement of physical interaction with objects and tools, and, often in art, the provoking of new situations in experiencing everyday objects.
I am right now working on the electroacoustic piece premiered in Karlsruhe at ZKM.
The name of the piece is La Tabula Rasa. Here there is the program note:
La tabula rasa is a musical piece inspired by the work of the Venetian composer Luigi Nono.
The architectural space is based along the lines of Prometeo. The music that Nono had composed was intended to surround the audience, placing musicians and singers all around at different heights. In La tabula rasa, the instrumentalists are, as in Prometeo, the loudspeakers located all over the hemispherical wall of the dome. An algorithm to simulate human-like imprecision is introduced, to transform the speakers in actual performers.
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