2018 Tag

Ammerman Center for Arts and Technology

My work for VR and biosensor controller, Project H.E.A.R.T. (2017) has been selected for an exhibition at Hygienic Gallery, New London, Connecticut, as part of the Ammerman Center for Arts and Technology 16th Biennial Symposium for Arts and Technology. Hope to see you there!

The Ammerman Center for Arts and Technology 16th Biennial Symposium

Intersections

February 15 – 17, 2018

The Ammerman Center for Arts and Technology at Connecticut College is pleased to present “Intersections: the 16th Biennial Symposium on Arts and Technology.”

The aim of the symposium, now in its thirty-second year, is to create a forum for multidisciplinary dialogue at the intersection of arts, technology and contemporary culture. The symposium brings artists and researchers from a wide range of fields together to engage, interact and share ideas as they present new works, research and performances in a variety of formats. Featured events include a keynote address by Krzysztof Wodiczko, Featured exhibition by Natalie Bookchin, several commissioned multi-disciplinary works, panel discussions and paper presentations, workshops, gallery exhibitions, music concerts, installations, screenings, public interventions and live media performances.

Click here for more information from the symposium website

Algorithms that Matter Residency: Austria

I’ve been selected to be a featured artist in residence at the Institut für Elektronische Musik und Akustik (IEM) in Graz, Austria, participating in the Algorithms that Matter Residency.  This residency will take place in April-June 2018, and even though it’s a year away I want to share the incredible news!

From the ALMAT website:

“Algorithms that Matter is an artistic research project by Hanns Holger Rutz and David Pirrò.  It aims at understanding the increasing influence of algorithms, translating them into aesthetic positions in sound, building a new perspective on algorithm agency by subjecting the realm of algorithms to experimentation.

Almat is grounded in the idea that algorithms are agents that co-determine the boundary between an artistic machine or “apparatus” and the object produced through this machine. The central question is: How do algorithmic processes emerge and structure the praxis of experimental computer music? The hypothesis is that these processes, instead of being separated from the composer—as generators and transformers of infinite shapes—exhibit a specific force that retroacts and changes the very praxis of composition and performance.”

 

Exploring these algorithms as unique electronic voices will extend my reach into exciting new territories, I am excited to play at the IEM and make unique new emotional sounds that combine physiological markers of emotion with algorithmic agencies.