xCoAx 2022Performances

Datox explores the imperceptible electromagnetic radiation generated by electronics and digital technologies as sonic material. The work is a music album and a live performance that creates an audiovisual environment that explores sonic possibilities through the amplification of imperceptible sounds. This aims to highlight a material layer that comes before data, the electricity that powers electronic devices. The music album and performance immerse the listener in a sonic environment of non-human agency, the electricity and its voltage differences at the circuitry level of computational devices. The work exposes the dependency of computational societies on energy production from non-renewable sources such as coal that contribute to environmental pollution and the climate crisis.

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Synthetic Pulsar (Speculative Sonification) looks at the pulsar as a dazzling multi-dimensional object of scientific and creative focus. While the pulsar traverses a wide range of disciplines – astrophysics, radio technique, and sound technology – the workings and nature of such an object can never be fully captured, hence remaining incompletely understood. Proposed work probes this complexity through a process of speculative data sonification: amplifying, modulating and augmenting astrophysical data - sourced from the European Pulsar Network - within an original implementation of pulsar synthesis program (nuPG) designed by the author.

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SIIIGNAL is an electroacoustic composition/instrument in Virtual Reality (VR). The piece explores modes of interaction afforded by the VR environment; in combination with hand-tracking, gestural analysis and the physics engine of Unity3D, it provides a framework for musical expression using the VR medium. The player can instantiate sound particles in the space, perform sample triggering through collision detection, arrange sound objects in space, populate the environment with processing modules, spawn pulses that emanate spherically from the central sound object throughout the space triggering further sonic events, among others. The piece is divided into multiple sections with changing parameters over time and different rules. It starts requiring simple sonic gestures by the player, and as it progresses, emergent behaviours lead to more sonic complexity and possibilities for musical expression.

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Anastatica is a musical experience for musician, algorithm, and audience that combines performative elements with the characteristics of an installation. It explores, in real time, the relationship between human performers and generative algorithms, allowing them to interact constructively or destructively using the same language and influenced by non-deterministic factors. Each performance is thus laced with randomness. Through this interplay of acousmatic, aleatoric live coding, the piece questions the nature of artificial intelligence’s involvement in modern society and the illusion of choice in the digital age.

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