+ Fundamental Research Lab      + NUCLEAR RANDOM ENGINE
+ ERS  

Toeplitz-Lisek
CRITICAL MACHINES - TOEPLITZ, LISEK, SCHILLER, KNAPP, HEBERLE, SANECKI

CRITICAL MACHINES>
Kasper T. Toeplitz>
Robert B. Lisek>
CHFS and Manuel Knapp>
Marta Heberle, Przemyslaw Sanecki>
Tactical Media>
Concept and Cooperation>


Critical Machines

Critical Machine - event combining experimental music concert and tactical media. Superposition of multiple spaces: stochastic synthesis, big-dense masses of sound and attacks with the use of crawlers; internet robots for collecting data from the net.

16th October 2014, 7 pm [Thursday]
OD:ZYSK - Paderewskiego 1, Poznan

Kasper T. Toeplitz

Kasper T. TOEPLITZ is a French composer and musician of Polish origin, born in 1960. He lives in Paris. He has worked with academic research organizations, such as GMEM, GRM, IRCAM, and Radio-France, as well as with experimental musicians, such as Éliane Radigue, Zbigniew Karkowski, Dror Feiler, Tetsuo Furudate, Phill Niblock and Art Zoyd . Citing Giacinto Scelsi and Iannis Xenakis as influences, his early work was mostly written for traditional instruments. He received several prizes and distinctions for these works: 1st prize in composition for orchestra at the festival of Besançon, 1st prize in the Opéra Autrement/Acanthes competition, Villa Médicis Hors-les-Murs in New York, prize Léonard de Vinci in San Francisco, Villa Kujoyama in Kyoto, and DAAD in Berlin. He has also written for his electric guitar orchestra, Sleaze Art. He then integrated computers into his work, via the programming language MAX. His experimentation with computers continued, in 2003, with the creation of an instrument he calls the BassComputer, an electric bass with 5 fretted strings and 4 unfretted strings, as in the harp guitar. The instrument is intended to be interfaced with a computer. In 2004, he commissioned a piece from Eliane Radigue called Elemental II, which he interpreted for the BassComputer. This was an opportunity for him to set up his own label, ROSA (Recordings Of Sleaze Art). He later commissioned Phil Niblock's Yam almost may (Touch Records TO59), and Dror Feiler's Ousia. He also recorded Capture, one of his own compositions, on ROSA (Rosa#2, 2005), as well as ZKT, by Le Dépeupleur, a laptop duet, formed with Zbigniew Karkowski, and which has been together since 1999 (Rosa#3, 2006). He has also written for dance (Myriam Gourfink, Loic Touzé, Olivia Granville, Emmanuelle Huynh, Hervé Robbe, Artefact, Christian Trouillas, Jean-Marc Matos), as well as theatre; he has always shown a great interest in literature (J'irai vers le nord, j'irai dans la nuit polaire, his first opera, was based on Sylvia Plath's texts, as was Great Expectations on Kathy Acker's texts; Ruine was composed on a François Bon text), and more recently he has developed "combined" pieces, mixing light and/or video images (K_apture, for computer solo, on Dominik Barbier's videos). In 2007 he created, with Eryck Abecassis and Wilfried Wendling, KERNEL, a computer ensemble devoted to interpretation, live stricto sensu (without any samples or sequences), of electronic music compositions.
http://www.sleazeart.com/

KTT

Robert B. Lisek

Robert B. LISEK is an artist, mathematician and composer who focuses on systems and processes (computational, biological, social). He is involved in the number of projects focused on critical art strategies, hacktivism and tactical media. Drawing upon conceptual art, software art and meta-media, his work intentionally defies categorization. Lisek is a pioneer of art based on AI and bioinformatics. Lisek is also a composer of contemporary music, author of many projects and scores on the intersection of spectral, stochastic, concret music, musica futurista and noise.
Author of many exhibitions and concerts, among others: QUANTUM ENIGMA - STEIM Amsterdam, NUCLEAR RANDOM GENERATOR - Harvestworks Arts Center New York, Fluc Wanne Vienna, RADICAL MIND - Columbia University New York, TERROR ENGINES - WORM Center Rotterdam, Secure Insecurity - ISEA Istanbul; DEMONS - Venice Biennale (accompanying events); Manifesto vs. Manifesto - Ujazdowski Castel of Contemporary Art, Warsaw; NGRU - FILE, Sao Paulo; NEST - ARCO Art Fair, Madrid; FLOAT - Lower Manhattan Cultural Council, NYC; WWAI - Siggraph, Los Angeles; Falsecodes - Red Gate Gallery, Beijing; FXT- ACA Media Festival, Tokyo and ISEA, Nagoya.
http://lisek.bandcamp.com/
http://fundamental.art.pl/

RBL

CHFS and Manuel Knapp

Christian F. SCHILLER (chfs) is an austrian experimental composer. Numerous different projects in form of conceptual (sound) installations, concerts, performances and cooperations. Founder of the organisation
in-dust.org and the festival project SAKRA!. >>> http://in-dust.org

Manuel KNAPP is an austrian alchemist, active in the fields of composition, experimental music, computeranimation, fine arts and touring actively as a noise musician. Floating on and between different medias.
Numerous exhibitions, concerts and screenings internationally.
http://knapp.klingt.org

KnappSchiller

Marta Heberle, Przemek Sanecki

Marta HEBERLE is an artist who focuses on radical sensory experiments at the intersection of audio and performance. Her actions are composed of subliminal violent brain stimulations through broken sounds. Heberle's work balances applied and theoretical research: she is also an author specializing in issues related with bioart and transhumanism.
https://soundcloud.com/martaheberle
http://vimeo.com/46837062
http://martaheberle.pl/

Przemyslaw Sanecki, born 1977, performer, musician, technologist, and researcher, lives in Edinburgh (UK) and Poznan (PL). His the greatest plesure comes from an afirmation of all inconsistencies observed in ideologies. Sanecki's projects are a micture of an anarchy and the rigid logic. He's currently working on a project called The Source of the Work of Art, whose aim is to create a deep learnt linguistic machinery based upon Martin Heidegger's aesthetic writings. In another compositional project, The Permission to Enter to the Solar Core, the algebra of communication processes and functional programming deliver methods of constructing a self-governing musical piece.
http://psanecki.github.io

Heberle Sanecki

Tactical Media and FREE SOCIETY

The significance of CMO for socio-political processes. Internet, after delusions concerning openness and decentralization, is being understood more in terms of control exercised by government agencies (e.g. NSA) and advertising agencies. We live in a new era, in which mathematics has become a powerful weapon. Random numbers are crucial for cryptography: for encryption keys, random authentication, key-agreement schemes, generating prime numbers and so on. Breaking of the random-number generator means breaking the entire security system. Understanding of the use of random numbers plays a very important role in times of mass surveillance, e.g.: NSA manipulates us by installing secret "backdoor" in encryption systems, which should protect our data. It concerns cryptographic standards, which are based on mathematical objects called "elliptic curves". It turns out, that there are certain elliptic curves, which appear to be random, but are in fact easy to decipher. It enables the agency to break into our emails and personal data. The governments and intelligence agencies exploit our ignorance, and manipulate us more when we are less aware of mathematics. CMO is the ultimate form of non-violent direct action! There are math problems that you can create that even the strongest state cannot break. CMO allows to create regions free from the coercive force of the outer state. Free from mass interception. Free from state control.

Be Random. Don't Let Politicians and Economists Hack Your Brain and Activity!

Concept

concept: Robert B. Lisek
authors: Kasper T. Toeplitz, Robert B. Lisek, Christian F. Schiller, Manuel Knapp. Marta heberle, Przemk Sanecki
contact: cmo at fundamental dot art dot pl

Cooperation

OD:ZYSK

IN_DUST. ORG

Fundamental Research Lab

 

 


produced by Fundamental Research Lab