Season 9: New artistic explorations with technologies | S9 - Playlist
Episode 3: Verónica Mota - Espectra Negra | S9 - E3</h1
In this episode 3 of comusik Podcast season 9, we present the interdisciplinary artist, Veronica Mota aka Espectra Negra from México.
Content of the radio program:
I. Presentation and background of creative work and its activism from different uses of technology.
II. Art for art’s sake or art with content and message.
III. Background on Espectra negra.
IV. Explanation and context of the work “Utopie & Widerstand”.
V. Listening of the piece “Utopie & Widerstand” from the album NIHIL (2023) Camembert Électrique – France.
VI. Explanation of the piece “I shall sing until my land is free” based on a piece about the Palestinian struggle and resistance by the musician Muslimgauze – I Shall Sing Until My Land Is Free (2013).
VII. Audition of the work “I shall sing until my land is free” (2023).
VIII. Explanation of the work “Melodic Minstreals (All birds should be able to sing)”.
IX. Audition of the work “Melodic Minstreals (All birds should be able to sing)” (2023)
Links:
Verónica Mota: https://linktr.ee/veronicamotaberlin
Espectra Negra: https://linktr.ee/espectranegra Philosophy Magazine: https://aion.mx/author/veronica-mota
Instagram: https://www.instagram.com/777antigona/
TikTok: 777antigona
Photo credit: Viviana Zúñiga
Episode 2: Moisés Horta Valenzuela - Hexorcismos | S9 - E2</h1
In this episode 2 of comusik Podcast season 9, we present the autodidact sound artist, creative technologist and musician from Tijuana, Mexico, Moisés Horta Valenzuela aka hexorcismos who works in the fields of computer music, Artificial Intelligence and the history and politics of emerging digital technologies.
Moisés Horta Valenzuela (1988, he/him):
He has received the A.I. Newcomer 2023 award from the German Computer Science Association. As 𝔥𝔢𝔵𝔬𝔯𝔠𝔦𝔰𝔪𝔬𝔰 , he creates a strange link between ancient and contemporary technologies through a critical vision in the context of contemporary electronic music and sonic arts. His work has been presented at Ars Electronica, NeurIPS Machine Learning for creativity and design workshop, MUTEK Mexico, Transart Festival, MUTEK: AI Art Lab Montréal, Elektron Musik Studion, CTM Festival Berlin, KTH: Royal Institute of Technology Stockholm, Intelligent Instruments Lab, Reykjavik, among others.
He is currently working as an AI music technologist, developing new instruments using generative neural networks, independently organizing workshops around AI creative art practices focused on sound and image synthesis and the demystification of neural networks. He is also developing SEMILLA.AI, an interface for interacting with generative neural sound synthesizers.
Content of the radio program and podcast:
I. Presentation and background of creative work with AI
II. Audition of “flor blanca” from the album transfiguration (2020).
III. Background on hexorcisms, decolonial posture and the role of cumbia.
IV. Audition of the work “mahtlactli-om-ome” from the album otachihual (2021)
V. More about the creative work in live performances with algorithms and generative artificial intelligence networks (artificial neural networks).
VI. Listening to the work “mareas interiores” from the album transfiguración (2020)
VII. About Semilla AI, the interface, the synthesizer and the researches in the artistic residencies
VIII. New album Mutualismx and about the future of the use of big data in the world
I. Presentation and background of creative work with AI
II. Listening of “flor blanca” from the album transfiguration (2020)
III. Background on hexorcisms, decolonial posture and the role of cumbia.
IV. Audition of the work “mahtlactli-om-ome” from the album otachihual (2021)
V. More about the creative work in live performances with algorithms and generative artificial intelligence networks (artificial neural networks).
VI. Listening to the work “mareas interiores” from the album transfiguración (2020)
VII. About Semilla AI, the interface, the synthesizer and the researches in the artistic residencies
VIII. New album Mutualismx and about the future use of big data in the world.
IX. Audio visual of the album Transfigur – Hexorcisms
REFERENCES
Links:
http://hexorcismos.bandcamp.com
Photo Credit: Guxor
Episode 1: Enrique Mendoza Mejía - Hybrid Audio Diffusion Systems (HADS) | S9 - E1
In this episode 1 of season 9 of the comusik Podcast, we present Mexican composer and musician Enrique Mendoza Mejia who will share with us his research and creative process through a new system called Hybrid Audio Diffusion Systems (HADS) as part of his artistic doctoral research at the private Anton Bruckner University in Linz, Austria. The use of headphones is strongly recommended to fully experience the binaural version of the pieces.
Enrique Mendoza Mejia:
Born in Mexico City and based in Vienna, Enrique Mendoza is an electroacoustic music artist, focused on acousmatic composition, live electronics, and live spa@alisa@on. His electroacoustic composition and performance put into play DIY analog oscillators, lo-fi mini- synths, custom software, 3D immersive audio technology, and multi-channel systems.
In 2022 Enrique performed his live spatialisation sets in speaker arrays such as SonicLab (20.4), Wiener Akusmonium (64.4), Klang Theater (22.2), Corfu Acousmonium (26.2) Atlas Institute (40.4), and OZosonics (72.3). In 2020, he was invited as Artist-in-Residence at the Museums Quartier to compose a multi-channel piece for the Tonspur Kunstverein Wien. In 2016 the work Cassiopeia was nominated by the “Independent Music Awards” within the category “Best Instrumental Song” in New York. In 2014 he released his first album, Below Sea Level, by Future Music Records in London.
Moreover, his mixed electroacoustic music has been performed by The Black Page Orchestra, Lizard Ensemble, Reconsil Ensemble, Melisma Saxophone Quartet, Zoom Trio, Het Trio, Ossia Ensemble, Avlitria Ensemble, EMAC Ensamble, Platypus Ensemble, Esther Lamneck, Jos Zwaanenburg, Johan van der Linden and Diego Espinosa, among others. Similarly, his compositions have been presented at Forums and Festivals such as Ars Electronica (AT), NYCEMF (US), SONDA Festival (CZ), IZIS Festival (SL), MOOZAK Live-mul@channel. (AT), OZosonics Festival (AT), IGNM Strommusik (AT), Festival Cervantino (MX), Ny Musik Festival (DK), Xarkis Festival (CY), International Conference on Computer Music (ICMC/SMC 2014) (GR), KlangFest (AT), Tromp Percussion Eindhoven (NL), 3rd International Forum for Young Composers Sond’Ar-te Electric Ensemble (PT), Miradas de Música Contemporánea (ES), Visiones Sonoras XV (MX) and the Foro de Música Nueva Manuel Enríquez (MX), among several others.
Enrique has received commissions from: TONSPUR Kunstverein Wien, Modular Synthesizer Ensemble (AT), KulturKontakt (AT), Fonds Podium Kunsten (NL), Melisma Saxophone Quartet (NL), Tamhá Trio (ES), The Black Page Orchestra (AT), Lizard Ensemble (AT), Zoom Trio (DK), Platypus Ensemble (AT), Jos Zwaanenburg (NL), Boglárka Nagy (HU), Alfredo Ovalles (AT).
Mendoza has been selected for Artistic Residencies in the Netherlands, Austria, Portugal, Mexico and Cyprus. In 2017, 2019 and 2020 he was Composer in Residence with a scholarship from the Austrian government. He has won the Tribuna de Música Mexicana in 2004 and 2012, the Concurso Nacional de Composición de Michoacán, and the Tribuna de Música de América Latina y el Caribe in 2004. He represented Mexico with Los Mensajeros at the International Tribune of Composers no. 51 in Paris. 51 in Paris; and with the work La Muerte Multicolor at the TIC no. 59 in Stockholm, Sweden.
Since 2019, he is a professor at the Escuela Nacional de Artes Cinematográficas, UNAM, MX. Enrique holds a master’s degree from the Conservatorium van Amsterdam, and he is currently pursuing an artistic doctorate at the Anton Bruckner Private University in Linz, Austria where he is also a Lecturer in Digital Music Techniques. His research topic deals with electroacoustic music composition for Hybrid Audio Diffusion Systems.
Content of the radio program and Podcast:
I. Audition of “Inner outer self-variance and my deranged disembodied voices” (2023)
Work commissioned by The Black Page Orchestra and created with the support of BMKOES & SKE.
II. Presentation and background of the HADS system
III. Audition of “no enterramos muertos, sembramos semillas…” (2023)
Work commissioned by UNAM Música, Resiliencias Sonoras Program (2019).
IV. Audition of the work “maybe pain” (2021).
V. Audition of the work “Ground Beatings” (2016)
Work commissioned by Boglárka Nagy.
I. Presentation
II. Background and explanation of the HADS system
III. Explanation and audition “Inner outer self-variance and my deranged disembodied voices” (2023)
Work commissioned by The Black Page Orchestra and created with the support by BMKOES & SKE.
IV. Creative process and working tools
V. Audition of “no enterramos muertos, sembramos semillas…” (2023)
Work commissioned by UNAM Música, Programa Resiliencias Sonoras (2019) VI. Space as another parameter in the creative process: technical considerations
VII. Audition of the work “maybe pain” (2021)
VIII. Workflow
IX. Audition of the work “Ground Beatings” (2016)
Work commissioned by Boglárka Nagy. X. Closing
XI. Audition of “Transduktor III” (2017)
Work commissioned and created with the support of KulturKontakt Austria.
REFERENCES
Photos Copyrights:
Center for Living Arts
PhotoCredit_Bogi_Nagy Credit_Bogi_Nagy_@bophotoadventures
PhotoCredit-EmmaLouise