Pete Edwards (US)
Rosa Menkman (NL)
Gijs Gieskes (NL)
Phil Stearns (US)
Date: Saturday 18 May, 2013
Time: 20:30 (doors open 20:00)
Location: STEIM Concert Space, Utrechtsedwasstraat 134, Amsterdam
Edwards uses sound and the light to reveal various layers of complex electrical systems which are then manipulated by hand to create audio visual patterns. The patterns align at times and not at others, but are generated by a shared electronic core so their connection is implicit. The outcome is a sort of evolved synesthesia where sight and sound are always linked but not always overtly in sync.
New York/Amsterdam based artist Peter Edwards has been designing and performing on experimental instruments and musical environments for over a decade under the nameCasperelectronics. His work explores the definition of intended functionality and consistently challenges the process of performance. He works extensively with interlinked sound and light generation to create immersive musical experiences
Every technology possesses its own inherent accidents. Rosa Menkman is a Dutch artist/theorist who focuses on visual artifacts created by accidents in both analogue and digital media. The visuals she makes are the result of glitches, compressions, feedback and other forms of noise. Although many people perceive these accidents as negative experiences, Menkman emphasizes their transformative qualities. By combining both her practical as well as her academic background, Menkman aims to merge her abstract pieces into a grand theory of artifacts (she calls “glitch studies”, or “a study of changes”).
A set for eurorack modules, self-made instruments, and generative processes.
Gijs Gieskes is an industrial designer from the Netherlands, mostly involved in creating and producing devices that are sold online.
Proto-Chiptunes: the hypothetical ancestor of modern-day 8-bit video game music, known as ìChiptunesî. Before there were arduinos, video game systems, or even microchips capable of producing sound, there was only binary logic. But in order to find the roots of this ancient music, we must go back further, back before the time of logic, far back into the pre-history of electronics. From the primordial ooze of analog circuits arose the first digital logic circuits. Made only from transistors, resistors and diodes, they clawed their way out of the random void to assert their unambiguous binary dominion over the whole world of electronics. When the digital circuits had established themselves as supreme rulers of the electronic world, and mastered the use of fire, they developed a style of music called ì0 01 0110 10010011 0101 01 1? known today as ìProto-Chiptunesî. Now the CMOS 4000 Series Digital Logic Family re-imagine this primitive electronic music under the careful and patient direction of Phillip Stearns.
The Brooklyn based artist is responsible for the Year of the Glitch and Glitch Textiles projects. His work as an artist involves a lot of tinkering with electronics: taking things apart, short circuiting devices and building things from scratch. A passion for noise is informed by a love of physics. He’s a freelance photographer and audio technician on the side and teaches electronics at 3rd Ward.