SuperCollider Symposium 2010 in Berlin
Conference / Workshops / Concerts / Installations

Saturday 25.Sept., 19h, Kl. Wasserspeicher Concert 2 Print

Andre Bartetzki -- String-Theory,  for violin and electronics
Sergio Luque -- "Sex, Drugs and Rock 'n Roll" was never meant to be like this
Nicola Buso -- Wassersprache in Wasserspeicher, for computer and electroacoustic feedback
José Miguel Fernandez -- M-brana, for double bass, percussion and electronics based on instrumental motion capture
Robin Meier -- The Body is a Vessel for Apnoe Diver and Computer Freediver: Elisabeth Kristoffersen (Norway)
Quiet Noise Quartet  untitled

ensemble unitedberlin
Quiet Noise Quartet


 ensemble unitedberlin:

Andreas Bräutigam violin
Matthias Bauer double bass
Friedemann Werzlau percussion

Quiet Noise Quartet:

Alberto de Campo SuperCollider / electronics
Hannes Hoelzl SuperCollider / electronics
Joker Nies circuit bent instruments / raw electronics
Mario de Vega electronics


Venue: Kleiner Wasserspeicher

Wasserspeicher Berlin Prenzlauer Berg
10405 Berlin
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Andre Bartetzki (Germany)

String-Theory (2005) for violin and electronics

The string theory is an attempt to explain all particles and fundamental forces of nature in one theory by modeling them as different patterns of multi-dimensional vibrations of tiny strings. Our physical space is observed to have only four large dimensions. In the case of string theory, consistency requires spacetime to have 10, 11 or 26 dimensions. The conflict between observation and theory is resolved by making the unobserved dimensions compact dimensions. One way of dealing with higher dimensions is to not try to visualize them at all but to just think of them as extra numbers in the equations that describe the way the world works. Only a few millimeters away from our 4-dimensional world many parallel universes might exist.


Sergio Luque (Mexico)

"Sex, Drugs and Rock ‘n Roll" was never meant to be like this (2008)

In the late 1960s, Xenakis started his research on stochastic synthesis: a microscopic approach to sound synthesis that uses probability distributions to manipulate individual digital samples. My piece explores the expressive and timbral possibilities of an extension of Xenakis's techniques that I am developing in SC: the stochastic concatenation of dynamic stochastic synthesis. The piece is articulated by juxtaposing families of sounds; highlighting the “micro” and “macro” of musical sound.


Nicola Buso (Italy)

Wassersprache (2010) for live electronics with live coding inroads

wishes to investigate the sound of the architectural space in the Wasserspeicher. The Wasserspeicher’s resonances will be amplified in a self controlled (electro)acoustic feedback, with an algorithm that observe itself, in a second-order cybernetics's  “musical declination” (from H. von Foerster to A. Di Scipio). During the performance the algorithm may be changed on the fly (live coding practice) by introducing different DSP methods, in order to reveal more hidden resonances.


José Miguel Fernandez (Chile)

M-brana (2009)
for percussion, double bass and live electronics based on instrumental motion capture

The principal idea of this piece was to create a new relationship between live instruments and electronics that primarily used motion capture (through the use of accelerometers) in direct relation to a specific physical control model - MSD (Mass Spring Damper). For example, by capturing gestures such as a percussion strike, or a bow movement, the accelerometers can simultaneously excite virtual physical models (membranes and strings objects) at different points of the structure. From this point of initial capture characteristics of virtual physical models become the commencement point for the generation of new musical materials and control parameters such as treatments, synthesis, sampling and real time spatialization.

Commissioned by National Fund for Music of the Government of Chile


Robin Meier (Switzerland / France)      commission

The Body is a Vessel (2010) for apnoe diver and computer

is a musical composition determined and performed by human physiology. It lets us listen into the physiological processes of a professional freediver, holding her breath on stage. The diver's strict organization of time for preparation and diving form the basic structure of the music. The sounds of the heart, lungs, bloodflow and diaphragm are used as musical material and heard live in the hall. Using an EEG, changes of brain activity are made audible and take us even deeper into the diver's body. The Body is a Vessel submerges us in a baptism set to the sounds of science. Protective and exposing, this work explores the perspectives of human evolution.


Quiet Noise Quartet

QNQ began with Albrecht Maurer, Matthias Mainz, de Campo and Hoelzl. A later incarnation included Joker Nies; this will be the first concert with Mario de Vega. Having played together in different contexts, we find the  combination of characters and playing attitudes in this band quite magical. anything can and will influence the improvised flow of events, idiosyncrasies of the analog instruments, software glitches, extraneous noise. Earlier incarnations of this band liked to explore  the strength of quietness (in German, Leisstaerke), i.e. the lower dynamic fringes of New Music as much as musique concrete, fragmented jazz moments, and abstract electronic sound. The new constellation here may turn out quite different again.


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