DMU will contribute to the telematics arts initiative focusing on hacking, as a particularly appropriate means of telematic performance. Many sounds from hacked instruments have unique characteristics and behaviours and do not operate in the same manner as traditional instruments. Such issues as latency in networked performance will not be seen as a detriment, but instead as part of the material nature of the Net that offers unique possibilities for making music together.
DMU will work with hackers, cyber security experts and artists facilitating international collaborative works and coordinate a number of telematics events and expositions which can be seen as a live stream or later on a YouTube channel. The basic concept here is to legally hack internet routers so that they are able to sonify the movement of data across the Internet. International partners in New Zealand, China and throughout Europe will work on this project alongside the other Interfaces partners such as OCC in Greece.
The impact of this initiative may not be primarily in the large number of users within a finite amount of time, but instead, enabling the creation of a new, technology-driven form of community-based music making crossing age groups, levels of ability and cultural background possible and most importantly bringing together people from all around Europe. The community of interest will grow well beyond the end of the project’s duration
What is Telematic Hacking?
A group of leading artists exploring the materiality of the Net meet in a telematic room. Over a series of meetings a new work emerges. Tools and hardware hacks to sound the network will be investigated. The devising will be ‘televised’ online and the telepresent audience will be invited to make their own ‘instrument’ for performance. The telematic meetings will coalesce in exposition events at a set time and physical location.
Network as instrument
Many sounds from hacked instruments have unique characteristics and behaviours and do not operate in the same manner as traditional instruments. If we consider the Internet router as a musical instrument this opens up the possibility of new repertoire and audiences.
Hacking the network
Hacking and subsequently performing with a networked device would suggest broader access issues relating to music making. In the case of a router, it could be looking at the manipulation of the way in which data packages are sent and received with an interest for the sonification of this data or router behaviour. Such issues as latency in networked performance are not to be seen as a detriment, but instead as part of the material nature of the Net that offers unique possibilities for making music together.
A new form of community music making
This initiative aims to create a new, technology-driven form of community-based music making crossing age groups, levels of ability and cultural background and most importantly bringing together people from all around Europe.
Since November 2017, OCC & DMU have been working with hackers, cyber security experts and artists facilitating international collaborative works and coordinate a number of telematics events and expositions. The 1st open event took place in November 2017 where the participating artists had the opportunity to present their ideas and a prototype-based telematic performance. The event was hosted by De Montfort University in Leicester and was also live streamed on the Interfaces YouTube channel.
Participating artists will discuss and workshop ideas for Telematic Hacking. Each artist is open to interpret the brief in their own way, develop ideas discussed in the meetings, or work collaboratively. The use of Periscope will allow for the public to drop in on the development of the project.
Exposition I (opening event): 29 November
PACE Building, Richmond Street, Leicester UK, LE2 7BQ
Artists will present ideas and prototype-based telematic performance.
Participants can be telepresent
The event will be streamed to the Interfaces Interfaces YouTube channel and shown ‘live’ to an audience at the PACE Building, De Montfort University, Leicester, UK.
2nd Exposition: 18 April 2018
Onassis Cultural Centre – Upper Stage
21:00 (GMT +2) | Free entry
The event will be streamed to the Interfaces YouTube channel and shown ‘live’ to an audience at the Upper Stage of the Onassis Cultural Centre.
Network Ensemble, Tim Shaw, Aram Bartholl, Dirty Electronics, Tim Ward, Yiannis Kotsonis, Rob Chafer
Yannis Kotsonis is a musician, sound artist and improviser living in Athens. He has composed electronic music for theatre, video dance, multimedia installations and film. He gives regular concerts and collaborates frequently with other musicians, including a longstanding improvising duo collaboration with Danae Stefanou, under the name acte vide. He has released seven solo albums, as Sister Overdrive and under his own name and has contributed to several compilations. Since 2009 he has been active as a workshop, residency and concert curator/coordinator (Detritus Festival, Syros Sound Meetings, KNOTmusic, minor act).
The Network Ensemble performs a granular exploration of situated network signals. A newly developed, ultra-portable machine collects live data from the WiFi networks surrounding it, passing them directly to a phone, as sound signal via the audio port.
A network parasite, the phone streams the local activity as sound around the world by means of a phone call. The sounds emitted thus reflect the specific quality, weight and speed of the network the machines is capturing information from, as well as the latency, transmission and compression characteristics of the network on which the phone is streaming.
Tim Shaw is an artist interested in the relationship between site and technology. Presenting work through musical performances, installations and site-responsive interventions his practice attempts to expose the mechanics of systems and to reveal the hidden aspects of communication and recording technologies. Tim has presented artwork all over Europe, in the USA, Canada, Australia and Hong Kong. He currently works as a lecturer in Digital Media at Culture Lab, Newcastle University. Collaboration plays a central role in his approach, he has been lucky enough to make artistic work with Chris Watson, John Bowers, Jacek Smolicki and Sébastien Piquemal. Shaw has recently presented work at New Ear Festival, New York (2018), Spektrum, Berlin (2018) bb15, Linz (2017), ARC, Switzerland (2017), Stereolux, France (2016), FACT Liverpool (2016), Eastern Bloc, Canada (2016) and The Wired Lab, Australia (2016).
Tim Ward works principally within electroacoustic music, composing and performing works for fixed media. More recently his interests have expanded to include improvised electronic music and immersive interactive soundscape installations using mobile devices, both areas in which he is active with the artistic collective Medea Electronique as well as with a range of contemporary music ensembles and performers. Work in this field ranges from original compositions and improvisations through to the recreation of existing older works from the live electronic repertoire. He is also active as a teacher and researcher with a special interest in the use of computer programming within musical creation.
JOHN RICHARDS/ Dirty Electronics
John Richards explores the idea of Dirty Electronics that focuses on shared experiences, ritual, gesture, touch and social interaction. In Dirty Electronics process and performance are inseparably bound. The 'performance' begins on the workbench devising instruments and is extended onto the stage through playing and exploring these instruments. Richards is primarily concerned with the performance of large-group electronic music and DIY electronics, and the idea of composing inside electronics. His work also pushes the boundaries between music, performance art, electronics, and graphic design and is transdisciplinary as well as having a socio-political dimension. Richards has been curating the Telematic Hacking event and will performing telematically with the commissioned artists and online participants.
Rob Chafer has been involved with several performances and projects with the Music, Technology and Innovation Centre at De Montfort University, Leicester, and the Dirty Electronics Ensemble over the last three years. As a composer, Chafer has largely explored Xenakian concepts of sound density and evolution; however, unlike Xenakis, he is more concerned with organic rather than mathematical models of grain structure. Chafer has helped develop the practical implementation of Telematic Hacking as part of the EU interfaces project.
First meeting: 28 – 29 November 2017 |DMU
Streaming and broadcast: http://www.periscope.tv/telematichacking
Second meeting: 18 April 2018| OCC