09. MAT>NET>PU TGC3 Presentation


24 Mar 2017
@ DE PLAYER, Rotterdam
with Johannes Bergmark, Hiele Martens, Helga Jakobson, Piet Zwart Institute XPUB participants (Karina Dukalska, Max Franklin, Giulia de Giovanelli, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Sreeuwenberg)

An evening with remarkable experiments and materialised conceptual flip-flop. DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine. TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam.

Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number. Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians. Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year.

Whether culminating in actions or objects, Helga Jakobson's work responds to conditions of limbo within existence and acts as a platform to confront the unknown, focusing on death, time and ephemerality. Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft. The main threads that run between these interests are the experience of women, their traditional work and their sharing of knowledge. Jakobson has great reverence for intuition and it's use as a technology within her work. At DE PLAYER she will demonstrate her 'spider web record player'.

Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician. His performances have been described as surrealist puppet theatre in which the characters are amplified objects such as old tools, kitchen utensils, toys, springs and decorative kitsch. Using contact microphones, Bergmark reveals their hidden acoustics, dynamic scales and unique timbres. Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling.

XPUB (International)
Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme. The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation. The XPUB students who contributed to the development of TGC#3 are: Karina Dukalska, Max Franklin, Giulia de Giovanelli, Clàudia Giralt, Francisco González, Margreet Riphagen, Nadine Rotem-Stibbe and Kimmy Spreeuwenberg.


Piet Zwart Institute > TGC#3, Seminar + Live Event:

Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead. A publication was taken as a joint focal point, the form of which could be determined in more detail. However, it was decided to start from the floppy disc as a medium. Each student could design his/her own project on this medium. The idea of a score functioned as a guideline to shape their project and to test the working process. It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks. It is an experimental platform designed for sonic experiments, instruments and installations. Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised. The local WiFi station makes it possible to access all projects (on floppy disk) by receiving these projects via a mobile phone or on the computer. Transmitted through a beamer and an audio system, everything becomes visible and audible. Most projects are aimed at interaction with an audience (of one or more people).

Karina Dukalska, for example, created a work entitled 'Rock Step Triple Step'. As a dancer she is curious about why there is no universal graphic notation system in the dance. Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not. The performance of 'Rock Step Triple Step' started as an experiment based on psychological theories around changing memory, time perception and flow in dance. The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps.

As another example, Max Franklin's research focuses on the fragile nature of improvisation in music, with software. Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration. For TGC#3 he developed a tool that is a learning counterpart to his own musical input.

a b o u t t h i s a r c h i v e
l i s t o f i t e m s
G e n e r a t e s c o r e !