Mez Breeze, Australia/VR + Ana Carvalho, Portugal, UnKeynote «Layering the New Real: Tracking the Self in Disembodied [Un]Virtual Spaces»
Mez Breeze’s award-winning creations have helped shape digital fiction for over two decades. #PRISOM, her anti-surveillance game created with Andy Campbell and produced for The 2013 International Symposium on Mixed and Augmented Reality , is “…the digital equivalent of Orwell's 1984” (according to academic James O’Sullivan). Rebecca Cannon from the game site SelectParks has said: "Mez is not only one of the world's most knowledgeable experts on contemporary digital culture, she's also one of its most inspiring innovators." Having been shortlisted in the 2016 and 2015 Games Development Category of the Microsoft MCV Pacific Women In Games List which profiles the “most influential women across all facets of the Australian and New Zealand Games Industries”, Mez is currently the proud bearer of a ridiculous number of laugh lines; co-creator of All the Delicate Duplicates; a Senior Research Affiliate with The Humanities and Critical Code Studies Lab; a bee devotee and permaculture practitioner; an Advisor to The Mixed Augmented Reality Art Research Organisation; a steward to two lovely rescue dogs; and is developing a comprehensive career archive with Duke University. @mezbreezedesign.com
Ana Carvalho is an artist whose work focuses on visual communication, identity and memory construction. Her projects often reflect on fictional biography, social utopias, ways of knowing, and women's achievements. The outcomes of her projects take the form of texts (books), photographs, drawings, installations, and live audiovisual performances. She grows gardens, and gardening is for her a metaphor of the ongoing development of her personal cosmology. A doctor of Communication and Digital Platforms, she has done research on materiality and the ephemeral, identity and performative audiovisual arts, documentation and memory construction. She has curated exhibits for Media Instáveis. She was the holder of the Ernesto de Sousa scholarship, a grant that allows portuguese intermedia artists to work in New York at Experimental Intermedia with Phil Niblock. She is the co-editor of VJ Theory. @cargocollective.com/visual-agency
OTTARAS :: Ottar Ormstad, Norway + Taras Mashtalir, Russia («Affiliations»), 4 CONCRETE. Based on some of Ormstad’s earlier works of concrete poetry, three videos are made by Russian video-artist Alexander Vojjov. Projected on a grid of particles that at times seem ordered, while sometimes chaotic and always in flux, Ormstad's constructed language poetry is exposed and read by the author while performing to Mashtalirs pulsating music. Is everything connected to one another in the sphere that is shaping before the viewer's eyes? How does language relate to the atmospheric scapes Vojjov creates of numbers, geometric forms and abstract shapes?
Ottar Ormstad has published several books of concrete poetry. He has presented video-poems and exhibited darkroom-produced photography, and also graphic art based on his concrete poetry. In 2009, he produced his first video called ‘LYMS’ which is screened in 19 countries. His web-poem ‘svevedikt’ (2006) was selected for the “ELMCIP Anthology of European Electronic Literature” (2012), and his video 'when' (2011) for the collection ELC3 (2016). In an article titled ‘driving down the road of continuity?’ published in Dichtung Digital 42, Ormstad reflects upon his artistic practices from book publications and exhibitions to digital concrete poetry. Since 2015 Ormstad collaborates with Russian composer Taras Mashtalir as OTTARAS. Together they perform sound poetry based on Ormstad's concrete poetry and Mashtalir's music. @yellowpoetry.com/
Taras Mashtalir is a sonic artist based in New York. A classically trained musician turned electronic music producer, Mashtalir has worked as a composer, music producer, sound designer, and audio engineer in the fields of TV, film, and advertising in addition to exhibiting nationally and internationally. The method of Mashtalir’s work is the exploration of the role of media in the development of literary art practices including video poetry, text generators and performance art. It is the exploration of how text can be transformed by mechanized reading, sonification and visualization and what are the possible limits of this transmedia play of interpretation. The main principles are formulated in his Machine Poetry Manifesto, addressing the idea of liberation of the machines (algorithms) from routine tasks and increasing the intensity of their use for creative and educational practices. The works of Taras Mashtalir also include interactive multimedia installations, soundtracks for the films and animations, as well as music for TV ads and programs. His works been featured in a number of international festivals. For the last five years Taras has given numerous lectures and workshops on interactive technology. Taras is currently Artist in Residence at ITMO University in St Petersburg, teaching a course of “Sonic Ecology: harmonious sonic aesthetics in urban environments.”
Américo Rodrigues, Portugal + Miguel Azguime, Portugal («Communities»)
Américo Rodrigues has worked as cultural programmer, actor, stage director, and dramaturgist. He was the Director of the Municipal Theatre of Guarda, founder of Luzlinar, the Aquilo Teatro collective, and coordinator of the poetry magazines Aquilo, and Boca de Incêndio. He is currently the director of the Teatro do Calafrio and the Eugénio de Andrade Library, Guarda. His creative practice is deeply related to sound poetry. Rodrigues' sonic and vocal works use the virtuosistic capabilities of his vocal apparatus, integrating sound manipulation techniques with the sounds of his tongue, teeth, lips, as well as the noises they produce. The musical and poetic expressivity of his phonetic compositions results in a combination of pre-verbal, verbal e post-verbal. He has published several records of sound poetry, as well as several books of poetry. His last work is Porta-Voz. @po-ex.net/americo-rodrigues
Miguel Azguime studied percussion and is a composer, performer and poet. With Paula Azguime, he founded of several groups performing jazz and improvised music, including the Miso Ensemble, a contemporary music duo. As a composer, Azguime works for diverse formations – instrumental and/or vocal with or without electronics, tape music, sound poetry, and also music for exhibitions, sound installations, electroacoustic theatre, dance and cinema. Azguime’s works were performed by the Smith Quartet, California EAR Unit, BBC Singers, etc., and his work has been regularly presented at major festivals of contemporary music around the world. He is currently developing an Electroacoustic Theatre and New Op-Era concepts. His multimedia opera “Salt Itinerary” transcends theatrical and music conventions, reflecting on art and madness, revolving around languages, words as sources of meaning and words as sources of sound. Miguel Azguime is also dedicated to the promotion and diffusion of contemporary music, being the founder and director of the Miso Music Portugal, artistic director of the independent record label Miso Records, and director of the Música Viva Festival, as well as founder of the Miso Studio and the Sond'Ar-te Electric Ensemble. Since 1995 he has been developing the first Portuguese Loudspeaker Orchestra dedicated exclusively to the performance of electroacoustic music. In 2003, together with Paula Azguime, he founded the Portuguese Music Research & Information Centre. @azguime.net
Annie Abrahams, France/Netherlands («Translations»), Ours Lingages. The internet is my language mother. I speak with a voice that's not my own, I speak in other voices, not my voice. We are all e-strangers, all nomads that use globish bastard languages. We are the alienated translated (wo)men in-between code and emotion, in-between our wish to be visible and our longing for intimacy. L'entre-deux = void. Can't we be “with” instead? Translation is a joy as long as you can accept the imperfections of the result, are willing to learn, to spend time, to pay attention, to take risks and to accept your own incompleteness and glitches. Translation is always failing, faulty, it's a source for confusion … and discovery. It opens a third language; another in-between, and then a fourth and … Better take nothing for granted and play with it. Be the one not looking at what something is, but at what something can do. You have to accept (a FEW times). A few times. New language. Let's try to be “with”.
Annie Abrahams is an artist who questions the possibilities and limits of communication in general and more specifically investigates its modes under networked conditions. Using video, writing, installations and performances as well as the internet, she develops, what she calls an aesthetics of attention and trust, in which human behavior is the main material. She is known worldwide for her net art (Being Human – online low tech mood mutators / not immersive. 1996 - 2007) and collective writing experiments and is an internationally regarded pioneer of networked performance art. She has performed and shown work extensively in numerous exhibitions, festivals and conferences throughout the world. Lately she published two books : from estranger to e-stranger by CONA, Ljubljana; and CyPosium - the book (co-edited with Helen Varley Jamieson) by LINK Editions and la Panacée. Annie Abrahams lives and works in Montpellier, France. @bram.org