Learn to compose human-technological cybernetic systems in Pure Data with Portland-based duo MSHR in this workshop focusing on sonic feedback and interactions between participants. MSHR has been creating sculptural electronic systems since 2011, and their performances combine light and homemade circuit designs with digital systems for controlling and manipulating complex behavior in sound and visuals.
In this workshop we will demystify some of the processes surrounding live electronic music making. Led by electronic musician, improviser, and sound artist Lauren Sarah Hayes, participants will be guided through building low-cost, DIY electronic synths, and explore strategies for improvising using these new creations. Using techniques derived from embodied interaction, enactive approaches to music cognition, and improvisation traditions, the group will work together to playfully explore collaborative electronic music making. No musical or electronics experience is necessary.
This workshop will be an introduction to acoustic and electronic feedback — when a loop is created between an audio output and an audio input. We will experiment with both kinds of feedback, delving into “no-input” mixing (routing a mixer’s output back into its input), and how to connect acoustic and electronic feedback together in one system to produce dynamic, musical results. Participants will gain valuable insight into how audio mixers work and how to use them as instruments. We will practice setting up feedback systems and will have generous time for experimentation.
RICH GLITCH is a collaborative, interactive workshop where we will journey through the realms of analog video mixing and 80’s style graphics. Steered by our collective vision, we will use vintage video mixers, live camera feed, video synthesis, and found footage to create new video art that looks rich and glitch. We’ll also view and discuss historical examples of video art. Feel free to bring your own found footage via VHS tapes or youtube links.
An introductory course to using the SuperCollider programming language to make sound and explore generative composition. Look forward to a fun and hands on environment, as we journey through: instrument design, sound synthesis, and algorithmic composition. Participants will leave the workshop with a foundation of skills related to using SuperCollider for creative projects and resources for further development. Points of departure will depend on each student’s unique set of interests and abilities, but may include: music, installation, performance, and interactive art.
Design new instruments in this hands-on workshop dedicated to the piezoelectric effect, a phenomena first observed in 1880 in which mechanical stress generates an electrical charge in crystals and ceramics allowing one to transform everyday found objects into unique sound generators! Join composer, sound artist, and educator Casey Anderson to learn about and experiment with the technological and artistic concepts that form the basis for this amplification-oriented approach to instrument design.
Join us for a workshop with choreographer Gerald Casel and sound designer Tim Russell, as they share their collaborative process with sound and dance artists to create a generative space where different modes of improvisation and composition are shared, critiqued, practiced, and re-processed.