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Creating a Stage with AI: GAMMA_LAB

Creating a Stage with AI: GAMMA_LAB

What happens once you apply machine studying analysis to experimental sound – and then play in front of a stay pageant set? Just lately we found the RU in St. Petersburg.

Our Gamma_LAB AI group introduced together a numerous worldwide group of artists, musicians, music scientists, coders and researchers, together with people who are deep within the subject of science outdoors of the art of science. (One in every of our companions is juggling their work by discovering drones – so not the standard media artwork strategy to AI!) Organizer group (of which I was the only non-Russian member this time):

  • Natalia Fuchs, Curator
  • Julia Reushenova, Curatorialist , conceptual artist
  • Peter Kirn, assistant
  • Natalia Soboleva, assistant
  • Dr. Konstantin Yakovlev, Scientific Advisor

… and our associate, including Technical Options, Cloud Options.

Step One: Get collectively for a 12-day lab, bringing us to St. Petersburg in Might. It was a chance to study from each other, participate in lectures and start experimenting – every part from reconstructing Baroque music to creating new sounds for a technical and experimental improvisation performance. Members from throughout Kenya have been simply across the nook:

Ksenia Guznova (RU), Ilya Selikova (DE), Anastasia Tolchneva (RU), Michal Mitro (SK), Mar Canet (ESP), Ilia Symphocat (RU). , Thomas Disley (US), Nikita Prudnikov (RU), Tatyana Zobnina (RU), Joseph Kamaru (KE), Egor Zvezdin (RU), Alexander Kiryanko (RU), Katarina Melik-Ovsepian (RU)

Step 2 – massive leap – come back to St Petersburg in July, and make the raw industrial area the whole thing to serve the pageant viewers. It led to a complete program:

A packed audience that ended with tech noises and industrial installations (written by Stanislav Glazov). Photograph: Alexander Sharoff.

  • Recipient Helena Nikonole's Reside Media Art Performance (Intrusion of IoT Units to the Actual-Time Stage)
  • Instrumental group of baroque musicians mixing historic scores and freshly generated AI librettos and melodies (led by the harpsichordist 1900) -electronic improvisation group working with machine learning-generated sounds educated on numerous experimental sound sources (Ilya Selikova, Michal Mitro, Symphocat and KMRU) [19659004] Stay coding duo with unique AI-powered encoder / decoder built for artists Monekeer + Lovozero)
  • Thanks for making stay techno from generative textual content, loops created by AI, and elegance transfer [19659009] And all of this occurred during a pageant program on peak Saturday night time set in apocalyptic perspective that former brewery just before its dismantling, outfitted with intriguing, responsive lasers and lightweight from Stanislav Glazov (Licht) in Pfad studio, Berlin).

    Right here's an improv group working on their material:

    My very own plus, produced by coaching my very own productions and voices; text-to-speech educated in my voice reading textual content, derived from Capek's R.U.R. Also exhibits very nicely what Stanislav Glazov did with his laser / mild surrounding installation, together with answering music, all in a managed TouchDesigner:

    Some audio examples:

    Reside coded, customized AI duo Monekeer + Lovozero.

    I spoke with curator Natalia Fuchs (ARTYPICAL) who put together a program with us. Natalia is now presenting a undertaking for the MUTEK Pageant in Montreal, and has served not only as a GAMMA curator and producer, but in addition as a marketing consultant for the current AI exhibition at the Barbican Middle.

    CDM: First put the lab in context – at one point there’s a surgeon who stacks techno, however then the results of that lab are additionally found. What’s GAMMA_LAB's place at the Gamma Pageant?

    Natalia: Gamma_LAB is the guts of the pageant experiment. We launched LAB in Might 2019 – it was for us [big reponsibility] as a result of LAB was self-financing, without any institutional or technical help. It was only after the announcement of the worldwide open call for tenders that we started to concentrate to the varied companions who [have now] joined the undertaking. By "responsible" right here I imply our relationship with artists and the public – we knew that the experimental lab was solely the primary chapter and the primary message was the pageant's conceptual AI part.

    What does it mean to be a laboratory inside a pageant when you have a place that does new stuff?

    In programming the pageant, we all the time really feel that we need to characterize local artists and high quality local manufacturing. And Gamma_LAB is our cultural manufacturing unit. We concentrate on new inventive and curatorial solutions, worldwide collaboration – which suggests staying on monitor, staying related and helping the group develop.

    Baroque musicians – mixing historic scores with libretto and melodies constructed by AI – joined electronic artists. Photograph: Alexander Sharoff.

    What has been your relationship with AI as a curator – how would you relate your experience with GAMMA_LAB to your participation in the Barbican exhibition? CTM Pageant? Different tasks?

    My connection is AI ratio is because of common analysis areas: I am a media artwork historian, and I’m now very involved concerning the AI-associated new media research. I find it very encouraging and exciting – this large philosophical quest to seek out the large “other”. So I began to work intently with Gamma_LAB idea artist Helena Nikon I, who was his "deus x mchn" challenge equal Rodchenko Faculty in Moscow and in by way of the negotiation of this work for the Karlsruhe ZKM art and media middle "Open Codes" exhibition developer kuraattorikäytäntöjäni artwork and AI . Then there have been AI-related tasks for Barbican and CTM, but Gamma_LAB nearly thrown my apply back on the Polytech.Science.Artwork program, which I [previously was] curated at the Moscow Polytechnic Museum. The best way we construct processes, including concept, utilized research, performative issues, takes the identical strategy to the subsequent degree. When it comes to scale, Gamma_LAB and its connection to the Gamma Pageant ([with its] 12000 guests) have undoubtedly jumped a lot larger.

    In fact, we all know that AI is buzzing. However do you are feeling something distinctive in this specific set of collaborations – was there a feeling that one thing totally different occurred? The process itself? The outcomes?

    The dedication of the technical workforce was very totally different within the LAB. I feel we found a option to collaborate across disciplines in a method that was fascinating to both – tech professionals and media artists. It makes the venture very robust, I consider.

    Reside Improv Group. Photograph: Alexander Sharoff.

    There’s a lot of curiosity in Russia, as all the time with tasks. What can be the connection between the Russian scene and the international scene? I’m definitely grateful for the distinctive experience that we had; Perhaps individuals are not so conscious of how a lot technical talent and skill we’ve got in our Russian community?

    We’ve had a very long time when Russian science and know-how have been underneath authorities control. So the internationalization of science in Russia continues to be very sluggish. So I don’t consider it is a belief, however a historical memory. The international interest within the technical expertise and capabilities of the Russian community is certainly very robust, but individuals outdoors the nation know that profitable cooperation was fairly unattainable on account of political constraints. So in the intervening time we all need to transcend these limits. And Gamma-LAB also helps open communication in science, know-how and art.

    The AI ​​workshop began its life with an exhibition and workshop in Berlin – and now you’ve gotten continued to MUTEK. What's the longer story out there? And what are you able to speak about as far as the subsequent one goes, or what do you hope to happen subsequent with these tasks?

    The longer report does correct inventive analysis on AI – however beneath the control of the curator. Each worldwide pageant is keen on creating cultural production, expanding its modern cultural strategy, and is consistently keen on public feedback. The extra critical the collaborative experience we’ve, the deeper the cultural production, the more significant the artwork experience may be to the public. We deliver this pageant to a degree of collaboration not solely with inventive communities or producers of utilized know-how, but in addition with academia and the scientific group.

    I hope, nevertheless, that I am not concerned in any "next level". I hope it has the opportunity to develop a essential strategy to AI and the arts. For my part, there isn’t a room for individuals to freely discover and type their very own opinions on AI. [that compares with] The world of media artwork and pageant environments.

    Helena, you need to strategy our group from a totally different perspective, and you’ve got additionally worked as a solo media artist. What was your experience?

    Helena: The AI ​​Stage … I feel turned some of the experimental and multi-style levels of the pageant. I introduced my work as a performance of Deus X mch, which was previously carried out in a very totally different surroundings at the museum. Subsequently, I discovered it fascinating that by presenting this piece at the pageant, I was not going to serve a few of the viewers's expectations, however then I noticed that it was truly a stage function.

    The Helena venture has seen exhibitions prior to now – but now it additionally had to share the pageant stage, reside in front of an viewers with unsure and virtually real-time results.

    All the performances from baroque to noisy improvisation, which may be proven in a museum encoding digital art, and for me the AI ​​stage was the perfect example of how a music pageant might turn into a area for brand spanking new media art and complicated sound and music experimentation. And sure, the audience was simply awesome! In fact, some of it was more accustomed to going to the rave than to the centers of up to date artwork, however even these individuals have been really interested by what was occurring on the stage, so in the long run I was actually stunned that typically the rave might practice the viewers. [EN/RU]

    Photograph: Nikita Grushevsky. Photograph: Nikita Grushevsky.

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