The Third Festival of Experimental Electronic Music and Video Art Urban Soundscape 3

The Urban Soundscape festival introduces audiences to musicians and artists whose creativity does not fit into conventional standards. These artists experiment with the latest computer technologies, striving to achieve a new sound of human emotions expressed in modern language. The festival is being held for the third time and its program includes performances by musicians whose work has earned approval from audiences in various countries - their records and CDs are successfully distributed worldwide. The third festival will take place for the first time in a cinema hall with a large screen and Dolby surround sound system. Comfortable conditions will allow you to immerse yourself deeply (like never before) in the atmosphere of the best musicians and artists from Moscow. The festival will combine modern experimental electronic music and video art, targeting a knowledgeable audience, tense perception, and attentive observation. Musicians and artists, joining forces, will present a unified artistic work in 2 parts, totaling 2 hours. 3 musicians will perform in each hour. The most interesting directions of modern electronics will intertwine in the works of the participants, and a unique video sequence created in real-time will reflect all the nuances of the music. Participants: CD-R CD-R is a young Moscow noise project that has been active since the beginning of 2003 and has already established itself well with the local audience, thanks to a series of successful performances and the release of several albums. The participants do not limit their creativity by style boundaries, combining elements of glitch/ambient and harsh noise and power electronics in compositions. The project's distinctive feature is the use of sound fragments from various movies, as well as other original sound sources (broken cables, flutes, bass guitars, etc.). At the concert, the musicians will present to the audience an eclectic mix of abstract and rhythmic digital noise combined with analog pulsations and noises. Video - Vadim Epshtein / eps [we:sual as you:sual] network media worker and video juggler with a personal style and visible images typically leaning towards extraordinary aesthetics with a high degree of viewer engagement, characteristic of post-industrial culture. Among the methods of influence used are context manipulation, ritual techniques, nonlinearity of perception, internal taboos shifting, and more. Works - video directing for the abracadabra festival, curating the machinista festival, video support for the Kazantip festival, concept installation for Nokia, and others. 2 Gultskra Artikler Gultskra Artikler is mysterious and unpredictable. Even the musicians participating in this group of travelers cannot comprehend this anomaly. The press uses such words and phrases as 'field recordings,' 'digital barbs,' 'grandfather's accordion,' 'whisper from under the old sofa,' 'fragments of free jazz,' 'folklore,' 'Siberian sadness,' and also mentions the ambiguous attitude towards the 4/4 size problem on conceptual and technological levels. Incoherent stories and conflicting pieces of history about this musical molecule talk about a person named Alexey Devyanin, also known by the pseudonym STUD, who has become the founding pillar of Gultskra Artikler. After several high-profile releases on the mp3 label autoplate.org and the elusive Russian label Hyperboloid, Engineer Garin, known in narrow underground circles for his scientific, minimalist, but at the same time dirty approach to audio creativity, joins this group. The musical core becomes stronger, and the music becomes completely unraveled. Intellectual video art from the montage artist Gonza. Life is a journey. Gonza.ru Metro_NM Through traces of dried tears Breaking the thin thread of thought Tearing deeper into the grave of dreams Shattering the ether into pure fragments Passing through a world where faces have soured He kept his world of shadows for a long time Listening to the sounds that hung in the wind Stopping blood, extending the span of days. Where are they, irretrievably lost Stealing the harmony from people Shot in the sky by birds Rising again... the trace - succinctness... Falling - crushing the cortex of the brain Silencing mouths, closing ears, killing eyes Penetrating deeper, leaving a gap Quiet... now listen, they are gone The halted whisper... forgotten dreams. Image - INTEKTRA Visual attack synchronization with reality. Reconstruction of eyes at the depth of consciousness. Eclipsing and crystallization. PS. The project develops the theme of visual eclipses through the joint efforts of artists, technologies, and feelings (www.vizualeclipse.com). Pps. The project's roots trace back to the Manchester audio-visual acts and mysteries (events and festivals) in which the author has actively participated over the past 3 years (weekill festival, Showskills project, Errortronika project. Andrei Smirnov (Theremin Center at the Moscow State Conservatory). Andrei Smirnov (1956) - Director and founder of the Theremin Center for electroacoustic music, head of the electronic music department at the sound recording laboratory of the Moscow Conservatory, director of the annual international festival of electroacoustic music 'Altermedium.' Graduated from MIPT specializing in automation and electronics. Interned at various electronic studios in America and Europe. Participant in numerous international conferences and festivals. Since 1976, he has been conducting independent research and development in the field of music technology. In 1992, he founded the Theremin Center, where he lectures, conducts practical sessions with musicians and composers. He has taught, lectured, and conducted master classes at leading centers of electroacoustic music in the USA and Europe, including Stanford University (USA), Dartmouth College (USA), Milan Conservatory, STEIM center (Amsterdam), etc. Author of interactive and electroacoustic music, music for theater and radio drama. Recently specialized in creating interactive musical systems using sensor technologies for analyzing and interpreting performer actions. Among his recent compositions are 'Sonograms' for film, interactive performances 'Sonochronotope' and 'Brain Jazz' for the brain biopotentials of the soloist and an interactive system, music for the radio play 'The Listener' based on R.Bradbury, the play 'The Truth about Don Quixote and Sancho' at the Pogrebichko Theater. .Acousmatic Studies... After experiments with the relationship between sound material and the form of its development, I became interested in the process of writing sound with inks that I, so to speak, extract from materials that I try to combine and / or contrast, studying their nature. Bernard Parmegiani (GRM, 1975) The project, in fact, is a collective composition. In 2003-2004, at the Theremin Center in Moscow and at the Institute Pro Arte in St. Petersburg, as part of Andrey Smirnov's course 'Acousmatics and Interactivity,' a group of composers, both beginners and experienced, was invited to write etudes based on the material of four short sounds: two water sounds and two industrial sounds. Under the rules of the game, composers were asked to abandon all advances of modern music technology, instruments, effects, programs, and plugins, except for a strictly defined set of the simplest editing operations, similar to those used by composers at the dawn of acousmatics in the early 50s. XX century. Without going into the details of the project, it is enough to say that the extreme self-restriction does not limit the possibilities of manipulating and transforming sounds because all modern digital effects and techniques are derivatives of that very basic set of functions allowed for use in the studies. One of the goals of the etudes is to change the composer's psychology. Instead of relying on familiar patterns, ready sound libraries, programs, fashionable sets of effects, and other sound cosmetics, the composer is forced to solve a kind of musical rebus, the solution of which is possible only through the exploration and deepening into the nature of the sound itself. Each of the proposed sounds represents a little universe, a kind of deterministic chaos. The composition process in this case is a process of searching for certain types of organization, guaranteed hidden in the material itself. To paraphrase Bernard Parmegiani, the composer's task is to write sounds with inks derived from the sounds themselves. A.S. Stanislav Menzulsky - Unregulated Crossing Video - Evgeny Savenko, photo - Konstantin Snitsar Music based on the material of unpredictable results with subsequent processing. The video sequence is a mix of 'field' shots, videography, and photos processed in ArtMatic software. Attention! The festival will take place on April 30 (Saturday) in the Blue Hall of the cinema 'SALYUT' at the address: Metro Akademicheskaya Ulitsa Kedrova, 14, building 3 Tel. 125 04 48 Starts at -19:00 Ticket cost - 150r The most punctual listeners (viewers) will receive a special CD with the music of the participants. Discs from the Sol Ater Distro collection will be distributed (http://sa.woods.ru) More important than who we are is what we do and how we do it. www.top-40.org we can't stop the music