Allegro is the first Radio JUJU event featuring Andrea Liu and Ummo (Aditya Mandayam).
Andrea Liu: The Visitors
The modular synthesiser anthropomorphised into a social body, with each parameter of signal (Frequency-Spectrum-Amplitude) processed differently. Visitor One wants to be integrated into the grand narrative of appreciating art. Visitor Two believes in the mystery and the unknowability and the ineffability of art. Visitor Three believes in the emancipatory potential of extreme experiences. Visitor Four yearns for linear narratives and emotional storytelling. Visitor Five believes art should be an intimate offering amongst friends–it should not have to be funnelled through the language and superstructure of the art world. Each Visitor is a speculation on a hypothetical audience member.
“In any given performance, there is a vast reserve of untapped resources: the audience. I incorporate the hypothetical opinions, desires, and expectations of the audience as the content of my performance. The audience is a crystal, through which various desires, ideologies, assumptions, backgrounds, biases are refracted, projected, frustrated, appeased, challenged, or fulfilled.”
BRUD’s Benevolent Dictator Aditya Mandayam will introduce the JUJU Modular Human Synthesiser, and its many features. A brief tour of “Periphony” and “Relabi” will follow. He will end with a demonstration of the Ciat-Lonbarde instrument family.
Mandayam’s new solo musical project Ummo combines West-Coast modular synthesis like “Arp, Buchla, Serge, Ciat-Lonbarde, and countless nameless inventions that used bananas” with Indian classical singing, creating layers of ambisonic feedback, resonance, xenharmonic noise, and Carnatic vocals that he calls “modular folk”. In recent years Mandayam’s practice has taken a turn towards the esoteric Hindu traditions of Tantra. Combining avant-garde performance aesthetics with his studies in classical voice, Mandayam’s operatic oeuvre is a gesamtkunstwerkof sculpture, theater, cinema, music, light, text, sound, and image. Drenched in the Tantric trinity of black, white, and red, Ummo is the High Priest of the Temple of the White Cube.
With an ever-widening chasm fast approaching us, Brud invites you to a soirée on hearing and shared perception. In the Slavic languages functionaries supplant their functions. A photographer is a fotograf. A cameraperson is an operator. A musician is a muzyk. Brud is pleased to welcome two pioneering operator-musicians of periphony and synthesis, Gerriet Krishna Sharma, and Meng Qi to JUJU #2).
Do musicians hear what their audiences hear? As the operator-musician of a sophisticated instrument needing many years of immersion to appreciate, do you understand my music at all?
Do You hear what I hear?
Do You hear with Eye Ear?
How are composers who work with systems that produce previously unheard sound and space phenomena to know that the audience will perceive them at all? On Friday 29 March, we welcome you to a concert and a tete-a-tete with Gerriet Krishna Sharma attempting to answer this very question. The conversation will span Sharma’s wide-ranging practice in holophony, ambisonics, spatial perception, and how to communicate the subtleties of electronic music. The evening will conclude with an in-camera composition and performance by the band GITA focusing on the White Cube-as-instrument, camera-as-synthesiser. GITA will employ Rib’s unique spatiotemporal and acoustic properties as ingredients in a live performance featuring holophonic feedback.
Also on Friday, Brud is pleased to debut in the Netherlands the fruits of our 3D cassette tape label, BUIO, in the form of the series PING-PONG, produced, mixed, and mastered within Rib. We are living through a Renaissance in tape technology. Brud is proud to move the needle a wee bit within this subculture by showcasing our in-situ, in-camera, site-specific technique for producing 3D cassette tapes.
BUIO and PING-PONG stem from the observation that every cassette ever made has 4 tracks, which is the number of channels needed for 3D sound. Most cassette players, decks, stereos, and walkmans give you access to two tracks at a time, termed a “Side”. By manipulating and recording all 4 tracks periphonically at the same time, Brud has turned the humble cassette into a portable sonic sculpture and a vessel to immerse oneself in—a stunning comeback of and a fresh contemporary take on a vintage format long considered dead. A number of JUJU have shown keen interest in this approach and Brud aims at releasing a number of PING-PONG tapes this year with them. Brud thanks our friend and co-conspirator Juan-Pablo Villegas for helping us figure this out.
On Saturday March 30, as part of JUJU TV, we are pleased to stream Meng Qi Live from Beijing. The first synthesist from China, Meng is renowned in modular circles for his radical interpretations of synth interfaces for “fast and simple ways to get custom expression”. Of note is his work within Peter Blasser’s Ciat-Lonbarde family, members which have featured prominently in previous editions of Radio JUJU with the artists UMMO, and Chipirurri.
Rib is pleased to present BRUD’s third episode of Radio JUJU Andante: featuring philosopher, theorist and writer Inigo Wilkins. While Sharma focused on Collective Listening in our previous event Moderato, Wilkins will speak on Psychedelic Listening: A Synthetic Philosophy of Contemporary Audition.
“Psychedelic Listening” refers to the self-realization of auditory cognition: making the operations of listening manifest and open to transformation. This is as much about the artifactual elaboration of sound technologies as it is the social-interactive elaboration of auditory meaning.
We will see how contemporary accounts of auditory perception draw on recent work in machine learning to describe conscious experience as an online hallucination or generative model supported by processes of analysis and synthesis within a hierarchically nested structure of Bayesian induction, and then describe how the properly trans-umweltic and horotic character of human auditory synthesis is way weirder than the surprisal minimising dynamics of predictive processing or the apophenic deep dreams of AI.
Rib is pleased to present BRUD’s fourth episode of Radio JUJU: Adagio following Inigo Wilkins’ Andante, featuring luthier and musician Giuseppe Severini. Giuseppe Severini will give a talk titled Sounds of the Cosmos: Heavenly Harmony since Prehistory to Modern Times, followed by a concert on instruments designed and built by Signore Severini himself.
A maker of “philological instruments” from the Dark Ages, Signore Severini’s lively blog and Youtube channel reconstruct forgotten musical histories and instruments using a combination of field visits, scholarly research, and classical craftsmanship. Severini previously built the Harp of BRUD, an enneatonic Aeolian harp devised by BRUD based on classical Greek macrotonal tuning. When asked which instruments he would bring to JUJU, he replied: “I don’t know yet! I must choose the best: Cosmic psaltery, Boneflute, conchshell, mizmar, rombos, little organistrum.”
Rib, WORM, and BRUD present the grand finale of Radio JUJU.
To paraphrase William Rankin, “Radio been understood using a wide variety of material metaphors—just in navigation and surveying, radio has been treated as a railroad, a yardstick, a street sign, a grid, even a kind of paint—but it can also be just as permanent, obdurate, and determinant as other, more familiar infrastructures.”
Volante, which may be translated as “flying” or “steering wheel”, is the culmination of the diverse strands that BRUD and Aditya Mandayam have attempted to weave together in Radio JUJU: the human body as synthesiser; the collective voice; queer synthesis, and psychonautics. Volantefeatures JUJU’ signature mix of pioneering sound artists, underground stars, and emerging collectives, including Michał Libera and Ryo Ikeshiro. BRUD, JUJU, MUTO, and RIB are thrilled that our beloved friend, Mexican underground legend Humildad Sound Sistema (Juan-Pablo Villegas) will perform live.
Many JUJUs responded with enthusiasm in approaching the cassette as a creative tool, and using quadraphony and ambisonics as a compositional system. Volante will showcase some of these tape co-productions, with the queer_feminist collectives Tender Center, Justyna Banaszczyk (FOQL) of ORAMICS, BARE-TT, and of course, WORM.
JUJU is a Modular Human Synthesiser. JUJU consists of modules called “Homo Modularis” that are touch-sensitive, can be gesture-patched, act as vocoders, and have a wide array of inputs and outputs. The music of the “Homo Modularis” is known as “Modular Folk”. Central to JUJU’s ethos are Modular Synthesis as curatorial practice; the “Politics of Periphony”; and “Relabi” as the Model Organism of contemporary art. JUJU is manifested within Rib as emanations or secretions called Radio JUJU, JUJU TV, and a series of pioneering cassette-experiments, the Ping-Pong Tapes.
Throughout the year, Radio JUJU will host a number of events combining live performances at Rib and in between, live streams into Rib with material contributed by guest artists. BRUD will be the common thread at each event and collaborate with guests artists live.
Bare-TT are Katia Barrett and Melissa Tun Tun. They are a duo that exists at the intersection of computer music and live electronics. Using warped field recordings with altered voices, DJ player loops, and phase distortion synthesis they create soundscapes that oscillate between micro and macro environments. In their performances, Bare-TT narrate the possibility of symbiotic regeneration and metamorphosis. Their practice is informed by spatial music and acousmatic interpretation and inspired by the promiscuity of species, horizontal gene transfer, alien morphologies, and the possibility of becoming vegetal.
DE PLAYER is a polymorphic production platform in Rotterdam (nl), which has been putting together programs on the cutting edge of performance art, experimental music and the visual arts, emphasising the importance of sound, and the performance and positioning of sound within the visual arts and contemporary experimental music. Theory, design, lifestyle and staging form a key role in this. DE PLAYER does not adhere to the usual separation which occurs between the disciplines of music and visual art, rather they show their mutual inspirations and influences.
Over the last few years Justyna Banaszczyk aka FOQL has released an impressive amount of music on different types of media, on labels such as New York Haunted, Always Human Tapes, Gooiland Elektro and Pointless Geometry. Her hypnotic and unconventional style stems from her industrial and dark roots, and thanks to her soft spot for experiments, heaviness and the most innovative corners of dance music, she avoids the obvious, what can also be heard during her live performances. The artist associated with ORAMICS collective is releasing a new record “Dumpster diving know-how” that’s coming out on CGI Records from Atlanta on the 15th March. ORAMICS was created in 2017 as a platform to empower women, non-binary and queer people in the electronic music scene, then it evolved into an independent booking agency representing FOQL, Olivia, Mala Herba, dogheadsurigeri, Avtomat, Monster and ISNT. ORAMICS mostly works in Poland but their collaborators are based in the Netherlands, Austria and France. A vital part of their activity is to support other struggling communities and also music and artists from Eastern and central Europe.
Juan-Pablo Villegas aka Humildad Sound Sistema sees filmmaking as a way to bring together his interest in images and sound. It takes as a starting point the body’s perception of external stimuli & how that influences our personal & collective experience. The tools he uses derives from audiovisual principles that allow reflection by changing the way they are conventionally used. In recent years, he has researched issues related to translation & the expansion of the sensory spectrum, the animist condition of objects & the formation of the psychosomatic.
Ryo Ikeshiro (JP/UK, 1980) is an artist and researcher whose work deals with sound, media and computation. His output explores contemporary notions of otherness as manifested through technology and sound, and he is interested in the artistic potential of computational technology and algorithmic processes as well as the cultural and political dimension of computation and media. His practice includes audiovisual performances, sound installations, interactive works, generative art, electronic music, data visualization and sonification, video, 3D prints and engravings. Recent works explore issues of diversity and net culture through the use of deep learning, computer vision, the singing voice synthesis software Vocaloid, found footage, onomatopoeia and directional audio technology. He was part of the Asia Culture Center’s inaugural exhibition in Gwangju, South Korea, and his TeleText art pages have been broadcast on German, Austrian and Swiss national TV.
Michał Libera (PL, 1979) is a sociologist working in the sound and music field since 2003, recently, mostly as a dramatist and librettist in sound essays and other experimental forms of radio art and opera. Recent shows include Cosmos-Cosmos based on Witold Gombrowicz’s work (with Lê Quan Ninh, Ingar Zach, and Tomasz Nosiński) and Kalkwerk/Studium based on an unwritten treatise on hearing in Kalkwerk by Thomas Bernhard (with Pete Simonelli, Hilary Jeffery, Andrea Belfi, and Ralf Meinz). He also runs the conceptual pop label Populista dedicated to mis- and over- interpretations of music and curates various concerts, festivals, and anti-festivals, and music programs for exhibitions.
Andrea Liu (DE, 1983) is a visual art/performance critic (and artist). Her visual art and dance criticism deals with the juncture between modernism and postmodernism, dematerialized post-studio art, and the de-historicization of minimalism into a formalist aesthetic. She was awarded 16 artist residencies since 2008, including Atlantic Center for the Arts, Art & Law Program, MFAH Core, Ox-Bow, Millay Colony, Jacob’s Pillow, ZK/U-Berlin, Centrale Fies Liveworks Performance Act Award, and was core participant in Anton Vidokle’s New Museum’s Nightschool. She was curator of Counter-Hegemony: Art in a Social Context at Contemporary Art Centre Vilnius and wrote for Afterimage, ArtMargins, Art US, e-flux (AUP), Social Text, New Museum, Movement Research Journal, Pastelegram, and Postmodern Culture.
Aditya Mandayam is a writer, musician, and filmmaker and Benevolent Dictator of Brud. A former resident of the Rijksakademie, Amsterdam, Mandayam has performed at museums, galleries, festivals, and underground venues worldwide, including CAC, Vilnius, MHKA, Antwerp, kim?, Riga, Art in General, New York, Schloss Solitude, National Museum of Bolivia, National Gallery, Zimbabwe, Baltic Triennial, Kunstverein Munich, FUTURA, Prague, Museum of Modern Art, Warsaw, Whitechapel Gallery, London, and Empty Brain Resort, amongst others.
Meng Qi is a pioneering synthesist, theorist, teacher, and designer, the first of his kind in China. Renowned for his distinctive devices and instruments, Meng performs with a gestural, emotional edge. Meng has built a number of experimental instruments with unique aesthetics and innovative interfaces that are played all over the world.
All areas of Gerriet K. Sharma’s (DE, 1974) activities deal with media-linked societies, their perception and the influence and alteration of their perception by the media. To this end, he considers it inevitable that he exposes himself to these environments with their apparatuses, effects and phantoms, to research them, and thus himself, to subtract a critical artistic use, in order to create a counterpoint in dealing with the usual media-induced music sound and picture worlds. The fact that he has chosen for this practice from the outset, and without exception sounds and their emitters, storage media and projection methods, is due to his persisting fascination for the potential of the subtle compositional possibilities and the constantly problematic relationship between time, space and body within the framework of a so called (virtual-)reality of the Now.
Giuseppe Severini (IT, 1953) is a musician and luthier dedicated to the study and reconstruction of stringed instruments and vocal repertories of 11th and 12th centuries. He is director of ‘Secoli Bui’ society and Casa della Musica e della Liuteria (House of music and lutherie) in Randazzo, a private museum open to visitors. Affiliations: Apemutam (France) and Istituto di Archeoastronomia Siciliana. He joined meetings and medieval music festivals in Paris, Chartres, Le Havre, Largentière, Grasse, Santiago de Compostela, Moissac, Montpellier, Perugia, Bevagna and Palermo.
Lukas Simonis is an instrumentalist and musical activist, and has his roots in the industrial music and noise rock of the 1980s. He discovered the delimited world of improvisation in the Rotterdam Jazzbunker scene, which consisted of 'heavy drug induced' punk rockers, freejazzers, early electronic musicians and pre-postrock. After that time Simonis played in several bands, (ao. Dull Schicksal, Coolhaven, Vril and Deus Cantos) and organized concerts, events and films at the Jazzbunker, Teatro Popular, Dodorama, Worm, Vrooom and InstrumentsMakePlay. Nowadays he also runs the electronic studio of WORM, which is part of this project.
Wojtek Szustak is an intermedia artist and musician from Poland. He studied Intermedia Arts at the Fine Arts Academy in Kraków, currently residing in Rotterdam, and focusing on audio, technology and interferences. Since 2010 he is present on the Kraków electronic and DIY scene. In 2016, a couple of months before leaving to Rotterdam he co-founded the gallery “Elementarz dla mieszkańców miast”. In Rotterdam he orbits around WORM sound studio and media archive (worm pirate bay) making couple of works and presenting widespread content of that archive during Explore the North Festival in Leeuwarden or Gogbot festival in Enschede. This year he also started a cooperation with Varia with the goal to make a series of instruments in workshops using recycled electronic waste only.
Tender Center (*TC) is currently eight people and a space who go by these words*: We are a collective of feminist queers who are building the beginnings of a community center for culture; or a venue for queer events; or a les university of life in Rotterdam. Tender Center is a relational infrastructure *and venue* with parties, agitation, co-learning, bodies in varying states, gardening, (s)words, conversation, workshops, food, DIY darkroom, cats, curry, and a solid sound system. Tender Center is a not-for-profit association, and we currently are running on funds from our own small pockets and the energies of those who support us in making the space and *community activities* possible, thank you! *Thank you, our lesbian trans feminist queer p.o.c friends, and wider ltqbgipq communities and allies*, for creating a space for music, art, poetry, politics, *hanging out*, and care of all queer kinds.
Inigo Wilkins (UK, 1981) took his masters in Sonic Culture at the University of East London, and completed his PhD in Cultural Studies at Goldsmiths, University of London in 2016. The title of his thesis was Irreversible Noise: The Rationalization of Randomness and the Fetishization of Indeterminacy, which he is now working on for a forthcoming publication by Urbanomic. He is a co-director of Glass Bead.