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bio - duo N-1

N-1 Spawed by Giuliano Obici and Alexandre Fenerich, N-1 (n minus one) came to life in July 2007 presenting itself in festivals, concert halls, art galleries and bars, like the FILE Hipersônica (São Paulo, 2008), Worldtronics (Berlin 2008), Live Cinema (São Paulo, 2009), Festival Ibrasotope (São Paulo 2010) and Ciclo de Arte Sonora (Rio de Janeiro, 2010). The duo explores the diverse processes of sonorous-musical creation. The album “Jardim das Gambiarras Chinesas” (The Garden of the Chinese Gambiarra), August 2009, shows about the duo' s spirit of humor and eclectic style, as well as the processes of live improvisation with electronic devices and with audiovisual musical gestures. ( + info )

Metaremix

The performance is divided in two parts. The first consists in an improvisation with everyday sound devices like 2 old turntables playing lonely old songs, child flutes and percussions, bicycle rings and buzzes, party whistles etc. Sound and image' s improvisation are recorded. Later the recorded material will be automatically re-mixed with itself (edited and subsequently mixed) by a patch created on Max/MSP and Pure Data. In the second part the performers leaves the scene and the remixed movie is showed. Two computers do the job: one for image and another for sound. They are connected by a network and so synchronized; one of them 'bangs' the recorded material in several layers; the other following his instructions. The proportion of each internal part of the second part is based on a numerical series. The “play session” follows those numbers. ( + info )

Marulho Oceânico

Marulho Oceânico (Ocean SeaNoises) explores a continuum of abstract sounds and images whose variation is minimal and is conducted by the live performers. The sound follows the “ferocious SeaNoises” (an homage to the poem “Drunken Boat”, from Rimbaud). A vocal improvisation is written as data to a filter, that molds a noise from a no-recorded turntable disc to the voice' s partials. A Pure Data patch controlling a Csound script is live manipulated. Granular Synthesis sounds as tiny melodic traces are added to the filtered chords. Images follow the sound suggestions, in loop waves created by the turntable' s movements, also by a Pure Data patch controlled in real time, that catch the image from a camera and processes it in zooms and distortions in a way to make it completely abstract. ( + info )

Compro Auri / Buy Auri - review Magazine Neural (Oct. 2012)

A sum of $1,00 is payed to people in exchange for them listening to three minutes of sound on a pair of headphones. This value relates to the amount of time and the average cost of commercialized music on the web.

TIME IS MONEY - LISTENING AS PRODUCTION

The time allotted to listening to sound material creates an intangible product: AURI: The commercial, immaterial sound? object. This is the logic explored through Buy Auri on the streets of New York. The performance plays with the paradox of intangible products, like music, in commercial contexts and the place of perception as a creative experience to be remunerated. ( + info )

bio - giuliano obici

Giuliano Obici (Maringá - Brazil) is an artist working primarily with sound. He holds degree in different areas: music, communication and psychology. He got a grant from the Deutsche Akademische Austauschdienst (DAAD), wrote the book "States of listening: medias and sound territories”, taught digital art at School of Arts Anhembi Morumbi, SESC and different institutions of art in Sao Paulo, focusing on subjects like: audio and video in real-time, interaction, digital lutherie, hacking, gambiarra, sound experimentation as well as producing installations using found media and open source software. With Alexandre Fenerich forms the duo n-1 launching two CDs. He did lectures presenting his artistic projects at the London University of the Arts, Norwegian Academy of Music, University of Art (UdK) and Technic University Berlin as well as Ultima Academy (Oslo). Regularly Giuliano has been showing his projects in different festivals like Relevante Musik (Berlin 2013), Next Generation (ZKM Karlsruhe 2013), 319 Scholes (New York 2012), Wien Modern / E_may (Vienna 2012), FILE (Brazil), and others. He got the Giga-Hertz-Preis 2014 of electronic music offered by Zentrum für Kunst und Medientechnlogie (ZKM Karlsruhe) and Experimental Studio (Freiburg). Recent works include: Voices Simulacrum, Simulacrum Chamber Orchestra, Laptop Choral, Lan House Concert, Buy Auri.

Performance process

The performance starts with vocalization while sound and image are recorded by laptops. The material captured (samples audio and video) is remixed live and, at the same time, distributed among computers via local area network (LAN).

Work in progress

Laptop Choral is a work in progress which develops a process that is related with another work: Metaremix (2010), Lanhouse Concert (2010), and Laptop Choral the first version designed for the piece BARE BRANCHES by Pia Palme for the festival Wien Modern / e_May Oct 2012. The video documentation on this webpage displays some parts of the first version.

This work is part of a research about the use of computers in live electronic performance, which approaches the following topics: digital lutherie; meta-instrument; gesture; intervention, network music; sound art among others topics. ( + info )

Laptop Choral

Is an audiovisual live performance for voices and laptops in a network.

Lanhouse Concert

Lanhouse Concert is an audiovisual installation for computers connected in a local area network (LAN, commonly used in internet cafés). The work arose from experiments undertook during audio and interactive video workshops and hacklabs in rooms of free internet access throughout Brazil.

The installation was programmed and composed in two parts. The first part combines the lights of monitors and the sound from computer speakers spread around the room to create an interplaying game of sound, illusory movements and synchrony. In the second part, color variations are used in an extended intertwining of “horizontal temporal chords”.

The installation thinks the local computer network as a kind of “media performance.” Lanhouse Concerto is a little aesthetic “performedia” exercise and also a modest tribute to the 108.000 internet cafés currently (2010) spread around Brazil. ( + info )

Simulacrum Chamber Orchestra

Simulacrum Chamber Orchestra (SChO) is an audiovisual live performance that tries to establish a dialogue with chamber music in the field of “media art”. It brings to the stage an environment with acoustic instruments, computers, video cameras and screens.

The goal of this work is to create an interactive environment where the gestures of the musicians will be recorded (by cameras and microphones) while they play a piece of their repertoire. Each computer will store a framework that will be coordinated and arranged by a meta-score creating a special situation of interaction between music and the simulacra musicians. The proposal is to emulate a Simulacrum Chamber Orchestra, constituted by simulacra musicians.

The SChO is a hybrid group founded by musicians and simulacra musicians. Each simulacrum will store a framework that will be coordinated and arranged by a "script-score" managed by the master computer to create interactions between musicians and the simulacra. The SChO is sketched below as a group which consists of two musicians and two simulacra. In principle there is no fixed number of musicians and simulacra. It means that this project is at the same time a flexible proposal in the sense that could include different kinds of group formats. ( + info )

Voices Simulacrum is a "machine choir" with computers in network which synthesize human voices through text-to-speech algorithm. The project uses devices integrated on computers (sound, video and network cards) to explore the network computer as an audiovisual distributed instrument (metamedia-instrument).