Juju is a Modular Human Synthesiser built by Brud at Rib. 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 many musics of the Homo Modularis are called Modular Folk.
Juju is Modular Synthesis as Curatorial Practice; the Politics of Periphony; and Relabi as the Model Organism of contemporary art.
Juju is manifested as emanations or secretions called Radio Juju, Juju TV, and a series of pioneering cassette-experiments, the Ping-Pong Tapes.
Presto : 21 November 2018
Allegro : 1 February 2019
Moderato : 29 March 2019
Andante : 17 May 2019
Adagio : 13 August 2019
Lento : 24 September 2019
Grave : 1 November 2019
Brud's Benevolent Dictator Aditya Mandayam has a 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 periphonic 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 gesamtkunstwerk of 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. Recent performances include Art in General, New York, Kunstverein Munich, and the Museum of Modern Art, Warsaw.
Ryo Ikeshiro is an artist and researcher whose work deals with sound, media and computation. He explores contemporary notions of otherness as manifested through technology and sound. His practice includes audiovisual performances, sound installations, interactive works, generative art, electronic music, data visualisation and sonification, video, 3D prints, and engravings. Recent works explore issues of diversity and net culture through using 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. He is a contributor to "Sound Art Sound as a medium of art", a forthcoming publication from ZKM Karlsruhe, he is featured in the Electronic Music volume of the Cambridge Introductions to Music series, and his articles have been published in the journal Organised Sound. He has a PhD from Goldsmiths, University of London. The topic explored was real-time data sonification and visualisation—or live “audiovisualisation”—of emergent generative systems within the framework of audiovisual and computational art.
Michał Libera (1979) is a sociologist working in the sound and music field since 2003, most recently 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, music programs for exhibitions.
Karen Eliot explores the concept coined by John Berndt of "relabi", semi- or fully stochastic rhythmic cycles that tend to have an affect of “self erasing pulses”.
Inigo Wilkins 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.
Juan-Pablo Villegas (Mexico City, 1986) sees filmmaking as a way to bring together his interest in images & 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.
Giuseppe Severini is a musician and luthier dedicated to the study and reconstruction of stringed instruments and vocal repertories of XI and XII centuries. He directs the Secoli Bui society and the Casa della Musica e della Liuteria (House of Music and Lutherie) in Randazzo, Sicily, a private museum open to visitors. He is affiliated with Apemutam (France), and the Istituto di Archeoastronomia Siciliana. He has participated in medieval music festivals in Paris, Chartres, Le Havre, Largentière, Grasse, Santiago de Compostela, Moissac, Montpellier, Perugia, Bevagna, and Palermo.
Gerriet K. Sharma is a composer and sound artist. He studied Media Art at the Academy of Media Arts Cologne and composition/computer music at the University of Music and Performing Arts Graz. In October 2016 he completed his doctorate at the scientific-artistic doctoral school Graz. His thesis is titled “Composing Sculptural Sound Phenomena in Computer Music”. He lives in Berlin and Graz. Within the last 15 years he was deeply involved in spatialization of electroacoustic compositions in Ambisonics and Wave-Field Synthesis and transformation into 3D-soundsculptures. From 2009 to 2015 he was curator of “signale-graz” concert series for electroacoustic music, algorithmic composition, radio art and performance at the MUMUTH Graz. His works where presented at SPARK Festival of Electronic Music and Art 2006 Minneapolis, New York City Electroacoustic Music Festival 2009/16, 1st Ambisonics Symposium 2009, DAFx-10 Int. Conference, Graz, 2010; Int. Conference for Spatial Audio (ICSA) 2011/15/17, New Musical Interfaces Conference (NIME), Oslo, 2011; ELIA-Art Schools NEU/NOW Festival 2009/11, Compositions for the icosahedral loudspeaker (IKO) and loudspeaker hemisphere where presented at Darmstädter Summer Courses 2014, Music Biennale Zagreb 2015, EPARM Festival 2015 and Sound and Music Conference (SMC) Hamburg 2016. He received numerous awards and grants. Scholarships by the German Academic Exchange Service (DAAD) in 2007 and 2009. In 2008 he was awarded with the German Sound Art Award. In 2007 and 2010 he was Artist in Residence at Pact Zollverein Essen working on his concept of sculptural sound projection and formation. Within his Residency at the Institute of Musicology Wuerzburg/Germany 2011 – 2013 he conceived and established the Atelier for Sound Research. In spring 2014 he was composer in residence at ZKM Karlsruhe/Germany. He is senior researcher and composer within the three year artistic research project “Orchestrating Space by Icosahedral Loudspeaker” (OSIL) funded by the Austrian Science Fund (FWF). He had been appointed as DAAD Edgar Varèse guest-professor at Electronic Music Studio, Audio communication (AK), TU Berlin for WS 2017/18.
Chipirurri are Ummo (Aditya Mandayam) and Humildad Sound Sistema (Juan-Pablo Villegas Delgado). Staples of the European and Mexican underground music scenes, Mandayam and Villegas performed together for a decade as the Indo-Latino art-band "Los Eclipses". Their current form is a mezcla of Bollywood pop and Mesoamerican sonidero with a strong focus on periphony and avant-garde sound. Chipirurri are named after an obscene Chilean street snack as recounted to Mandayam and Villegas by the Godfather of Punk, Alvaro Peña-Rojas.
Andrea Liu is a NYC/Berlin-based performer, writer, and visual art/performance critic whose research often deals with geneaology, or the epistemic context within which bodies of knowledge become intelligible and authoritative, as a point of departure in art production. She has performed at the Htmlles Feminist Festival of Digital Art and Media (Montreal), Dixon Place, Artists Space (Movement Research Dance Improvisation Festival), Contemporary Art Centre Vilnius, St. Marks Church, Chez Bushwick, Movement Research Studies Project, La Centrale Galerie, Berliner Festspiele (under Chto Delat), and S.A.L.E. Docks. She has been artist-in-residence in the U.S, Berlin, Copenhagen, Barcelona, Prague and Italy (various locations) at the Atlantic Center for the Arts (Master Artist: Cornelius Eady), Ox-Bow/Art Institute of Chicago, Centrale Fies Liveworks Performance Act Award Vol. 4, Millay Colony, Jacob’s Pillow, Art & Law Program, ZK/U-Berlin (Zentrum für Kunst und Urbanistic), Museum of Fine Arts at Houston, Chashama, and was a Core Participant in Anton Vidokle’s New Museum Nightschool Program (amongst others).