The invention of notation separated the making of sound from the ancient ritual of communication with nature, and situated it in a formal system constructed with a language of signs. Since then, sound has become a form of text that can be created through the writing and arrangement of signs. The emergence of computer algorithm in the last century took the numerical arrangement of notation and converted it further into data algorithms, enabling artists to synthesize electronic sounds through programming. Consequently, different forms of coding have given birth to endless modular variations.
With minimal input, artists can submerge into the system, and the mission of expression is entrusted ambiguously to sequences and algorithms. Such new “machinic sound” is reminiscent of a post-humanist reverberation. Llike prosthetic parts, synthesizers, sequencers, MIDI protocols, and programming languages, are continuously connected with and extending the artist’s body. The traditionally apotheosized creative subject seems to be replaced by the system, but also appears to “rebel in the system” now and again. The artist looks for possibilities that are random, improvisational, and even lyrical in systemic errors, through which creative destructions are produced, exposing conversely algorithmic traces and the contour of the system.
When the system is rendered visible, the relation between human and technology is consequently re-defined. Whereas electronic music created by programming and sequencing reveals cold yet enchanting geometric forms of machinic sounds through repetitive, structural and modular audios, contemporary live coding performance makes algorithmic technologies of the system transparent. As the latter demonstrates “how to conspire with machines,” it also re-appropriates notation, an ancient form of writing with signs, and turns it into a unique form of performance, mixing improvisational language, technological sensibility, and the post-humanist body—at certain magical moments in such performances, rituals are re-fused with sounds, and the surrounding onlookers become crowds dancing to audiovisuals generated by codes.
▙▚
Minimal Input is a three-day audiovisual art festival. It starts with algorithmic composition, and extends further to generative art, modular electronic sounds produced by programming/sequencing, audiovisual performances of live coding, and the “algorave” culture emerging in recent years. For three consecutive nights, live parties combined with online and live performances will take place at C-LAB’s Art Space V. The art festival brings together electronic musicians and artists active in the field, and collaborates with Taiwanese home-made sound system group, Formosa Sound System, and artist aka_chang, to convert abstract data into powerfully intense physical experiences. The “algorave” party on July 1 will specially partner up with live coding online platform, Eulerroom, to livestream the event as well.
The Screening Session showcases a series of algorithmic audiovisual and related video works, which will be screened all day at both Art Space V and Art Space IV. In addition, the art festival includes several talks, workshops, and public participation activities to help the audience navigate the algorithmic realm of audiovisual creation. For the last day, the electronic music group, Atomic Swap Electronic Music, will give a marathon-style performance and share to reflect on the future momentum of local electronic musicians based on the transparency of sound technology to the self-organization of artists.
──Program──
|| Live Performance ||
7/1 (Fri.) 19:00–22:00
Art Space V
live stream on eulerroom
Algorave//
CHANG Yen Tzu live coding set X TSAI Ning live visual
Alex McLean live coding set (remote)
Chiho Oka live coding set (remote)
LIN Yu-De live coding set X LIU Tung-Yu (Chappie) live coding visual
Renick Bell live coding set
＊
7/2 (Sat.) 18:00–22:00
Art Space V
CHENG HsienYu live set
WANG Changcun (ayrtbh) live set (remote)
DJ LiHaiShen (the Earth Ranger) X Printed Noise Lab live set
William Fields live set (remote)
WANG Lien-Cheng live set
Mark Fell X Rian Treanor live set (remote)
＊
7/3 (Sun.) 15:00–21:00
Art Space V
Minimal Input X Atomic Swap Electronic Music//
LI Tzu-Mei / LIAO Hai-Ting / Dawang Yingfan HUANG / Wieland WU / CHAN Tzu En / Psychiatrist / Vice City / Immanuel
New works debut + Non-stop party!
|| Screening ||
7/1 (Fri.)–7/03 (Sun.) 11:00–22:00
Art Space IV & Art Space V
Presenting audiovisual works and video artworks by Richard SIDES, Tivon RICE, Musarc x LIN Chi-Wei, CHENG Hsien-Yu, William FIELDS, Software2050, Ale Hop, Ksawery KIRKLEWSKI. Click here for more details.
|| On-Site Broadcasting ||
Art Space V
7/1 (Fri.) 11:00–19:00
7/2 (Sat.) 11:00–18:00
7/3 (Sun.) 11:00–15:00
Algorithmic music mixsets by Chiyou+Nien w/ Formosa Sound System
|| Talks ||
7/1 (Fri.) 14:00–16:00
Live Coding - A Party of Algorithmic Art
(More details)
7/2 (Sat.) 15:00–17:00
Algorave - Live Coding in Algorithmic Dance Culture and Its Precedent
(More details)
|| Workshops ||
6/25 (Sat.) 14:00–18:00
Using Konduktiva for Live Coding Audio and Algorithmic Composition
(More details)
7/3 (Sun.) 14:00–17:00
Let’s Play with ORCA!
(More details)
──Artists──
Alex McLEAN | Alex McLean is a musician, creative technologist and pattern researcher based in Sheffield UK, working on “algorithmic patterns” including in music, textiles and dance. He created the popular free/open source live coding environment TidalCycles, and co-founded the TOPLAP live coding and Algorave movements, the international conferences on live coding and live interfaces, and the AlgoMech festival of algorithmic and mechanical movement. As a live coding musician he has performed widely including at Glastonbury, Sonar, No Bounds, Ars Electronica, and Bluedot festivals. As researcher he completed his PhD in Goldsmiths, University of London in 2011, with thesis “Artist-Programmers and Programming Languages for the Arts” and currently holds a four-year UKRI Future Leaders Fellowship, hosted by nonprofit independent lab Then Try This. https://slab.org/
Renick BELL | Renick Bell is a researcher of algorithmic art who specializes in live coding (real-time interactive programming) particularly for the performance of electronic music. He has developed two multi-agent live coding systems: one in JavaScript called Konduktiva, which is based on his previous system Conductive in the Haskell programming language. For over 25 years he has been conducting research on areas such as artificial intelligence for algorithmic composition (symbolic AI, L-systems, multi agent systems), electronic music, aesthetics, interfaces, and algorithmic visual art. He improvises contemporary percussive electronic music with his systems, performing internationally at critically acclaimed festivals such as Berlin Atonal, Unsound, and Mutek. He has published his compositions to critical success, including his 2018 album “Turning Points” being ranked 19 of the 50 best albums of the year by Fact Magazine.
LIN Yu-De | An artist working in the fields of theater, performing arts, and audio-visual creation. LIN Yu-De graduated from the Master Program of Sound and Music Innovative Technologies, National Chiao Tung University (now National Yang Ming Chiao Tung University). He has been searching for a haven for electronic music in theater, hoping to provide audience with unique sound experiences in theatrical performances. Lin has worked with Approaching Theatre for A Gambling World III – Day and Day, Outside, The Stone Unreturned, and with Tainaner Ensemble for One and Only. He has performed in Approaching Theatre’s The Sewing of Time at the 2019 ARTWAVE TPAM Fringe, and in Hsiao-Tzu TIEN’s dance choreography, The Hole, at the 2017 Avignon Off. His recent projects include scoring for Days Before the Millennium, mixing engineering for Throbbing - Modulating Fujui Wang, installation sound design for WANG Te-Yu’s No 103.2, and sound design and scoring for the VR film, Madame Pirate: Becoming A Legend. He has published his works at various art spaces and labels, such as Ting Shou hear say, Play/Rec Label, TheCube Project Space, and The Wire Tapper.
LIU Tung-Yu (Chappie) | A freelance project coordinator and creative coder, career activities are mainly in the fields of street dance, theater, new media, etc. Since 2020, he has started research on the creation of “live coding”. The style of his works is mild and childlike, and often plays around with the relationship between real words, texts, and programming languages. In 2020, he presented his electronic sound works in Imprisoned Sound – Audiovisual Curation (2020), and won 3rd Award of akaSwap - Open Call for NFT Art - LIKE WATER. He recently performed at Lacking Sound Festival (LSF #115) - Newcomers (2020) and Lacking Sound Festival x Fluid Noise (LSF #121) - DiffuSound Vol.2 (2022) with live coding performances.
CHANG Yen Tzu | A new media artist/ sound artist based in Taiwan. Chang holds a master's degree from the Interface Culture Department of the Kunstuniversität Linz in Austria. For her, artistic creation explores the essence of life with philosophy and science thinking. She combines art, programming, and technical media into her artworks, including interdisciplinary art and experimental performances based on sound installations. Ready-made objects and DIY techniques are included in some of her pieces. The most important thing in her pieces is the concept of “play,” which refers to the interactivity and the transformation of the roles of participants. She has delivered sound art performances/exhibitions and exhibited her works in many international conferences and festivals, including Ars Electronica Festival, roBOt 08 Festival, Linux Audio Conference, International Symposium on Electronic Arts, Digital Design Weekend in London, Most Wanted: Music in Berlin, etc.
TSAI Ning | A digital artist who holds a B.Arch. from National Taipei University of Technology and an MA in Digital Design from the Graduate Institute of Architecture, National Chiao Tung University (now National Yang Ming Chiao Tung University). After graduation, TSAI Ning has been working in the fields of architectural space design, installation design, and digital creation. Her creative practice deals with topics related to interactiveness in human behavior, marginal subject, visual culture, and existential perception. Her chosen artistic media span a wide range, including structural installation, interactive projection, sound, and interdisciplinary media, which enable her to create works that evoke specific situations or reconstruct an individual’s inner state through designs of narrative images and interactive mechanisms brought to the scale of a chosen space. Tsai is the recipient of the Gold Award at the 1st Taoyuan Technology Performing Arts Awards in 2019. In 2020, she was selected into the 2021 National Art Exhibition, R.O.C (New Media category). Her art project, Absence in Presence, created during her residency at the Siao-Long Cultural Park, has been presented in the 2021 Ars Electronica Garden Taipei/Formosa New Media Tour. At the moment, she has been making art consistently.
Chiho OKA | Chiho Oka (okachiho) is an artist/laptop musician based in Tokyo, Japan. She is familiar with computer music involving improvisational operations or experimental music with pre-written experimental scores. She sometimes shows her random thoughts and ideas that occur to her in practice or performance in a way that is hard to describe as a musical performance. (Recent examples include using a cursor and an automated program, Jenga, a bicycle and a sine wave.) She also has a couple of BPM 160 tracks released from outlines (https://outlineslabel.bandcamp.com/).
WANG Changcun (ayrtbh) | A sound artist, electronic musician and computer bug programmer, currently based in Hangzhou/Shanghai, China. WANG Changcun (ayrtbh) is well versed in digital, internet-based and algorithmic languages. Since 2003, his visual and musical artworks frequently reference temporal and spatial structures that are virtual in nature, and directly reflect the conundrum of suspended motion and mobility in an intersubjective environment. His early albums include The Mountain Swallowing Sadness released by Sub Rosa, and Parallel Universe by Post-Concrete. It was followed by MTK (Detroit Underground, 2018), Song of Anon (D-Force, 2018) and All services are suspended (Diffuse Reality, 2020), under the name ayrtbh. His duo solo exhibition Wang Changcun - The Sensation of Logic was held at OCAT museum Shenzhen. In 2021, his first blockchain authenticated work, The Internet is so Boring, was commissioned by TCHA, which was followed by the release of the computer algorithm music album Blunt Weapon and the launch of the long-term project Blunt Weapon 5:500. In 2022, ayrtbh_live_shanghai_190821 was released by Psychic.
William FIELDS | An artist and musician from the Philadelphia area of the United States whose work explores the intersection of algorithmic composition, improvisation, and audio-visual correspondence. He graduated from the University of Delaware with degrees in Computer Science andPhilosophy. He has been making electronic music for over 30 years and generative visual art for more than 10 years. Recently he has focused on developing his own unique audio-visual performance system which can instantly generate music using a set of custom algorithms. This process of “augmented creativity” facilitates the discovery of new and interesting musical possibilities. He steers the system in real-time, sculpting the music through improvisation. A visual representation of the music is also generated by the system, creating a synesthetic experience through tight correspondence between music and visuals. His music has been released internationally on labels such as Conditional (DE), SUPERPANG (IT), Tokinogake (JP), Kaer'Uiks (DE), 3OP (FR), and New York Haunted (NL). He has performed live throughout the United States and Canada. His work was selected and choreographed for dance as part of the International Computer Music Conference (ICMC). His recent project FieldsOS, an algorithmic music radio show consisting of 24 hours of original computer-generated music, received wide acclaim within the electronic music community.
DJ LiHaiShen (the Earth Ranger) | LI Tzu-Mei, Taipei-based sound artist/music producer, also known as DJ LiHaiShen (the Earth Ranger) in Taipei underground techno/house music scene. In recent years Li focuses more on the auditory sphere and pursues to bring out different experiences of listening in a music composing. By performing live with samples, synthesizers and electronic devices, her works show strong Characteristic of texture and the fluidity of sound in space. In both her solo productions and collaborations with theatre groups, Li attempts to get beyond the border rationality through the experiment of auditory perception.
Printed Noise Lab | LIAO Hai-ting (Printed Noise Lab), a percussionist turned artist, musician and sound maker, whose practice focuses on interdisciplinary sound performance. After LIAO Hai-ting graduated from the Queensland Conservatorium Griffith University in Australia, she conducted a residency at Fabrica in Treviso, Italy, where she began making creative projects that integrated modern music with performing arts. Afterwards, she enrolled in Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) in France, and graduated with the “first prize with unanimity of the jury.” In school, Liao focused on the interpretation of modern music, while following the developmental context of contemporary music to extend her passion for sound. In recent years, she has concentrated on blending modular synthesizer, natural sound specimens, and acoustic instruments to realize her creative ideas, while exploring different sonic possibilities and diverse ways of hearing through theatrical sound performances, album recordings, live sound performances, and interdisciplinary collaborations. In 2017, Liao founded the experimental music label, Printed Noise Lab. She is now based in Taipei.
Mark Fell | A multidisciplinary artist based in Rotherham (UK). Recognised as being “one of the most compelling and influential electronic artists in the world” [South Bank Centre, London], his practice draws upon electronic music subcultures, experimental film, contemporary philosophy and radical politics. Over the past 30 years Fell’s output has grown into a significant body of work - from early electronic sound works and recorded pieces, to installation, critical texts, curatorial projects, educational systems and choreographic performances. In 2017 Fell curated a major exhibition of sound art for V-A-C foundation (Moscow), The Geometry of Now; he led a British council research project to India to study Carnatic music composition and emergent electronic arts (with AC Projects Glasgow); and Serralves Foundation (Porto) premiered “Intermetamorphosis", featuring a collection of new commissions as well as retrospective pieces. In 2018 Fell completed two large scale multi-spatial sound works: Protomusic#1 for Sage Gateshead, forming their flagship contribution to the Great Exhibition of the North; and Frameworks at Palazzo delle Zattere (Venice). 2019 saw two new performative works: Hominin (Rewire, Den Haag/Bergen Kunsthall) and Against Method (Pirelli Hanger Bicocca, Milan); and the solo exhibition The Concept of Time is Intrinsically Incoherent (Focal Point Gallery, South End on Sea). Drawing from sacred geometries and programming structures, these recent works underlined Fell’s particular interest in non-linear systems and processes, and our complex inter-relationships with them.
Rian Treanor | Rian Treanor re-imagines the intersection of club culture, experimental art and computer music, presenting an insightful and compelling musical world of fractured and interlocking components. Having left a vivid impression with a string of releases on The Death of Rave & Warp sub-label Arcola, his debut album ATAXIA for Planet Mu in 2019 established him as both a disruptive and essential new voice in British underground club music. His latest album File Under UK Metaplasm takes inspiration from his residency at the Nyege Nyege collective's Boutique Studio in Kampala in 2018. Incorporating the high-def bass weight of his home town Sheffield with the enigmatic energy of Tanzanian Singeli and Footwork. Using the programming language Max/MSP he develops bespoke software to explore extended rhythmic techniques and algorithmic processes, building devices that enable spontaneous pattern modulation within various collaborations, workshops, live performances and installations. With recent live shows at the Aphex Twin Curated Warehouse Project (UK), Nyege Nyege Festival (UG), WWW (JP), Unsound (PL), GES-2 (RU), Serralves (PT), Berghain (DE), No Bounds (UK), Cafe Oto (UK), Glasgow Centre for Contemporary Arts (UK), Empty Gallery (HK), Irish Museum of Modern Art (IRL), Summerhall (UK). He has also taken part in artists residencies at yU+co[lab] in Hong Kong, Counterflows in India and Shape Platform 2020.
WANG Lien-Cheng | WANG Lien-Cheng is a new media artist. His art and research involved interactive devices and real-time sound performance. He uses open source to create installation art and audio-visual real-time performance. The works are committed to a seamless combination of images and sounds created by computer algorithm as well as human perception of the universe and nature. He often utilizes a volume of installed approaches to achieve a unique physical perception. Now he is currently appointed as a lecturer in the new media department of Taipei National University of the Arts. His works have been exhibited and performed at Linz Ars Electronica (Austria), New Technological Art Award (Belgium), Les Journées GRAME (France), MADATAC (Spain), Digital Art Festival Taipei (Taiwan), Taipei Art Award, etc.
Richard SIDES | Richard Sides graduated from Royal College of Art in 2012, He uses a variety of media, sound, performance, video and installation to explore notions of presence, temporality, complexity, conflict, as well as the relationship between people, music, and technology. Sides' work have been presented at many major art institutions, such as, Kunsthalle Winterthur, Kunstverein Hannover, Museum Angewandte Kunst, Frankfurt am Main, ICA, Warsaw’s Museum of Modern Art, and Mostyn, Wales.
Tivon RICE | Tivon Rice is an artist and educator working across visual culture and technology. Based in Den Haag (NL) and Seattle (US), his work critically explores representation and communication in the context of digital culture and asks: how do we see, inhabit, feel, and talk about these new forms of exchange? How do we approach creativity within the digital? What are the poetics, narratives, and visual languages inherent in new information technologies? And what are the social and environmental impacts of these systems? These questions are explored through projects incorporating a variety of materials, both real and virtual. With recent films, installations, and A.I. generated narratives, Rice examines the ways contemporary digital culture creates images, and in turn builds histories around communities and the physical environment. While much of Rice’s research focuses on emerging technologies, he continuously reevaluates relationships with sculpture, photography, and cinema. His work then incorporates new media to explore how we see and understand a future thoroughly enmeshed in new data/visual/production systems. Rice holds a PhD in Digital Art and Experimental Media from the University of Washington. He was a Fulbright scholar (Korea 2012), one of the first individuals to collaborate with Google Artists + Machine Intelligence, and is currently an Artistic Researcher at the Delft University of Technology. His projects have travelled widely with exhibitions in New York, Los Angeles, Seoul, Taipei, Amsterdam, London, Berlin, and São Paulo.
Software2050 | The alias of an art project created by new media artist FONG Han-yu. The project is inspired by technology, animal, ancient civilization, and everyday memes. It starts with the machinic vision of fictional artificial intelligence, and utilizes poetic imagery to portray memory and imagined evolution, as well as a fable about the coexistence of humans and non-humans. Fong’s work has been published in the forms of social media event, multi-user interactive installation, online performance, digital sculpture, NFT, and live audiovisual performance. Fong graduated from the M.F.A. Program at the Department of New Media Art, Taipei National University of the Arts. He is co-founder of NAXS FUTURE (now NAXS CORP), a new media art studio. From 2021 onward, he has been consistently exploring the possibilities of immersive theater, VR, audiovisual, and online performance. (naxsfuture.xyz)
CHENG Hsien-Yu | Born in 1984, Kaohsiung, Taiwan; lives and works in Taipei. He graduated with a BFA from the Department of Theatrical Design &Technology, Taipei National University of the Arts, CHENG holds a MA from the Frank Mohr Institute at the Minerva Art Academy, Hanze UniversityGroningen, the Netherlands. As an artist and a software developer, Cheng’s working process expands into electronic installations, software and experimental bio-electronic devices, with an aim to explore the relationships amongst human behavior, emotion, software and machinery. In a humorous manner, he attempts to endow his works with vital signs and existential or empirical significance, to metaphorically embody his own experience and observation of the environment. He was selected as YoungTalent 2011 in the Netherlands and won the first prize of Taipei DigitalArt Award in 2013, New Media Art of Kaohsiung Award in 2017, Tung ChungArt Award in 2019, and the 19th Taishin Arts Award - Visual Arts Award. His solo and group exhibitions were mostly exhibited in Taiwan, Asia and Europe. Recently, he has participated in the Guangzhou Triennial, Taiwan Biennials, and some other exhibitions in the Netherlands, Slovenia, Norway, Italy, Germany and France.
Ale Hop | Alejandra Cardenas Pacheco (also known as Ale Hop) is a Peruvian-born artist, researcher, and experimental musician based in Berlin. Her body of work includes live shows, record releases, sound and video artworks, research on sound and technology, and original music for film, dance and theater projects. Her live performances merge the physical qualities of music with raw emotional states and unorthodox instrument procedures. She builds layers of sounds by blending a complex repertoire of guitar techniques processed by synthesis devices, to create a music of deep physical intensity. She began her career in the 2000s in Lima's experimental and underground scene. In 2012, following several years of taking part in different pop and electronic bands, she finally started her solo project after performing alone for the first time in Boiler Room, during her residence at the Red Bull Music Academy New York. Her studious approach to the subjects covered in her albums and pieces is constantly informed by her background as a researcher. She completed a BA in Art History, her master's in Sound Studies, further studies in History of Science and Technology, and is currently pursuing a PhD at Berlin University of Arts. She also co-founded the Berlin-based festival Radical Sounds Latin America (of which she was co-curator from 2019 to 2021) and, nowadays, directs the publication Border-Listening/Escucha-liminal and the editorial platform Contingent Sounds, which facilitate critical discourses, and artistic research on listening. Ale Hop has performed, screened and exhibited work internationally at institutions and festivals, such as CTM Festival (2022), Haus der Kulturen der Welt (2021), New York's Museum of Arts and Design (2021), Australia Independent Film Festival (2021), Stockholm City Film Festival (2021), Stedelijk Museum Amsterdam (2020), Somerset House Studios (2019), Heroines of Sound (2019), MALBA Latin American Art Museum of Buenos Aires (2015).
Ksawery KIRKLEWSKI | Born in 1988, a motion designer and creative coder. Graduate of the Graphic Department of the Academy of Fine Arts in Gdańsk, PL. His diploma “Exhibition of Banners“ (2015) received the Minister of Culture Award on “Best Diplomas of Polish Academies of Fine Arts“ in 2015. Author of interactive installations, music videos, phigital sculptures and realizations in public space. In his activities, he uses new technologies, programming, advertising media and old rtv equipment – mostly focused on the generative art field. In 2019, he co-founded Fundacja(x), a foundation which deals with the broadly understood art of new media and its dissemination. (@ksawerykomputery)
Musarc | One of the UK’s most progressive choral collectives. Founded by Joseph Kohlmaier at the School of Art, Architecture and Design, London Metropolitan University in 2008, the ensemble has developed a distinct reputation for its interdisciplinary and research-led approach to music and performance, and the space it affords artists and singers to experiment with new ideas. Since its inception, the choir has collaborated with more than one hundred artists and composers, including Jennifer Walshe, Lin Chi-Wei, Laure Provost, Ed Atkins, Jenny Moore, Lina Lapelytė, Sam Belinfante, Fritz Hauser, Neil Luck and many others; and numerous festivals and arts organisations in the UK and abroad – including the BBC Proms, London Contemporary Music Festival, Post Disaster Rooftops EP03 (Taranto, Italy), Palais de Tokyo (Paris), the Royal Academy, CCA Goldsmiths, Museum of London, Extra City (Antwerp), Serpentine Gallery, MK Gallery, Wysing Polyphonic, STUK (Leuwen) Cafe OTO, Bold Tendencies and Whitechapel Gallery. (https://www.musarc.org/)
LIN Chi-Wei | Born in Taipei, in 1971, LIN Chi-Wei is a transdisciplinary artist who has received academic training in french literature, cultural anthropology and media art. Since the early 1990s, Lin was involved in the Taiwanese counter-cultural scene, he was a founding member of the noise band Z.S.L.O. and was responsible for the programming of various alternative art festivals. At the same period, Lin explored the realms of religious music and art through intense field research (notably temple sculpture and Taoist ritual). These experiences, combined with his practices in noise performance and electronic music composition, brought forth critical perspectives toward contemporary art practices. Since 2004, Lin initiated the Tape Music series, or the later-called IDCM (Interhuman Dynamic Coordinated Models), as a response to the subjects he pursued over the years, They are synchronous protocols which allow the individual autonomy in the forming of collective intelligence,that leads to complex sound works. Lin’s artworks were shown in various biennales and museums including Tate Modern, Pompidou Center, and PSA Shanghai along with other non-art sites such as local communities, private residences, public schools, factories, churches, temples, bars and live houses in different countries around the world. Lin Chi-Wei lives and works in Shanghai, Taipei and Paris. His book, Beyond Sound Art – The Avant-Garde, Sound Machine and the Modernity of Hearing, was published in 2012.
Atomic Swap Electronic Music | "We make. We listen. We think. We make." – A community founded by a group of Taiwanese electronic music artists, including LI Tzu-Mei, LIAO Hai-Ting, Dawang Yingfan HUANG, Wieland WU, CHAN Tzu En, KUO Chia-Ying (Psychiatrist), CHEN Shi Ting (Vice City) and Immanuel. Since 2022 onward, Atomic Swap Electronic Music has been organizing small-scale gatherings for sharing, exchange, and performance to connect their individual art practices together. “Atomic Swap” refers to a decentralized, point-to-point form of exchange and equal sharing. Every artist is viewed as an atom in the space-time of electronic music development. Through publishing works in progress or completed works, the artists organize and share their own techniques, approaches, and experiences of the electronic music culture. The objective of the community is to facilitate collision and exchange between individual artists, while highlighting the developmental trajectories of the Taiwanese electronic music scene, which has been growing vigorously.
──Scenographer──
aka_chang | As a light artist, aka_chang focuses on the textures and the senses of the temperature from multiple lighting materials. Use the ray of light materials to construct the sculpture that sites in space and interacts with the sound. Early entry into the visual arts field as a VJ, he is the founder of the "muse-whisper VJ Team" and the first VJ info platform written by Mandarin: Zuirens. He is an important promoter of the rise of Taiwan's contemporary VJ culture. aka_chang's work, Rainforest of Oslo, was selected by Taipei Digital Arts Award in 2008. "June Orbs" was selected by Kaohsiung Award in 2020. In recent years, His several audiovisual works of composite multiple optical media include: Void Jungle and Fallen Building in 2016, Sketch GDPN and Struct by Kindling in 2018,"Multimmersion" series from 2017 to 2021.
▙▚
Supervisor | Ministry of Culture
Organizer | Taiwan Contemporary Culture Lab (C-LAB)
Collaborator | Formosa Sound System, Eulerroom, Atomic Swap Electronic Music, Baby Don't Go
Key Visual | Renick Bell
＊The schedule depends on the actual situation.