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Events

 {#3117
  +"id": 1635
  +"type": "event"
  +"slug": "the-vegetable-orchestra"
  +"title": "The Vegetable Orchestra"
  +"content": """
    <figure class="wp-block-image size-large is-style-default"><img fetchpriority="high" decoding="async" width="724" height="1024" src="https://tamlab.ufg.at/wp-content/uploads/gemuese_photo_poster-724x1024.jpg" alt="" class="wp-image-1636" srcset="https://tamlab.kunstuni-linz.at/wp-content/uploads/gemuese_photo_poster-724x1024.jpg 724w, https://tamlab.kunstuni-linz.at/wp-content/uploads/gemuese_photo_poster-339x480.jpg 339w, https://tamlab.kunstuni-linz.at/wp-content/uploads/gemuese_photo_poster-768x1087.jpg 768w, https://tamlab.kunstuni-linz.at/wp-content/uploads/gemuese_photo_poster-1086x1536.jpg 1086w, https://tamlab.kunstuni-linz.at/wp-content/uploads/gemuese_photo_poster-1447x2048.jpg 1447w, https://tamlab.kunstuni-linz.at/wp-content/uploads/gemuese_photo_poster.jpg 1809w" sizes="(max-width: 724px) 100vw, 724px" /></figure>\n
    \n
    \n
    \n
    <p><strong>Do you want to participate in the workshop? Write an email to <a rel="noreferrer noopener" href="mailto:martin.kaltenbrunner@ufg.at" target="_blank">martin.kaltenbrunner@ufg.at</a> or <a rel="noreferrer noopener" href="mailto:enrique.tomas@ufg.at" target="_blank">enrique.tomas@ufg.at</a> (2G COVID Policy required!)</strong></p>\n
    \n
    \n
    \n
    <p>The Vegetable Orchestra was founded in 1998. Based in Vienna, the Vegetable Orchestra plays concerts all over the world. Worldwide one of a kind, the Vegetable Orchestra performs on instruments made of fresh vegetables. The utilization of various ever refined vegetable instruments creates a musically and aesthetically unique sound universe. There are no musical boundaries for the Vegetable Orchestra. The most diverse music styles fuse here &#8211; contemporary music, beat-oriented House tracks, experimental Electronic, Free Jazz, Noise, Dub, Clicks&#8217;n&#8217;Cuts &#8211; the musical scope of the ensemble expands consistently, and recently developed vegetable instruments and their inherent sounds often determine the direction.</p>\n
    \n
    \n
    \n
    <p><br>All the instruments used are exclusively made from vegetables: from fresh as well as dried plant material such as carrot, leek, celery root, artichoke, dried pumpkin and onion skin. All these components are used for building organic instruments and sound generators which usually only last for one concert or one day in the studio. In addition to the vegetables, various utensils like record players or power drills are used to create unusual noises and to add unexpected texture to the music.</p>\n
    \n
    \n
    \n
    <p></p>\n
    \n
    \n
    \n
    <p><br>The public guest lecture starts at 11 am and the hands-on workshop from 1pm to 4pm will be conducted by Jürgen Berlakovich and Barbara Kaiser<br><a rel="noreferrer noopener" href="https://www.vegetableorchestra.org" target="_blank">https://www.vegetableorchestra.org</a></p>
    """
  +"excerpt": "Do you want to participate in the workshop? Write an email to martin.kaltenbrunner@ufg.at or enrique.tomas@ufg.at (2G COVID Policy required!) The &hellip; <a href="https://tamlab.kunstuni-linz.at/events/the-vegetable-orchestra/"><u>Read more</u></a>"
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    0 => {#3128
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    1 => {#3131
      +"id": 68
      +"name": "Guest Lecture"
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 {#3125
  +"id": 1773
  +"type": "event"
  +"slug": "elisabeth-schimana"
  +"title": "Guest Lecture Elisabeth Schimana"
  +"content": """
    <figure class="wp-block-image size-large is-style-default"><img decoding="async" width="1024" height="921" src="https://tamlab.ufg.at/wp-content/uploads/elise_cover-1024x921.jpg" alt="" class="wp-image-1774" srcset="https://tamlab.kunstuni-linz.at/wp-content/uploads/elise_cover-1024x921.jpg 1024w, https://tamlab.kunstuni-linz.at/wp-content/uploads/elise_cover-480x432.jpg 480w, https://tamlab.kunstuni-linz.at/wp-content/uploads/elise_cover-768x690.jpg 768w, https://tamlab.kunstuni-linz.at/wp-content/uploads/elise_cover-1536x1381.jpg 1536w, https://tamlab.kunstuni-linz.at/wp-content/uploads/elise_cover.jpg 1754w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>\n
    \n
    \n
    \n
    <p><strong>Magical Sound Machines</strong></p>\n
    \n
    \n
    \n
    <p>Elisabeth Schimana will talk about her work with the Max Brand Synthesizer, developed by the ingenious inventor Bob Moog for the visionary composer Max Brand in the late 1950s and other sound producing machines from the early days of electro-acoustic music.</p>\n
    \n
    \n
    \n
    <p>She has worked intensively with the theremin in Moscow and with the Max Brand Synthesizer in Vienna. Not only has she created countless radio works in cooperation with ORF Kunstradio but numerous sound installations and interdisciplinary and performative projects as well. Her probing approach also led her to found the IMA Institute of Media Archeology, which has dedicated itself to acoustic media at the analogue/digital interface and to the subject of women, art, and technology since 2005.</p>\n
    \n
    \n
    \n
    <p>Since the 1980s the musician and composer Elisabeth Schimana has been active as one of the Austrian female pioneers of electronic music with projects marked by a radical approach and equally unconventional aesthetics.</p>\n
    \n
    \n
    \n
    <p>In her artistic work, Schimana examines questions of space, communication, or the body in its presence or absence, especially the imparting of compositional concepts (scores), which gives rise to completely new approaches that experimentally explore how we hear and demand a heightened musical presence on the part of the performer.</p>\n
    \n
    \n
    \n
    <p>http://elise.at<br>http://ima.or.at</p>\n
    \n
    \n
    \n
    <p>Watch the online stream:</p>
    """
  +"excerpt": "Magical Sound Machines Elisabeth Schimana will talk about her work with the Max Brand Synthesizer, developed by the ingenious inventor &hellip; <a href="https://tamlab.kunstuni-linz.at/events/elisabeth-schimana/"><u>Read more</u></a>"
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 {#3116
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  +"slug": "datu-arellano"
  +"title": "Datu Arellano: Lecture and Workshop"
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    <figure class="wp-block-image size-large is-style-default"><img decoding="async" width="724" height="1024" src="https://tamlab.ufg.at/wp-content/uploads/datu-all-724x1024.jpg" alt="" class="wp-image-1800" srcset="https://tamlab.kunstuni-linz.at/wp-content/uploads/datu-all-724x1024.jpg 724w, https://tamlab.kunstuni-linz.at/wp-content/uploads/datu-all-339x480.jpg 339w, https://tamlab.kunstuni-linz.at/wp-content/uploads/datu-all-768x1087.jpg 768w, https://tamlab.kunstuni-linz.at/wp-content/uploads/datu-all-1086x1536.jpg 1086w, https://tamlab.kunstuni-linz.at/wp-content/uploads/datu-all-1447x2048.jpg 1447w, https://tamlab.kunstuni-linz.at/wp-content/uploads/datu-all.jpg 1809w" sizes="(max-width: 724px) 100vw, 724px" /><figcaption class="wp-element-caption"><br>Datu Arellano (1980) is a visual artist, a musician, a graphic designer, a retired front-end web developer, an educator, and an active member of the Anino Shadowplay Collective. As a practitioner he straddles multiple contexts of visual and performing arts, and works within the traditional forms of drawing and painting; the experimental aspects of sound design, music, and video; and the commercial contexts of graphic design. Aside from exhibiting, Datu currently performs as an experimental musician and sound artist, and does music composition and arrangement.<br><br>He is the creator of the TAHIGAMI Project, which he began in 2011 as a visual arts project but has since expanded into the world of sound, music, and instrument building. He recently attended Documenta 15 in Kassel, Germany, as a guest artist, where his sound design and music accompanied visual artist-film maker Kiri Dalena’s 5-channel video installation.<br><br>In this presentation and workshop Datu will share his process and knowledge about designing and building his custom instruments, and how the different forms of art, science, math, and even family, inform his practice and are woven into his life.</figcaption></figure>\n
    \n
    \n
    \n
    <p><a href="https://datuarellano.com/">https://datuarellano.com/</a></p>\n
    \n
    \n
    \n
    <p></p>
    """
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 {#3136
  +"id": 1985
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  +"title": "Guest Lecture Åke Parmerud"
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    <p>Åke Parmerud has been active professionally as a composer and media artist since 1978. After finishing training as a photographer he studied music at the Gothenburg conservatory. His artistic work has been mainly dedicated to experimental music and stage performances including dance, theatre, film and interactive art in various forms.</p>\n
    \n
    \n
    \n
    <p>Although he has written instrumental and multimedia music, he is most noted for his electro-acoustic music, which often combines tapes with instruments or voices. This characteristically results in processes of interaction and transformation between the different sound sources, as well as within one voice, instrument, or chord.</p>\n
    \n
    \n
    \n
    <p>He has received 20 international prizes over the years including the ICMC award, Ars Electronica and ZKM Walter Fink award.</p>\n
    \n
    \n
    \n
    <p>The last 17 years he has been working as an innovative sound and software designer for interactive audio/visual installations. His works The Fire Inside, The Living Room, Lost Angel, The Fabbrica project, Echoes and Dark Matter have been showed worldwide. He has over the last years worked with audio design, given lectures and workshops around the world and developed software for 3D sound composition.</p>\n
    \n
    \n
    \n
    <p>He is a member of the Royal Swedish Academy of music since 1998.</p>\n
    \n
    \n
    \n
    <p>http://www.parmerud.com</p>\n
    \n
    \n
    \n
    <p><em>Activity in collaboration with Alter Bauhof and Ottosonics: https://www.alterbauhof.at/ottosonics/</em></p>\n
    \n
    \n
    \n
    <p>Online streaming:</p>\n
    \n
    \n
    \n
    <iframe loading="lazy" allowfullscreen="" src="https://tamlab.lilimit.com" width="600" height="400"></iframe> \n
    <p>Watch the Live Streaming. Lecture begins on 18.4.2023 at 17:30h CEST.</p>
    """
  +"excerpt": "Åke Parmerud has been active professionally as a composer and media artist since 1978. After finishing training as a photographer &hellip; <a href="https://tamlab.kunstuni-linz.at/events/guest-lecture-ake-parmerud/"><u>Read more</u></a>"
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 {#3111
  +"id": 1997
  +"type": "event"
  +"slug": "guest-lecture-george-rahi"
  +"title": "Guest Lecture George Rahi"
  +"content": """
    <p class="has-text-align-left"><em>Tangible Music Lab, Tabakfabrik Linz, Peter-Behrens-Platz 8-9 and online</em><br>Concert in Alter Bauhof Ottensheim on 19.5.2023: <a rel="noreferrer noopener" href="https://www.alterbauhof.at/events/george-rahi-isabella-forciniti/" target="_blank">LINK</a></p>\n
    \n
    \n
    \n
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    \n
    \n
    \n
    <p>George Rahi (b 1987, Philadelphia) is an&nbsp;artist based in Vancouver, unceded&nbsp;Coast Salish territories. He uses self-created and altered instruments as a method of exploring the intersections between acoustic and digital technologies, modes of listening, and spatial and architectural thinking.</p>\n
    \n
    \n
    \n
    <p>His work includes installations, instrument making, composition, solo + ensemble&nbsp;performance, and works for radio, theatre &amp; public spaces.</p>\n
    \n
    \n
    \n
    <p>Recent presentations have included Artificial Sonification exhibition (Matera), SPEKTRUM (Berlin), Kunst-Station Sankt Peter (Cologne), Fusebox Festival (Austin), Vancouver New Music, and Regenerative Feedback Festival (Rotterdam).</p>\n
    \n
    \n
    \n
    <p>He has been an artist in residence at Elektronmusikstudion (EMS), Lobe Spatial Sound Studio, and&nbsp;hcma architecture among others.&nbsp;He holds an MFA from Simon Fraser University and is the recipient of the 2018 R. Murray Schafer Soundscape award.</p>\n
    \n
    \n
    \n
    <iframe loading="lazy" title="vimeo-player" src="https://player.vimeo.com/video/312658055?h=79bcf89788" width="600" height="360" frameborder="0"    allowfullscreen></iframe>\n
    \n
    \n
    \n
    <iframe loading="lazy" allowfullscreen="" src="https://tamlab.lilimit.com" width="600" height="400"></iframe> \n
    <p>Watch the Live Streaming. Next Guest Lecture begins on 17.5.2023 at 17:00h CEST.</p>
    """
  +"excerpt": "Tangible Music Lab, Tabakfabrik Linz, Peter-Behrens-Platz 8-9 and onlineConcert in Alter Bauhof Ottensheim on 19.5.2023: LINK George Rahi (b 1987, &hellip; <a href="https://tamlab.kunstuni-linz.at/events/guest-lecture-george-rahi/"><u>Read more</u></a>"
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 {#3105
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    <p></p>\n
    \n
    \n
    \n
    <p><strong>Tangible Music Lab</strong></p>\n
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    <p>Tabakfabrik Linz<br>Peter-Behrens-Platz 8-9<br>and online streaming</p>\n
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    \n
    \n
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    \n
    \n
    \n
    <p>Nicolas Collins will talk about a musical life shared between hardware, software and human resources, with a focus on the effect of the ambiance of group hacking workshops on the transition of his own music over the past fifteen years away from his minimalist roots and in the direction of chaotic systems.</p>\n
    \n
    \n
    \n
    <p>New York born and raised, Nicolas Collins spent the 1990s in Europe, where he was Artistic Director of STEIM (Amsterdam), and a DAAD composer-in-residence in Berlin. He is a Professor in the Department of Sound at the School of the Art Institute of Chicago and a Research Fellow at the Orpheus Institute (Ghent), and since 2016 lives part of each year in Berlin. An early adopter of microcomputers for live performance, Collins also makes use of homemade electronic circuitry and conventional acoustic instruments. His book, <em>Handmade Electronic Music – The Art of Hardware Hacking </em>(Routledge), now in its third edition, has influenced emerging electronic music worldwide. <a href="http://www.nicolascollins.com">www.nicolascollins.com</a>.</p>
    """
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 {#3098
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    <p><strong><br>Tangible Music Lab</strong></p>\n
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    <p>Tabakfabrik Linz<br>Peter-Behrens-Platz 8-9<br>and online streaming<br></p>\n
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    <p>Schedel&#8217;s presentation examines a series of human-computer interfaces that transcribe human motion into sonic experiences. Grounded in rigorous research methodologies, including autoethnography, she unpacks the concept of &#8220;cynosure,&#8221; drawing parallels from ancient Greek navigation to embodied practices. The presentation includes &nbsp;interactive &#8220;Handography&#8221; exercises that serve as metaphorical extensions of the body, drawing inspiration from both historic and contemporary theories of movement. Amplifying the imperative for inclusivity, challenging systemic disparities and advocating for a holistic approach to technology and embodiment, Schedel critically engages with intersections of culture, power, representation, and equity in the realm of sound and movement.</p>\n
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    <p><a href="http://yuditskaya.com/">yuditskaya.com</a>&nbsp;</p>
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  +"title": "Guest Lecture: Heike Kaltenbrunner"
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    <p>Join us at the Tobacco Factory or Online via: <a href="https://tamlab.kunstuni-linz.at/live/">https://tamlab.kunstuni-linz.at/live/</a></p>\n
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    <p>In her guest lecture Heike Kaltenbrunner will give you an insight into the planning and development process of the &#8216;proximity organ&#8217; (Näherungsorgel), from the initial idea to the concept, development and presentation. The instrument combines the pipe organ and the Theremin, therefore the pipes are at the same time sound generators and sensors for proximity. A distant position sends a small amount of air through the pipes, which creates soft overtones, fffffrrrrs, humming and hissing, hence getting closer produces a full note sound. The instrument may either be played ‚plain‘ with a direct relation of proximity and amount of wind, or extented with further reaction details. These may be programmed in PD as part of the composition. It offers composers and musicians direct access to overtones and noises. Technically there are three intertwining components: pipes that function as capacitive proximity sensors, hand-made arduino controlled valves that regulate the wind supply in place of an organ’s usual open/close key mechanism and a detailed PD and programming that shapes the interaction. It offers composers and musicians direct access to overtones and noises. The project began in 2022 as a cooperation between of Heike Waldner-Kaltenbrunner and Mathias Lenz and was furher developed in Vienna and Berlin with a team of specialists. </p>\n
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    <p><a href="https://kaltenbrunner.klingt.org/" target="_blank" rel="noreferrer noopener">https://kaltenbrunner.klingt.org/</a></p>\n
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    <figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="576" src="https://tamlab.kunstuni-linz.at/wp-content/uploads/2023/11/IMG_2022-1024x576.jpg" alt="" class="wp-image-2184" srcset="https://tamlab.kunstuni-linz.at/wp-content/uploads/2023/11/IMG_2022-1024x576.jpg 1024w, https://tamlab.kunstuni-linz.at/wp-content/uploads/2023/11/IMG_2022-480x270.jpg 480w, https://tamlab.kunstuni-linz.at/wp-content/uploads/2023/11/IMG_2022-768x432.jpg 768w, https://tamlab.kunstuni-linz.at/wp-content/uploads/2023/11/IMG_2022.jpg 1200w" sizes="(max-width: 1024px) 100vw, 1024px" /></figure>\n
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 {#3081
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  +"title": "Guest Lecture: Francesco Zedde"
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    <p>Francesco Zedde is set to present a selection of his latest works, explaining the design and the processes involved in crafting instruments, music, and installations. The lecture will primarily revolve around the exchange of creative methods applied to technological mediums such as microprocessors, (hacked) consumer electronics, and ambisonics<em>.</em></p>\n
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    <p></p>\n
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    <p>Francesco Zedde is an Italian artist residing in Utrecht, the Netherlands. Francesco&#8217;s creative endeavors encompass an array of mediums, including code, circuits, images, and sounds. His artistic output takes on various forms; in addition to an extensive live performance portfolio, he undertakes the curation of events, production of records, composition of soundtracks, facilitation of workshops, creation of machines and instruments, development of software, and realization of installations.</p>\n
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    <p>Since 2011, Francesco has actively participated in 20 projects or bands, released nine solo albums, contributed to over 30 records, and held about 600&nbsp;concerts across 19 different countries. Much of his musical work is attributed to two primary aliases: &#8220;Tacet Tacet Tacet,&#8221; a live electronics audio/visual project inspired by modern experimental and dark ambient music, and &#8220;Tonto,&#8221; a post-punk solo endeavor characterized by drumset, electronics, and vocals. Francesco&#8217;s music has been released by more than 20&nbsp;labels, including Artetetra, Selva Elettrica, Edwood, Grandine, Attenuation Circuit, and Econore.</p>\n
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    <p>Furthermore, Francesco is the founder and organizer of the Discomfort Dispatch concert series, an initiative that showcases electronic and free improvised music festivals, an undertaking he has been devoted to since 201<em>7.</em></p>\n
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    <p><a href="https://frazedde.eu/">https://frazedde.eu/</a></p>\n
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 {#3068
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    \n
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    <p><strong><em>From Networked Music to the Design of Musical Interactions</em></strong></p>\n
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    <p>In this talk I will discuss research and development related Music and sound art mediated by Digital Technology from the perspective of my personal experience as a Researcher and Artistic practitioner since the late 90’s. The talk will include insights about experimental research and art work starting from the idea of having music and performing together over geographical distant locations, evolving to the establishment of the Academic Field of Networked Music and leading to advancements in semi algorithmically generated sound art presented in this talk behavioural driven interaction &#8211; a model of Artistic Discovery and Exploration applied in designing New Musical Instruments.</p>\n
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    <p><strong>B<em>io</em></strong></p>\n
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    <p>Born in Angola of Portuguese Nationality, Alvaro Barbosa is a Full-Professor of Communication and Media and a Vice-Rector for Internationalisation and Research at the University of Saint Joseph in Macau, S.A.R.-China. Prior to this position, he served for 6 Years as Dean of the Faculty of Creative Industries at USJ and 12 years as head of the Sound and Image Department at the School of Arts from the Portuguese Catholic University. As a Media Arts and Technology (MAT) Researcher and Practitioner, He has an extensive career creating artworks widely presented and performed Internationally. In 1995 He was awarded a Graduate Degree in Electronics and Telecommunications Engineering by the University of Aveiro in Portugal, in 1999 he got a Post-Graduate Degree in Digital Arts from the Portuguese Catholic University, in 2006 he got his Ph.D. in Computer Science and Digital Communication from the University Pompeu Fabra in Spain, and in 2011 he concluded a Post-Doc in Computer Music and Acoustics at Stanford University in the USA.</p>
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 {#3063
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    <p><em>Tangible Music Lab and Online (this website)</em></p>\n
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    <h2 class="wp-block-heading"><strong>The Materiality of Adaptative Systems</strong></h2>\n
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    <p>Luc Döbereiner is a composer of instrumental and electronic\u{A0}music. He studied at the Institute of Sonology in The Hague and received his PhD from the University of Music and Performing Arts Graz. His work deals with compositional models, algorithms, non-standard sound synthesis, improvisation, materiality, artificial intelligence and complex systems in musical composition and sound art. His music has been performed by numerous ensembles and soloists in Europe, and he has published his scholarly work in journals such as Computer Music Journal, Organised Sound, and Contemporary Music Review. He has taught at the Hochschule der Künste Bern, the Universität der Künste Berlin, and the FU Berlin, and has been a postdoctoral researcher at the Centre for Research in New Music at the University of Huddersfield and at the Institute for Electronic Music and Acoustics Graz.</p>\n
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    <p>Döbereiner is part of the duos End of Text together with Ludvig Elblaus and NOR together with Martin Lorenz. He is also part of the FWF research project Speculative Sound Synthesis.</p>\n
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    <p><a href="https://www.doebereiner.org">https://www.doebereiner.org</a></p>\n
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 {#3056
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  +"title": "Guest Lecture: Constanza Piña"
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    <figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1000" height="1000" src="https://tamlab.kunstuni-linz.at/wp-content/uploads/2024/06/Screenshot-2024-06-13-at-11-56-46.png" alt="" class="wp-image-2337" srcset="https://tamlab.kunstuni-linz.at/wp-content/uploads/2024/06/Screenshot-2024-06-13-at-11-56-46.png 1000w, https://tamlab.kunstuni-linz.at/wp-content/uploads/2024/06/Screenshot-2024-06-13-at-11-56-46-350x350.png 350w, https://tamlab.kunstuni-linz.at/wp-content/uploads/2024/06/Screenshot-2024-06-13-at-11-56-46-480x480.png 480w, https://tamlab.kunstuni-linz.at/wp-content/uploads/2024/06/Screenshot-2024-06-13-at-11-56-46-768x768.png 768w" sizes="(max-width: 1000px) 100vw, 1000px" /></figure>\n
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    \n
    <p><strong>KHIPU: Pre-Hispanic Electrotextile Computer<br></strong><br>What would have happened if the colonizers had not arrived in the Americas and our ancestral technologies had continued to exist? What would they be like?</p>\n
    \n
    \n
    \n
    <p>Khipu: Pre-Hispanic Electrotextile Computer is an artistic investigation into an ancient computing system used in pre-Columbian Andean cultures. In this system, information was knotted into cords and encoded into numerical values, following a binary and decimal system. Due to its complexity, khipus are now considered pre-Hispanic ecological computers, and their significance lies in their profound cosmic meaning and the preservation of wisdom passed down from our original peoples in South America.</p>\n
    \n
    \n
    \n
    <p>During the presentation, I will discuss the Khipu project, an artistic investigation that began in 2013, which resulted in a textile electromagnetic sound installation, a blog, various laboratories, and an artist’s book. This research brings to the present questions and uncertainties about our past and the possible future technological imaginaries envisioned through South American artistic speculation.</p>\n
    \n
    \n
    \n
    <p><strong>Constanza Piña (Curicó, 1984)</strong>&nbsp;Artist, researcher and educator, focused on electronic and sound experimentation, open source technologies, DIY philosophy and techno feminist social practices. Her work explores noise as a phenomenon that encompasses sound, social, cultural, political and spiritual dimensions. Her practice blends contemporary technologies with ancient techniques through speculative narratives.&nbsp;<br>She creates analog synthesizers, textile antennas, and experimental EMF amplifiers. From a pseudoscientific perspective, Constanza develops the concept of electronic witchcraft, seeing electronics as a bridge to connect the physical world with intangible energy from multiple spectral fields.<br>Her work includes installations, performances, concerts, as well as collaborations, workshops, event organization and the creation of archives.<br>She has held exhibitions, concerts, workshops, and talks throughout Latin America, Europe, the United States, Canada, and Asia.<br>Since 2013, she has been researching on prehispanic ancestral computing systems, materialized in the piece “Khipu // Pre-Hispanic Electrotextile &nbsp;Computer,” awarded at Ars Electronica Prix 2020. This research fuses speculation and Andean science fiction to vindicate ancestral knowledge underrated by hegemonic scientific sources.<br>Active in the underground experimental music scene since 2010 under the &nbsp;pseudonym Corazón de Robota, using only DIY synthesizers that she creates and builds herself, she explores the field of audible and inaudible frequencies, psycho-physical perceptions of sound and the rhythmic dimensions of noise.<br>Founder of the Technofeminist meeting Cyborgrrrls (Mexico City 2017-2024), Constanza contributes to the creation of non- institutional spaces based on &nbsp;mutual care, collective pleasure and technological subversion. She currently works as an independent artist and teaches at her project/school Non Binary Electronic Berlin.</p>
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 {#3049
  +"id": 2338
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  +"title": "Guest Lecture: Paola Torres Nuñez del Prado"
  +"content": """
    <figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="950" height="950" src="https://tamlab.kunstuni-linz.at/wp-content/uploads/2024/06/Screenshot-2024-06-13-at-12-02-45.png" alt="" class="wp-image-2339" srcset="https://tamlab.kunstuni-linz.at/wp-content/uploads/2024/06/Screenshot-2024-06-13-at-12-02-45.png 950w, https://tamlab.kunstuni-linz.at/wp-content/uploads/2024/06/Screenshot-2024-06-13-at-12-02-45-350x350.png 350w, https://tamlab.kunstuni-linz.at/wp-content/uploads/2024/06/Screenshot-2024-06-13-at-12-02-45-480x480.png 480w, https://tamlab.kunstuni-linz.at/wp-content/uploads/2024/06/Screenshot-2024-06-13-at-12-02-45-768x768.png 768w" sizes="(max-width: 950px) 100vw, 950px" /></figure>\n
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    \n
    <p></p>\n
    \n
    \n
    \n
    <p>Paola Torres Núñez del Prado (PE) explores the boundaries and connections in between tactility, the visual and audio related to the human voice, to nature, and to synthetic ones whose listening is often considered less harmonious, such as machine or digital noises. Her work is essentially complex: she explores the limits of the senses, examining the concepts of interpretation, translation and misrepresentation, so as to reflect on mediated sensorial experiences while questioning the cultural hegemony within the history of Technology and the Arts.</p>\n
    \n
    \n
    \n
    <p><em>Honorary Mention @Prix Ars Electronica, 2021 &#8211; Google Artists + Machine Intelligence Residence Grant recipient, 2019 &#8211; Vivo Arte.mov Mobile Media Award, Brasil, 2013.</em></p>\n
    \n
    \n
    \n
    <p>Her performances and her artworks, which are also part of the collections of Malmo Art Museum and the Public Art Agency of Sweden, have been presented in diverse countries of the Americas, Central Europe, and Scandinavia, where she is currently based.</p>
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