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XVI Festival Internacional de la Imagen - ISEA2017
Junio 11 - 18, 2017
Manizales - Colombia

Conciertos, experimentación sonora y presentaciones audiovisuales que presentan múltiples propuestas alrededor de la relación imagen-música-tecnología. Música contemporánea, tendencias de sonido experimental, el uso de herramientas tecnológicas, procesos avanzados de composición, la mezcla como arte, el ruido como paisaje sonoro y la creación y postproducción son algunos de los conceptos que se exploran en estas actividades.

     20.On XCurrencies

On XCurrencies. A Performance Project 

Klaus Spiess and Lucie Strecker / Austria-Germany
Medical University Vienna



The aim of our research is to develop artworks that are informationally ‘grown’ for the art-market to become part of an ecological economics.


In our performance/installation 'Hare’s Blood +' we designed a gene to allow the audience to speculate on artworks that incorporate animal relics in the light of a counter-economy as envisioned by Joseph Beuys. We opened one of the multiples in which Beuys had shrink- wrapped hare’s blood. We then isolated the catalase gene from the blood which protects against aging and spliced it into living yeast cells. We then programmed an interface able to activate the synthetic gene. The transgenic Beuysian creature was then put up for auction to act as an ‘eco-political agent,’ whose life would now be governed by the commercial interests of the auction attendees.


We currently assign economic systems to cellular processes with expanded xDNA alphabet. We use systems biology to program logic operations interfacing between the living artwork and the art consumers. Artworks thus become inalienable objects between artists and consumers who both are in a state of reciprocal dependence that establishes a qualitative relationship between the three transactors.




Ruido, live cinema with live sountrack


Luis Angel Castro, Esteban Betancur COLECTIVO CICLUX / Colombia
ITM - U de A



Using old and recycled technologies side by side with new ones, RUIDO will born as the story of a city, in this case Medellin… some old photos, handcrafted projectors and the a lot of NOISE around us, around you, around everybody.


CICLUX will make a live cinema performance with eighteen people moving around, improvising, building a film brick by brick; the piece will be unique and the act can be a audiovisual experience full of movement mixed with the environment.


We design our own software and hardware to bring this realtime film always new to you.


In our cities we are all surrounded by RUIDO (noise), and we will show using old and new technologies how this RUIDO has become an stellar character in our daily show.


We will video map using a lot of deferents technologies creating a live cinema act that will show to the public the story of every city…


We have made our own projectors, our own software and the piece will be made brick by brick by the hand of eighteen people just in front of your eyes.



     18.Zen Borg

Zen Borg


Martin Velez / USA
Koan Medialab



Zen-borg is an audio-visual, biofeedback piece. The idea consists in creating a musical experience that is directly influenced by the performer's vital signs. By wearing brainwaves and heartbeat detectors, the data coming from these devices is sent to different parameters inside the music system. This creates a cyclical interaction between the performer, the sound, and the environment which then re-influences the performer and affects the outcome once again. The intention of this is to explore the implementation of a tool that was developed for medical purposes in a creative application. It also constitutes a personal exploration about how to embrace your limitations and take advantage of them. Heart surgery at birth set up the base for a lifetime interaction with biofeedback devices. By taking a personal element that defined me, and merging it with a lifetime process of becoming an artist, I implement the biofeedback paradigm. The piece is intended to be performed in a meditative state. Meditation is the practice of self-awareness and has effects in how we engage with our daily situations. Depending the state of mind and the heart rate, the piece will go from a quiet and consonant state to a noisy and chaotic one.



     17.Estrofem Lab

Estrofem! Lab


Mary Tsang / USA
MIT Media Lab and Hackteria



The Estrofem! Lab is dedicated the generation of DIY/DIWO estrogen hacking protocols, revealing the various entrenched ways that estrogen performs a molecular colonization on our bodies, societies, and ecosystems. Thanks to petrochemical, agricultural, and pharmaceutical industries, xenoestrogens pervade our environments and cause endocrine disruption, which can be seen as a form a slow violence that queers our bodies and bodies of non-human species. How do we as citizens effectively respond? Estrofem! Lab contains low-cost, accessible protocols for the detection and extraction of estrogen, and examples include include transgenic yeast biosensors, solid phase extraction with cigarette filters, and DIY column chromatography with smashed silica gel and methanol. Our present ecological toxicity is deeply entrenched in powerful capitalistic forces. DIY/DIWO biohacking can function as a tool for creating new entry points and subjectivities, combating traditional power structures responsible for the production of knowledge, of bodies, and of technoscience. From these xeno-forces arise xeno-solidarities, capable of collectively hacking the systems of hormonal control.


     16.Basic Transmutation Alien migration

Basic Transmutation / Alien-Migration


Aniara Rodado and Jean-Marc Chomaz / France


In Transmutation de base (Basic Transmutation), choreographer Aniara Rodado and artist physicist Jean-Marc Chomaz create a participatory space for immersive human-plant interaction. While the dancers perform movements derived from scientific research into the movement of plants, into mechanical transduction, morphogenesis and collective plant movements, the audience is invited on stage to be immersed into the olfactory scope produced in real time by the large distillation apparatuses that are blown, on purpose, as ‘glitches’. In order to address and destabilize human stereotypes of how plants are considered, Rodado distills symbolically highly charged plants. Contact microphones and hydrophones amplify the micro-frictions emerging from a ‘sound kitchen’, a ‘alchemist factory’, completing the immersive smell scape with a sound scape to create intriguing effects of synesthesia. This piece aims at emphasizing the need to slow down to a ‘plantamorphized’ temporal scale, and engage in other sensorial interaction modes than the human-centered sight beyond cognition in times of environmental crisis and anthropogenic excesses.






Emilio Ocelotl, Jessica Rodriguez and Alejandro Brianza / Mexico-Argentina


Leviathan is an interactive musical system still under development and experimentation that links musical and visual creation resulting in a live electronics piece for Paetzold recorder with live visuals.


Leviathan attends performance interactivity but also the historically shaped relationships between the agents involved: composers, performers and computer. The specific indications for Leviathan are a series of indications directly related to the supercollider code control routines. The indications suggest to the performer many actions to change between fixed and variable states interacting with the live electronics.


This project works with two elements: real time and fixed time, exploring de differences and similarities between them through three dimensions: technical, musical and conceptual. From a technical point of view, this project is working with a system called “Machine listening”, so the piece can generate itself taking as inputs the sound events from the Paetzold recorder. The same happens with the visuals, there is a video generated in real time, which is mixed and processed with many different effects constructing a very special audiovisual context.






Karla Brunet and Enrique Franco Lizarazo / Brazil-Colombia
Instituto de Humanidades, Artes e Ciências-UFBA



WanderingScapes is an audiovisual performance about journeys on nature. It is wandering on different scapes such as landscape, cityscape, townscape, roofscape; riverscape, seascape, waterscape, snowscape… It is going into field trips as nature immersions and bringing back a miscellaneous of videos and sounds. This audiovisual performance is the outcome of the lived experience in different environments. It is glitched, rusted, noised as the experience cannot be (re)lived. It is just performed with simple body movements, instruments and objects created by us.






Zeynep Özcan / Turkey
Istanbul Technical University, Centre for Advanced Studies in Music



Inconnu is originally composed for a 20-channel Acousmonium, which is commonly known as a “loudspeaker orchestra”. Each sound is designed for separate speakers, but each channel is considered to be laid out in a linear fashion where one sound could only travel into adjacent channels, implying a strict directionality. However, the loudspeakers for the performance are placed on separate levels and asymmetrical spots in the construction in a non-linear fashion. Furthermore, when the piece travels in the space, the structure itself adds various effects beyond what the composition affords and further interrupts the linearity of the sonic trajectories. Through the specialization scheme I follow for the performance of the piece, I aim to obscure the trajectories I determined during the composition process. By blurring these trajectories with an uneven dispersion of speakers and the resonant characteristics of the structure, I choreograph a metaphor for how an individual’s path should be ambiguous and distinctive. Still, through close listening, the audience can untangle this ambiguity and recognize the underlying trajectories that are deeply embedded into the composition.



     12.Forward Backward Upward Downward

Forward/Backward/Upward/Downward - Perceptions of the Cable Aéreo de Manizales


Jasun Martz / USA



Mi trabajo audiovisual explora y simboliza todo lo que es nuevo (tecnología), versus todo lo que es viejo (la no-tecnología) y los conflictos que conllevan. Es un proyecto de paisaje sonoro interdisciplinario, y será un performance (o más) de espectáculo de sonido, música y arte visual, que se inspirarán en el Cable Aéreo de Manizales. Las actuaciones se realizarán en el Parque Antonio Nariño - Cable y (posiblemente) en otras estaciones: Los Cámbulos - Fundadores, Camino de la Palma - Los Yarumos y Los Cámbulos - Villamaría.


El trabajo contará con una "sinfonía de sonido" de tres movimientos, que representa la identidad cultural de Manizales, inspirado por la gente de la ciudad que recorre el Cable Aéreo. Es una amalgama multidisciplinar de música electroacústica, sonido, teatro y artes visuales. Utiliza tecnologías de "nueva escuela" en el arte, la interactividad, las innovaciones electrónicas y digitales (codificación y programación, manipulación de sonido digital, sonidos sintetizados y muestreados por computadora y bucles digitales), pero también utiliza técnicas de la "vieja escuela": tambores primitivos, teatro y arte de performance, pinturas en grandes lienzos.





     11.Sound Dialogues

Sound Dialogues


Gonzalo Biffarella, Gustavo Alcaraz and Julio Catalano / Argentina
Universidad Nacional de Córdoba



En esta muestra, hemos realizado una clara división entre la producción de música instrumental académica y las experiencias de arte sonoro con las nuevas tecnologías que está presente en nuestras universidades. Creemos que un diálogo es una oportunidad para superar esta situación que lleva tantos años. Para reducir la división, proponemos un espacio interdisciplinario que reúne a artistas sonoros de diversos orígenes académicos, instrumentistas, improvisadores y compositores. Además de aquellos que entran en los campos de programación de software, sistemas interactivos, detección y gestión de bases de datos. Proponemos un proyecto que articule un taller y una presentación artística. De esta manera, haremos puentes entre diversos tipos de conocimiento y formas de realizar el arte sonoro para ser interdisciplinario, interactivo e inclusivo.




     08.Data Nature Anagenesis



Hyungjoong Kim / Korea


Where are we come from? How do we define ourselves who are evolved from a chance occurrence of microbes’ random movement?




     15.Whose Weather is it Anyway

Whose Weather is it Anyway?


Sharath Chandra ramakrishnan / India
Srishti Institute of Art Design and Technology



‘Whose Weather is it Anyway’ is part of a series of interventions that seeks to decipher, expose and contrast informational patterns that exist in natural ecosystems and that of man-made informational representations of command, control and dissemination mediated by its infrastructural aspects.


Amidst narratives and decisions surrounding recreational tourism, festivities, food, livelihood, calamities and stock prices to which weather conditions are central, lies the colonization of local and global weather information into an intellectual property regime that often makes weather reporting and predictions through opaque informational conglomerates that fuel climate change debates and environmental policy. This project explores the interplay between ‘the climate of economies’ & ‘the economies of climate’ in the age of networked Big Data, critically examining these interfaces while engaging the audience using emerging methods in data sonification and networked media art practices.



     07.Reunion 2

Reunion 2 - Performance of the Data Stethoscope for Complex Networks of fMRI Data and Chess Board


Scot Greshamlancaster and Roger Malina / USA
University Texas at Dallas



The performance is in honor of the celebration of the 50th anniversary of the Nine Evening performances in 1966 where prominent artists and Bell Labs engineers performed in public in New York. The performance used both the data and the software developed for a data stethoscope project that is associated with ongoing research with a team of Neuroscientists at the Center for Vital Longevity Studies at UTDallas. The project data was fMRI data on age cohorts of healthy individuals from 20 to 80. The research involved adding sonification to visualisation tools as a strategy for data exploration. The performing artist is Scot Gresham Lancaster in collaboration with astrophysicist Roger Malina. The artist developed an interface and performance strategies with a chess board and various midi controllers. Using various data sets from the research a soundscape and real time interventions based on the “Reunion” electro-acoustically enhanced chess match between Cage and Marcel Duchamp from 1968. In this case the two collaborating scientists play chess on an electronically enhanced chess board. The moves they make drive the soundscape and interaction of both the video and audio of the performance. The interactions are enhanced by actions and reactions during the performance.





     06.Part of History

PART OF HISTORY (Latin American Electroacoustic Music)


Ricardo Dal Farra / Canada


This is a concert focusing on recovering and make known part of the history of electroacoustic music from Latin American.


The political and economic instability in many Latin American countries have been deeply affecting the life of its inhabitants for decades. Support for artistic activities has usually been postponed to solve urgent social problems. In spite of that, the development in the region of the electronic arts in general and the electroacoustic music in particular, is really astounding. To name but a few examples: Mauricio Kagel composed eight electroacoustic studies in Argentina between 1950 and 1953, according to Hugh Davies’ International Electronic Music Catalog. José Vicente Asuar in Chile, Joaquín Orellana in Guatemala, Reginaldo Carvalho in Brazil, Horacio Vaggione in Argentina, Héctor Quintanar in Mexico and Juan Blanco in Cuba are only some of the many names in the ocean of electroacoustic music creativity that has always been Latin America.


The compositions on this program presents a significant sampling of music created between the 50s and 80s by artists from various Latin American countries. The program includes: “Valsa Sideral” (1962) by Jorge Antunes from Brazil and “Bolivianos…!” (1973) by Alberto Villalpando from Bolivia, among several other works.





     04.Metatopia 4.0 Algoricene

METATOPIA 4.0 - Algoricene


Jaime Del Val / Spain
Reverso - Metabody 



METATOPIA es un ambiente nómada, interactivo y performativo para espacios exteriores e interiores, que fusiona arquitecturas físicas y digitales, con inmersión 3D y multisensorial, centrándose en la indeterminación, la imprevisibilidad y la relación abierta con los cuerpos y el ambiente circundante. Un espacio indeterminado de comportamientos emergentes y movimientos que desafían la predicción y el control en la Era de los Grandes Datos.












Cyril Hernandez and Jose Gallardo / France-Colombia
La Truc 


Cyril Hernandez es un músico y artista multimedia. Es un percusionista malabarista de los sonidos.


Como un nuevo chamán, le revela a través del sonido y de la música, la energía que circula entre nosotros.


Durante una hora de espectáculo estupendo, él alterna sonido electro-pop, improvisación de jazz, composiciones interactivas y vídeos, sirviendose de todo esto, él es capaz de jugar con todos.


Él convierte también el publico en un verdadero elemento musical.


La música de Cyril Hernandez transforma el espacio en sonido, el ritmo en imágenes , el tiempo en energía. Con este espectáculo multimedia formamos el sonido.


Para el ISEA en Manizales el solo se transforma en duo con la llegada en escena del compositor y instrumentista Jose Gallardo.








Luca Forcucci / Switzerland



The project is a site-specific composition. The performance space and its architectural resonating characteristics are included. The main idea focuses on the body of a dancer as the main sonic source. The sound recordings of two performances in San Francisco and Switzerland were then composed at NOTAM in Oslo Norway, leading to a piece intended to be played in the dark and thus magnifiying the sonic memories of the audience. The project includes fifteen days field recordings at the border of Botswana, Limpopo Region, South Africa with a biologist and composer (Francisco Lopez). I conducted the research further as an expedition in other regions of South Africa on the base of a text of the Swiss writer Friedrich Dürrenmatt (The Viral Epidemic). The novel was published originally in the column of a Swiss newspaper, which describes a virus transforming the body of white persons into black ones. A text about privileges and how those are kept in a specific context. I explored the country with the text in mind and observed the division after the end of the apartheid. The composition includes layers of cut-up text, pictures, video and sound composed into a an electroacoustic piece, like a road movie.








Andrea Lutz / Germany



Siguiendo las reglas formales de ‘dodecaphony’, para "Zwölftonform", doce títulos consecutivos se componen exclusivamente con doce frecuencias consecutivas. La estructura básica para cada título está hecha por hasta doce muestras de sonido diferentes, en forma de onda sinusoidal generada.Construido sobre esta base, estos arreglos se refieren e ilustran, sobre todo a lo largo del tiempo, la complejidad y el aumento de la compresión de forma original. Tras el carácter serial del concepto de composición, los títulos se publicaron consecutivamente como EP. Para la traducción visual y presentación como una actuación en vivo y audiovisual, la forma de onda sinusoidal se abstrae a lo largo de la convención del álbum. Siguiendo los principios parametrizados, surgen doce realizaciones visuales. La complejidad creciente es ahora visible y la simplicidad prevaleciente al principio, es invertida para el final. Esta estética evolutiva está puntuada con una cuadrícula que divide la base y el valor del número de muestra.








XVI Festival Internacional de la Imagen - ISEA2017
Junio 11 - 18, 2017
Manizales - Colombia
     13.As if i didnt

As If I didn't


Zeynep Ozcan / Turkey

Istanbul Technical University, Centre for Avanced Sutdies in Music


As if I didn’t is a hyper-real soundscape of a dream. Composed of field recordings, it tells a story of an individual’s struggle with waking up, as she tries to find her way through a synthetic environment of abstract and real objects. The piece starts with a gloomy atmosphere that includes very few representational sounds. But as the piece moves forward, a balance between concrete and abstract sounds emerge to signal the individuals “ascent” to consciousness, This consciousness, however, swings back and forth between reality and a dream. The final gesture blows the whistle on the narrative of the piece.


     10.Harmonic cicada soundscape

Harmonic Cicada, soundscape


Mauricio Rivera / Colombia



The Harmonic Cicada is a soundscape that shows the transformation of the natural territory in the Cultural Coffee Area Landscape (some Risaralda and Quindío municipalities) from the sonorous intervention of the artist when simulating with his voice the sounds produced by the cicadas with their abdomen and wings (insects from the Cicadidae family). The interaction between the answer of the actual cicadaes and of the local fauna to the author’s sounds, appoints to the passage of the topographic territory to the symbolic one from the audible language, providing a new interpretation which ascribes inherent characteristics of the animal evolution to the mutual experience. Through the sound connotations of the death and life states associated to the different audible manifestations of the insect during its displacement, rooting, metamorphosis and habitat, the installation proposes to register the audience bodies with the characteristic realities of the landscape that are built through the sound language. From a poetic dimension the relationship between the fauna and the human being questions the reality of the physical territory creating a representative and immersing world with the use of language.


     12.Ko Rangi Ko papa ka puta ko rongo

Ko Rangi, Ko Papa, Ka Puta Ko Rongo


Jo Tito, Jaime Berry and Josiah Jordan / New Zealand




The artwork seeks to create a peaceful space where we can explore the nature of our universal connection through shared genetic code. DNA is the technology of life, and the piece utilizes modern technology to express our biological code in novel, accessible ways. By transforming the raw DNA sequence data for a set of individuals into music, and sampling a single chromosome from each person to create the final composition, our individuality and collective connectedness are simultaneously celebrated.


The stone circle becomes a comfortable womb in which the participants can experience and reflect on the beauty of existence and the core connection we have to each other, with the projected visuals from above making the participants themselves a central component of the artwork while they explore the space. The tactile and multi-sensory nature of the piece reveals what is otherwise abstract in a visceral and universal way that is hoped to inspire discussion and profound wonder... and above all, bring us together.


     14.ME RIO



Mauricio Chica M. / Colombia

Universidad de Caldas



The following research-creation will talk about the pollution in rivers, streams and its impact on the coffee cultural landscape. To this goal the sound bridge will be approached as an ethnographic tool and a way for the artistic creation. The prevention of the environment is a topic that acquires relevance in the expressive forms of the contemporary art. It sees the need to manifest how pollution in all its variants puts in danger our ecosystem, economy and cultural identity. No matter our work, social status, race or religion; we must to react to this devastating scourge that has become the common factor today, because the lack of planning in the management of our waste.


Elements that are transformed into moving image in this Project that, more than critical it becomes a pedagogical act that invites reflection on our behavior and responsibility with the environment.




Dark Path #6


Anna Terzaroli / Italy

Conservatorio Santa Cecilia - Rome, Italy 


This piece is a part of the “Dark Path” series. This electroacoustic music focuses on sound marks of a sonic landscape. It embodies a sense of history beyond itself. Beyond the analysis of the used recordings, there is a history that is personal. The piece aims to examine and explore the transformative possibilities of the computer music.






Antonio D'Amato / Italy




Körper is an acousmatic piece entirely based on the elaboration of an acoustic pulse sequence which was produced in the course of a MRI diagnostic test. The aesthetic idea implied in the composition refers to the topical and controversial theme known as "global control and censorship”. Through the examination of the constant and continuous information flow, which is either consciously or unconsciously produced by everyone, it is possible to accomplish a condition of control; that condition ought to benefit the national and global security. The question is: How deep or intrusive should the control on individuals be in order guarantee global well-being and security? If nowadays cameras and sensors constantly watch movements of the individuals in cities and buildings, can we assume that in the future cells and chemical reactions in our bodies will be scanned and examined in order to gather information to be collected, stored and processed? Technically speaking the composition uses exclusively a short audio recording of a MRI test. Spectral editing and resonant filters are chained in order to isolate restricted areas in the whole sound object. The foundation material is clearly revealed only at the very end of the piece.



     06. SUB



Carlos Gárate / Spain




SUB is a sound performance that aims, by exploring the acoustic activity of the underground, to make audible sound spectra that normally go unnoticed. With ​SUB Carlos tries to explore the sounds of the Anthropocene, the geological epoch that follows the Holocene. In this era ​humans have become the most relevant geological force on Earth.​ Human activity has irreversibly changed the composition of the atmosphere, the oceans and even the Earth’s crust. The causes of this scenario can be found in the physical infrastructure of capitalism: big cities, industrial complexes, massive transport systems, etc... Carlos considers that this infrastructure produce acoustic activity on the underground, a space that vibrates and where the sounds of natural origin of immense scale such as earthquakes and the rotation of the Earth itself melt with the sounds produced by the human activities. Sounds that are projected to the underground and are an unmistakable sign of the Anthropocene. Carlos also tries to put in connection the ability of the Earth to create and process sonic energy and to question reality beyond human’s perception as well as th need of digital software ot understand things that are bigger than us.




Une rencontre


Antonio D'Amato / Italy


Une rencontre is intended as a “virtuoso” piece where short vocal samples are deeply processed together with acoustic instruments samples and synthesized elements in order to achieve or at least tending toward a total fusion of these elements. It is not just a mixing work, but instead it is the fusion of more sound objects in one, mainly through convolution algorithms. In this way I especially researched for a spectral merging of voice and acoustic or electronic instruments. I intentionally propose an artificial procedure where the allocation of formantic regions is extracted from audio samples of singing voices, and subsequently superimposed to audio samples of traditional acoustic instruments or even to synthesized sounds. In few points an overload of harmonics has been deliberately caused in order to experiment an emphasis of the expressive strength and emotional communication of the resulting timbre. The title reveals the aesthetic sense of the work, where a relevant meeting can be not just an encounter, but also the occasion for a mutual exchange, therefore everything and the whole of the world are in continuous transformation, by means of mutual confrontation.



     02.Duo Graci Scremin and Tiago Costa or Zen and the Birds of Appetite

Duo Graci Scremin and Tiago Costa, or Zen and the Birds of Appetite


Tiago A. Demarchi Costa and Graci Screamin / Brazil



Textures and saturated sound signals worked through loops; unconventional use of electronic equipment,opening its black box and investigating the sonority of its circuits; prepared instruments and utilization of the feedback of mixers, pedals, microphones.


     01.Field data applied to data objects

Field Data Applied to Data Objects 


Tiago Ademarchi Costa / Brazil


Electroacoustic piece performed with field recording and programming environment. Through the programming environment was simulated various ways of working with a recorder, subverting their conventional functions. The material of a field recording read by this recorder loses the linearity of his narrative and gains new signs.



Lioso Landscape


Katerin Pineda Salas / Colombia

Universidad de Caldas


The louder bridge was recorded on the center streets in. Manizales town,i t shows a reflection about the view of the city, It has been seen behind the particular places and spaces that work and establish feelings in her people. They confirm the existence and the roads make places for the people that every day walk on there... In a constant and louder place while the time goes on impregnated for the daily routine.