Dr. Claudia Schnugg is a researcher and curator with an interdisciplinary background in social sciences, business administration, cultural sciences, and the arts. She is a curator in the fields of art & science collaboration, organizational aesthetics, embodied knowledge, and artistic interventions. She holds a PhD in social and economic sciences from the University of Linz. Her doctoral dissertation was designed as an interdisciplinary work at the Johannes Kepler University, Linz, and the University of Art and Design, Linz. She analyzed the formats and effects of artistic interventions in organizations from an organizational and art theoretical perspective.
Algorithms have been used in music and sound art extensively within the three past decades
From the use of evolutionary models, L-systems, generative neural networks and machine learning techniques, the automatization of musical processes using a computer has been variously exploited for aesthetic ends. `Machined Music’ is a panel discussion as a deep-dive into these techniques that brings together experts in both the artistic and scientific domains.
A 45-minute podium discussion will be followed by a 45-min performance by electronic musician Moisés Horta Valenzuela utilizing some of the techniques discussed.
PUBLIC DISCUSSION AND MUSIC PERFORMANCE AT THE CAMPUS. PLEASE REGISTER.
Information about the physical accessibility of the Museum für Naturkunde can be found here (see ‘experimental field’ for exact location on the map).
Berlin, Berlin 10115 Germany
Tom has been working with deep neural networks for the last five years. Following first encounters with self-learning algorithms at the university, he gained practical and theoretical experience with deep learning as a developer in a start-up and as a student research assistant. This years, he joined the remote sensing lab at TU Berlin as a PhD researcher. While mainly concerned with understanding deep neural networks better, his interests evolve around learning theory and explainable AI.
Moisés Horta Valenzuela’s artistic practice exists at the intersection of sound art, electronic music, generative art and the history and politics of emerging technologies approaches from a critical decolonial perspective. His practice attempts to disrupt dichotomies with new radical juxtapositions, such as utopia with dystopia and folk traditions with modernity, in order to elucidate the paradoxes and the inner workings of epistemic systems.
Federico Visi is a researcher, composer and performer based in Berlin, Germany. He carried out his doctoral research on instrumental music and body movement at the Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth, UK. His research interests include gesture in music, motion-sensing technologies, interactive machine learning, and embodied interaction. He currently teaches and carries out research at Universität der Künste Berlin.