2022-11-19 –, Østre
screenBashing is a live coding piece, where audio and visual materials are programmed in real time during its performance using SuperCollider for it's sound components, and C for it's visual elements.
Visuals are created by printing characters such as backslashes and underlines in rapid succession, while at the same time freezing the whole system several times per second, creating the illusion of animated motion.
Audio is generated via an "oneliner", and there are no refined performance controls to it, making it impossible later on in the performance to tweak parameters of something that was already generated and is being heard. Any modification on the code will create new versions of the audio, where the only possible option is to sound in superposition to previous layers, creating an accumulation which drives the narrative forward. Layers can not be paused or removed after their creation. Mistakes are impossible to be undone, and all decisions are final.
One consequence of this setup is that it is extremely resource-heavy on the computer, as it purposely freezes the whole system several times per second in order to create an animation.
This unavoidable consequence - saturation of the machine processing power - is embraced as a principle/composition guideline, and is deeply explored throughout the performance, with the computer becoming gradually more unresponsive as new animations are spawned. After a certain threshold, the system becomes erratic, up to a point where it is no longer possible to gain control of it.
Sound artist, educator and creative coder, both his artistic and academic research activities are heavily rooted in the embracing of programming languages as places for poetical speculation, as well as the construction, modification and manipulation of electronic circuits. Has a degree in Music Composition and a master’s diploma in Education, where he developed and researched learning and teaching methodologies for programming languages in the context of the arts. Former teacher of Multimedia Arts at Maia University in Porto - Portugal, and was part of the team running, managing and curating SOMAR, a venue in Lisbon dedicated to sound, art and technology.
Currently teaches at the "Artistic Research in Music" master's programme at the Conservatorio Santa Cecilia in Rome - Italy. As a doctoral researcher working with the "Music, Thought and Technology" research cluster at the Orpheus Institute - Ghent, he investigates how technical objects can operate as active, non-transparent agents in technologically mediated experimental sound practices.