KIKK is an encounter of movements. It’s a two days full of “Interferences” (the theme of 2016’s Edition) that takes the shape of conferences, videos, workshop, music, children’s games (Little.KIKK), art and AV performance. It is, with no doubt, a ensemble of waves that makes us believe that the world only will survive as movement and evolution of thought in spaces with no boundaries or walls.
The core of the festival is somewhere between the conferences and the beer-in-hand talks. On one side there are the presentations of artists or creative agencies excited about their products, like FUR with their use of nets, materials and lights in the space, 1024Architecture with their installations or Kathy Hinde (inspired by the work of Alvin Lucier) with her experiments on repetition and feedback. On the same stage there are other inspiring talks given, among others, by Pablo de Garcia provoking the audience with new perspectives on contexts and “intercontextualities” or Stefan Sagmeister and his idea of reintroducing beauty into the world.


Frequencies [light quanta] at KIKK 2016

Part of a collection of works exploring the relation between organic sources and digital processes. In this piece Bernier investigates the metaphoric relation between quantum physics principles and AV creative processes. The result is a group of microorganisms that are projected in the shape of “100 aleatoric sound and light fragments generating tridimensional patterns by superimposing 100 transparent laser cut acrylic panels”.
Entering the completely dark room we see squared acrylic panels with lights that reflect particles and overlapped waves. The visual impact and the interaction with the sound leave the visitor with mixed feelings, between perplexity and the bare WAW.
The articulation of all the elements builds 3D rhythms and images, whose movements convey the idea of an infinite drag in a space and time only limited by human sound and visual possibilities.

Installation by
Nicolas Bernier

Technical direction and fabrication by

  100 lights
  100 transparent laser cut acrylic panels

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Interface I at KIKK 2016

A first look at the complicated structure is enough to feel the stress and tension of the strings subjected to the set of opposite forces stretching or loosening them, making them slightly  move closer or further from each other under pressure. The strain is emphasized by the sound, a noise with no rhythm nor pitch, almost a buzz of swishing strings.
Interface I is an installation that measures and reproduces environmental radioactivity levels on earth in real time through 3 Geigers counters. The system collects random data and intertwines them with the idea of the construction of a digital image. This balance between the randomness and the stability necessary for the physical construction of the image takes us to Baecker’s structure: an interconnected mesh.

Installation by
Ralf Baecker

Produced by

  Geigers-Müller tubes
  Elastic bands
  Metal structure

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‘a resonator-feedback-cello duet for live coder and cellist’

This episode of our digital art journey was part of the xCoAx festival 2016 and took place in  one of the rooms of the festival’s main location: a fifteenth-century convent in Bergamo (Italy) that has been completely renovated and transformed into a contemporary and fine art gallery –GAMeC. If you have never heard of xCoAx, they describe it as a space “where computational tools and media meet art and culture”.(
As you give a first look at the corner of the gallery room, you can see two hacked cellos laying on 2 chairs. Before Chris and Alice come in and seat, you can look closer and notice the guitar pickups, cables, pedals, speakers built in the cellos or a computer on top one table on the right side.
Once the performers start to play, you can feel the rawness of the instruments at every time that the bow scratch, bounce and slide along the strings. The sound goes to the speakers built in the cello generating a process of feedbacks that resonates through the instrument itself.
The nature of the sound is palpable, but at the same time, while listening the interaction and fusion of digital and analogue becomes evident. The experience is that of a clear structure of harmony and balance of the musician, the instrument and the digital technology.

Performed by
Chris Kiefer
Alice Eldridge
[musician-researcher-educators based at the Sussex Humanities Lab/Music Department, University of Sussex]

 Supercollider [Neural Oscillator UGen]
 Two modified cellos, strung with steel strings
 50W speakers
 Vidsonix transducers
 CycFi electroacoustic pick ups
 3D printed pickup mounts
 Volume pedals, audio mixer, digital audio interface


Where is Opera going? We went to Opera Forward Festival to see what could the Opera of the future look like; where powerful voices meet digital scenographies, librettos meet 3D glasses and smokings and gowns meet black t-shirts and jeans.
You arrive at the Muziekbouw aan’t IJ concert hall, Amsterdam, leave your jacket at the wardrobe, take your libretto, ask for your 3D glasses and you are ready for the new Opera by Michel van der Aa. 3D glasses at an Opera concert?!  You may ask. Yes, you read it right.
The multidisciplinar composer-director creates internal and external worlds that go beyond or, why not, forward from the voice of the actors and the physicality of the stage combining different media such as classical instruments, explorative electronic music and a 3D film. On stage, we see the singer with her beautiful and powerful voice, a white screen where the 3D film is projected, a table with small objects, which the character will interact with, and a 3D live-camera.
From the text and characters by Ingrid Jonker’s “South African” poem, Blank Out introduces us to the tragic story of a lonely woman struggling for the loss of her seven years old son, taking us to the intricacies of her psychological journey.
With the dark 3D glasses on, the woman mashes up with the film, the film mashes up with the 3D live-recording, the live-recording mashes up with the music and all that mashes up with the state of mind of the character. In the end all becomes one, the 3D film, the lonely woman, the symbolic objects, the sounds and us with our 3D glasses asking ourselves what is real and what is not. In the end, do we really want an answer?

Concept & Direction by
Michel van der Aa
Opera Forward Festival [OFF]

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