In collaboration with Ableton, CC4AV is curating Max Meet-ups in Berlin. We welcome sound artists, visual artists, designers, media technologists, researchers and curious beginners to join us. We encourage representatives from various different ethnic groups, female and non-binary creatives to join our friendly and ethical environment in Berlin. Cycling ’74 Max connects objects with virtual patch cords to create interactive sounds, graphics, and custom effects – it is fun to work with! Follow us on Instagram and Facebook to receive updates on our future Meet-ups. Contact us if you would like to present your projects to our Max community in Berlin.              

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Coded Structures curated by Irina Spicaka / CC4AV as part of Vorspiel / transmediale & CTM 2017. Performing artists ➝ Federico Foderaro, Marco Accardi, Mei-Fang & Ran Ancor & Abe Pazus, Nicolas Schindler. Photos by Irina Spicaka.

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Creative Coding for Live Audio and Visuals 4 workshops and collaborative audiovisuals performances happened from 29.09 to 4.10.2013 in Riga, Latvia. – – Creative Coding for Live Audio and Visuals is an event organized by Irina Spicaka and Krisjanis Rijnieks with assistance of the Skaņu Mezs festival and financial support from the Nordic Baltic Mobility Programme for culture and Culture Capital Foundation of Latvia.

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Subatomic Particles organized by Irina Spicaka and Krisjanis Rijnieks at Totaldobže Art Center White Night Riga, September 7, 2013 – – Sound artists: Minciisha ieraksti (LV), 96wrld (LT/NL), 
Trihars (LV), Lee Chapman (UK/LV), OHMTEK (LV) Visual artists: Irina Spicaka + Krisjanis Rijnieks (LV/FI), Laimonas Zakas (LT/NL), Trihars (LV), Ieva Balode (LV/UK) – – Video by Rolands Briedis – – Support: Riga City Council’s Education, Culture and Sports Department, Totaldobže Art Center, Dirty Deal Audio – – Special thanks to Rudolfs Busmanis for sound setup

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Creative Coding for Live Audio and Visuals workshops and jam session in context of Pixelache platform collaboration with AAVE festival. April 7 – 13, 2014, Helsinki. The event curated by Irina Spicaka. Building Visual Synthesizers with Raspberry Pi and openFrameworks workshop by Krisjanis Rijnieks. Building Portable Instruments with Raspberry Pi and Pure Data wourkshop by Sébastien Piquemal. Supported by: Pixelache, AVEK, KKF, AAVE, Aalto Fab Lab, Aalto Media Factory, VKN, mbar.

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We welcome sound, visual artists and designers, media technologists, researchers, female creatives, and curious beginners to join us at the CC4AV MaxMSP Meetup in Berlin. MaxMSP connects objects with virtual patch cords to create interactive sounds, graphics, and custom effects. . About the software: MaxMSP is a development framework which uses visual paradigm and runs on Mac and PC computers. It provides a platform for visual interactive programming, and it is made for creating custom applications dealing with signals and sound, generating video, visuals, and much more. From generating to processing, MaxMSP can handle any kind of data and can connect data networks to sensors, DMX, and any serial devices using USB (including Kinect). It offers a proper and stable environment in which one can map anything to everything. MaxMSP is one of the most used frameworks for designing custom systems for live performances, art installations, scientific prototyping, experimental environments, and interactive applications.  . CC4AV MaxMSP Meetup is a monthly event, feel free to contact us if you have any specific topics you want to talk about or projects you would like to present.  . This meetup is co-organized by Irina Spicaka (CC4AV) and Mar High (Project A)—advocates of the use of technology for artistic expression. .

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The Moscow duo drop a heavy new single on US-based label Manimal. Moscow electronic duo IC3PEAK—made up of Nick and Nastya, two “audio-visual terrorists—follow last year’s self-released debut with new single, “Kawaii Warrior,” released via US-label Manimal (Yoko Ono, Bat for Lashes, Warpaint). Their unique brand of sonic experimentation and charisma channels artists like Grimes, Die Antwoord, and Bjork, whilst simultaneously looking into the future. For the duo, “the beauty is in the struggle to create new symbols and meanings,” and the latest single explores “female representation, as a woman now is seen both independent and still aching for love. It speaks out about human nature—which is actually much more complicated—and wishing to get closer to what’s hidden inside of our minds: from the darkness to the light.” The single arrives with a video filmed by IC3PEAK in a forbidden, abandoned space that was used for USSR echolocation experiments. The video, which you can watch via the player below, follows the duo as they traverse through the abandoned, bunker-like space and shows “a snippet of an H+ party in a dystopian future.”  

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Article for Veto Magazine #25, February 2013 . The method of 3D projection mapping was born at the moment when the need for a new level of space in electronic audio visual performances met the initiative of visual performance artists. In this article the author looks into the variety of projection mapping, as well as dwells upon accomplishments of Finnish and Lithuanian artists. The method of 3D projection mapping was developed owing to the artist’s aspirations to modify and destroy the face of classical screen; this method has provided video artists with a possibility to expand the meaning of a space. Due to recent changes, nowadays visualizations can be projected on spatial objects and predefined surfaces, as well as can be used both in architectural and stage design. The method has supplemented or, to be more precise, expanded the boundaries of visual expression. An opinion exists in the contemporary art that space in itself is also a medium. Usually artists — those who fill up galleries — stick to this viewpoint. When conceptualizing the content into the form it often needs to be expanded to the extent where art reaches to walls and interacts with them. Sound visualizers or video artists who are responsible for the final visual output at electronic music events and video artists at festivals of light who work on facades of objects, have similar space perception. The concern about filling up the space has led representatives of all the above mentioned categories to one common result — development of projection mapping method. Projection mapping or real time projections adjusted to spatial objects is a recently developed body of electronic audio visual media methods which allows stepping over the standard size projections, multiplying the picture, as well as adjusting it to various surfaces. Further in the text the method will be considered from various viewpoints — the floor will be given both, to specialists of the given discourse and artists as well. Projection mapping In the course of our discussion with the Latvian motion graphics experimenter and projection specialist VJ Wickiss or Victor Keino we will try to specify the classification of projection mapping and to work out what should be taken into account and what must be understood in order to be able to work with this method. Projection mapping can be subdivided into two basic types — projections meant for specific surfaces and projections adjusted to the surfaces. By first subtype we usually understand installations and…

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Photo from In Slow Motions at STEIM/Bimhuis Amsterdam. Photo by Anonymous . Doron Sadja is a Berlin-based sound artist who experiments with digital sound, light and space. He often uses multi-channel spatialized sound, intense lights and smoke machines for his audio-visual performances and installations. The art he creates seems very specific and scientific-research focused. Doron Sadja combines noise, electronic sounds with warm and mainstream sounding synthesizers, and adds spatial, programmatically controlled lights and projections that are itinerating throughout vapory environments. Sadja is originally from Los Angeles and lived in New York for ten years. He studied Technology in Music and Related Arts at the Oberlin Conservatory of Music and received his MFA in Sound Art from Bard College. He has been based in Berlin for only two years and already has been showcased in such well known electronic music and digital art festivals as Transmediale/CTM, Atonal, Retune, 3HD, Norberg. Irina: Doron, could you please define what sound, light, and space means to you? Doron Sadja: Thats a hard one! I put “sound, light, and space” in my bio, but I think my life’s work will actually be trying to figure out what those things actually mean. Essentially, they’re all vibrations. Sound and light both vibrate at different frequencies which determine their sonic qualities, pitch, color, intensity, etc., but they also vibrate on an emotional, intellectual, and perceptual level. While a space doesn’t necessarily physically vibrate, it emits an energy or a feeling, which is perhaps similar to a vibration. The specificities of its architecture, it’s acoustics, its history, it’s current use, the way people engage with it, etc. — all combine to create radically different experiences of space, and this space in turn creates a dialogue with sound and light vibrations. A symbiotic relationship that charges the performance or installation. Irina Spicaka: Do you always create your art work by starting with the composition of sound or sometimes is it the opposite — a visual idea comes first and you build your performance or installation on top of that vision? Doron Sadja: There’s not really a standard starting place with how I begin a new work. In general, my working process involves a lot of experimentation and play: improvising with sounds, programming Reaktor patches, turning on a smoke machine and experimenting with lights, refracting projections through different materials, etc. There’s an immense value to just working with materials and getting to know them, and…

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