Work

Mastodon & Toot.si 2018

Mastodon je trenutno največje svetovno svobodno in decentralizirano mikroblogersko omrežje temelječe na odprti kodi. Projekt nima centralnega strežnika temveč je mreža več kot 3000 neodvisnih vozlišč (instances). Ta omogočajo življenje in povezovanje raznolikim skupnostim, katerih člani so svobodni, da odločajo o pravilih mreženja. Uporabnikov je že več kot milijon in pol.

Luka Prinčič (Kamizdat/Emanat) bo predstavil širši kontekst in trenutni razvoj decentraliziranih in federiranih omrežij (Fediverse & The Federation), bolj podrobno Mastodon projekt in slovensko Mastodon vozlišče Toot.SI. Ta instanca (https://toot.si) je nastala jeseni 2017, vendar še vedno čaka na slovenske uporabnike. Družbeno mreženje je lahko spet svobodno in naše!

datumi

3.4.2018 ob 19h: Ljudmila – OSMO/ZA
x.4.2018 ob ??h: Vetrinjski dvor, Maribor

povezave

https://joinmastodon.org
https://toot.si
https://medium.com/tootsuite


V nastajanju:

  • povzetek
  • prosojnice (slides)
  • posnetek

Grill #50 Kamizdat mix

 

Tracklist

 
Whale Ft Outtake > Luka Prinčič > Albatross EP > Kamizdat
Cycles (excerpt) > agapea > Access Frame: Property > Kamizdat
Double Bond Falsification > Maja Delak, Luka Prinčič > Transmittance #1.5 > Kamizdat
Parallellax 1/3 > Nina Dragičević > Parallellax > Kamizdat
My Body Hurts Over > Maja Delak, Luka Prinčič > Transmittance #1.5 > Kamizdat
A.I > Luka Prinčič > Requiem for The Future > Kamizdat
Territorry of Antidrama > Maja Delak, Luka Prinčič > Transmittance #1.5 > Kamizdat
x7B Romantique > Luka Prinčič > Access Frame: Property > Kamizdat
I Dreams of Others > Gašper Torkar > I Dream of Others EP > Kamizdat
Stop That Noise > Warrego Valles > Botox > Kamizdat
Impersonal Again > Gašper Torkar > I Dream of Others EP > Kamizdat
Volumes > Minor Science > Whities 012 > Whities Recordings
Sweat > Left/Right > Punks Shadows Collection > Punks
Leave It > Left/Right > Leave It > Punks
Ruffian > Meiosa > Ruffian/Kadeima > Gutter Gutter
Play > Crawford > New Blood Vol 2 > Punks
Groudue > Luka Prinčič > Albatross EP > Kamizdat
Hold Me > Tyler Clacey > Vicious Cycle EP > Broken Music Syndicate
Veil > Khesis > Veil > Broken Music Syndicate

 

(all Kamizdat releases are name-your-price free Creative Commons licenced works)

 

downloads:
Luka_Prinčič_@GRILL_Radio_Terminal_21.3.2018.opus
Luka_Prinčič_@GRILL_Radio_Terminal_21.3.2018.ogg
Luka_Prinčič_@GRILL_Radio_Terminal_21.3.2018.mp3

Requiem for No Future

Due to technical difficulties, an independent audio stream is not available. Please see Radio Slovenia 3 ARS stream, which will also include a video stream: 4d.rtvslo.si/zivo/ars


Requiem for No Future is an improvised composition, a sonic art situation created specifically for Art’s Birthday 2018. Luka Prinčič, author of 3-part composition “Requiem for The Future” produced for the visual performance with the same title created by Maja Smrekar in 2016, joins forces with a young upcoming musician Urška Preis also known as “rouge-ah” on electric harp and laptop, and Maja Smrekar advising on text and conceptual nuances in a live 1-hour situation of improvisation and composition.

The event, which will be streamed live on the internet in full, is based on the composition and Smrekar’s performance from 2016, but derives from it by taking it apart and partially reconstructing it through a specific critical media art lens. At its input it processeses theoretical undercurrents, contemporary socio-political situation and subjective poetic responses from all sides to arrive at a multi-layered mass of oscilations from lowercase sonics via harmonic manipulations and excursions from low drone to angelic melodies and textual interventions all the way to massive intensity of pulses, rhythms and noise-phrases. The event will take place in a newly established space “osmo|za” on the 8th floor at the very centre of Ljubljana, where prominent art & science organisations (Ljudmila – Ljubljana Digital Media Lab, Zavod Projekt Atol, and Zavod DELAK) now live and work.

Urška Preis is a musican, harp player and visual artist. She studied at Ljubljana conservatory for music and ballet, Academy for Fine Arts and Design Ljubljana, Listaháskóli Íslands in Reykjavík, and Hochschule für Grafik und Buchkunst in Leipzig. She is part of a duet II/III (two through three) together with electronic music producer Tine Vrabič – Nitz. As a solo musician she started out on the Leipzig avant-sound scene and since played in Berlin, Bamberg, Copenhagen, Ljubljana and Reykjavík. Her debut album is forthcoming at Prinčič’s netlabel Kamizdat in spring 2018.

Maja Smrekar graduated in 2005 at the Sculpture Department of Fine Art and Design Academy in collaboration with the Academy of Theatre, Radio, Film and Television in Ljubljana, Slovenia, and holds Master of Arts in New Media since 2016. Leading different collaborators, composing artistic concepts and participating in their realizations, her professional aim is to communicate the crosssections of art and science to the broad public through a plethora of interactive installations, performances, workshops, lectures and texts as their outcomes. In 2017 she won the Prix Ars Electronica 2017 in Hybrid Art – Golden Nica. Maja Smrekar lives and works between Ljubljana, Slovenia and Berlin, Germany.  http://majasmrekar.org

 

Please check back here for archives, texts and other updates!

Interface Fractures IF4Q

Interface Fractures is a series of audiovisual explorations Luka Prinčič has been developing in collaboration with the Slovenian Cinematheque since 2013. The series’ cinema-sound episodes share the same method and format: an immersive situation in the darkness of the cinema, the use of digital and open source tools for generating image and sound, a dichotomy between fixed composition and improvisation in time, a tendency for abstraction out of which fragments of the concrete arise, and playing with the synchronisation of sound and image. Although the creation process includes an examination of the contemporary human condition, conventional narration is not so important in the created performances and remains in the background. Interface Fractures is thus a fragmented excursion into abstract sound and the moving picture. Their synthetic integration emerges from the process of searching for fractures and subjectivities in a seeming impenetrability of polished and polarised interfaces – mediated, inter-machinic, interhuman.

Collaborators

Author: Luka Prinčič

Support

Production: Emanat – (emanat.si/en/production/luka-princic–interface-fractures-if4q)
Co-production: Slovenska kinoteka
Financial support: City Municipality Ljubljana, Ministry of Culture RS

Technical

Technical rider -> https://goo.gl/VAIHtq

Events

, MENT, Pritličje, Ljubljana, SI
, Cirkulacija, Ljubljana, SI
, Slovenska kinoteka, Ljubljana, SI (odpade/cancelled)

Video

Save

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Luka Prinčič: Requiem For The Future

requiem_webcover“Requiem aeternam dona eis”, grant them eternal rest! This music comes from an experiment, a performance in which the human body is substituted by animals and machines. Conceptually it is rooted in post-antropocentristic deconstruction of dualism of cartesian perspective on an animal machine. The question is, how can we imagine a dialogue between the animal and artificial intelligence? And how does artificial intelligence see the monstrosity of the human species? Imagine a future-present where only AI and nature devoid of humans exists in its own kind of collaboration. This imaginary sets the general atmosphere.

The water. The Zone and its poetry of wisdom. Atoms, molecules, and everything beyond. Before or after but definitely the cells, and the peculiarity of the awe-inspiring bio-mechanisms. Something not from our time.

“Iz njenega trupla zrase krilati konj / njegovi kremplji jo brazgotinijo / … da bo kasneje vedela kje je bil” // “A winged horse grows out of her corpse / its hooves are scarring her / … So she knows later where he had been”

The ones and zeros, the techne of the artificial, and all the consequences, the integration of flesh into electronic circuits, post-human transcendence, the glitch and its incorporation into the mechanical system, the uncanny perspectives of artificial intelligence far beyond the capitalocene.

Zaradi vsega kar ji je obljubila, zvezdo umori / in svojo skrivnost zapiše čez njegovo plast neba” // “She kills the star for all she promised her / And writes her secret across his layer of the sky”

A release into the void beyond the planets and back, as a feedback loop of pulsations, a harmony of the spheres, a return to the primordial sound and gravitational forces. Intervals derived from orbital resonances: near-integer-ratios between orbital frequencies of planets of the solar system.

video

tracklist

credits

all music by Luka Prinčič
background rumble by Leopoldina Istanbul
liner notes by Luka Prinčič, featuring Maja Smrekar, Donna Harraway
design & artwork by Tina Ivezić
photography by Wilhelm Joys Andersen
USB & booklet created by Maruša ‘Maruji’ Hren
printed by Janja Baznik, ‘Pri Tiskarskem Škratu’

Created for the piece “Requiem for The Future” directed by Maja Smrekar and produced by Zavod Aksioma and Lutkovno gledališče Ljubljana

released October 31, 2016 by Kamizdat

Media support by Radio Študent Ljubljana
Financially supported by City Municipality of Ljubljana and Ministry of Culture RS

2016 emanat production
www.emanat.si

availability

download/stream/buy at Bandcamp (fair trade music)

released under Creative Commons Attribution Share-Alike 3.0 licence (CC BY-SA)

also available via online stores and streamers: Spotify, iTunes, Apple Music, Google Play, Amazon, Pandora, Deezer, Tidal, Microsoft Groove, ClaroMusica

bandcamp

youtube

Maja Delak & Luka Prinčič: Transmittance #1.5

transmittance_webcover_1400x1400px_2“Transmittance #1.5” is an edited sonic document of a live situation – a broadcast of an audio-visual telematic performance in the summer of 2011. The positions of earth satellites published by NORAD were used in real-time to shape the sound textures and the input from a remote audience was used to structure the chapters of the sonic story.

Transmittance is a project that was active in years 2010-2013 and was conceptualised as an exploration of local, global, networked and broadcasted collaboration. It involved a changing artistic group of performers, visual artists, musicians and computer programmers to research performative possibilities of streaming, broadcasting and telepresence forging new types of performance and audience.

One of many versions, the “#1.5” was realised through a collaboration with ESC Gallery in Graz. Maja Delak and Luka Prinčič took part in a third week of worklab organized by ESC Gallery where the focus was steping deeper into the possibilities of interpretation of data from a nano-satellite. “mur.sat” was an artistic project by “mur.at” to launch a nano-satellite into a low earth orbit. The worklab inspired the process for a Transmittance session where a ‘prediction’ software based the calculations of precise locations of various earth satellites on live data from NORAD and sent them to the local network. This data was combined with the idea of an ‘atmosphere/ambience’ – an idea of a long durational scene, where performer’s body accumulatively interacts with a generative a/v system.

“The Transmittance project tries to rethink the notions of spectatorship and spectacle, ways of watching and seeing and the audience as spectators from the outside. In framework of free telepresence technologies it is a quest to open new spaces of visibility for performance and new media art and while critically deconstruct also actively bypass power structures that have a hold on physical spaces of artistic representation.”

emanat.si/en/production/?tag=transmittance

video

see also My Body Hurts Over

playlist

stream or download at Bandcamp:

credits

performed and recorded by Maja Delak & Luka Prinčič
edited by Maja Delak
design: Tina Ivezić

thanks to Reni Hofmüller and everyone at ESC im LABOR, Graz

Maja Delak & Luka Prinčič: My Body Hurts Over

download:
Maja_Delak__Luka_Prinčič_-_My_Body_Hurts_Over.mp4
Maja_Delak__Luka_Prinčič_-_My_Body_Hurts_Over.webm

About

My Body Hurts Over is a “music video” created for a single from an archival release “Transmittance #1.5”. The video takes vide footage from the telematic performance “Transmittance #1” which took place at KC Karlo Rojc, Polis Jadran Europa Festival, Pula, HR.

Camera: Mauricio Ferlin
Sound: Maja Delak & Luka Prinčič
Editing: Luka Prinčič

“Transmittance #1.5” is an edited sonic document of a live situation – a broadcast of an audio-visual telematic performance in the summer of 2011. The positions of earth satellites published by NORAD were used in real-time to shape the sound textures and the input from a remote audience was used to structure the chapters of the sonic story.

Links

novadeviator.bandcamp.com/album/transmittance-15
emanat.si/en/production/?tag=transmittance
youtube.com/watch?v=FXrJ6MyuLUs
vimeo.com/188275744
transmittance.emanat.si

Turns Me On EP

turns_me_on_coverThe intro does not leave you hanging: here comes an electro beat, lined with a relentless bassline and supported by a mix-up of samples from a well-known house track and a rhythmic litany by a male voice.

The title track has no refrain, no breakdown, just two long verses that keep on going and going. At first, the lyrics seem to be about those almost “stereotypically sexy” female adornments. The assumption that they are exclaimed with possible sexual aims is soon affirmed, but the lyrics of the second part of the track subverts the arousing into other daily phenomena not so typical of sexual hints.

My desire to talk about a fairly contemporary state of male sexuality – some kind of media programming of a “reptilian” part of the male brain to be sexually triggered with an image – is not so new. Subjective history takes me back to the solo performance called “fiberoptikal” where I wrote a song with verses: “frozen little images / are blocking my sight / making me uptight / they’re like bondage rope”, referring to the sexualized images of female body, including arousing erotic lingerie, specific body parts and their shapes, nail polish, makeup, high heels, specific body poses and movements etc. It was further developed in the performance “Frozen Images” by Wanda & Nova deViator (with Maja Delak), but didn’t make it onto our debut album “Pacification”, so only those that attended the “Frozen Images” concert performance(s) might know about it.

On the other hand, Emanat institute started to develop a new type of feminist and movement-centered burlesque performance. Informed by remix+edit appropriations via electronic dance music and contemporary technological development it was called “Image Snatchers”, a techno-burlesque. In autumn 2014 a workshop with the great performer Ursula Martinez took place, thanks to collaboration with the Ljubljana’s festival City of Women, where the seeds of another take on ‘programming of the male mind’ were planted: a burlesque number called “Turns Me On”. While researching for that piece I subjectively gravitated to a bit of personal history, a popular early house track with a moaning female voice, in my current view another example of voiced embodiment of hyper-sexualized desire, sonic enactment of submission and objectification, in a retrospect a metaphor of manipulation for profit and greed by white male capitalist.

While risking consequences of copyright infringement and a fall to a bootleg obscurity the reference to French Kiss by legendary Lil’ Louis is kept in the clear ear-view – on purpose. It should come as obvious within the context explained above, that this is a quotation, a reference to ponder about and critically reflect the contemporary exploitation of our bodies via frozen, arrested two-dimensional (sound-)images which make us turned on, to which we masturbate, to which we may climax.

Dedicated to all who suffer from erectile dysfunction.

video

playlist

stream/download at Bandcamp:

credits

released August 15, 2016

written, produced and mixed by Nova deViator
vocals by Crucial Pink
mastering by Fred Miller
media & technical support: Radio Študent, Ljubljana

financial support by Emanat Institute and Patreon supporters patreon.com/novadeviator

Thanks to The Feminalz – the legendary Image Snatchers troupe, Emanat, Klub Gromka and Ursula Martinez

Shout-out to Renoise, Processing, SuperCollider, Ardour and Linux Audio communities

available also via Spotify, iTunes, Apple Music, Google Play, Amazon, Rdio, Deezer, Tidal, Microsoft Groove, MediaNet

soundcloud

local data

Bass Ment Excursion mix

Nova_deViator_MENT_2016_Gromka_v4CROP_

 

 

An excursion into darker, sombre and less banging territories, with more bass and space, less snare & rock’n’roll. 2-step and UK Garage are definitive influences, as this get also closer to certain electronica vibe.

Recorded live at MENT festival at Gromka, 4. February, 2016.


DOWNLOAD MP3

Tracklist

01. EVAC – Source (Eedl remix)
02. HOOVES – Aim High
03. SLY ONE – The Six Four
04. HOOVES – Gu
05. My Selecta – Oi
06. SLY ONE – Sweat
07. INK PROJECT – Everything Change (Evil Nine remix)
08. STRANGER – Wait A Minute
09. SMITH, Wes – Techwerk
10. HOOVES – Deliver Me
11. SMITH, Wes – Rave On
12. TUFF CULTURE – Artillery
13. HOOVES – Jog On (feat Alena Schneider)
14. LIVING GRAHAM BOND, The/SHOOTING HORSES – Premier
15. MY SELECTA – U

also available via HearThis.at and Mixcloud.

RŠ recenzija: William Basinski, Luka Prinčič @ Kino Šiška, 21. 5. 2014, Žiga Pucelj

basinski_princic_rs_recenzija_webcapture

“Kataman, Kino Šiška in MoTa – Muzej tranzitornih umetnosti so včeraj zaokrožili še en kombo super vznemirljivih koncertov. Spodnjo dvorano Kina Šiška sta tokrat vznemirjala Luka Prinčič in William Basinski.

Prinčič je svoj set glitchy in v dolgih pasažah zelo ritmične ambientalne elektronike dimenzioniral v precej dolg lok. Vendar je bilo vredno vsake minute. Predstavil se je z nečim, kar je bil najverjetneje na novo pripravljen material, predvsem na novo sestavljen. Glede zvočnih virov verjetno ne bo daleč od resnice, če rečemo, da smo slišali tudi nekaj rekontekstualizacije starejšega materiala, vsaj tistega s plošče Sad Sam Lucky Outtakes, vendar pa je bila včerajšnja realizacija povsem drugače strukturirana in je uvedla drugačen zvočni ekosistem s prevladujočim razločnim ritmičnim pogonom. Gradil je z nekaj jasno motiviranimi dinamičnimi, teksturnimi in ritmičnimi elementi, s katerimi je sestavil nadvse smiseln in dovršen scenosled, brez momenta statične ambientale ali „live set“ miš maša. Tokrat je tudi zelo spretno vstopil v prostor in polno prevladal njegove prednosti ali slabosti. Tukajšnjemu recenzentu je Prinčičev nastop deloval tudi precej ozaveščeno sodobno, ni bil namreč varianta nikakršnih našim scenam bolj domačih stilskih odvodov ali odmevov preživetih metod, pač pa je s svojim spajanjem dromljajočih, technoidnih, mehko ambientalnih in kratkih ostrih hrupnih posegov predstavil predvsem učinkovito zvočno krajino nekje med pulzom in zasanjanostjo. To vmesje pa danes kroji velik del podobnih muzik in ima svoje vrhunce predvsem v strukturni domišljenosti in osmišljenosti sinteze stilskih elementov, ne v zvočni izvirnosti ali razpoloženjskih ekstremih. Prinčič je včeraj tu slavil in navzoči so mu pritrdili z navdušenjem in doživetim aplavzom.

Po Prinčiču je William Basinski stopil pred precej bolj napolnjeno dvorano in s svojim nastopom odpeljal nekam preko polja mediativnega. Njegova glasba je zares edinstvena in osebna, res lepa in vžemajoča. V jedru nastopa so zanke kasetnega traku, ki jih William spretno pelje v nepregledna prepletanja že napol razpadlih inštrumentalnih linij komorne inštrumentacije ali posameznih klasičnih inštrumentov. Ta glasba je tehten odziv na in nadaljevanje minimalistične kompozicije, ki metode fokusiranja ali defokusiranja dinamičnih elementov pelje višje v eter prosojnosti, nad bolj konkretne posege v pozornost in „perkusivno“ interakcijo, ki jo je vpeljevala zgodnejša linija skladateljev. Njegovim metodam bi sicer težko pripisali še vedno aktualno minimalistično raziskovanje, vendar pa po drugi strani predvsem z osebnostjo Williamova glasba ostaja zelo živa.

Basinskijev ambient vrši napetost med zgodnejšim minimalizmom in delno izpeljanko sodobnejše ambientalne glasbe. Ne nazadnje je Basinski stalni sopotnik in s tem eden ključnih bližnjikov teh tokov sodobnih muzik. Nekako prikladno pa njegovo izvajanje in prezenca implicirata določeno mistiko, ki ne nazadnje izvrši tudi nelagoden moment. Nenavadna je smernost njegovega posredovanja med mikro in makro prostori. Kot bi defokusiral v fokus in obratno, medtem pa pravzaprav popolnoma onemogoči jasen vektor. To je najlažje razvidno iz spremljajoče preproste vizualije morske gladine, ki predstavlja tako oblike valovanja, ki jo delajo že intuitivno prepoznavno, kot tudi druge svetlobne dinamike, ki lahko ustvarijo drugačne vtise, denimo podobo filtriranega belega šuma, s tem pa popolnoma druge gostote vizualnega stimulansa in naknadne percipirane slike. Občutek te glasbe je občutek izgubljenosti med nivoji in občutek vzporedne osmišljujoče in – relativno na izgubljenost – domačne omame.

Oba včerajšnja nastopa sta bila izjemno vžemajoča in učinkovita, bil je prijeten in magičen večer glasbe.”

— Žiga Pucelj, Radio Študent / http://www.radiostudent.si, 22. 5. 2014

pdf/webpage: Basinski_Princic_RŠ-recenzija_Žiga_Pucelj