Step into the Negentropy Nexus online residence where the frontiers of electronic music, digital art, artificial intelligence, and algorithmic performance converge with the concepts of hyperobjects, speculative futures, and post-digital aesthetics as subcultural speculative narratives.
This online residence brings together artists, theorists, and researchers to explore how these interdisciplinary themes can redefine a speculative ground to reframe electronic opera and contemporary digital art.
At the heart of our exploration is the concept of negentropy—a force that counters the chaos of entropy, symbolizing the creation of order and coherence within complex systems. In the post-digital era, where entropy often dominates at the heart of the post-digital aesthetics, we propose using negentropy as a framework to reimagine and reconstruct the aesthetics of electronic opera, integrating the immersive potential of electronic music, sound art and digital and multimedia art as key components of inspiration.
This residency leverages the concept of negentropy to delve deeply into the computational process integral to contemporary artistic production. We will explore how the use of software, hardware, artificial intelligence, algorithms, and interactive systems can produce works that transcend mere entertainment, especially within contemporary operatic and performative formats. These tools allow for the creation of art that conveys meanings, fosters resistance, and gives voice to sub-cultures, particularly through sonic manifestations that echo the aesthetics of avant-garde, post-minimalism and post-techno art production. As Acousmatic music—where sound is divorced from its visible source works as a first approach to virtuality—creates an auditory experience that transcends the physical, invoking the vast, unseen dimensions of hyperobjects. The concept of Hyperobjects, such as climate change or the Anthropocene, are entities so vast and complex that they defy simple comprehension, much like the disembodied nature of acousmatic sound and the digital as an extension of the real. By embracing these sonic phenomena, we invite participants to engage with the immense and often overwhelming forces that shape our world and new meanings, using sound as a medium to explore the intricate layers of post-digital existence and future narratives. In this sense electronic music, deeply rooted in digital technology and experimental sound, becomes a powerful conduit for expressing the speculative futures that lie at the intersection of cyberculture, technoculture and radical ecology. Through the lens of hyperobjects, electronic music can represent the vast, interconnected systems that define our environment and our relationship with it, offering new ways to reflect on the complexities of our time.
Ana Santos, (PT-DE).
Artist and researcher working in Portugal and Germany, where she currently resides. Santos develops an interdisciplinary approach that combines her artistic practice with her research in Anthropology. As an artist, she has been interested in the aesthetic and performative experience at the intersection of body and technology, paying attention to the anthropological shift in post-digital society. Within this framework, she works in the areas of performance and audiovisual installation. She has been a grantee and partner in national and international productions, where she has carried out artistic projects in cooperation with other artists. In addition to her collaborations as a creator, she interned at Raul Walch's studio and collaborated on projects by other artists, such as House for the End of the World by Elena Katz, and served as an assistant artistic director, for example, in the project Lovembrace:.Baroness by Rodrigo Garcia Alves and Studio Disorder.
One of her latest personal projects was supported by the Visual Arts Grant from the Gulbenkian Foundation. She produces theoretical work that is part of her Ph.D. in Anthropology at ISCTE-IUL, where she is currently enrolled.
Cláudio De Pina, (PT).
Multi-talented musician, composer and academic researcher. He has amassed more than three decades of expertise in a wide range of music related fields, including keyboard instruments, synthesis, acoustics, sound engineering, musical production, and computer music programming. With a scientifically-informed approach to music, Cláudio has honed a diverse set of skills in producing, recording, editing, and composing. For the past decade he has dedicated himself to contemporary music and academic research. He is the titular organist of the historical organ at the Parish of Ajuda. Holds a Master in Musical Arts, Diploma of Advanced Studies and currently he his a FCT research fellow, PhD Candidate and researcher in Contemporary Music Research Group in CESEM.
Daria Baiocchi, (IT).
Is a multifaceted artist with master's degrees in piano, classical composition and electronic music, as well as a diploma in Classical Literature from the University of Bologna. Her compositions have been recognized all over the world, winning awards at festivals such as the Lithuanian Biennale and the Philadelphia Art Film Festival. As a composer, her works have been selected at numerous national and international events, and her compositions for video art have been exhibited in several countries and broadcast on International ART TV. Daria is also a professor of sound design at various institutions and director of the Online Sound Art Museum in Ascoli Piceno, as well as leading a radio program dedicated to contemporary music and sound design.
Dan Antoniu, (USA) .
Is a composer, engineer, and sound artist who integrates gesture, perception, and electronics in his work. He collaborates with large ensembles, chamber groups, and soloists, creating both acoustic and electroacoustic music, as well as multi-channel pieces and installations. Dan's performances have been showcased internationally in Italy, Canada, and France, and across the U.S. at venues like the Neuberger Museum of Art and Bowling Green State University. A graduate of SUNY Purchase (BM) and Bowling Green State University (MM), he has studied under prominent mentors and featured his work at various festivals. As an engineer, Dan has collaborated with numerous artists and organizations. His music has been performed internationally in Italy and Canada, as well as in the United States. Dan’s music has been performed by notable ensembles such as Apply Triangle Trio, Combustible Ensemble, and the Purchase New Music Ensemble. He has performed his music at the Neuberger Museum of Art, State University of New York Purchase, Bowling Green State University, ARTS X Festival, and the Summer Institute for Contemporary Performance Practice.
Jack "Mia" Shamblin, (USA).
Is a genderqueer performer, playwright, and filmmaker based in Brooklyn, NY. Shamblin creates mixed-media theatre that explores evolving identity. Currently, Jack is working on "Flower Child," a queer multimedia fairy tale, and has had plays produced by theaters such as La MaMa ETC and Dixon Place. In 2015, Shamblin published "Queering The Stage," a collection of his plays produced in the 1990s.
The artist debuted as a creator and performer with NY-based theatre and visual artist Theodora Skipitares, who describes Shamblin's creations as "heroic." New York legends such as La MaMa ETC, Dixon Place, Mother, and HERE have produced their plays.
In 2015, Shamblin published Queering The Stage, a collection of their LGBTQIA++ scripts. In addition to a NY community, Shamblin lived several years in Portugal where they wrote and performed for choreographer Paulo Henrique and others, taught at Centro Em Movimento, and created the experimental film O Castelo Preto. Highlights were performing with Philip Seymour Hoffman in The Skriker by Caryl Churchill and with Kate Bornstein in Shamblin’s play Thurma.
Recently, Shamblin completed their short film THERAPYTHIA, which delves into non-binary evolution. Shamblin made the film this January in Delphi, Greece, with artist Colin Ginks. Notably, critically acclaimed transgender actor Alexis Arquette, performed their final role as Mommy Myra Breckinridge in Shamblin's short BLATANT.
José Carlos Teixeira, (PT-USA).
Is a visual artist, filmmaker, researcher and educator. MFA in Interdisciplinary Studio, UCLA; BFA in Visual Arts/Sculpture from FBAUP. Through participatory, performative and poetic methodologies, his practice examines ideas of identity, belonging, otherness, exile and displacement. At the intersection of cinema and anthropology, art and politics, Teixeira addresses the politics of representation, while generating space for empathy and intersubjectivity. His work (in video-essay, documentary, installation, text and photography) has been featured internationally in exhibitions and film festivals. In recent years, he had solo shows at MAAT (Lisbon), SPACES (Cleveland), MMoCA (Madison), Hawthorn Contemporary (Milwaukee), MNSR (Porto), as well as group shows and screenings in venues such as LACE, Hammer Museum (Los Angeles), UnionDocs, Anthology Film Archives (NY), MOCA, The Sculpture Center (Cleveland), Württembergischer Kunstverein (Stuttgart), DAZ, Rosalux (Berlin), 104 Cent Quatre (Paris), Hélio Oiticica Art Center (Rio de Janeiro), S.P. Cultural Center (São Paulo), Oriente Foundation (Macao), Carpe Diem, Gulbenkian Foundation (Lisbon),
Museu FBAUP, Galeria do Palácio, MausHábitos (Porto), and at the Instituto Camões Cultural Centers, to name a few. Teixeira was the recipient of a Fulbright/FCC and Gulbenkian/FLAD grants, Efroymson Fellowship, AFFEST Jury Award 2019 (NY), SMHAF Experimental Film Award 2019 (Glasgow), FUSO Jury Prize 2011, and the 2005 EDP New Artists Prize nomination. Na artist-in-residence at the Akademie Schloss Solitude (Stuttgart), Townhouse Gallery (Cairo), MacDowell and the Headlands Center for the Arts (USA), he has also taught at ESAD.cr, (Portugal), at CWRU and CIA in Cleveland, in addition to UW-Madison (USA).
Simona Dichio, (IT).
Her journey began at the age of seven with classical guitar, and she quickly expanded her repertoire to include percussion, electric guitar, and clarinet. Alongside her classical training, Simona developed a keen interest in electroacoustic and experimental music composition, showcasing her versatility and creativity.
A graduate of the Music High School "C. Poerio" in Foggia, Simona is currently in her second year of the Academic Triennium of 1st Level in Electronic Music at the "U. Giordano" Conservatory in Foggia. Under the mentorship of N. Monopoli, A. Cioffi, and D. De Simone, and with specialized training in Music Technologies from professor Angelo Gualano, Simona is honing her skills to make an impact in the field of contemporary music.
Sónia Carvalho, (PT).
Visual artist, performer, educator, and researcher [ID+ (UA/DeCA) and CIEBA]. Holds a Ph.D. in Fine Arts with a specialization in Painting from FBAUL, funded by the Foundation for Science and Technology; a Master’s degree in Drawing and Printmaking Techniques from FBAUP (2013); and a Bachelor’s degree in Visual Arts from ESAD.CR. Represented by the contemporary art gallery Zet Gallery and UmbigoLab magazine. An award-winning artist, most notably receiving the acquisition prize at the XXII Cerveira Art Biennial in 2022. Has been exhibiting her work since 2002. Her artwork is part of several Portuguese collections, including the PLMJ Foundation and the Cerveira Biennial Foundation.
With the artistic project “Struggle Like A (Wo)Man #1” in 2019, she was selected under the creative stimulus program promoted by the Torres Vedras City Council in Portugal. In the same year, she participated in the “Cleaning The House” workshop by artist Marina Abramovic in Greece. In 2020, she participated in the first digital residency—the international artistic residency OCA (1st digital version) – “Transmetatlanticus,” Brazil/Portugal, produced by the EMERGE association in partnership with Casa Niemeyer – University of Brasília.
She has participated in various international events as a speaker and artist. Recent publications include: “Archetyp(al) (graphic) obscura of the feminine,” 2020. A multimedia installation performance in collaboration with artist/performer Sol Casal (Br) and the participation of singer Sara Grenha, at Galeria Ana Lama (10/25/2020), Lisbon"; in the proceedings of the “Avanca Cinema – International Conference, 2021," and "‘Grafías’ of the Archetypal Body (Interaction): Represent(action) of the Female God (Art and Technology)," in the proceedings of the “Fugas e Interferências” VI International Performance Art Conference, 2021.
Pedro Alves da Veiga, (PT).
Is a Portuguese transdisciplinary artist and researcher. He holds a degree in Computer Science (Nova University of Lisbon), a Post-graduation in Advanced Studies of Digital Media Art (Aberta University) and a PhD in Digital Media Art (a joint programme between Aberta University and the University of Algarve). He has a two-decade business career in web-design and information systems, including the launch and sale of two IT companies and several multimedia and web-design awards. He is currently a Professor at the Aberta University, in Lisbon, where he is also the subdirector of the Digital Media Arts PhD programme. He is a member of CIAC's Scientific Council (Research Center for Arts and Communication), a collaborator of ID+ research centre, and regularly publishes and shares results of his arts-based and theoretical research. His research is grounded on the intersection of art, science and technology, and is mostly focused on interactive installations, creative programming, mixed media assemblage, multimedia generative systems, new media artivism and curatorship, and theoretical work on a/r/cography – a digital arts-based creative research methodology. His artworks are an investigation into representations and conceptualisations of facts and situations as well as depictions of ideals and interventions, optimally materialised through media art. They demand and challenge the audience's attention, metaphorically expressing his intentions through aesthetics and technology, while allowing the audience to freely interpret and build the narrative through interaction and exploration. His artworks have been exhibited in Portugal, Brazil, Spain, France, Italy, the Netherlands, Romania, Russia, China, Thailand and the USA.
R.Gritto, (PT-FR).
R.Gritto: Archive R.Gritto Art&Science Studio. Is an artist affiliated with the Portuguese Academy and registered in the Maison des Artists in Paris, under number 32994. He is internationally renowned for his oeuvre, which delves into the intersections between art, science, society, and culture. As a practitioner of intermedia art, he has cultivated a body of work over the past three decades, characterized by a provocative spirit and reflections on technological advancements, emerging ethical dilemmas, and their impacts on contemporary society. PhD Junior Researcher in Urban Science at: TRPP ( Territory, Risk & Public Policy’s). University’s of Coimbra - III-CES / Aveiro-DAO / Lisboa-IGOT. Junior Researcher in OSIRIS-CES-Center of Social Studies. Founder of Konsolidarte Internacional Action Regenerative Transformation for Culture & Education Programs
Vaida Tamoševičiūtė, (LT).
Is a Lithuanian artist, lecturer, and independent curator specializing in performance art. She earned her Master’s degree from Vilnius Academy of Arts in 2008 and is represented by Meno Parkas Gallery. Since 2007, she has actively participated in exhibitions and art events, collaborating with artists and curators. In 2014, she began lecturing at the Kaunas Faculty of the Academy of Fine Arts and has served as a guest lecturer at various creative workshops. Her work explores themes like shame, guilt, self-harm, gender roles, and motherhood. In her artistic practice, she uses everyday actions and repetitive gestures to create personal rituals, questioning societal norms.
From 2011 to 2018, she co-founded and co-curated the international performance festival CREATurE Live Art with Daina Pupkevičiūtė. In 2018, she founded SMOM, a performance art platform exploring themes of motherhood, which she has curated alongside artist Guadalupe Aldrete since 2021 in Kaunas, Vienna, and Berlin.
Židrija Janušaitė, (LT).
Is a Lithuania Intermedia artist working in painting, installation, land art, video and performance art. Active on the Lithuanian and international art scene since 2007. Židrija’s artworks are defined by stillness; her art opens up to an experience of intense meditative silence. What is personal is shared with whoever chooses to enter the special time space created by an artist. Her arts are mostly meditative, calming and mind relaxing. On another hand, this is how she creates the loop for particular and always individual comprehension and perception of the viewer.
The residence also places a strong emphasis on digital and multimedia art as essential elements in the evolution of contemporary opera approached as a branch for the multimedia art. Unlike traditional opera, which relies on live performers and tradicional staging, contemporary opera—enhanced by digital and multimedia art—allows for dynamic, interactive, and immersive experiences. These art forms expand the boundaries of opera, enabling the integration of visual, auditory, and interactive elements that create a multisensory journey for the audience. Digital and multimedia art can transform the operatic stage into a hyperreal landscape, where hyperobjects and speculative narratives come to life through layers of visual and auditory stimuli.
In this context, our goal is to establish strategies for creating art within today's chaotic transmedia landscape. The aesthetic accelerationism resulting from digital technology's impact on art, society, and culture underscores the industrial and technological complex of capital, promoting the idea of technological advancements as both a source of social and cultural power and a harbinger of collapse. Conversely, this also nurtures resistance discourses that illuminate the consequences of technological progress, particularly within a context of radical ecology. We aim to explore how negentropy can inspire new forms of contemporary opera and digital art that resonate with these complex dynamics, offering innovative approaches to artistic production. We try to follow the impact of Cyberculture and techno culture as source for theoretical experimentation in aesthetics, influenced by social sciences, anthropology, and literature, are integral to our dialogue, as we examine how the aesthetics of a post-techno world can be woven into the fabric of contemporary aesthetic and critic conceptual discurse. The narratives we create will not only reflect the technological accelerationism that shapes our present but will also critique and reframe the dystopian tendencies of unchecked progress. Acousmatic music, electronic music, and multimedia art become tools for expressing these speculative futures, offering new ways to navigate the industrial and technological landscapes that define our time using sound and art as a way of knowing.
To establish strategies and give visibility to new ideas for creating art within today's chaotic transmedia landscape. We aim to explore how the principles of negentropy, combined with acousmatic music, electronic music, digital and multimedia art, and the concept of hyperobjects, can inspire new forms of contemporary opera and digital art that resonate with the complex challenges and possibilities of our future.
Copyright © 2024 Absonus Lab - Todos os direitos reservados.
Absonus Lab: Investigação Sonora, Tecnologia e Cul