Creative use and Misuse of Artificial Intelligence-based Software in Electronic Music

03rd Feb 2024 03rd Feb 2024 14:00 17:00

Boris Hegenbart

00:00

Morphine Raum10 € / not in passes

sold out / not in passes

1

  • Ben Frost

    AU/IS

    Glacial monoliths of sound arise from the mind of the Australian composer, regal in their annihilating fury.

    • In the light and shadow of AI (Artificial Intelligence) technology, new tools and instruments are emerging that allow deep access to audio and video material. With this workshop, the composer and artist Boris Hegenbart will give an insight into how he works with these tools to create his music.

    Photo: courtesy of the artist

    Please note: this workshop has been cancelled due to illness

    In an open approach, technology's possibilities and limitations will be considered, yet technology does not dominate the aesthetic result. Hegenbart will introduce you to a playful, non-technical concept in which no coding knowledge is necessary to understand and use the audio software in an unexpected, creative way. AI audio tools that are often intended for restoration or remixing, but this workshop will explore how to use them differently – digging into the malfunctions and by-products that arise.
     
    Topics covered will include:

    • Contemporary audio technology (for denoising, de-clicking, categorizing, and organizing sounds, extracting voices and stems) as creative instruments to create unusual sound material that stands out.
    • Experiments with morph and transform processes to generate complex textures and progressions.
    • Ways to expand your palette of compositional possibilities.
    • Strategies for creative work.

    Requirements

    This workshop is open to all levels, with no prior skills in audio software required. No equipment is required to participate.

    Event Access

    Note: this event is not included in festival passes. Please consult our Accessibility section for information on mobility and other needs.

    This workshop is supported by tekhnē, which is co-funded by the Creative Europe programme of the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.