Bio: Anton Stuk (Born 1992) - Ukrainian composer, author of projects "Kyiv Metro for Symphony Orchestra and Electronics", "Atomic Go", "2 portraits". Member and one of the founders of the electroacoustic ensemble of improvisers “Niebiezdny_Drokon”. In 2016 he graduated from the National Academy of Music of Ukraine. In 2017, he participated in the scholarship program of the Minister of Culture of Poland "Gaude Polonia".

About project:

The piece, that composer making now, would be dedicated to the changes in cultural life, caused by quarantine restrictions of COVID-19. In the actual project for Pandemic Media Space he using the wind vectors data and air quality for generating the sound. Another source of the sound is the „real”, in traditional meaning music, that changes its quality during the piece (like using ZOOM or another live stream software). There something old, that saddly go out from the scene, and (maybe or not) something new, that now rising.

Works with different media like sound, video, text or drawings. Makes experimental-documentary movies, site-specific installations, musical compositions and accurate disco. Most of his works are based on materials recorded while travelling.

About project:

The boar is on board. Conspiracy theories, the power of norms and traditions, the art of deduction, translation, actants and waterfalls.

The piece was supposed to be based on numbers. Collecting information obtained as a result of systematic measurements allows for describing phenomena. Conspiracy theories and data sonification. Nonsense, incongruity, helplessness. But it worked. Although it was not easy, the methodology used, which was the result of the analysis of many carefully selected and most accurate source materials using (fortunately) unquestionable algorithms, allowed for elimination of the measurement uncertainty, thus excluding the possibility of error: the reference sonification had been created. Designing ideal models using the method of Andrzej Pawłowski (with the accompaniment of "Ideale" performed by Alessandro Moreschi) correlated with shreds of translation of Bruno Latour's philosophy embodied in the medium of Graham Harman in person, run through the prism of selected fragments of Pierre Macherey's "The Force of Norms", led directly (first illumination) to Zygmunt Bauman's "Retrotopia". The alliance of the above, persistently inscribing into the movement of one idea common to all of them, as it turned out, was not a coincidence (second illumination) and reading Eliot Weinberger's "Waterfalls" made me realize the scale of the described phenomenon (third and final illumination), constituting the ultimate success. Now that everything had been explained (justification for the past perfect form should be sought in the continuation of this work; seek effectively, do not give up, or start reading from the beginning, possibly replacing the above sentence for the sake of internal peace (author's emphasis) with the following sentence: "No justification for the past perfected form can be found in the continuation of this work", which, however, will not be true; if the amount of information contained in the brackets disturbs the clarity and makes it difficult to read - copy the text to a text editor and distinguish the sentences in brackets with a different color or italics; or if you were dealing with a read text - register, transcribe with precision and proceed as above, without losing awareness of the double-translation process taking place, the first - in fact without any problems - involving sonification of the input data, and the second - which may cause some difficulties - reducing overheard and organized in time sound structures to the form of a text record with the hope of faithful reproduction of the initial image not devoid of any detail) and it finally became clear, it is enough to sit back in the chair and plunge (to be precise, after Oxford Dictionary: immerse - immerse 1. "Sink something into something liquid, loose or soft" 2. "insert something into something") in the vibrations coming from the speakers (or headphones). Ultimately, all fatigue will leave our bodies and minds, all doubts will be dispelled, and in their place there will be an undisturbed peace. It’s ok to sleep.

Auto-generated by YouTube.

Olena Ilnytska was born in 1977 in Ternopil, Ukraine. From 1996 till 2001 she attended course of Composition at class of Ivan Karabyts in the Petro Tchaikovsky National Music Academy of Ukraine. In 2004 she finished a post-graduate studying at the same institution (class of Myroslav Skoryk). In 2010, she participated in the scholarship program of the Ministry of Culture of Poland "Gaude Polonia", she did an internship at the Karol Szymanowski Academy of Music (Katowice) in the composition class of Alexander Lason. Since 2005 he has been a member of the National Union of Composers of Ukraine. Participant of contemporary academic music festivals "Kyiv Music Fest", "Youth Music Forum", "Season Premieres", "Contrasts", "Kyiv Premieres", "Days of Ukrainian Music in Warsaw". Winner of the Grand Prix of the Composers' Competition for the best competition work "Workshops of Interpretation of Contemporary Music 2019". Author of chamber and symphonic works.

About project:

“Clouds on the sky” for soprano, violin, cello and piano is an algorithmic composition, the rhythmic and pitch side of which is based on some data from the Pandemic Media Space platform concerning Ukraine, namely: air quality, humidity, pressure, wind degree and weather.

Performers: Oleksija Suk (Soprano), Igor Zavgorodnii (Violin), Viktor Rekalo (Cello), Valeriia Shulga (piano)

Creates and transforms data of sonic or other nature. Sometimes uses livecoding. Performed at festivals and projects like TETRAMATYKA, Vox Electronica (Lviv, UA), Audio Art (Kraków, PL), Wakkushoppu (Prague, CZ), Hamselyt (Ternopil, UA), Equinox Eulerroom (online / worldwide), Travelling Docudays (Lviv, UA) and others. Studied at Lviv National Academy of Music (masters in musicology, 2013). In 2015 was on the Gaude Polonia program at Kraków Electronic Music Studio (supervisor: Marek Choloniewski). In 2017: art residency at Agosto Foundation (Prague). Uses free / libre software, practices digital independence and decentralization.

Project details:

«ь?» is an algorithmic sonic study centered around human voice. More specifically, voices of people I know personally and whose bodies fought a COVID-19 infection. One of the aspects of the 2020 pandemic was that our interactions where abruptly moved into digital spaces, quite often characterized by tight, compressed, 2-dimensional "boxy" arrangement. Our appearance in these spaces is often that of a rectangle image in a grid. Our voices are filtered by voice-over-IP codecs and mediated by microphones and headphones. Most of these spaces are controlled and regulated by private companies instead of the public; often, these companies cooperate with governments. Meanwhile, despite the virus and other risks, many people went onto the streets to participate in massive protest events around the globe - in an attempt to make their voices be actually heard - from Black Lives Matter to Women's Strike in Poland or the anti-government protests in Belarus to countless others. «ь?» is an attempt to look at our voice in two dimensions - voice as reflecting both our physical existence and our individuality, as well as voice as a collective, stochastic expression.

Websitehttps://xn--w5d.cc/

Michał Janocha (1990, Łowicz), composer and conductor living in Poznań. He has performed in Poland and many European countries and at the following festivals: Warsaw Autumn, Poznań Music Spring, CAFe Budapest, MUSIC.DESIGN.FORM, Átlátszó Hang Festival. He has worked with such ensembles as: Orkest de Ereprijs, E-MEX Ensemble, Poznań Philharmonic, Szczecin Philharmonic, Rybnik Philharmonic. Member of SMEAMuz Poznań, PSeME and ZKP. Conductor of Trans-for-Matha Ensemble and λ-ensemble (Poznań Laptop Orchestra).

About project:

The piece I made for the PMS platform is called „Polska 2020” (Poland 2020). I and the other project participants have an opportunity to creatively use lots of various data. It reminded me of how statistics were part of our lives in the year 2020. In my pieces I prefer to work on live or prerecorded sound and video, but this time I wanted to create a specific „digital atmosphere”. Therefore, the entire visual layer is graphics, not photos or recordings. I find it significant for the year 2020, that we all lived very different lives than before, our social life became mostly digital, our work and everyday activities became digital. We were surrounded by numbers and statistics every day, especially by statistics related to the pandemic situation. This year was also very important for the social and political situation in Poland. My work has two versions: first one is the audio-video piece and the second one is interactive Max/MSP patch which you can use as the instrument and play „Polska 2020” music and pictures in your own way.

Alisa Kobzar (*1989, Kherson(Ukraine)), composer, multimedia artist, teacher, graduated from Kyiv National Music Academy (Ukraine) in 2014 (department of composition,instrumentation and musical informational technologies, prof. A.Roschenko and A.Zagaikevych). Since 2018 lives in Graz (Austria) and studies Computer music in Graz University of Arts (with prof. G.Eckel) and works as SMA in IEM (KUG) in the project “Interagency”. She took part in different international composers' masterclasses on instrumental and electronic music, festivals, workshops. In 2016 she was the resident of SME (Studio of Electronic Music) Musical Academy in Krakow (Poland) (Gaude Polonia residence programme).Her music is performed in Ukraine, Poland, Germany, Austria, Sweden, Russia, Ireland, Portugal, Italy. Her compositions include instrumental, chamber, symphonic, electronic (fixed and live), concrete music, mixed electroacoustic music, multidisciplinary projects, interactive projects with gesture sound control, sonification, generative multimedia projects, interactive compositions with dancer’s movement control. The main vector of her creative work is interdisciplinarity towards connecting the different art-forms into undisassemblable multimedia, where none of the arts is illustrative. Co-founder of duo rotkäppchen.

About project:

My project for clarinet and electronics will be the binaural audio and video recording of the first prototype of interactive 3D sonic object, inspired by the model-based sonification and powered with the generative grammars algorithmic composition method.

Performer: Dmytro Pashynskyi (Clarinet)

ARTUR LIS - SET DESIGNER, VJ, PERFORMER, CREATES ANIMATIONS, INTERACTIVE & IMMERSIVE INSTALLATIONS, MAPPING, EDITING, FILM AND TELEVISION POST-PRODUCTION, COMPREHENSIVE "GRANDPA" OF VISUAL ARTS. HE STARTED A CREATIVE PROVOCATION WITH MINIMALIST ART IN 2005. ASSOCIATED WITH MANY SIGNIFICANT FESTIVALS, BANDS AND INSTITUTIONS. SPEAKER AT INTERNATIONAL CONFERENCES ON NEW MEDIA IN ART. CROUCHING DEVELOPER OF NEW VISUAL TECHNIQUES, THE PREMIERES OF WHICH CAN OFTEN BE SEEN IN THE URBAN UNDERGROUND. NO ART (CONSCIOUSLY VANISHING) MULTIDISCIPLINARY “NON-ARTIST” COMBINES GEOMETRIC ARCHITECTURE WITH ORGANIC FLUID AND VISUAL PROGRAMMING. HE WORKS ON THE EDGE OF RECOGNITION WITH A SUBCONSCIOUS MESSAGE. HIS WORKS HAVE BEEN SHOWN ON SEVERAL CONTINENTS. PHD STUDENT AT THE INTERMEDIA DEPARTMENT OF THE KRAKOW ACADEMY OF FINE ARTS.

About project:

PROJECT IS A REALTIME SYNTHESIS OF PANDEMIC DEATHS AND PANDEMIC CASES DATA IN POLAND WITH SHEPHARDS TONES OSCILLATORS AND INTERACTIVE FLUID VISUALS.

PAWEŁ MALINOWSKI, b. 1994, is a graduate of the Royal Academy of Music Aarhaus (with S. Sten-A ndersen, N. Rønsholdt i J. Hodkinson). He graduated with distinction from post-graduate studies in the class of composition with W. Widłak and under-graduate studies in the class of music theory with A. Draus at the Academy of Music in Krakow. Currently, he studies in the Doctoral School under the guidance of W. Widłak. He has mastered his skills at workshops and master classes with, among others, E. Buene, P. Billon, Ch. Kubisch, B. Lange, S. Prins, K. Saariaho, M. Stroppa i J. Walshe. P. Malinowski is the winner of the 1st Prize at the 58th T. Baird Competition for Young Composers. His work Robotron represented Polish Radio at the 66th International Rostrum of Composers. His compositions have been performed at the festivals: Edinburgh Festival Fringe, Sacrum Profanum, Ferienkurse für Neue Musik, “Wawel at Dusk”, Panorama Festival, Pulsar Festival, Ostrava Days, Örebro Contemporary Music Festival, Musica Electronica Nova. Marek Chołoniewski

About project:

The main inspiration for The Empty Mall Lofi Serenade was the internet phenomenon of remixing evergreens, (the Toto’s Africa is a classic example) to imitate them playing back in the abandoned shopping centres. That simple procedure results in a very touching musical image of longing and solitude. The emotional aspect of those remixes was brilliantly described by Jia Tolentino in ‘New Yorker’ in 2018. The absence of interaction with the common public places, including their unique sonic features, is noticeable even more explicit through the lockdowns. In the presented piece, I decided to expand this idea even further: by creating several independent reverberated artificial sound spaces, through which the musical material was filtrated. I started with making some lofi hip hop tracks. I picked that nostalgic genre, as, during the time of isolation, its soothing nature become extremely supportive for me (see playlists like Will Smith’s chill beats to quarantine to). Then, the music was sent to the mentioned earlier, virtually built reverberated rooms. I worked with the idea of frozen time, long decay, and slow deconstruction of the lofi timbres.

Ostap Manulyak – ukrainian composer, performer and organiser of different artistic initiatives. Ph.D, docent (assist. prof.) of composition department of the Lviv Music Academy. Was born in Lviv 1983. Studied composition at the Lviv Music Academy (with prof. Viktor Kaminsky) and also took part in many master-classes of new music leaded by such composers as: Samuel Andreyev (Canada), Carola Bauckholt (Germany), Stefano Gervasoni (Italy), Sergej Newski (Russia-Germany), Serhiy Pilyutikov (Ukraine), Boguslaw Schäffer (Poland), Gerhard Stäbler (Germany) and others. At 2009 received LODA and Ukrainian Academy of Science Award and at 2010 received the Levko Revutsky award in composition. Twice was a fellow of Gaude Polonia Program. In 2006 he studied composition at Krakow Music Academy with prof. Zbigniew Bujarski. In 2011 worked at Studio of Electroacoustic Music (SME) at Krakow Music Academy and studied electroacoustic music with prof. Marek Choloniewski. Ostap Manulyak is a co-founder of Art Association NURT, director of the Festival of electroacoustic music VOX ELECTRONICA and Experimental Educational Studio of Electroacoustic Music (EESEM) of the Lviv Music Academy.

Project info:

“Aeolian processes” for flute, oboe, clarinet, horn, percussion and electronics Aeolian processes — composition based on data about temperature changes, wind speed, air pressure and air quality in different countries. Temperature maxima and rapid unpredictable weather changes caused by anthropogenic activity constantly growing. Countries affected with coronavirus crisis tend to recover their economic power regardless of consequences. Intensification of outdated industrial technologies leads to further non-stability and unpredictable future consequences on global level. In my composition i want to focus attention on the intensification of wind erosion and other processes caused by global climate changes and anthropogenic activity. Composition consist of IV parts order of which is constantly changing depends on data streams from pandemic media space platform. Musical texture of every movement is based on interpretation of data about temperature changes/air quality with use of different algorithms related to wind erosion processes. Pitch material of the piece is also based on spectral analysis of the winf sound recordings.

Performers: Serhii Vilka (Flute), Mykola Yakovluk (Oboe), Dmytro Pashynskyi (Clarinet), Oleh Baila (Horn), Katerina Lashchevska (Percussion).

Danylo Pertsov was born on January 10, 1973 in Kyiv and spent his childhood and adolescence among artists. Then he suddenly found himself at the Kyiv Conservatory (composition classes of M. Skoryk and M. Denysenko), graduated in 1998 and spent another three years as a trainee with L. Kolodub. In 2010 he had an internship for six months in Krakow under the Gaude Polonia program (Marek Holonewski as a supervisor). I work with electronic music since the late 90s, mostly at Max / MSP / Jitter environment.

About Project:

Investment Climatology The work is based on weather data from four countries - Belize, Jersey, Cyprus and Italy, where are registered some offshore companies of the sixth President of Ukraine Volodymyr Zelensky that was detected by curious people. Obviously, these lands have a good and favorable investment climate, in contrast to the country he governs. However, the concepts of "investment" and "investment climate" are deeply rooted in the language of Ukrainian politicians, around them even now formed an original and distinctive cargo cult. There seems to be a secret accordance between atmospheric fluctuations over these four countries and the happiness and well-being of the average Ukrainian citizen. My project is devoted to the study of these ritual connections. The main technical parameter is an atmospheric pressure indicator. It is convenient – as we know, there is an average, "normal" pressure quality, which is equal to 101325 Pa (1013 mbar). This number is taken as 1111, i.e. 40 in the ternary system (0 = flat, 1 = natural, 2 = sharp) and specifies the "pure" Ionic hexachord and the chained mode based on it (Fig.1). This mathematical metaphor seems consistent with empirical observations, because often even a slight increase in tax pressure noticeably changes the investment climate – in this way the state sets an economic modality of life. The data of terrestrial observations of the solar spectrum from the SORCE project of the University of Colorado https://lasp.colorado.edu/home/sorce/data/#avail_data are taken as the main sound object - because in the final understanding the Sun still rest the main source of human existence. The spectrum is divided into eight optical ranges of 512 values and two ranges of ultraviolet, indicating a state of ozone layer - medium (128) and far (64) - in the Fig.2 are denoted by the letters A, B and C. Phase maps are reconstructed using the Lorentz attractor and Voronoi cells.

Composer, born in 1993 in Cracow. Her pieces were performed during Krakow Accordion Festival (2020), Warsaw Autumn Festival (2020, fringe events — 2015, 2017, 2018), Pulsar Festival in Copenhagen (2020, 2019), International Festival of Krakow Composers (2020, 2018), Panorama Festival in Aarhus (2019), RAMA Festival in Aarhus (2019), Musica Electronica Nova Festival in Wrocław (2015, 2017, 2019), Darmstadt Summer Course (2018), Young Composers Meeting in Apeldoorn (2017), Organ Music Days in Cracow Festival (2015, 2016), Ostrava New Music Days Festival (2017), Festival Aktuelle in Nuremberg (2018). She collaborated with ensembles: Aarhus Sinfonietta, Airborne Extended Ensemble, Current Resonance Ensemble, Duo van Vliet, E-MEX Ensemble, Ensemble Modern, Ensemble Recherche, Gośka Isphording, Henrik Bendstrup, Kompopolex Ensemble, Lutosławski Quartet, Małgorzata Walentynowicz (Ensemble Garage), Melos Ensemble, Orkest de Ereprijs, Ostravská Banda, Sort Hul Ensemble, Vocal Federation 6, W/L Duo. She also participated in workshops: Donaueschinger Musiktage Next Generation (2016), SYNTHETIS (2016, 2017). She broadened her skills during master-classes with: Mark André, Richard Ayres, Marco Blaauw, Zygmunt Krauze, Johannes Kreidler, Bernhard Lang, Martijn Padding, Stefan Prins, Rebecca Saunders, Marco Stroppa, Jennifer Walshe, Agata Zubel. Szpyrka received a scholarship of the Ministry of Culture and National Heritage 'Culture Online’ (2020), the prize of The Ministry of Culture and National Heritage for the best students (2017), Sapere Auso scholarship (2017/18). She graduated in composition from the Academy of Music in Cracow, where she was studying with Anna Zawadzka-Gołosz. She also holds a Bachelor’s degree in theory of music. Currently, she is doing her PhD on parental Academy and studying on soloist program with tuition from Juliana Hodkinson, Niels Rønsholdt and Simon Steen-Andersen at Royal Academy of Music in Aarhus.

About Project:

In my piece In Constant Rapid Collisions, I focused on temperature, which I found the most interesting in the pandemic context. At first, I started my work by constructing the holistic structure of the form. I used all average monthly temperatures in Poland, consider-ing the beginning of the lockdown in March as a starting point and ending in December 2020. I divided the whole piece into ten inner segments, which corresponded to tempera-ture consecutively. Another step was to emphasise the correlation between sound and temperature, which affects its speed. Molecules at higher temperatures vibrate faster and sound waves can travel more quickly. In effect, the sound is more bright and crisp in lower temperatures and opaque, damped in higher. As a result, the sound was being filtered de-pending on the level of temperature in each segment. Constant micro-transformations of grains assisted it in different types of sounds, which were imaging vibrating molecules. The piece's main idea was to oppose two perspectives, macro and micro, and create a mu-sical relation between found parameters. The crucial element was also a reflection about processes that last constantly, but one is not always aware of that and usually cannot change them.

Teoniki Rożynek (born 1991) graduated from the Władysław Żeleński State Secondary Music School in Kraków (violin class under Janusz Miryński) and Composition at the Fryderyk Chopin University of Music in Warsaw (Krzysztof Baculewski’s class). She took part in composition courses and workshops at Synthetis in Radziejowice, as well as at the Donauschinger Musiktage, Ferienkurse für Neue Musik Darmastadt, and Warsaw Autumn festivals. As well as the latter festival, her works have also been performed at Musica Electronica Nova in Wrocław, Sacrum Profanum in Kraków, Kravín Rural Arts / Hranice u Malče, and Bendigo International Festival of Exploratory Music in Australia, as well as at concerts in Cologne, Ostrava, and other cities. A very important part of Rożynek’s work are film and theatre productions with such artists as Marta Górnicka, Katarzyna Kozyra, Jagoda Szelc, Tomasz Węgorzewski, Arek Biedrzycki and Filip Bojarski. She was a member of the gen~.rate composition collective (with Aleksandra Kaca, Rafał Ryterski and Żaneta Rydzewska), as part of which she organised numerous concerts in Warsaw. The music of Teonika Rożynek seems to stem from her youthful experience of playing the violin and old synthesisers: the former allows the shaping of sound freely and changing it over time; the latter offers various, sometimes accidental, deformations and defects. The ‘Hackomposer’ is greatly inspired by similar flawed sounds (Palinopsia) and thinks in terms of sound layers and their flows (Halocline II). Her early electro-acoustic pieces have a distinctly psychedelic or narrative character (T.R.I.P.), and Rożynek remained faithful to the concept of sound design (bol) outlined in them. It is based on carefully processed and edited samples, film-like contrasts and powerful bass on the one hand and the tiniest ASMR sounds on the other (the most satisfying music). The dialogue between real and virtual instruments (bilokacja) and the electronics surrounding them (deep-frozen_2/17) also play an important role. Although the composer declares that she prefers to listen to music on headphones, she has recently performed live more and more frequently, from behind the computer, as was the case at the festival in Sokołowsko, the Warsaw Autumn festival, and the Unsound Festival; as well as with the other members of the gen~.rate collective (even though it disbanded). During these sets, as in her compositions, she does not shy away from beats or grooves (taśmociąg, ‘tapeworm’), which come from techno music or machines like… concrete mixers and refrigerators.

About Project:

In this project I would use the average temperatures in the last 200 years in about 6 to 10 places Another source is the data about the Holocene extinction: changes in populations of mammals, birds, amphibians, reptiles, insects, plants etc. I would suppose to convert the temperature data to pitch (low temperature = lower pitch, higher temperature = higher pitch) and the amount of extinct species into tremolo frequency (in Hz) (the amount of species 500 years ago = frequency 0, decreasing number of species = increasing tremolo frequency).

Born: 12/06/1988 in Ukraine, Lviv. Currently based in Kyiv. Occupation: Sound art, interactive technologies, programming, circuit engineering/bending Music participant: Квітень руїн, Sport and Music, ДУбы-колДУны, ospik 2020 projects participant: Мистецька алея, sound residency V:UNCASE, Silkscreen fest // Muzeon & CoscheyLocalDiy & Volno, Ukraine WOW.

About Project:

1.5 meters is a physical measure for social distancing recommended by Ukraine’s healthcare ministry to reduce the risk of Covid-19 transmission. In my peace, I use wind data because the wind is a flow of air, the air we humans all share. And so is the sound, as we are used to naturally perceive it – moving air. Social distancing is the main theme of my peace because I feel deeply edgy about distancing between us humans that is caused by tech progress and growth of information we perceive daily, social class distancing, communication breakdown between political leaders in many issues that cause violence and irresponsible behavior in relation to the Earth we all share together. I believe we need to be more careful and attentive to each other to overcome future challenges together.

title - 1.5 meters

piano - Antonii Baryshevskyi

guitar sample - Otomo Yoshihide P3, Tokyo 12.23.94 Recorded By – Bob Scott, Copyright (c) – Gentle Giant Records

Piotr Michał Madej Intermedia artist, composer and sound engineer, member of Polish Society of Electroacoustic Music, member of artistic and scientific research collective group GrupLab, double scholar of The Ministry of Culture and National Heritage of Poland in years of 2017 and 2019, since 2007 associated with Audio Art Fesival, i! Gallery, ATA Scene and APTEKA Janicki Gallery, graduate of the Intermedia on Academy of Fine Arts in Krakow, now working on a phd project in Doctoral School on Academy of Fine Arts in Krakow.

About project:

As an response for Pandemic Media Space project - I'm proposing a small "microclimat station" based on Arduino. It's using 4 sensors: - PMS7003 - particulate matter (air pollution) laser sensor - BMP388 - atmospheric pressure sensor - DHT22 (x2) - temperature and humidity sensors. One is mounted outside and one inside my workspace. Once per second data from sensors comes to Max patch by COM port. Inside patch there is an algorithm which is making a polyrythmical structures based on data analysis. So in real time musical structure appears, which is directly depended on values of all the sensors. For example pressure determines global tempo in beats per minute, so higher pressure makes faster structures. For now the patch is generating a MIDI data, but im planning to make a dedicated sound modules. My goal is first to make it all compact and transfer an algorithm from Max to Pure Data installed on Raspberry Pi Zero, then create an webpage which can stream sound from this instrument as a live broadcasted constant rythmical-dronic structure. Second part of work is to prepare some GUI controllers on this page, which can provide listener- feedback input to the instrument, to make possible altering some sound parameters as amplitudes, envelopes, timbre, and so.

Alla Zagaykevych (b.1966) - Ukrainian composer of contemporary classical music, performance artist, organizer of electroacoustic music projects, musicologist. She graduated from Kyiv State P.Thaikovsky Conservatory (1990). In 1995-1996 she attended annual course for composition and musical informatics at the Institut IRCAM (Paris) Since 1997 she is a lecturer at the Music Information Technologies’ Department of the National Music Academy of Ukraine (Kyiv), where she founded the Electronic Music Studio (supported by International Renaissance Foundation). Since the mid-1990-th Alla Zagaykevych is an active promoter of electroacoustic music trends in Ukraine, she collaborates with performers of experimental electronic and new improvisation music. Since 2003 she is the - Artistic Director of international projects ”Electroacoustics”, ”EM-Visia”, a. o. Artistic Director of Electroacoustic’s Ensemble (since 2009). President of Electroacoustic Music Association of Ukraine (since 2010). List of Zagaykevych’s works include symphonic, instrumental and vocal chamber music, electroacoustic compositions, multi-media installations and performances, opera, music for films. Alla Zagaykevych – author of several works using algorithmic composition (such as Gravitation for 2 Cello, Air Mechanics for instrumental ensemble Author of articles on algorithmic works of composer Leonid Hrabovsky. Author of musicological articles on electroacoustic music and contemporary compositions in scientific periodicals (Ukrajins’ke Muzykoznavstvo, Muzyka, Krytyka, Organised Sound, MusikText.)http://cargocollective.com/mediartists/Alla-Zagaykevych