The program code creates a sound composition, which gradually fills with text, capturing the entire space of the code, leaving only an echo, and silence sets in. Like devices that run out of power in the forest, and sound that dissolves and disappears.

"When we come to the forest, we can see a glowing magic flower..." Rethinking Michael Marder's "Plant Thinking", we should "let the plants bloom on the edge of the phenomenal and visible world." This is a desencontro encounter. The magic flower lives for 1 day, gradually failing due to time and finiteness.

Live coding in Chuck performance vs Lada Raskolnikova. SA)) gallery sound-art Jam-session

 

My live coding performance in Chuck at the FREE OSCILLATIONS concert at the Moscow Conservatory, CEAM - Center for Electroacoustic Music.

 

The body is an instrument of consciousness.
Walking is a ritual that allows you to connect to the energy of the Earth and establish contact with nature, calm the mind and tune in to working with magical energy.
In my work, I use bracelets equipped with electronics that are worn on the leg. Using an accelerometer, walking data is collected and transmitted to the installation. Next, the processes of walking are visualized and sonified, telling about my movement in space. I use granular synthesis of field recordings of my walking and additive synthesis method to create a sound composition. The values transmitted from the bracelet about my walking affect the parameters that form the visual and sound.
 

A new synthesizer TOY #3  from bent book with six talking animals + Filter + LFO.

Circuit bent toys mouse, fox, doll and bug - adding a delay + feedback effect. 

Circuit bent toy steering wheel + delay.

The installation "BIRDWAVE" made of many birdhouses is a metaphor for a common home as a unity of many. The sculpture broadcasts 24/7 generative sounds from 105 species of birds living in Vyksa, and recordings from microphones that are installed in birdhouses in parks. In real time, bird sounds are transferred to the sculpture, added to the software patch, processed by granular synthesis - and sound.

This installation is a mechanism that creates the possibility of a dialect between the viewer and data from space. The main algorithm is driven by data from NASA's website, which collects daily MODIS ocean surface temperature images. Each resulting image is decomposed into pixels, displayed as a visual row on the display screen, converted into numerical data about the coordinates and RGB channels of the pixels being sorted out, translated into algorithmic sound compositions and output to a thermal printer.

Voice participatory performance "Hum". Biennale of street art Artmossphere at Winzavod.
The performance visualizes collectivity as a process and a result, when the assembly of collectivity begins with difference and is gradually reassembled.

Technological object based on the Arduino microprocessor, piezoelectric elements, speaker, wires, display, boards, electrical components. In my work, I talk about techno-dialects that reprogram the universe and are changeable, like aggregate states of matter.

Object TDHN0F003 is assembled from old circuit boards and brought to life with functioning electronics. The dialogue with the TDHN0F003 object is made by recording sound through the microphone when the red button is pressed. Recorded sounds are saved, modified and played back with a patch in Pure Data, where generative sound reproduction schemes are created. Light exposure to an object affects the playback volume of the recorded sound through the amount of light directed at the photoresistors.

 

"tdhn" - programmatically generated sounds of the "TDHN0F001" installation. The sound is generated by algorithms that change their values depending on the approach of a person and interaction with the installation - initiating the playback of recorded sounds from interaction with nature.

When creating the installation, I used piezoelectric elements to convey the degree of impact on nature, and also extract the amount of sound that is transmitted into the water from external influences.
For the installation, I took water from the Dvina and the White Sea. The sound is assembled into randomly generated algorithms that change their values depending on the approach of a person and interaction with the installation - recorded sounds from interaction with nature are reproduced in the course of our research.