The live act CODING IN ATYPICAL PLACES implements concepts of the organization of the sound time in music to the cinematographic image, using the same logic when programming rhythmic patterns or the transversality of layers or instruments, to order in a non-linear or compositional way the moving image. For this we developed the Live Cinema Coding Engine for Tidal & Processing, a pseudo-protocol mounted on OSC connection that includes a dictionary of words and its corresponding syntax which allows creating analogous behaviors to the music for the video.
This same cinematographic approach comes from an extensive musical concept that, beyond being limited to a genre, reviews from the algorithmic possibilities and the manipulation of the live coding various moods and styles.
- Abreu Ivan explores the veracity and instrumental capacity of science and technology in art contexts, and the possible poetic and/or political value of the findings that emerge from these crossings, as a consequence through processes like visualization, interaction design, industrial design, software and web development, engineering and electronics, expanding the possibilities of drawing, graphics, digital media, photography, sound art, video, sculpture, and architectural and urban installation.
- Cortes Malitzin is an architect, researcher, experimental musician, and audiovisual artist, adopts transdisciplinary and technology in contemporary multimedia practices, her work is developed between live coding, expanded cinema, installation, 3D animation, generative art, sound design, experimental music, and art sound. Her work is in labels like Voragine (MX) and SNU (MX).