Date
Friday, February 21, 2020 to Sunday, April 5, 2020

Kathy Hinde is an audiovisual artist whose work grows from a partnership between nature and technology expressed through installations and performances that combine sound, sculpture, image and light. Her awards include Honorary Mention at Prix Ars Electronica, runner up for PIARS Sonic Arts Award, a British Composer Award and others. Kathy is coming to Moscow to present her new project “Twittering Machines” and to give a workshop.

  • 21 February, 19:30 – Plums Digital Fest performance night. National Centre for Contemporary Arts. Moscow, Zoologicheskaya street 13, build. 2
  • 24 February, 12:00 – 18:00 – Workshop “Synth Making With Electronic Textiles”. SA))_studio. Moscow, Levchenko street 2
  • 29 February - 5 April – Audio-visual installation “Twittering Machines”. SA))_gallery. Moscow, Rostokinskaya street 1.

Plums Digital Fest performance night 

On February 21st, Pushkin State Museum of Fine Arts and NCCA Moscow are hosting Plums Digital Fest performance night dedicated to nature and biology as topics for reflection in new media art performances. As part of this event, Kathy will give a public talk and present her AV-performance “Twittering Machines” dwelling upon climate change and its influence on bird populations. There will also be an AV-performance “Water Glow” by a Moscow-based art duo Stain and sound performance by Moscow composer and media artist Oleg Makarov.

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Synth Making With Electronic Textiles workshop

On 24 February Kathy will give a workshop where the participants will make the "Nom Nom Nand Nor" kit, which is a tiny but noisy synth that can be customised by adding sensors and electronic textiles to become a light-sensitive musical instrument. 

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Twittering Machines

On February 29th, Electromuseum and SA))_Gallery will present a new multi-channel audio-visual installation of Kathy Hinde’s “Twittering Machines” project. The material originates from a vinyl record of John Keats ‘poem ‘Ode to a Nightingale’ translated into Morse Code. The software listens to the record and attempts to translate the code back into text. The blips and bleeps are gradually processed and combined with other sounds, so the translation software begins to struggle to make sense of the distorted transmission. The poem dissolves into unrecognisable language as recordings of birdsong (real and fake) are interwoven to generate further distortions and interference. A poetic reflection on the delicate state of bird populations, as suitable habitat becomes rarer and climate change confuses the seasons. 

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