@c + Lia

@c Pedro Tudela + Miguel Carvalhais
@c
@c www.at-c.org
last updated December 2012
@c Pedro Tudela + Miguel Carvalhais
Very vibrant music, bouncing
off in all directions, like vivid
and rapid change of styles with
some odd moments of rest.
Microsound gone macrosound?
@c have something unique at
their hand.
(Frans de Waard, Vital Weekly)
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
@c Miguel Carvalhais and Pedro Tudela collaborate as @c since 2000. Their work is developed from three
complimentary approaches to sound art and digital music: procedural composition, concrete music
and improvisation. Over the years they have been developing complex and structured compositions,
with one foot in the fields of experimental contemporary sound art and the other in live performance.
If their compositions are usually built around strong structural foundations, it’s also common that
multiple cells of sound are freed from these structures when integrated into the work, developing
elaborate strategies of deconstruction.
Improvisation, either in dialogue or discussion, is central to @c’s performances, as is the will to create
open compositions and to nurture ongoing processes that digitally amplify sound realities.
Miguel Carvalhais (Porto, 1974) is a communication designer and a musician. He teaches at the
Design Department in the University of Porto.
Pedro Tudela (Viseu, 1962) is an artist, musician and stage designer. He teaches at the Painting
Department in the University of Porto.
In 2003 Carvalhais and Tudela were among the founding partners of the Crónica media label that they
run since then.
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
@c + Lia @c + Lia perform as a digital audiovisual trio, Miguel Carvalhais and Pedro Tudela operating the audial
layer as Lia performs the visual instrumentation.
Built upon composed and strong structural starting points, each performance is distilled from ongoing
laboratory work and becomes unique in its balance between minimalism and complexity, dynamics and
contrasts, due to a free-form approach to composition, algorithmic improbability and improvisation.
@c + Lia are known for their mature and rigorous approach to the manipulation of immaterial data,
for the mixture of techniques, media and allocations related to the objective essence of audiovisual
composition. They ‘perform’ intuitions and organize the imponderable in a very unique kind of ‘stage
writing’.
Lia is based in Vienna, Austria. She teaches at the Fachhochschule Joanneum in Graz, Austria.
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
Releases ≥“Re:Fujaco”, Galaverna, 2012
≥“95 (ab Ovo)”, Fuga Micro Ediciones, 2012
≥“Homem Fantasma”, Crónica, 2011
≥“0°-100°”, Monochrome Vision, 2010
≥“Music For Empty Spaces”, Baskaru, 2010
≥“30x1.3”, Alg-a, 2010
≥“48EDE”, Ristretto, 2008
≥“Up, Down, Charm, Strange, Top, Bottom”, Crónica, 2008
≥ @c + Vitor Joaquim: “De-tour”, Feld, 2007
≥“65”, post.disco, 2007
≥“Study”, Grain of Sound, 2006
≥“PE ep”, Alg-a, 2006
≥“42/44”, Silence Is Not Empty, 2006
≥“48”, Ristretto, 2005
≥“Folio, recompiled compositions 2003&4”, Fuga Discos, 2005
≥ @c / M. Behrens / P. Raposo: “Product”, Crónica, 2004
≥“v3”, Crónica, 2004
≥“Hard Disk”, Crónica, 2003
≥“+”, Variz, 2001
Releases in compilations and collaborations ≥ “Live at Opensound” in “Crónicast 100”, Crónica, 2012
≥ “Novantuno (per Enrico)” in “Loud Listening”, Crónica, 2011
≥ “Noventa [para Heitor]” in “Poststop”, Crónica, 2011
≥ “88 (two firsts)”, in “Fuga 15 años”, Fuga, 2011
≥ “quatre-vingt-sept (pour Essmaa)”, in “ESSMAA”, Tsuku Boshi, 2010
≥ “Live at Vigo Transforma”, in “Symbiosis podcast”, 2010
≥ “Sechsundachtzig (für Ephraim)”, in “Ephraim Wegner: Audible Landscapes”, Crónica, 2010
≥ “K./85”, w/ Gintas K. in “Crónica L”, Crónica, 2010
≥ “Study #40”, in “Optofonica”, Line, 2009
≥ “53”, in “Quadros”, Fuga Discos, 2009
≥ “78”, soundmuseum.fm, 2009
≥ “74”, in “Sudamericaelectronica 2”, 2009
≥ “LXDolceVita”, w/ Vitor Joaquim, in “SonicScope 2008 Live”, Grain of Sound, 2008
≥ “68” and “73“, in “Mus*****c”, Crónica, 2008
≥ “live with Aki Onda and Gert-Jan Prins” in “Crónicast 025”, Crónica, 2008
≥ “GSIL VI / almada” in “The Gift of Sound and Vision (1997-2007)”, Hoanzl / Der Standard / Filmarchiv
Austria, 2007
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
≥ “70” in “Atlantic Waves 2007 Festival Sampler”, Fundação Calouste Gulbenkian, 2007
≥ “67” in “Airport Symphony”, Room 40, 2007
≥ “Soixante-quatre (@c pour T.B.S.)” in “The Beautiful Schizophonic: Musicamorosa”, Crónica, 2007
≥ “Rádio_int. 14/37” in “Art_clips .ch.at.de”, Zentrum für Kunst und Medientechnologie Karlsruhe,
2006
≥ “blues” in “Crónicast 016”, Crónica, 2006
≥ “56E1” in “Compilatorio #2”, Alg-a, 2006
≥ “int.16/54//son01/30x1” in “Sonic Acts XI - The Anthology of Computer Arts”, Sonic Acts, 2006
≥ “live @ Rua do Rosário 141, Porto” in “Crónicast 008”, Crónica, 2006
≥ “49” in “Santa’s Only Lap Of Luxury”, Silence Is Not Empty, 2005
≥ “int.15/51” in “Portugal, a New Sound Portrait”, Fonoteca Municipal Lisboa & N_Records, 2005
≥ “Radio_Int.14/37”, in “Essays on Radio: Can I have 2 minutes of your time?”, Crónica, 2005
≥ “int.13/35” (video by Marius Watz), in “Essays on Radio”, Crónica, 2005
≥ “int.13/35”, in “Essays on Radio”, Crónica, 2005
≥ “int.11/45”, in “Untitled Songs, 49 Years from ‘Gesang der Jünglinge’ (2005-1956)”, Sirr, 2005
≥ “int.12/46”, in “35 Mutant Seconds”, Grain of Sound / Baskaru, 2005
≥ “int.9/39”, in “Overshadow”, antmanuvMicro, 2005
≥ “int.7/28 (interpretación visual de Diego Arandojo)”, in “Fuga Experimental”, Fuga Discos, 2004
≥ “int.10/34”, in “The Wire Tapper 12”, The Wire Magazine, 2004
≥ “HardVideo / GSIL XIX”, in “Sonic Fiction, Synaesthetic Videos from Austria”, Index, 2004
≥ “int.6/29”, in “Clicks & Cuts 4”, Mille Plateaux Media, 2004
≥ “int.8/30”, in “Loop 01”, Loop.cl, 2004
≥ “int.7/28”, in “Fuga Experimental”, Fuga Discos, 2004
≥ “GSIL XXX/int.5/27”, in “Edition Medienturm”, Medienturm, 2004
≥ “int.4/16”, in “Exploratory Music from Portugal, 03”, Fundação Calouste Gulbenkian, 2003
≥ “int.3/15”, in “On Paper”, Crónica, 2003
≥ “GSIL XII / +”, in “Austrian Abstracts 02”, Lanolin, 2002
≥ “int.2/08 (metrodub)”, in “Metrómetro”, Variz, 2002
≥ “GSIL VI / almada” (video by Lia), in “Austrian Abstracts 01”, Lanolin, 2001
≥ “int.1/00 (via_dut25)”, in “Portuguese Electr(o)domestic Tracks 1.0”, Variz, 2001
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
Selected @c performances 2012.09.10
ICMC, Španski Borci, Ljubljana
2012.02.18
Electric Spring, University of Huddersfield
2011.12.07
Instituto Cervantes, Roma
2011.05.21
Vozes de Magaio, Aldeio do Fujaco, São Pedro do Sul
2011.05.10
Ar.Co, Lisboa
2010.12.03
Next Festival, Bratislava
2010.11.25
Sonicscope, Teatro Maria Matos, Lisboa
2010.07.02
Vigo Transforma
2010.05.23
Museu de Serralves, Porto
2009.06.25
Sonica:Post, Galerija Jacopic, Ljubljana
2009.05.19
LEM, MACBA, Barcelona
2008.10.10
Auditorio Nacional de Musica, Madrid
2008.03.15
Netwerk, Aalst
2007.11.10
Atlantic Waves Festival, ICA, London
2007.07.12
Philharmonie, Essen
2006.11.11
Festival de Música de Coimbra, TAGV, Coimbra
2006.07.16
Festival Internacional de Música de Tarragona, La Vaqueria
2006.03.29
Museu do Chiado, Lisboa
2005.09.24
EME, Capela de Santiago, Castelo de Palmela
2005.07.16
Metasonic.lx, Goethe Institut Lissabon, Lisboa
2005.04.30
Mülheimer Freiheit 126, Köln
2005.04.29
Hörbar, Hamburg
2005.04.28
Ausland, Berlin
2005.04.26
Weezie, Leipzig
2005.04.24
Fluctuating Images, Stuttgart
2005.04.23
Ateliefrankfurt, Frankfurt
2004.11.19
Videozone 2, Jah Pan, Tel Aviv
2004.06.12
Casa dos Dias d’Água, Lisboa
2004.06.06
Casa de Serralves, Porto
2003.05.24
Teatro Viritato, Viseu
2002.05.23
IFI, Faculdade de Bellas Artes de Pontevedra
2000.11.24
Blue Spot, Coliseu, Porto
2000.11.11
BRG 2000, Braga
2000.06.29
Ear Modulations, Museu Serralves, Porto
2000.03.23
Aniki Bóbó, Porto
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
Selected @c + Lia performances 2010.12.02
Next Festival, Bratislava
2009.10.03
Ex chiesa di S. Bevignate, Perugia
2008.05.10
Offf, LX Factory, Lisboa
2008.04.26
EMAF, Haus der Jugend, Osnabrück
2007.11.03
Olhares de Outono, Universidade Católica, Porto
2007.09.21
N.A.M.E. Festival, Planetarium, Villeneuve d’Ascq
2007.09.20
N.A.M.E. Festival, La Condition Publique, Roubaix
2007.09.09
Ars Electronica, Brucknerhaus, Linz
2007.09.05
ICA, London
2007.04.28
La Casa Encendida, Madrid
2007.03.31
Pixelache, Kiasma, Helsinki
2007.02.03
Casa da Música, Porto
2006.01.28
Netmage 6, Palazzo Re Enzo, Bologna
2005.03.03
Zemos98_7, Sala Endanza, Sevilla
2004.09.17
Hi-TeCA, Teatro de Carlos Alberto, Porto
2003.11.28
Ultrasound, Huddersfield
2003.11.27
Atlantic Waves Festival, London
2003.11.21
Transmediale Extended, Museo de Arte Contemporaneo, Santiago de Chile
2003.10.04
CCB, Lisboa
2003.03.22
Lovebytes, Showroom Cinema, Sheffield
2003.02.22
Sonic Light, Paradiso, Amsterdam
2003.02.21
Sonic Light, Paradiso, Amsterdam
2003.01.25
Vademecwm, Vigo
2002.07.16
Aveiro_síntese, Aveiro
2002.06.07
Digital Art Generation, Public Netbase, Wien
2002.03.22
Offf, Universidad Pompeu Fabra, Barcelona
2002.02.06
Club_transmediale, E-werk, Berlin
2002.02.05
Transmediale, Haus der Kulturen der Welt, Berlin
2001.05.13
Stealing Eyeballs, K/Haus, Wien
2000.10.18
Co-lab, Rivoli, Porto
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
Awards 2007
Prix Ars Electronica:
Honorable mention for @c + Lia in the Hybrid Arts category.
2006
Diagonale Graz:
int.16/54//son01/30x1: prize for innovative cinema of Stadt Graz; Best innovative experimental, animation or short film 2005/2006
2005
Multimedia Awards ICAM/Número Festival:
Honorable mention for @c + Lia in the category Music: Hybrid Music / Sound / Image projects
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
Tech rider for @c performances PA system: High quality PA system with frequency response from 25 Hz to 20 kHz (ex Martin, D&B,
Meyer, Turbosound or equivalent). The PA should be rigged and free of noise or hum. A local technician
familiar with the PA should be at hand. We cannot not be responsible for damages caused by faulty or
under-powered PA setups. Important Whenever possible a 4-channel setup is preferred to 2-channel
stereo.
Mixer: One Mackie or similar high-quality mixer for stage usage. (6 inputs for stereo setups or 12 inputs
for 4-channel setups)
Monitoring: 2 or 4 high quality wedge monitors.
Backline / diverse:
– 2 x small tables or 1 big table;
– 2 x chairs;
– Power outlets, 220V european, grounded;
– Comfortable backstage with light food, drinks and snacks.
People / accomodation / food: Miguel Carvalhais and Pedro Tudela travel from Porto, Portugal and
need top be provided with accomodation. Accomodation should include breakfast. Please try to find
accomodation that provides wireless internet access. In addition to light snacks and drinks backstage,
arrangements should be made for the artists to have a warm meal (vegetarian) before the performance.
The artists should also be given complimentary drink coupons (3 or so each).
Insurance: The promoter or venue should have an insurance policy to cover risks arising from personal
accidents suffered by the artists or their personnel, and damage caused to material, always providing
that said accidents or damages were not attributable to said personnel. The promoter or venue should
pay the artists the sum of the eventual compensation received for damages suffered by the artists in
person, the artists team or equipments.
Questions: Please contact Miguel Carvalhais on [email protected] or +351 960 190 001.
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
Tech rider for @c+Lia performances PA system: High quality PA system with frequency response from 25 Hz to 20 kHz (ex Martin, D&B,
Meyer, Turbosound or equivalent). The PA should be rigged and free of noise or hum. A local technician
familiar with the PA should be at hand. We cannot not be responsible for damages caused by faulty or
under-powered PA setups. Important Whenever possible a 4-channel setup is preferred to 2-channel
stereo.
Mixer: One Mackie or similar high-quality mixer for stage usage. (6 inputs for stereo setups or 12 inputs
for 4-channel setups)
Monitoring: 2 or 4 high quality wedge monitors.
Backline / diverse:
– 2 x small tables or 1 big table;
– 3 x chairs;
– Power outlets, 220V european, grounded;
– Comfortable backstage with light food, drinks and snacks.
Video equipment:
– Video projector, min. 5000 ANSI Lumen, must have zoom and other options for easy setup;
– Projection screen: As big as possible, consult with us if necessary;
– Long VGA cable, from computer (on stage) to projector.
Projection should be planned in advance, and a video technician should be on hand to do the video
setup. Whenever possible we can plan the performance with a two-projection setup.
People / accomodation / food: Miguel Carvalhais and Pedro Tudela travel from Porto, Portugal. Lia
travels from Vienna, Austria. The three need to be provided with accomodation. Accomodation should
include breakfast. Please try to find accomodation that provides wireless internet access. In addition
to light snacks and drinks backstage, arrangements should be made for the artists to have a warm
meal (vegetarian) before the performance. The artists should also be given complimentary drink
coupons (3 or so each).
Insurance:
The promoter or venue should have an insurance policy to cover risks arising from personal accidents
suffered by the artists or their personnel, and damage caused to material, always providing that said
accidents or damages were not attributable to said personnel. The promoter or venue should pay the
artists the sum of the eventual compensation received for damages suffered by the artists in person,
the artists team or equipments.
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
contact:
[email protected]
+351 960 190 001
@c www.at-c.org
@c Pedro Tudela + Miguel Carvalhais
www.at-c.org
@c www.at-c.org