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Electronics Atelier
Workshop series with Ryoko Akama, Sky Deep, Cedrik Fermont, Antye Greie-Ripatti, curated by Susanne Kirchmayr

Since 2010, the Electronics Atelier has been an integral part of the Darmstadt Summer Course. This year, the workshop and concert series was curated by Austrian electronic musician Susanne Kirchmayr (aka Electric Indigo). She presents four very different artistic positions of current experimental electronic music by Antye Greie-Ripatti (aka AGF, poemproducer), Sky Deep (aka Sky Dietrich), Ryoko Akama and Cedrik Fermont (aka C-dric, Kirdec, Syrphe). All four artists are offering workshops over several days, centering on questions of artistic production as well as on current political contexts of creation.


Participation fee: 430 Euros (+13,90 Euros system and booking fees)

We are offering a two-week participation for Electronics Atelier as a whole. It has a limited capacity.

Antye Greie-Ripatti (Finland)
16 – 19 July 2018

ReachOut workshop “Sonic-social ex10sion” – remote collaboration with artists from non-western countries. What is sonic justice, how to undertake an effort to decolonise sound, audio spaces and technology, consider gender justice, decode white supremacy within sound culture.


  • What is sonic justice and sonic identity ? Is there sonic identity politics?
  • Social positioning and discourse: working with a complete stranger
  • Critical examination of technology
  • Collaboration production workflow

Participant Requirements:

  • Laptop and/or iPad
  • Headphones
  • Optional: collaborator of a very different from ones own geographical, gender, identity background
  • Optional: {field} recording which represents ones identity, can be also a poem, voice, language etc.
  • Any audio practice welcome!

How do we participate, comply and navigate in the competition of the global listening space, who is listened too? What is sonic justice, how to undertake an effort to decolonise sound, audio spaces and technology, consider gender justice, decode white supremacy within sound culture.
Collaborate and reach out to someone you would usually not meet and create an audio work together, search for a person perhaps even contradicting your world view or social-political context. The workshop looks at justice systems of sound and listening.
The workshop starts with a presentation of several exemplary projects and some of AGF’s own related projects. There will be ethical and philosophical brainstorming throughout the workshop which attempts to build a rule proposition for ethical and just collaboration. This involves investigation on appropriation, colonial use of sound and technology, agency of the collaborator etc.
Everyone uses technology of their choice and is invited to think about it’s ethical dimension. By the end of the workshop hopefully there will be listening.

We will collaborate with Mideast Tunes, Norient, Syrphe and female:pressure to contact and find strangers to work with:

Cedrik Fermont (Congo)
19 – 22 July 2018

Electroacoustic composition, sound creation and processing.
How and why to create a sound bank, how to sort out the sounds into categories, focus on anti-standardisation, anti-normalisation of music.


  • Electroacoustic composition, sound creation and processing
  • How and why to create a sound bank, how to sort out the sounds into categories
  • How to collaborate in live improvisation

Participant Requirements:

  • Computer (Cedrik works with Windows, so he’ll mostly use programmes running on Windows but will do his best to have their equivalent for Mac if some participants use that system).
  • Headphones
  • Additional but not absolutely required : external sound car, midi controller
  • Composition tool : Reaper

Reaper as it has a two-months free to use license and is incredibly cheap compared to other software (a license can be acquired for about 70€) and easy to use, very powerful and flexible.
Possibility to compose with Ableton Live if some participants prefer to use it but he will only use Reaper on his side.
When the list of participants will be complete, he will send them a list containing links to the free software that will or can be used for them to download and install in advance.
But just in case, he will bring with him Reaper for Windows and Mac + various free VST’s for Windows and Mac, a portable audio/field recorder, one or two microphones, plus some contact microphones (He’ll maybe bring a soldering machine to show how to make some), a sound card with multiple ins and outs.

He will play a selection of electroacoustic and related music pieces from the early times until today, from various places, so not western-centred, and not only male-centred in order to present what kind of work has been done, what kind of tools were used for the various compositions, etc.
Through this workshop I wish to explain that it is not a necessity to use expensive software and/or hardware to compose music, that one should carefully select the plugins they want to use and instead of working with plugins that break the back for the composer and have a very typical and recognisable sound, one should better try a more personal approach and be original. I will also prioritise the creation of sounds rather than sampling sounds. I’m not against sound banks and sampling but I think that there is an overuse of those, hence a lack of creativity among many composers, not only the young ones (hence I will bring the microphones and a recorder and push the participants to use their surrounding, objects, etc. to record and treat sounds), I will also speak about sound synthesis of course. This will be a workshop focused on an anti-standardisation, an anti-normalisation of music as even electroacoustic music seems to be affected by this phenomenon.
The last step of the workshop will be a presentation of each participants’ work in the form of a listening session or concert according to their choice (on my side a concert).

Sky Deep (US)
22 – 25 July 2018

How to develop a framework for jamming, creation of instruments & effects clusters for individual signature sounds, practice different jamming techniques and approaches which are purposed to help disrupt internalised classical training habits.


  • Composition on the fly
  • Creation of flexible and individual instruments & effects clusters for “signature sounds”
  • Live jamming techniques
  • How to disrupt (classical) training habits

Participant Requirements:

  • Computer
  • Ableton Live
  • MIDI Controller(s)
  • Interface with minimum 2 outputs but 4 outputs is best
  • Optional: Portable hardware synth, sequencer, looper or instrument

The mission of this workshop is to guide each participant in designing their own “band in a box” by creating a set of compatible hardware and/or software instruments and tools that enables them to compose on the fly – either alone OR when jumping into a jam situation with a larger group of other musicians.

In the workshop, we will carve out a collection of signature sounds created through customized Live instruments & effects modules which can be manipulated in real time and recalled easily for live sets and spontaneous jamming with others that promise to be different every time. We will also practice different jamming techniques and approaches which are purposed to help disrupt internalized training habits.

Ryoko Akama (Japan)
25 – 28 July 2018

“small and significant” – a hands on musical workshop that makes people think of daily matters, that eventually results in music but in the process of working is more about the social-political input.


  • Composing by hacking mundane objects
  • Socio-political aspects of experiencing, composing and performing music
  • Deconstruction of conventional approaches to composing and performing

Participant Requirements:

  • Portable recording device
  • … more to come

In this workshop, you will be exploring diverse levels of experiencing music that directly and indirectly relates to how we participate in the world as individual human beings.
Ryoko Akama will talk about her anti-adrenalin approach to compositional and improvisational performances, and how she perceives every action as an composition. You will untwine a definition of ‘stage’ and ‘audience’, using the space itself as the main part of the platform.
Furthermore, she will focus on mundane objects hacked and animated by motors or other methods or simply use them as sound instruments.
The final work will be performed as a concert after the workshop.

(Subject to change.)

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