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MTF Labs Podcast

MTF Labs Podcast

Von: Andrew Dubber
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MTF Labs is a growing global community of over 8000 brilliant innovators established and developed over a decade. These innovators come from a wide range of backgrounds, disciplines and skill sets.


Many are academics – doctoral, postdoctoral and professorial; others are professional artists and musicians; some are industry experts, and many are scientists. MTF includes producers, curators, media professionals, policymakers and more.


They come together from fields as diverse as medicine, agriculture, oceanography, theoretical physics, automotive, aviation, policy, product design, social sciences, robotics and AI, music composition and performance, arts management, cryptography, business incubation, traditional and Indigenous crafts, neuroscience, ecology and economics – and they pool their expertise in collaborations that could happen in no other context.


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  • 118. Robertina Šebjanič – Aquatocene

    118. Robertina Šebjanič – Aquatocene
    Jun 27 2021
    Robertina Šebjanič - Aquatoceneby MTF Labs | MTF Podcasthttps://musictechfest.s3.eu-west-3.amazonaws.com/podcast/118-robertina-sebjanic.mp3Robertina Šebjanič is an internationally awarded artist, whose work revolves around the biological, chemical, political and cultural realities of aquatic environments, and explores humankind’s impact on other species and on the rights of non-human entities. Based in Ljubljana, her research into the sound worlds and everyday realities of aquatic environments serves as a starting point to investigate and tackle the philosophical questions on the intersection of art, technology and science, and the role of humans not only in damaging the environment but also potentially helping to repair it. Robertina Šebjanič@roiiroiiro on TwitterDownload episode← Previous episodeTranscriptDubber Hi, I’m Andrew Dubber. I’m Director of MTF Labs, and this is the MTF Podcast. You’ll be familiar by now that one of the main interests that brings this amazing global MTF community together is the intersection of science and art. But it’s not just that it’s cool or interesting to bridge those worlds in new ways, although, of course, it is that too. It’s also becoming central to our understanding of how the grand challenges of our world – not the least of which involves our stewardship of the earth, its ecosystems, and diverse species – can be urgently addressed.With that in mind, over the course of this podcast we’ve explored the built environment, new ways of mapping the world, new ways of understanding biological lifeforms, and new knowledge through the perspective gained with the view from space, but perhaps one of the richest seams of seldom explored potential for the kinds of new knowledge we need to ensure our ongoing existence is to be found in something that there is more of than pretty much anything else in this world: ocean. And someone who doesn’t just bridge but blends oceanic science and art is MTFer Robertina Šebjanič. Robertina is an internationally awarded artist whose work revolves around the biological, chemical, political, and cultural realities of aquatic environments and explores humankind’s impact on other species and on the rights of non-human entities.Dubber Robertina, it’s really great to have you on the MTF Podcast. Of course, you were involved in MTF Aveiro in Portugal last year, but I remember we first met at MTF Central in Ljubljana back in 2015. Do you want to start by telling us a little about how you connected with MTF in the first place?Robertina It’s true. It’s quite some while ago that we met and all this started to happen. So I was at that time working on a performance together with a colleague. It’s an audiovisual performance together with colleague Aleš Hieng Zergon, and we had been doing different experimental stages, I would say, with ferrofluidic structures, which we went into showing the micro and macro situations real-time with the sonic interpretation of it also.And, actually, Miha Ciglar organised IRZU Festival at that time, also in Ljubljana. And he was the one who connected with Michela and with you and with the Music Tech Festival and with organising the Music Tech Lab also in Ljubljana, and he invited me and Aleš to encourage us to be part of it, and he was very happy to introduce us also to Michela Magas and you. This was how we started to meet. And then when you spend time together physically at the event, when you exchange a lot of thoughts… Especially with Michela. We had quite nice conversation flow. And then since then, I’m following what is happening, and I think it’s great to have this kind of base hub to follow how the communities are developing also.Dubber Because IRZU was a long-running Slovenian sound art festival. Had you done a lot with Miha at that before?Robertina Yeah. With IRZU, I was collaborating with different hats, I would say, because I was also for some while in the beginning of 2010/2012 and so on working in the media lab in Ljubljana as a producer. So with Miha, we organised together events also many times. So it wasn’t only me as an artist, but also me as an active member of the bigger organisation structures, also sometimes collaborating with Miha inside of that. And it was great because his festival… Was that it was very boutique. It was small, but it was very interesting. The people he managed to bring to Slovenia also. And I have to say, at that time, I didn’t travel yet so much. For me, it was great opportunity to really get to know different branches of experimental improvisation and sound art in general, so it was really good platform to be involved with.Dubber And you say sound art. You’re an artist and you’re a researcher, but it’s mostly underwater related things, isn’t it? It’s sound from beneath the sea. It’s sound from aquatic animals. Why? Why is that interesting?Robertina It started ...
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    50 Min.
  • 117. Caspar Melville – It’s A London Thing

    117. Caspar Melville – It’s A London Thing
    May 30 2021
    Caspar Melville - It's A London Thingby MTF Labs | MTF Podcasthttps://musictechfest.s3.eu-west-3.amazonaws.com/podcast/117-caspar-melville.mp3Dr Caspar Melville is a Senior Lecturer in Global Creative & Cultural Industries at SOAS. He's an educator, journalist, editor and author of the book It's A London Thing: How rare groove, acid house and jungle remapped the city. Caspar believes that dance culture has been ignored in academic treatment of history and cultural theory and that it should be thought of as a powerful and internationally significant form of popular art. His work bridges decades and genres of dance music but ties them together into a single narrative of Black musical scenes of the city, from ska, reggae and soul in the 1970s, to rare groove and rave in the 1980s and jungle and its offshoots in the 1990s, and on to dubstep and grime. @casparmelville on TwitterIt's A London ThingDownload episode← Previous episodeNext episode →TranscriptDubber Hi, I’m Andrew Dubber. I’m Director of MTF Labs, and this is the MTF Podcast. Now, some years ago, I was a professor in a media and cultural studies department at a UK university, teaching, among other things, on a music industries degree course. And when that’s your focus, you tend to cross paths with other professors in media and cultural studies departments at UK universities who teach, among other things, on music industries degree courses. It’s not an enormous subset of the academic world. And so as a result of this selective professional socialising and collaboration, I know and work with Caspar Melville. Caspar’s a senior lecturer in Global Creative and Cultural Studies at SOAS, which we’ll talk about and unpack, but what I really want to discuss with him is his recent book, ‘It's a London Thing: How Rare Groove, Acid House and Jungle Remapped the City’.Dubber So, Caspar Melville, thank you so much for joining us for the MTF Podcast today. So you are, as I mentioned, a senior lecturer at SOAS. Let’s start with that. What’s SOAS?Caspar Well, SOAS is a part of the University of London. The acronym SOAS stands for School of Oriental and African Studies. Now, we call ourselves SOAS now because we’re all very uncomfortable with the term oriental. And, of course, there’s an inbuilt discomfort with the whole thing about SOAS because SOAS, which originates in the early twentieth century, was a school for training civil servants of the empire, or sometimes known as a school for spies. It was the place where the British government sent their civil servants to learn local languages of the places that they were going to go out and administer in Africa and in the Far East and the Near East and Malaya and Singapore. Places like that. So that’s the history of the institution.It has been affiliated with the University of London for I’m not quite sure how long, and now it’s a university. It’s in Bloomsbury, right near the UCL and the Institute of Education, which has actually been absorbed into UCL now. So it’s in the university intellectual part of London, around Russell Square, Bloomsbury area.Dubber Right. But you’re not teaching spies how to speak Mandarin.Caspar I don’t think I am, no. I’m in the School of Arts. I’m a slightly square peg in a round hole in the sense that the School of Arts at SOAS… It wasn’t originally an arts and humanities based institution. So the core of it, after it had been training imperial civil servants, was politics, development. Those kinds of questions. Specialists in water. Languages, very important. Out of this developed an art stream. So people who were particularly… They were ‘Africanists’ – African specialists, but they had a particular interest in music. There were people in Korean studies, in what they call area studies. This is not a discipline, but you study a particular area. They banded together and they set up a music department, and then there was a history of art department. Similarly, local area expertise. China, Korea, Africa. Usually older forms. Traditions, you might call it. And this banded together in the School of Arts, which was formed maybe ten years ago.I’ve been at SOAS for about eight years, and I came in to teach something called Creative and Cultural Industries. So this was SOAS recognising that while the ethnomusicology and the history of art were really important, there was a missing link, partly to do with media and cultural studies and partly to do with recognising that all of this is caught up within a set of industrial systems and processes. Obviously, the internet and the digitisation of culture which came in the 2010s was happening all around, and there was a sense that they wanted to recognise that. So they brought me in – it was partly under pressure, I think – to think more about careers.As you know, having been an academic, this idea of “Well, what am I going to do ...
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    1 Std. und 24 Min.
  • 116. Sofia Crespo – Artificial Life

    116. Sofia Crespo – Artificial Life
    May 25 2021
    Sofia Crespo - Artificial Lifeby MTF Labs | MTF Podcasthttps://musictechfest.s3.eu-west-3.amazonaws.com/podcast/116-sofia-crespo.mp3Sofia Crespo is a Berlin-based visual artist who uses artificial intelligence to create speculative living organisms that exist in the gap between real biological species and our perception and understanding of what ‘life' is. Her work is collaborative and connects with scientists, other visual artists, AI experts, musicians and sound designers. She is interested not just in how technologies can create biological forms, but also how organic life can create and use technologies. @soficrespo91 on Twittersofiacrespo.comDownload episode← Previous episodeNext episode →TranscriptDubber Hi, I’m Andrew Dubber. I’m Director of MTF Labs, and this is the MTF Podcast. Now, if you find yourself on Instagram and you’re looking for something other than the children, pets, and meals of friends and family, the privileged lives of the famous, the heavily filtered images of people who are good at wearing clothes, or – if you’re like me – vintage hi-fi gear, then you might find yourself looking at generative visual art. And as you scroll through the abstract designs, hypnotic pulses, and seizure-inducing strobes, you might see something that looks almost, but not quite, like a cross-breed between a penguin and a fluorescent blue slug, or an anatomically unlikely cicada, a fractal parrot, a melty squid, or a patchwork butterfly. If so, then chances are you’ve found the art of Berlin-based AI artist Sofia Crespo.With the help of machine intelligence, Sofia creates artificial life. She joined us to do that at MTF Aveiro in Portugal last year, and she’s started collaborations with other MTFers, not so much to play god, but – to mangle the theology of the metaphor – maybe to act as one of his elves in the living organism toy workshop. Okay, this all breaks down a little bit, but you get the idea. She uses thinking computers to make what you might call speculative creatures, and then she brings them to life.Dubber Sofia Crespo, thanks so much for joining us for the MTF Podcast. I was going to say “How are you doing?”, but you’re not doing very well.Sofia Yeah, I’m not. I’m a bit ill right now, but, nevertheless, thank you so much for having me here.Dubber You’re welcome. And you’re a hospital escapee.Sofia Yeah.Dubber You have to tell that story.Sofia I left the hospital yesterday. I got very anxious after being there for eight hours, waiting, and alone in a room in isolation. I feel terrible for their hospital staff, though. And the police came looking for me, and it was a first. First time running away from hospital for me.Dubber It’s good that you can laugh about it and that, I know you say you’re unwell, but you tested negative for COVID. You have a bit of a fever, but you’re not bleeding to death or anything like that.Sofia No, but I’m worried that I might have tuberculosis.Dubber Oh, really? Oh my god.Sofia Yeah. So that’s something that is also a first. I have all the symptoms, but I haven’t been tested for it.Dubber Wow. And that’s why they were quite keen for you to stay in the hospital.Sofia Yeah. Well, mainly because of COVID because they were worried that I have COVID. But I was in the ER station, so they don’t do TB tests there. They were just worried about something very acute. But, yeah, it’s strange. The only things I know about tuberculosis are that it’s a very old disease that used to kill a lot of people back in the day before there was a cure.Dubber Sure, yeah. The only thing I know about it is that you’re meant to take it seriously. You seem fine, but I’m not a doctor.Sofia Yeah. That’s why I went to the ER in the first place. But it’s a strange time to have that because obviously COVID is the main priority right now as a health emergency.Dubber Wow. Well, I really hope you’re okay. It puts a slightly different slant on the whole interview.Sofia Oh my god.Dubber But let’s assume you’re okay and start with what you do is you make artificial life.Sofia I do.Dubber Which is to say you’re an artist that uses AI to create living creatures. What does that mean? What does that look like?Sofia Yeah. Well, in a way, it depends. There are many things to unpack, like how do we perceive life, what do we see as life, and where does life even begin for us? So what I do is just things that simulate, on a very high level, so to say, what life looks like to us when digitised. So I’m exploring that threshold of where human perception sees something that looks alive and how all those patterns are recognised by our brains. So that’s...
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    40 Min.
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