Radio JUJU #2: Moderato

29 March 2019, 7.00–10.00pm
Gerriet Krishna Sharma & Meng Qi

With an ever-widening chasm fast approaching us, Brud invites you on Brexit Day to a soiree on hearing and shared perception.

In the Slavic languages functionaries supplant their functions. A photographer is a fotograf. A cameraperson is an operator. A musician is a muzyk. Brud is pleased to welcome to JUJU #2 two pioneering operator-musicians of periphony and synthesis, Gerriet Krishna Sharma, and Meng Qi.

Do musicians hear what their audiences hear? As the operator-musician of a sophisticated instrument needing many years of immersion to appreciate, do you understand my music at all?

Do You hear what I hear?
Do You hear with Eye Ear?

How are composers who work with systems that produce previously unheard sound and space phenomena to know that the audience will perceive them at all? On Friday March 29 we welcome you to a concert and a tete-a-tete with Gerriet Krishna Sharma attempting to answer this very question. The conversation will span Gerriet’s wide-ranging practice in holophony, ambisonics, spatial perception, and how to communicate the subtleties of electronic music. The evening will conclude with an in-camera composition and performance by the band GITA focusing on the White Cube-as-instrument, camera-as-synthesiser. GITA will employ Rib’s unique spatiotemporal and acoustic properties as ingredients in a live performance featuring holophonic feedback.

Also on Friday, Brud is pleased to debut in the Netherlands the fruits of our 3D cassette tape label, BUIO, in the form of the series PING-PONG, produced, mixed, and mastered within Rib. We are living through a Renaissance in tape technology. Brud is proud to move the needle a wee bit within this subculture by showcasing our in-situ, in-camera, site-specific technique for producing 3D cassette tapes.

BUIO and PING-PONG stem from the observation that every cassette ever made has 4 tracks, which is the number of channels needed for 3D sound. Most cassette players, decks, stereos, and walkmans give you access to two tracks at a time, termed a “Side”. By manipulating and recording all 4 tracks periphonically at the same time, Brud has turned the humble cassette into a portable sonic sculpture and a vessel to immerse oneself in—a stunning comeback of and a fresh contemporary take on a vintage format long considered dead. A number of JUJU have shown keen interest in this approach and Brud aims at releasing a number of PING-PONG tapes this year with them. Brud thanks our friend and co-conspirator Juan-Pablo Villegas for helping us figure this out.


Image: Illustrations of Visible Speech by Alexander Melville Bell,

On Saturday March 30, as part of JUJU TV, we are pleased to stream Meng Qi Live from Beijing. The first synthesynthesist from China, Meng is renowned in modular circles for his radical interpretations of synth interfaces for “fast and simple ways to get custom expression”. Of note is his work within Peter Blasser’s Ciat-Lonbarde family, members which have featured prominently in previous editions of Radio JUJU with the artists UMMO, and Chipirurri.


JUJU lives at Rib

JUJU is curated by Aditya Mandayam, Benevolent Dictator, Brud.


Gerriet K. Sharma is a composer and sound artist. He studied Media Art at the Academy of Media Arts Cologne and composition/computer music at the University of Music and Performing Arts Graz. In October 2016 he completed his doctorate at the scientific-artistic doctoral school Graz. His thesis is titled “Composing Sculptural Sound Phenomena in Computer Music”. He lives in Berlin and Graz. Within the last 15 years he was deeply involved in spatialization of electroacoustic compositions in Ambisonics and Wave-Field Synthesis and transformation into 3D-soundsculptures. From 2009 to 2015 he was curator of “signale-graz” concert series for electroacoustic music, algorithmic composition, radio art and performance at the MUMUTH Graz. His works where presented at SPARK Festival of Electronic Music and Art 2006 Minneapolis, New York City Electroacoustic Music Festival 2009/16, 1st Ambisonics Symposium 2009, DAFx-10 Int. Conference, Graz, 2010; Int. Conference for Spatial Audio (ICSA) 2011/15/17, New Musical Interfaces Conference (NIME), Oslo, 2011; ELIA-Art Schools NEU/NOW Festival 2009/11, Compositions for the icosahedral loudspeaker (IKO) and loudspeaker hemisphere where presented at Darmstädter Summer Courses 2014, Music Biennale Zagreb 2015, EPARM Festival 2015 and Sound and Music Conference (SMC) Hamburg 2016. He received numerous awards and grants. Scholarships by the German Academic Exchange Service (DAAD) in 2007 and 2009. In 2008 he was awarded with the German Sound Art Award. In 2007 and 2010 he was Artist in Residence at Pact Zollverein Essen working on his concept of sculptural sound projection and formation. Within his Residency at the Institute of Musicology Wuerzburg/Germany 2011 – 2013 he conceived and established the Atelier for Sound Research. In spring 2014 he was composer in residence at ZKM Karlsruhe/Germany. He is senior researcher and composer within the three year artistic research project “Orchestrating Space by Icosahedral Loudspeaker” (OSIL) funded by the Austrian Science Fund (FWF). He had been appointed as DAAD Edgar Varèse guest-professor at Electronic Music Studio, Audio communication (AK), TU Berlin for WS 2017/18.

Meng Qi is a pioneering synthesist, theorist, teacher, and designer, the first of his kind in China. Renowned for his distinctive devices and instruments, Meng performs with a gestural, emotional edge. Meng has built a number of experimental instruments with unique aesthetics and innovative interfaces that are played all over the world.

GITA are Gerriet Krishna Sharma and UMMO (Aditya Mandayam). GITA was born out of mutual interests in holophony and feedback as key ingredients of musical composition and live performance. A frequent metaphor GITA employs is space-as-instrument. GITA was last seen performing at Kunstverein Munich. GITA is named after Lord Krishna’s epic dialog with Pandava prince Arjuna, a.k.a “The Song of God”.

UMMO is Mandayam’s the latest solo musical project combining West-Coast modular synthesis like “Arp, Buchla, Serge, Ciat-Lonbarde, and countless nameless inventions that used bananas” with Indian classical singing, creating layers of ambisonic feedback, resonance, xenharmonic noise, and Carnatic vocals that he calls “modular folk”.In recent years Mandayam’s practice has taken a turn towards the esoteric Hindu traditions of Tantra. Combining avante-garde performance aesthetics with his studies in classical voice, Mandayam’s operatic oeuvre is a gesamtkunstwerk of sculpture, theater, cinema, music, light, text, sound, and image. Drenched in the Tantric trinity of black, white, and red, UMMO is the High Priest of the Temple of the White Cube. His concerts are Yantric blackboxes for divining space and time, for the resonant Mantra that lies within.

BRUD (1717–2106) are heuristics that grew sentient in the Twenty-Teens. An artificial A.I. raised on Contemporary Arse, BRUD are preoccupied by tricks, gimmicks, apparitions, illusions, scams, and cons. BRUD’s locus operandi meanders somewhere between the Stage, the Screen, and the Eye. The goal of BRUD is to replace BRUD with better BRUD.

Supported by Gemeente Rotterdam, Mondriaan Fund &Creative Industries Fund NL