White Fungus Magazine Presents: Depopulate 04 Berlin Edition
schneider tm – guitar noise improv
Schneider TM is the name used for the solo electronic music projects of Dirk Dresselhaus, a former member of several German indie rock bands, most notably Hip Young Things and Locust Fudge. He released his first single under this name in 1997, but his most notable piece to date was a track named “The Light 3000″ on the 2000 EP Binokular (a collaborative EP with KPT.michi.gan). The track is an electronic music cover of “There Is a Light That Never Goes Out” by the Smiths and was recently voted by The Wire magazine as one of the best cover versions ever recorded. 
Betty Apple is an artist who is at the forefront of a new wave of experimental sound art in Taipei, drawing upon performance art to and electronic music to create powerful works that have propelled her rapid rise in the island’s art scene. 2012 saw her support Merzbow at The Wall in Taipei, and do performances alongside Zbigniew Karkowski and EVOL. In May, Apple delivered her performance / sound piece “Vibrator Love” at the Lab in San Francisco, as part of a release event for White Fungus. She was also an artist in residence at Lacking Sound Festival in Taipei. Apple came to sound composition from a background in theatre, before moving into sound and studying under Wang Fujui at Taipei National University of the Arts. She is an accomplished producer of electronic music and DJ but also works with noise and range of aberrant textures.
Wang Fujui is one of the pioneers of Taiwanese noise and digital art. His light installations, video projections and noise performances challenge the parameters of our sense perceptions and suggest an in-between space both within and beyond a range of technologies. New York hyperrealist composer Noah Creshevsky described Wang’s performance as being both “purposeful and un- purposeful at the same time”, and his light installation as “hypnotic”. After studying at San Francisco Art Institute in the 1990s, WANG returned to Taiwan and founded noise, the island’s first publication and label dedicated to the new music. Wang is Head of the Trans-Sonic Lab in Center for Art and Technology of Taipei National University of the Arts, specializing in sound and interactive art. He has curated Digital Art Festival Taipei and TranSonic Sound Art Festival. In 2013 he had a solo exhibition at the Museum of Contemporary Art in Taipei, Hyper-transmission. He has performed all over the world including at the Re-Opening of Queens Museum in New York and at Ars Electronica Center in Niels, Austria.
jd zazie & Billy Roisz
Born in Bolzano (IT), JD ZAZIE is a DJ, turntablist and sound artist based in Berlin. Coming from a DJ and a radiophonic background JD Zazie has explored over the years different approaches of real-time manipulation on fixed recorded sound. In her work she redefines DJ and electroacoustic activities. As a solo performer, in small groups or large ensembles she moves in an area which is constantly stretching the borders of what is supposed to be DJ mixing, free improvisation and composed music. Intended as music instruments CDjs, turntables and mixer are her tools to mix the specific sound-sources she plays (mostly electronic music, electroacoustic music, musique concrète, field recordings and improvised music). The typology of the sound-sources varies from already existing audio publications and sound effects, to self recorded audio files – as live-set and field-recordings -, to selected pre-mixed material. Juxtaposition, decontextualization, fragmentation, repetition, sonic texture, scratch and error are elements of the grammar adopted to relate, organize and rearrange the sound material following her “Äpfelzerstörer’s method”. In her sound installations she explores everyday life, refers to urbanism and relates to sound atmosphere.
Since late 1990s, Billy Roisz dealt intensively with video and sound. Her work focuses on the links and gaps between visual and auditive perception. Roisz questions the interaction between sound and image, the interchangeability or unity of the electromagnetic signal in the generating machines which creates image or sound. The realisation of her experiments takes place in live performances, single screen works and audio-visual installations, solo or in collaboration with musicians of experimental music and noise as well as composed new and old music, dance and theatre.
Marije Baalman is an artist and researcher/developer working in the field of interactive sound art. She studied Applied Physics at the Technical University in Delft and graduated in February 2002 on the topic of Perceptual Acoustics. In 2001/2002 she followed the Sonology Course at the Royal Conservatory in The Hague. She completed her Ph.D. on Wave Field Synthesis and electro-acoustic music in 2007 at the Electronic Studio of the Technical University of Berlin. Between 2007 and 2010 she was a post-doctoral researcher in Computation Arts at Concordia University in Montreal. Since 2010 she works as a freelance artist and developer from Amsterdam and works as a hardware engineer at STEIM. Her current research goes into the use of wireless networks for live performance (such as dance and music), installations and interactive environments. She has performed and exhibited work across Europe (STEIM, WORM (NL), EXIT festival (F), Club Transmediale (D), Make Art (FR)) and beyond (Electrofringe (AU), Translife (CN), Elektra (CA)). She is a contributor to “The SuperCollider Book” (MIT Press, 2011). In her artistic work she is interested in the realtime components of the work, in that nothing is precomposed as such, but rather the (mostly, but not exclusively) sonic output depends on realtime interactions, be it of the performer, or of the audience. Thus composition becomes more the composing of behaviours and interaction modalities, creating processes, rather than fixed sound tracks. This is expressed with tools such as physical computing (performance interfaces and/or installations), livecoding (both as a skill, as well as a performance interface), digital and analog sound processing, and improvisation. She has collaborated with various people, amongst which Alberto de Campo, Chris Salter, Michael Schumacher, Attakkalari Dance Company and Workspace Unlimited.
To realise her works she mostly uses open source technology (software and hardware) and she is an active contributor to the open source community.
Gewording (Becoming) is the first performance version where the link between physical and sonic gesture is explored during a live performance, combining movement of the body and live coding.
Noise Steve: With only a grade-school education, Steve Chen (a.k.a. Noise Steve) has worked as a newspaper boy, a plumber, an electrician, a construction worker, a record store clerk, a bartender, and a DJ. Influenced by the rave parties popular in Taiwan at the end of the 1990s, Chen and some friends began to organize a series of do-it-yourself, guerrilla-style raves in such locations as a hair salon and outside a roast duck shop. After viewing the noise art performance Static Riot by Wang Fujui, Chen decided to change course and pursue noise art. In 2002, he was instrumental in founding the Malt Fermentation Workshop in Taichung City, one of very few venues promoting experimental electronic music outside the capital city of Taipei. They not only created music, but they also sold rare records and offered lessons in playing musical instruments and DJ techniques, and organized Taichung’s first noise art festival, Electroacoustic Counterattack. Since then, Noise Steve has been active in many experimental music and sound art performance events. In 2010, he joined forces with the artist Geng Wang to organize the free outdoor Wan Bay Music Festival that would bring together over one hundred Taiwanese and foreign music groups in the small fishing village of Jiupeng in southern Taiwan. Regrettably, the local authorities revoked permission for the event three days before it was to take place.