Workshops

This workshop focuses on capturing, deciphering, and making these unheard and inaudible acoustic phenomena accessible. Together, we will build dozens of contact microphones and install them in public spaces to make hidden sounds audible, and transform public spaces into a large musical instrument open for exploration.

Florian Tuercke (DE) is a sound and media artist whose work explores the intersection of space, sound, and context. His practice moves between visual art, sound art, and music, deliberately blurring the boundaries between sculpture, instrument, spatial installation, and composition. Tuercke explores sound as a formative element of space and perception – whether in museum settings, sacred spaces, or urban environments. By sonically activating architectural, material, and social structures, he reveals that places are far more than mere physical settings: they are acoustic felds shaped by structure, action, perception and interpretation.

http://floriantuercke.net/home.html

Using affordable high quality microphones, low power computing and the mobile communications network, we can set up our own listening station. Once online, this station allows anyone with an internet connection to ‘tune in’ to the local context and listen to the changing soundscape in real time. Live audio streaming has been used widely in such projects as the Reveil Dawn Chorus Global Broadcast https://soundtent.org/ and for connecting artists in the Radio Earth community https://radio.earth/. Establishing a live audio listening station will draw attention to the changing environment in Liepaja, encouraging audiences worldwide to listen in. We intend the live stream to carry through to Atmospheric Waves, a festival of wind and wave-powered sound installations taking place in the frame of Liepaja 2027.

John Grzinich (EE/US) has worked since the early 1990s as an artist and cultural coordinator with various practices combining sound, moving image, site-specificity, and collaborative social structures. His work often explores the perception of sound and space to find resonances between people and places.
Over the years, John’s compositions have been published internationally on various labels and he has performed and presented installation works at numerous audio art festivals.

http://maaheli.ee

In this five day workshop, participants will build a diamond shaped kite and fly it, build sensors from conductive materials to measure the turbulation of the wind and pressure on the kite cloth, and attach sensors to the kite to measure its movement. Then we will record measurements of the data and focus on making use of this data to generate and control sounds in realtime.
In this workshop you will use the sewing machine, solder, and program. You will go home with a self-built kite and a sensing kit with an ESP32, an accelerometer & gyroscope and
handmade sensors.
Participants should bring a laptop with the Arduino IDE installed and an environment that is capable of receiving OSC-data and generating sound (for example SuperCollider, PureData, etc) that they are familiar with.

Marije Baalman (NL) is an artist and researcher/developer working in the field of interactive sound and light art, based in Amsterdam. She makes music and music-theatre performances and has made several installations. Topics that she addresses with her work are the nature of interaction between and entanglement of humans and technology, the influence of algorithms on society and the human experience, and environmental change. In her artistic work she is interested in the realtime components of the work, composing processes, behaviours and interaction modalities. This means that the sonic or visual output depends on realtime interactions of the systems she builds with the performer, the audience, or the environment.

https://marijebaalman.eu

Starting with a simple experimental ‘Aeolian harp’ design, the group will collaborate on larger structure(s) to harness the energy of the Baltic coastal wind to generate an ever-shifting soundscape in response to the weather. The outcome of this workshop will be a sound installation powered by the wind in Liepāja, complemented by a performance featuring the participants’ wind instruments.

Kathy Hinde (UK) is an interdisciplinary artist who creates installations, performances and site specific
experiences aiming to nurture a deeper and more embodied connection to the more-than-human
world. Composed of hand-made objects, electronics and a blend of digital and analogue systems,
her work represents a cross between kinetic sound sculptures and newly invented musical
instruments. She creates pieces in response to specific locations and frequently works in
collaboration with other practitioners and scientists and often actively involves the audience in the
creative process.
Kathy has toured work across Europe, USA, Canada, Mexico, Brazil, Russia, China, Sri Lanka,
Pakistan, Colombia, Australia and New Zealand. Awards include an Ivor Novello Award,
an Honorary Mention at Prix Ars Electronica, a British Composer Award, an ORAM award and
a Scottish Award for New Music. Kathy received an Honorary Doctorate in music from Bath Spa
University and is a member of Bristol Experimental Expanded Film (BEEF).

https://kathyhinde.co.uk

We will also explore the basics of audio signal flow and how modern synthesizers and rhythm instruments work. The session is designed as a practical, exploratory space where participants actively work with instruments, experiment with sound combinations, create short musical sketches, and gradually learn the process of making music. During the process, participants will learn groove-based approaches to make both the resulting music and the creative process engaging and enjoyable.
As a result, participants will create short sound composition sketches and a collaborative performance.

Reinis Naļivaiko (LV), also known as Mēmais Kino, is a digital, electronic musician, and sound artist, as well as an explorer of the world of modular synthesis. Artis Kuprišs (LV), also known as Antons Megamikss / Deelis, is a new media and sound artist and developer of the Groove method, who lives and works in Liepāja. Both studied New Media Art at Liepāja University and, after graduating, have actively participated in various art and music projects.

Each object uses its own input and generates an output in the form of sound or visuals, and they can influence one another. At the end of the workshop everyone should have a module that we can all fit into a Eurorack power supply and have them all play together. Goals and directions in the workshop:
– Transistors are easy to use for many different projects.
– How to layout and prototype a user interface.
– Using obsolete electronics for new projects.

Gijs Gieskes (NL) a industrial-designer/artist from the Netherlands specializing in the design of electronic devices, for audiovisual use. When Gijs started to make electronic things he knew almost nothing about how they work, but with simple solutions he managed to make usable instruments anyway. For instance Gijs used a speaker as a relay, where a transistor should have been used. Nowadays the arstist knows much more about electronics, but still wants to work the same way as when he started.

gieskes.nl

Drawing on found materials, such as repurposed waste, the project transforms everyday objects into instruments that are not constrained by the expectations of traditional music. This is an invitation to explore the infinite possibilities of sound, offering participants the freedom to express their innermost emotions and experiences through a truly experimental, unbound medium.
At its core, the project challenges the hierarchical distinctions between artist and audience, between musician and non-musician. It posits that music and the act of creation is not the exclusive domain of trained professionals, but a deeply human activity that anyone can engage in. By using objects readily available in our surroundings, it democratizes music-making and reconnects us with the primal act of sound creation.

Johanes “Mo’ong” Santoso Pribadi (ID/LT) is an experimental music composer and instrument builder. His work focuses on decolonial music, seeking to reconnect with and reinterpret the sounds of the Archipelago—”Indonesia.” Mo’ong’s practice is driven by a profound desire to reshape cultural expressions, honoring their origins while adapting them to modern contexts.
His work spans diverse genres and multidisciplinary collaborations, including modern dance, theater, contemporary puppet theater, installation art, and performance art. In 2015, he launched the Limbah Berbunyi project, composing music from instruments made of found objects and waste materials.

https://www.moongpribadi.com

Skipping the AI hype (J. Meerhoff, 2025), we enjoy thinking and writing algorithms, changing them while they run, and building systems for sonic explorations, live performance from scratch. Looking back to early network music from The Hub and others, we explore forms of algorithmic collaboration: ways of braiding sound together through agreement or misunderstanding (J. Rohrhuber & A. de Campo, 2004), and listening to the very rhythm of communication. The workshop is based on the “Vinculum” study, which explores the interaction of sound waves in an environment. Supercollider is a live-coding language that enables the creation of audiovisual performances through real-time programming. Participants should bring a computer and headphones. Some programming experience is welcome but not absolutely necessary.

Jia Liu (CN/DE) describes herself as a recursive commuter driver between the formal and the sensual. Based in Karlsruhe and active in Europe as a composer, computer‑music performer, and researcher, her interests lie in sound, its algorithmic formation and deformation, communication systems, and temporal topology. She studied composition and music informatics at the Conservatory of Music in Shanghai and at the University of Music Karlsruhe, at the Institute for Music Informatics and Musicology (IMWI), where she currently teaches and pursues her research.

http://jialiu.de

In complex artistic systems regulated by environmental factors, participants will observe the principles of their operation and learn to apply them to solve various practical tasks. Participants will learn the principles of environment-based sound art and will have the opportunity to realize their ideas in creating environmental sound objects using unique instruments and technical solutions developed by the artists. Sensors (light, motion, temperature, humidity, bioelectric potential, etc.) will be used, converting signals into control voltage, sound, light, and motion, and transforming them into artistically meaningful actions. Through experimentation, participants will choose solutions based not on prior knowledge but on experimentation, exploration, and experience gained through the process.

Artūrs Punte (LV) is a poet and artist who actively works across interdisciplinary genres. He is the author of four books of poetry and a co-creator of several art exhibitions. In recent years, the artist has turned his attention to the genre of sound installations and the creation of unconventional sound instruments. Four sound installations by Artūrs Punte and Jēkabs Voļatovskis were exhibited at the Cēsis Art Festival 2020; several exhibitions took place at the RIXC Gallery, Riga Art Space, and other exhibition venues in Latvia and abroad.
Maksims Šenteļevs (LV) is a sound artist and architect from Riga. Since 2002, he has been actively involved in interdisciplinary projects related to sound, space, and cultural participation. Since 2007, he has coordinated the sound art project “bernurits” and organized masterclasses, lectures, and workshops in Latvia and abroad. He is the creator of music and sound designs for films, theater productions, performances, installations, and exhibitions. His works have been created in collaboration with RIXC, Sansusī, Labadaba, Pozitivus, Arēna, Museum Night, and others.

http://punte.mozellosite.com