How can a ‘systematic misjudgement’ sound? And what aesthetic interaction is triggered by it? Although the compositions of Greek sound artist Artemi-Maria Gioti are always related and linked to computer science and neuroscientific studies, they never give way to a sensual and intuitive quality. For example, when machines learn to react to human musicians via AI, the (sometimes) complex experimental set-up quickly becomes a musical dialogue that can hardly be distinguished from conventional improvisational duets. It is precisely at this interface that Artemi-Maria Gioti’s composition BIAS II is set. The piece is interpreted by the Herne-based artist Eckard Koltermann in interaction with Gioti’s interactive music system on the bass clarinet.  

Artemi-Maria Gioti is a a graduate (and PhD candidate) of the computer music programme at the Graz University of Music and Performing Arts. One of the core questions of her artistic-scientific work is the extent to which the use of techniques ranging from machine learning to other programming-, algorithm- or AI-based technical implementations (music robotics) is changing our understanding of music and authorship.  

Eckard Koltermann studied bass clarinet with Harry Sparnaay in Amsterdam, among other places. As a composer, arranger and musician, Koltermann has been part of various large ensembles in Germany, the Netherlands and Switzerland and was musical director at the Schlosstheater Moers.