toplap.cat

/* VIU */ 2026 - Thursday - .exprange()

Posted on Mar 25, 2026

.exprange() - Thursday, April 16th @ Phonos/UPF

Where? Phonos (Sala Aranyo) - C/ Roc Boronat, 138

When? April 16h, 2026, 19:00h (beginning of concert)

Free entrance

In Sala Aranyo, we’ll show the more adventurous and ambient side of live coding!

Line-Up:

  • 19:00 - Niklas Reppel & l’Orquestra dels Gatets - Entretextures
  • 19:30 - Yago Raymond
  • 20:00 - Linalab
  • 20:30 - eerie_ear
  • 21:00 - Alina Rov & Depth Buffer

Niklas Reppel & l’Orquestra dels Gatets - Entretextures

“Entretextures” is a continuation of the “Live Scoring on a Human Scale” project. In “Live Scoring on a Human Scale”, live coding is used to code dynamic, ever changing, potentially animated scores for instrumentalists to interpret. The project takes inspiration from minimalist action scores, such as the ones by La Monte Young or Yoko Ono, the clarity & transparency of the algorithmic music of Tom Johnson, as well as live coding projects such as “Live Coding of Consequence” by Nick Collins.

Through live coding, the score itself becomes a time-based medium that demonstrates the algorithmic nature of the music as it unfolds in time. The “human scale” aspect in the project title refers to one of the main aspects of the project - creating minimalist scores that should be easy to parse and interpret by the musicians, and easy to understand even for the (potentially non-music-reading) audience.

In this instance, the focus is on exploring drones, textures, and their effect on each other, with an ensemble that consists of very textural, overtone-rich instruments.

L’Orquestra dels Gatets are:

  • Alicia Champlin - Bow Chime
  • Iván Paz - Guitar
  • Pablo Lanau - Trombone
  • Ramon Casamajó - Trumpet
  • Timothy Schmele - Shruti Box

Links:

Yago Raymond

Yago Raymond is an amateur live coder and member of the Toplap Barcelona community. Driven by a love for ambient music, he usually focuses in layering overlaid samples to create dense, evolving textures. His sound is characterised by the use of delays and reverbs, transforming raw fragments into immersive sonic landscapes.

Linalab

Linalab is a multiple singularity, a solitary sound that, held in time, becomes entangled, noise, melody, song, then silence. Lina Bautista is a musician and live coder that uses code, electronics, and instruments to build sonic worlds in real time, where the process itself is the instrument. Her practice moves between collaborative and solo sets, and is rooted in a broader community of practice as co-founder of node Toplap Barcelona.

Links:

eerie_ear

Sebastian Pappalardo/eerie_ear és un artista multidisciplinari amb seu a Rotterdam, Països Baixos. El seu treball abasta tant el disseny sonor com el visual. Crea art digital amb una àmplia paleta d’eines. El seu projecte multimèdia eerie_ear explora l’art generatiu audiovisual, utilitzant entorns de live coding per crear senyals d’àudio i vídeo a través d’un prisma de multiplicitat, retroalimentació, geometria, glitch-art i manipulació de soroll.

Motivat per contribuir a la creació d’un enfocament més holístic en el panorama artístic i tecnològic, la seva perspectiva es basa en el concepte de “sistemes de creixement”. Evita deliberadament els sistemes prescriptius i participa en una conversa apassionada i conscient amb algoritmes generatius. L’obra de Sebastian evoluciona en ritmes i intervals aleatoris, inspirats en textures, timbres i tensions presents en l’art abstracte, la composició contemporània i el disseny de so cinematogràfic. Combina funcions de sintèsi granular en tidalcycles amb dispositius MIDI, per produir sonoritats desafiadores i complexes.

En Sebastian també és cineasta, professional de la postproducció i educador, i centra la seva recerca i docència en la interacció entre els mitjans de comunicació i els entorns socioculturals, la dimensió semàntica del disseny audiovisual i la relació entre els processos audiovisuals i educatius.

Links:

Alina Rov & Depth Buffer

Alina Rov is a sound artist and composer with a background in classical music and electroacoustic composition, currently completing a Master’s in Sonology at the Royal Conservatoire in The Hague. She picked up live coding as a question rather than an answer: can a programming language be played as fluidly and intuitively as a musical instrument? Working in SuperCollider, she treats code as compositional material where structure opens into fluidity, and a system is never just a system. It carries tension, drift, the possibility of rupture. As a member of Pussy Riot, she has stood against systems that demand the kitchen stays hidden — where power performs seamlessly, and dissent is edited out. Live coding follows the same instinct: the screen shows the work in progress, the mistakes, the thinking out loud. The process is the piece.

Links: