The Generative Art Museum (TGAM): Hello Jordi! Thank you very much for joining us today. How are you?

Poperbu: Hello! I’m doing very well, really, and I'm very happy to be here with you. It’s a pleasure to participate in this project. Thank you for inviting me!

TGAM: Let’s start with some introductions. Who is poperbu?

Poperbu: Poperbu is me, Jordi Sala. I was born in 1979 in Mataró. Currently, I am married and have two daughters, whom I consider the most important things I’ve done in life. Since I was young, I’ve been passionate about everything related to science and technology, and this has profoundly shaped my life’s path.

On one hand, my professional career has always been connected to the world of computer systems and communications. For many years now, one of my main hobbies has been experimenting with all kinds of technology in an informal and creative way. I particularly enjoy working with open technologies, both in hardware and software. This open and limitless approach has led me to develop more creative and artistic projects, where technology becomes my primary tool.

TGAM: Can you tell us about your journey into generative art?

Poperbu: For years, I have been exploring my creative side, first individually and later with the collective MobilityLab, founded by Efrain Foglia. I have created and participated in various artistic and research projects. Many of these projects were interactive art installations based on real-time data, such as intentional actions of people, physiological data, information from the natural environment, or network data, among others. In a way, these projects already incorporated elements of generative art, even though at the time we weren’t fully aware of it and didn’t work with deterministic systems.

With the arrival of the pandemic and becoming a parent with my partner Alba, I had to set these projects aside for a while. Such projects require commitment, mobility, and schedules that I decided to prioritize for my family and other personal projects.

During the free time I had, I started exploring different generative art platforms. One in particular, fx(hash), caught my attention both for its concept and the works presented there. From then on, I began to "play" with these platforms, which opened the doors to the world of generative art for me.

TGAM: What inspired you to pursue generative art as your chosen medium? Are there any specific artists or movements that have influenced your work?

Poperbu: Generative art captivated me because it allows me to continue creating with technology, explore new tools, and tackle the challenge of adapting to "technological" limits. The process of finding the balance between order and chaos in a generative art piece is a unique experience, and that hooked me from the very beginning.

In terms of visual and sonic influences, many artists have left their mark on my work. Two of the main ones are Ryoji Ikeda and Alva Noto. In the realm of generative art, artists such as Loackme, Leander Herzog, Lilcode, Milian Mori, Kim Asendorf, ertdfgcvb, and Kerim Safa, among many others, have been sources of inspiration for me.

TGAM: How did you first encounter NFTs

Poperbu: I discovered the concept of NFTs from their inception. For many years, I have been actively involved in the world of cryptocurrencies and blockchain, engaging in activities such as mining, research, and programming. When the Ethereum project emerged, I came across this new concept of NFTs.

Initially, I didn't pay much attention to art NFTs, mainly because I was used to the bubbles typical of the crypto world. However, after the first NFT boom had passed, I began to take a growing interest in the subject.

TGAM: Your projects have always emphasized audio as a crucial part of the system. Why did you choose this path?

Poperbu: I am deeply passionate about sound. Most of my previous projects have been based on sound because I believe it has a special power. Sound waves reach us without needing direct contact with the source. We not only perceive them with our ears but our entire body is capable of receiving and feeling these vibrations.

I have been working with Pure Data for about 20 years, although I have also used other tools like MAX/MSP and ChucK. I started with Pure Data after someone told me at a hackmeeting, "You can do anything with Pure Data." And indeed, that is true. Since it is a software primarily designed for audio, although you can do absolutely anything with it, I have delved deeper into the world of sound.

TGAM: Could you explain a bit more about the technical details of your audio pieces?

Poperbu: Yes, basically, the foundation of my work is in JavaScript. Typically, the graphics part is created with p5.js, and in some cases, I use Hydra. When I began exploring generative art with audio, I worked directly with the Web Audio API, which is very powerful. However, being interpreted, working in real-time was challenging, especially if I wanted to make the most of the API's capabilities.

As I mentioned, I have been working with Pure Data for years, a tool with which I feel very comfortable, especially for creating synthetic and real-time sound. So when I discovered WebPd, developed by Sebastien Piquemal, it was a significant change for me. This tool allowed me to bring sound into my works with much higher quality, without delays, and with the ability to create complex real-time synthesizations without affecting the execution of the main JavaScript script.

WebPd is a tool that converts a Pure Data patch into Web Audio. This is crucial for me because it allows me to create audio patches much more easily than with the Web Audio API. Additionally, WebPd allows for compiling these Pure Data patches into WebAssembly (wasm), a binary instruction format that runs in a virtual machine within the browser. In summary, it's an executable that the browser runs independently, so the audio part does not interfere with the interpreted script, and vice versa. Since it’s not an interpreted language, we can fully utilize Web Audio without worrying about performance.

This combination is key to creating works with synthetic sound generated in real-time and perfectly synchronizing it with the visual part, without one part negatively impacting the other.

TGAM: As someone already working in the tech industry, how does this influence your practice and the way you envision art?

Poperbu: Working in the technology industry has both advantages and disadvantages. On one hand, in terms of digital art, it greatly facilitates the technical work, allowing me to let my imagination run free. Additionally, some work habits, organization, and efficiency acquired professionally help me advance more quickly and effectively in my artistic projects.

On the other hand, there is a less positive side: unconsciously, I often tend to analyze the technical aspects of a piece first before fully enjoying its artistic and creative side. This can limit my ability to "enjoy" the art itself. Nevertheless, this is an aspect I am working on improving over time.

TGAM: “Bitxo,” the project you’re presenting at Responsive Dreams 2024, is a brilliant example of how your work has evolved over the years. It combines a raw sense of brutal technology with flashing images and rapid sounds. What was the journey that led you to create “Bitxo”? You also mention “addiction” several times while describing your piece, which is quite personal and something not many people discuss openly. Did your experience bring you to talk about it?

Poperbu: As you mentioned, "Bitxo" is the most personal work I have created so far, at least consciously. Until now, I thought my works were purely aesthetic, but I now realize that they all have a personal component when I look at them more closely. More than 10 months ago, I started treatment to recover from an addiction I’ve been struggling with for years. Accepting that you have a mental illness isn’t easy, but I believe it’s essential for recovery. This process has been very challenging and forced me to take a pause from many aspects of my life, such as work, art, and social activities.

When I started therapy, I thought about creating a piece on this topic, but I wasn’t sure how or where to begin. When Xavi suggested creating a piece for Responsive Dreams, it was a significant emotional boost for me (thank you so much!). I accepted, and from his ideas and what I already had in mind, "Bitxo" was born. The name "Bitxo" is how I refer to my illness internally.

Creating this work was completely different from my usual approach. It became part of the therapeutic process, setting a fixed schedule and working with discipline, but without obsession. It might not be the best work technically or artistically, but it reflects what I was able to achieve during these months.

The piece is a basic sequencer that generates various patterns for each sound (kicks, hi-hats, clicks, beeps, and noises). In automatic mode, the sounds subtly vary, and in interactive mode, they can be controlled via keyboard or MIDI controller. This represents various aspects of life (family, friends, work, problems, etc.), which, although cyclical, change in rhythm and speed. The reverb of each sound symbolizes the memory associated with these aspects, whether positive or negative.

A key element is the “bitxo,” which represents addiction or any mental illness. When it appears, it distorts all other aspects of life, both sonically and visually, applying various glitches to our existence.

Talking openly about mental illness is, for me, a way to accept it. This decision is very personal, but it helps me present myself transparently, not as a mere addict, but as someone with an illness, much like diabetes. I believe that speaking openly, whether about this or any other mental illness, helps raise awareness and empathy about mental health issues. This personal aspect of the work holds much more significance for me than any possible judgment that might come with it.

TGAM: Interaction is another key element of “Bitxo,” involving hardware that allows the user to engage with the piece. Can you explain the interactivity aspect of “Bitxo”?

Poperbu: When Xavi contacted me, he was clear that he wanted an interactive piece, and that seemed perfect to me. The idea of doing it with a MIDI controller excited me, so the work has two modes: automatic and interactive.

In interactive mode, the piece can be controlled via a keyboard or a MIDI controller, specifically the Korg nanoKontrol and Korg nanoKontrol 2 models. This approach reflects how I currently view my life: like a control panel with an endless array of parameters that I must continually readjust to adapt to internal and external changes.

The “bitxo” is an element that, even though it can be deactivated, often returns when you least expect it. This dynamic parallels how mental illness can unpredictably resurface, requiring you to be vigilant in managing it. This interactivity allows users to experience and manage the piece in a way that also symbolizes the constant adaptation and management involved in living with a mental illness.

Poperbu is part of TGAM's Responsive Dreams Festival 2024, the first generative art exhibition in Barcelona dedicated entirely to showcasing art created by code.

"Bitxo" will be released September 5th June at fx(hash). Holders of TGAM's brochures are elegible to mint preferentially.

The Generative Art Museum (TGAM) is a non-profit organization based in Barcelona dedicated to explore, promote, and advance the understanding and appreciation of generative art as a unique form of artistic expression.