The group premiered their activities during 9th Media Art Biennale WRO 01 in 2001 and have since then performed successfully at a number of venues and events including: Ars Electronica Festival, Linz; Transmediale, Berlin; Club transmediale, Berlin; Read_Me festival, Moscow; Piemonte Share Festival, Torino/Italy; FESTA ELETTRONICA, Rome; experimentaclub, Madrid; Festival Emergences, Paris; ENTERmultimediale Festival, Prague; STEIM, Amsterdam; Warsaw Electronic Festival; Microscopesession, Festspielhaus Hellerau, Dresden; Social Hacking, Plymouth and more. In 2006 the group has changed its name to Mikro Orchestra. More ↓↑
Level 1 > Score 0
Our generation has been dealing with computers since childhood. We have witnessed an evolution of 8 bit computers into 32 bit ones. Computer technology has grew with us. We would play computer games in free time.
Level 2 > Score 67
One of the factors of Gameboyzz Orchestra Project creation was irony aimed at contemporary electronic scene, where musicians vie with technological progress (better and better hardware, more and more complex software). We decided to make a decisive move, i. e. we have imposed to ourselves some restrictions through creating sound with use of GameBoy console.
Level 3 > Score 174
From the very beginning of working on Gameboyzz Orchestra Project we have been trying to work out our own sound. Of course, we deal with pastiche and some borrowings (samples from games), but this is not our main aim. It is rather creating living sound, improvisation and game. Nostalgy connected with old games only showed us the way and indicated which medium for sound creation we should choose. Of course, we are not orthodox. We are also active in other music projects exploring different fields of electronic music.
Level 4 > Score 251
We use elements from archives and current pop culture, what in relation to peculiar choreography of our concerts (no move at all) create a kind of an anti—performance, commenting quasi avant—garde attempts to place electronic music on the stage next to the spectacular concerts of pop stars. We are also inspired by the aesthetic of 8 bit computers and old school games. Kitschy setting of our performances is purposeful, however it would be a mistake to perceive it as a mean of any ideology.
Level 5 > Score 287
From a musician’s point of view, a GameBoy device is a kind of simple analogue synthesiser, with a raw and at the same time interesting retro—sound. While connected with a suitable software, it can be used as drum machine or groovebox. Console’s interface is rather poor (few buttons only), so sound structures created by us must be rather simple, too. This is also the reason for having 6 players — the more players more complex sound environment. In the context of music, the untypical interface of GameBoy console helps us achieve intriguing results.
Level 6 > Your score 367
Source: Catalogue, 10th Media Art Biennale WRO 03 Globalica, 2003
„The retro—techno and microsound music styles have reached the level of popularity where their lo—tech aesthetics are being uncreatively chewed over by the entertainment industry: shallow commercial stylization is more important than the exploration of old and new creative areas. GBZZ are interested in bringing life back to the existing junkyard technologies and repositioning them in the contemporary context rather than in corporate practices of marketing specialists and bored curators. The co—existence of obsolete and modern technologies is also possible without pretending — especially if we remember that the IT industry, contrary to its advertisements, is all about continuation and evolution. Whether a given technology is modern or not, it is determined also by the ways it is used.”
Source: Catalogue, 11th Media Art Biennale WRO 05, 2005
Place and date of documentation: 10th Media Art Biennale WRO 03 Globalica, Wrocław 2003, and 11th Media Art Biennale WRO 05, Wrocław 2005