In the third part of her series LOSTERY, composer Clara Maïda (Paris/Berlin) deals with money and gambling games. Sounds from casinos are electronically and spatially processed and linked with visual elements from poker and lotto. Abstract mechanisms draw us in and seem to ask: What is chance? Can we get control on our lives? How can we find a place in an unjust social machine, change it or escape it?
LOSTERY 3 is the 3rd part of a series related to games of money and chance (lottery, poker). The installation builds an environment that closely connects image and the 6-channel electronic music. The interlocked minimal abstract figures and filaments, projected onto a screen and painted on the triptych of paintings and various objects (“giant chips”, cards, small cubes), evoke a complex machinery, the cogwheels of a world beyond control. Clara Maïda studied music composition, classical piano and psychology. Laureate of various international awards and grants, such as the one-year DAAD-stipend in Berlin, she has been keeping up with her transversal research at the intersection of composition, psychoanalysis, Deleuze and Guattari’s philosophy, and nanosciences. She names her music a “nanomusic”.
Her research interests include: Music/Psychic Unconscious. Musical Structure//Neuronal Network. Sound Rhizomes. Elastic and Metamorphic Space/Time. Sound Body/Imaginary Body. Music/Architecture. Suburban Spaces. Sound and Noise. Urban and Machinic Sounds. Sound Hybridization/Electronics. Music/Nanophononics. https://en.claramaida.com | 
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