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Radio_Copernicus Archives at Media Library/ZKM Karlsruhe

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Radio Station gets a new Home

Radio_Copernicus Archives at Media Library/ZKM Karlsruhe: Starting on April 28th 2006, the audio archives from Radio_Copernicus, the independent and mobile German-Polish Artists Radio Station will be accessible to the public as a permanent exhibit in ZKM/Center for Art and Media Karlsruhe. Nearly the entire program that ran on air for almost six months from July until December 2005 in Polish, German and English can now be selected and heard at the Media Library at ZKM Karlsruhe. Not only is it possible to research artists, program content, background information, time slots and dates on site, but also on the internet (under www.radio-c.zkm.de). The visitors of the ZKM can lean back comfortably in the listening-chairs (by Dieter Mankau for documenta 8)at the ZKM Media Library and listen to the numerous artist’s talks, readings, soundscapes, interviews, live-sessions as well as the 27 commissioned works of the artists radio station.
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Apr 28, 2006
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BreadboardBand

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Electronic Improvisational Music Performance with DIY wiring

The Breadboard Band is a performing band that uses breadboards made of freely constructed electronic circuits to play music. We produce audio and visual expression through the most minimal, fundamental elements in the form of showing the electronic components of an instrument while directly touching and forming the electronic circuit by hand. The electric signals released from hand-made electronic circuits releases extremely rough and ferocious wave patterns. This performance is based on improvisational interplay, and we pull powerful music into shape through each member’s operation, while discovering new sounds by hand.

Keywords: Breadboard, Improvisation, Electronic Musical Instruments, On-the-fly Wiring, Bending, Techno-Noise, iPod, Discrete, Musical Performance, Programmable Device
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Apr 25, 2006
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Seeing Sound

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Abstronics: Mary Ellen Bute

Mary Ellen Bute has cropped up at Dataisnature before whilst talking about methods for visually representing sound – but in that instant, only a mention. Although hardly know today, her pioneering, highly experimental films were watched by millions at the time, as they were played as ‘shorts’ preceding the main features film in theatres showing across the States.

After studying Lighting, she mixed with the likes of Leo Theremin and Thomas Wilfred, whose Colour Organ, the Clavilux, definitely left an impression on her.

Later on, impressed by the mathematical musical systems of Joseph Schillinger, which she incorporated into her methodologies, she began to make abstract-geometric animations that represented music. Undoubtedly she was influenced by the great musical animations of Oskar Fischinger. From 1939 she began to work in colour, employing the used of oscilloscopes; using this technique she made two fairly well know films, Abstronic and Mood Contrasts.
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Apr 25, 2006
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Pierre Proske’S

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Voiceprints

An Australian digital artist is using his voice to design textiles. Pierre Proske has developed computer software that translates different frequencies in someone’s voice into spiral patterns, producing what he calls ‘voiceprints’. Proske developed the software while doing his masters in art and technology at Sweden’s IT University of Göteborg.

He’s used the software to design a pattern inspired by elements of Japanese textiles, a design that appeals to him because of its simple repeated elements. “Computer code is very simple and minimalistic, you have these ones and zeros, so I thought it would be good to choose a very minimalistic textile as well.”
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Apr 25, 2006
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Quoth

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NetJamming with Ominiscient Interpreter

Quoth is a dynamic interactive fiction system, in which authoring is done from a player’s perspective, from within the running work. Quoth draws upon the concepts of pervasive anthropomorphisation, executable natural language, and revisionist narrative. The major use of Quoth so far has been for musical livecoding.

In traditional interactive fiction, the player speaks to an ominiscient interpreter. There may be dialogue with “non-player characters”, but it is mediated by the interpreter. In Quoth the player is always speaking directly to some item in the universe. The traditional omniscient interpreter is represented by the universe itself. This allows for each item in the universe to have a different vocabulary, or even a different “interpreter” altogether. It also provides the player with more fluid interaction with each item…


Apr 25, 2006
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Cobi van Tonder

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Skateboard music interface

Cobi van Tonder, author of the brilliant Ephemeral Gumboots, has been commissioned a new work for ISEA2006. The project, Skatesonic, uses the motions and sounds of skateboards and explores their inherent ambient rhythm to create music. In a way, each move translates to musical parameters and the rider ends up skating through a landscape of music (which s/he influences over time).

Skatesonic will work in both solo and group situation. The system “listens” to space through movement, which it maps out and translates into music. Each of the four boards will map to a unique sound and structural parameters, so if there are 4 riders they will be able to jam like a band. For example, Skatesonic will allow skaters to buffer through a sound file in Max, meaning that as they rolls over a certain distance it is as if they have a record needle under the board, and every inch of movement progresses the sound. The live microphone input also reveals information about the texture of surface under the board and intensity of movement. From an interview with the artist by Sylvie Parent. [blogged by Regine on we-make-money-not-art] Related project: Musique Concrete by Simon Morris.


Apr 24, 2006
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Interviews

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Robin Meier, Ali Momeni and the sound of insects

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What is this?

Networked_Music_Review (NMR) is a research blog that focuses on emerging networked musical explorations.

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NMR Commissions

NMR commissioned the following artists to create new sound art works. More...
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