Interactivity and the Audio Arts :: Call for submissions :: a one-day Conference at the University of Kent, UK :: Wednesday June 9, 2010 :: Keynote speaker: Francois Pachet, Sony CSL-Paris ::

In our contemporary age, computer technologies play an ever-increasing role in our lives. These technologies bring with them new concerns and ideas, causing us to adjust our frames of reference and re-evaluate old thoughts and practices. This event will explore human-computer interaction, machine learning, environments and interfaces, performance and programming issues, aesthetics and user-experience.

Papers are invited from musicians, audio artists, sound designers, theorists and thinkers who investigate the subject of interactivity in its various manifestations. Continue reading

Turbulence.org Presents Two World-Premiers at Issue Project Room: The Occupants by Stephan Moore + Moments of Inertia by R. Luke Dubois, with Todd Reynolds :: April 9, 2010; 8:00 pm :: Issue Project Room, At the Old American Can Factory, 232 3rd Street, 3rd Floor, Brooklyn, NY :: Admission: $10 — Tickets.

The Occupants — by Stephan Moore — is a generative composition with some aspects that can be influenced through single- or multi-user interaction. Moore has used the piece to search for answers to both profound and insipid questions, such as: What does it mean to compose a “site-specific” composition when the site is the internet? Can a generative algorithm be imparted with a sense of long-term form that is also not pre-determined? How successfully can humans be programmed to be good collaborators with software algorithms, towards the latters’ goals? Continue reading

[photo courtesy of Ars Electronica, Linz] Pamela Z solo concert :: March 30, 2010; 8:00 pm :: The Stone, Avenue C and 2nd Street, New York City .

Pamela Z performs a concert of short solo works for voice and electronics as part of the “Word + Music” series curated by Larry Ochs. The concert will consist of a selection of works involving language, including some excerpts from her work “Parts of Speech”, some new pieces, and a few tape pieces.

Pamela Z is a San Francisco-based composer/performer and audio artist who works primarily with voice, live electronic processing, and sampling technology. She creates solo works combining experimental extended vocal techniques, operatic bel canto, found objects, text, digital processing, and MIDI controllers that allow her to manipulate sound with physical gestures. Continue reading

SuperCollider Symposium 2010 Call for Works / Performances / Installations :: September 23-26, 2010 :: venues in Berlin :: Deadline: April 26, 2010.

We are inviting proposals for works / installations in several categories for different venues. We are looking for a very broad spectrum of works, which may range from pieces for wave field synthesis, tape pieces, acoustic instruments with live electronics, live coding performances or laptop orchestra works, club performances, and sound or audiovisual installations.

The call is open to all composers, performers and artists regardless of nationality and age.

A prerequisite is the utilization of SuperCollider in your submitted work. Continue reading

Demo – Exhibiting and Demonstrating Interactive Media:: a symposium with Peter Lunenfeld on :: April, 6, 2010; 6:00 – 8:00 p.m. :: Ecole Nationale Supérieure des Arts Décoratifs , 31, rue d’Ulm, 75005 Paris (France) :: reservations.

The conference is programmed for the Printemps des Sciences humaines et sociales of the Maison européenne des sciences de l’homme et de la société de Lille (MESHS), in conjunction with the research project Praticables* and in partnership with EnsadLab, a research laboratory of the École Nationale Supérieure des Arts Décoratifs (Paris – France) and Le Fresnoy, Studio national des arts contemporains (Tourcoing- France).

Engineers are used to creating demonstrators to present, test and improve their products. Artists, on the other hand, rely on exhibitions to present their work. Scientists consider this model of the fine arts exhibition as unfit for their purposes. Continue reading

Coincidence Engines by [The User]: The first two works in the Coincidence Engines series are subtitled One: Universal People’s Republic Time, and Two: Approximate demarcator of constellations in other cosmos. These two installations approach the idea of “co-incident” events from complementary perspectives. Coincidence Engine One (watch) assembles a large number of unsynchronized clocks whose combined ticking sounds produce an unusual and intriguingly organic sonic environment. Coincidence Engine Two (watch) develops a sophisticated synchronization control and amplification system around a group of specially-modified clocks that enables the artists to articulate audio-visual compositions by programming and sequencing the clocks’ ticking behaviour.

The notion of concrete sound, and the specificity of the listener’s relationship to sound sources in space are central to [The User]’s approach. Continue reading

Boston Motion Graphics Festival 2010 :: New Motion + New Sound + New Code :: April 1, 2010 through April 5, 2010 :: All Around the City ::

The Motion Graphics Festival launches its 2010 tour by returning to Boston from April 1st to 5th. MGFest will bring a new wave of artists and technologists to awaken those sleeping synapses. Witness and participate in a convergence of motion, sound and interactivity, embrace new ideas, celebrate the inquisitive spirit, and at evening’s approach, dance.

MGFest stands as the premier creative conference for motion design, visual effects, sound design and interface technology, presenting a wide array of events including: art showcases, workshops, panel discussions, studio tours, theater screenings, industry mixers and audio visual showcases. Continue reading

2010 William Schuman Award Concert honoring Pauline Oliveros :: Saturday, March 27, 2010, 8:00 p.m. – 11:00 p.m. :: Miller Theatre at Columbia University, NYC :: located north of the Main Campus Gate at 116th St. & Broadway on the ground floor of Dodge Hall:: An all-star lineup plays a multifaceted program showcasing Oliveros’ stylistic evolution :: Tickets: $25; Students with ID: $15

Pauline Oliveros is an eternal innovator whose work has deeply influenced the evolution of many strains of contemporary classical music, from electronic to improvisation. I am particularly thrilled to be able to acknowledge her contributions to the field with the Schuman Award and to note that she is its first female recipient. -Carol Becker, dean of the Columbia University School of the Arts
Continue reading

New York City Electroacoustic Music Festival :: March 25, 2010 to March 27, 2010 :: at CUNY Graduate Center (365 5th Ave), Galapagos Art Space (16 Main St., Brooklyn), Issue Project Room (232 3rd St., Brooklyn) :: All events at the Graduate Center are free and open to the public. Shows at Galapagos and Issue Project Room are $10-15/person ::

The second New York City Electroacoustic Music Festival presents composers, performers, and media artists from the US and abroad in three days of experimental sound art and multimedia. NYCEMF will showcase over 120 new works and installations, demonstrating the fascinating and wide range of artistic invention that occurs when musicians work with computers, electronics, and new media.

Festival Concert Schedule (http://www.nycemf.org/schedule/
Galapagos Arts Space show – a marathon evening of works 3/25 7:15 – midnight! (http://www.galapagosartspace.com/)
Issue Project Room show (http://issueprojectroom.org/) Continue reading

The Anarchy of Silence – John Cage :: until May 30, 2010 :: Henie Onstad Art Centre, 1311 Høvikodden, Norway.

John Cage (1912-1992) defined a radical practice of “experimental” composition that not only changed the course of modern music and dance but defined a new conceptual horizon for artistic practice in the late-20th century. Illuminating the relevance of Cage’s contribution to contemporary art, Henie Onstad Art Centre presents the most extensive exhibition to be devoted to the artist since his death, and the first to focus on the historicization of the composer’s oeuvre and its impact.

The Anarchy of Silence – John Cage tracks systematically the critical developments in Cage’s career: from his work with percussion (1930s), to the prepared piano (1940s), to chance and indeterminacy (1950s), to new media (1960s onward), through to the political focus that ever more explicitly informed the work in the last decades of his life. Cage ushered in formal, structural, temporal, and media innovations that now form cornerstones of contemporary consciousness. Continue reading