The idea of a completely original piece of music is fairly recent. Music was passed on through sound, through generations, even for centuries after the invention of written music. Only in the 14th century did it become standard practice for a composer to sign his name to a piece of music and claim it entirely as his own, giving rise to the cult of the individual composer. But as recording supplanted sheet music in the 20th century, the presence of communal influence became unavoidably obvious once again as composers began to use recordings to make new recordings. We can now hear the presence of more than one voice. And there is a reason why people don’t say they listen to a record – they say that they play a record. From the beginning, recordings have been instruments.

*VARIATIONS #1. Transition*
Podcast: http://bit.ly/KV8gXc
Transcript: http://bit.ly/ggLzop

*VARIATIONS #2. The Globe
*Podcast: http://bit.ly/IIa07h
Transcript: http://bit.ly/eca9yd

*VARIATIONS #3. The Approach
*Podcast: http://bit.ly/IY5C7G
Transcript: http://bit.ly/INIiEF

*VARIATIONS #4. The Explosion
*Podcast: http://bit.ly/J2S7F0
Transcript: http://bit.ly/KM3Zvm

*VARIATIONS #5. The Discipline
*Podcast: http://bit.ly/JiPAX8
Transcript: http://bit.ly/J50Q30

*VARIATIONS #6. The Library
*Podcast: http://bit.ly/JlxK1Q
Transcript: http://bit.ly/J50WHM

Episode #7 coming soon!
Follow us at http://twitter.com/Radio_Web_MACBA

Turbulence.org is the oldest and most consistent net art commissions site in the world. Now celebrating 16 years it has commissioned, exhibited and archived over 200 works. We are also in the process of archiving the collection at the Rose Goldsen Archive of New Media Art, Cornell University, Ithaca, New York. You can read about the project in Virtueel Platform Research: Archiving the Digital by Annet Dekker and Rachel Somers-Miles.

To sign up, please go here: http://bit.ly/arttechsignup. For more details on the event, please visit: http://entrepreneurship.mit.edu/arttechnow

nonlinearity I from macumbista on Vimeo.

Discover the hidden sonic qualities of objects from our everyday world in this workshop, combining the arts of electronics, noise, sculpture and collage. The basic elements of this workshop are a wooden box, a speaker, a small audio amplifier, and a contact microphone. To this, brave box-builders will add their own found objects, graphics, images, memories and ideas to create a unique electroacoustic cabinet of curiosities.

No previous electronics experience is necessary for this workshop. Each participant is required to bring several items to the workshop, please see below.

Timetable:

Day One: Introduction to simple noise/electroacoustic electronics, circuit soldering.
Day Two: Box-building, decoration and collage, experimentation with found objects as sound sources.
Final Presentation: All participants will present their finished soundboxes to the public at the end of the second day!

What To Bring:

Holzer will provide most of the tools and materials necessary for constructing the box, however there are a few things you should bring yourself:

1) A Box: This should be made of thin wood or very strong cardboard. Plastic can be also used, but it doesn’’t sound very good. And please, no metal! It is too difficult to cut and drill with the tools we will have. This box should be a minimum of 10×10x4cm, or bigger if you want to use a larger speaker or have more room to decorate and add objects. Cigar boxes, small suitcases, instrument cases or jewelry/silverware boxes are all good things to look for. At least one side of the box should be no more than 5mm thick, to allow the hardware to be mounted.

2) A Speaker (optional): I will have a selection of speakers for participants to use. However, if you have something special please bring it along, but please make sure it fits in the box you have chosen!

3) Found Objects: Please bring as many found objects as you can to decorate your soundbox or use as a sound source via the contact microphone. Bones, shells, small sticks, bells, strings, wires, springs (especially!) or anything else made out of solid yet resonant material make great sound sources. Photographs, cloth, leather, paper or any other kind of material can be useful for covering the box and making collages. Paint, markers and pens may also be useful.

4) Effects Pedals (optional): Any kind of battery-powered effects pedals, such as distortions, filters or delays, can be very useful in creating more nonlinearities in the feedback loop.

Further Info:
You can see videos and photos from previous SoundBoxes workshops here:

http://macumbista.net/?page_id=1897

Or use the “soundboxes” tag to see all posts related to SoundBoxes: http://macumbista.net/?tag=soundboxes

About the Instructor:
Derek Holzer (1972) is an American sound artist based in Berlin, whose current interests include DIY analog electronics, sound art, field recording and the meeting points of electroacoustic, noise, improv and extreme music. He has played live experimental sound, as well as taught workshops in noise art technology, across Europe, North America, Brazil and New Zealand.

BASIC INFO:

Fee: EUR 35 (participation) + EUR 10 (materials) Registration is
required and can be done by sending an email to info@nkprojekt.de with
the subject line “SoundBoxes”

Number of Participants: Minimum 6/Maximum 14

Location: NK Projekt
Elsenstr. 52 2HH 2Etage
12059 Berlin
+49(0)17620626386

Here’s an exploration of Atticus Adams’ “Cloud Portal” set to “Spinning Steel” from Weis’ CD “Excitable Audible.”
Sound artist R. Weis created his new Excitable Audible CD over a period of more than two years– from 2009 to 2011– using recordings of many commonplace sounds found in his home. Weis recorded plastic lids spinning in his kitchen, dishes rattling, his dog’s ball bouncing and squeak toy squeaking, and his own improvised vocals —five-tone and eight-tone lyrical phrases he then manipulated into interlocking and intertwining sound compositions.

Read more: http://technorati.com/entertainment/music/article/sound-artist-r-weis-makes-music/#ixzz1u0jDOhLi

Radius will broadcast “dear friends who have died are all talking to me tonight / all at once”. As a site-specific, spectator-less, solo performance, “dear friends who have died are all talking to me tonight / all at once” re-constructs and re-imagines personal and public memory through the medium of transmission, as an appropriate framework for uncertain, shifting structural and social realities.

Small clusters of radio receivers, constantly shifted around the space, pick up the signal from a stationary mini FM transmitter. These receivers also engage with each other, chattering and heterodyning, becoming analogous to groups of people talking, and the social space of a gallery opening. Such chatter interjects the night airwaves of Dunedin, full of noise, clashing frequencies, and etheric vocal infiltrations, into what is usually perceived as the bounded space, silence and temporal amnesia of the ‘white cube’.

Radius will transmit “dear friends who have died are all talking to me tonight” all at once on April 28 & 29 at 12am CST.

The exhibition features an international and local roster of artists and organizations whose work celebrates the interdisciplinary nature of Transmission Arts and is made manifest in video, sound, radio, installation, performance, and work-on-paper.

In A Noospheric Atlas of New York, Brett Ian Balogh (Chicago, IL) maps the hertzian space created by the New York’s mass media broadcast stations. This space is not definable in the traditional terms of the surveyed boundaries of state territories, but rather by electrical field strengths and consumer markets. Geospatial data provided by the Federal Communications Commission is rendered as translucent shapes whose color is determined by the type of service (AM/FM/TV).

With RELAY, Max Goldfarb (Hudson, NY) presents a grouping of Ambulant Transceivers, a series of handmade radio transceivers constructed from reconstituted radio-electronic components, housed inside vintage first-aid tins. The adjacent video, Locations:Relay, represents an equally hand-made security system in the form of a community-watch perimeter check. The localized security network is cobbled together by many collaborating members of an unspecified village: each voice transmission attached to aerial imagery of the territory.

Sam Sebren (Athens, NY) presents 9/11-QVC, an off-air single-channel video work. On the 10th Anniversary of the September 11 attacks in New York City, Sebren videotaped himself toggling his television dial between news coverage in memorial of the attacks and a home shopping network’s regularly scheduled programming. Here Sebren “performs” with a palette of commercial television broadcast re-presenting these transmissions in a critical and reflective light.

Fill, by Maria Papadomanolaki (New York, NY) is an interactive sound installation using low-power radio transmission. To experience Fill, attendees will borrow a small radio transceiver and move about the space. Papadomanolaki’s microcast is designed to highlight the physical properties of her site-specific transmission. Gallery goers will observe distinct changes in what they hear based on their position and movement in the GCCA exhibition space.

Phillip Stearns (Brooklyn, NY) presents his work Deluge, a sound and light installation that depicts the white noise of unoccupied radio frequencies as a showering rain of light. As digital technologies become more adept at reducing interference and noise through omission and censorship, we are quickly losing touch with unmediated white noise, that static hush in between the stations, and playground for the imagination. Many antenna like structures, LED strands are clustered together, each representing the activity of the broadband white noise being picked up by simple transistor receivers. From these discrete elements, a cloud of lights is formed, filling the space with a form activated by the absence of pre-determined content. The sculpture plays on the poetics hidden within the language of both analog and digital electronics.

Presented as listening stations, Transmittal also includes special selections from two recent international radio art exhibitions: Radio Arts Space by radioCona (Ljubljana, Slovenia), and Radio Boredcast co-commissioned by AV Festival 12 and Pixel Palace, hosted by basic.fm (Newcastle, UK). In conjunction with the Transmittal exhibtion, Radio Arts Space programs will also be presented on WGXC 90.7-FM on seven consecutive nights at 1:00 a.m. April 29 - May 5, 2012.

SLorktastic Chamber Music 2012 presents all new works for electronic chamber music, by members of the SLOrk ensemble and seminar. You are cordially invited to join them in exploring new sonic spaces + musical places with instruments and performances crafted for humans, laptops, iPads, and hemispherical speaker arrays.

For more details, visit: http://slork.stanford.edu/events/2012/slorktastic/

“…it’s just plain cool to watch. Highly recommended.” - Jeremy Barker (Culturebot)

Over two nights, MAY 4 and 5 ROULETTE will present two radically different aspects of Toni Dove’s Spectropia. A sci-fi hybrid with themes of time travel, telepathy, and elements of film noir, Spectropia features live VJs orchestrating onscreen characters through a mix of film, performance, and a system of motion sensing that serves as a cinematic instrument. For more information on Spectropia, visit http://tonidove.com/blog.

Friday, May 4: Roulette presents Toni Dove’s Spectropia, a feature-length live-mix cinema event—a scratchable movie performed by Toni Dove and R. Luke DuBois, artist and project software designer. You’ll see the full feature film in all its crazy complexity—It’s a thrilling cinematic happening. Buy Tickets.

Saturday, May 5: Elliott Sharp composer and multi-instrumentalist, presents his “Spectropia Suite” with The ‘31 Band: Anthony Coleman, Curtis Fowlkes, Nate Wooley, Art baron, Steve Sewell, Briggan Kraus, David Hofstra, and Don McKenzie. Barbara Sukowa, guest vocalist, sings the Spectropia song “This Time, That Place.” Toni Dove and R. Luke DuBois craft live video improvisations: a silent movie to accompany the score.

Come and see us over two nights! They wll be very different and we think you’ll like them both!

“I am sharing this project at an early stage of its development because I hope you might be interested in supporting the work. I am aiming to raise an amount by May 30th to cover artist fees and tools necessary to complete the project. If you can support this project with a donation, in any capacity, together we can make this idea a reality! Sharing the project with others and sending me your thoughts are also very valuable ways to show your support.”

Want to learn more? Click here:
http://www.usaprojects.org/project/videocello_an_interactive_video_improvisation_for_electric_cello_and_computer