Electromagnetic Field 2012 is a festival for anyone interested in 3D printing, DIYBio, textiles, electronics, Internet culture, music hacking, space, lockpicking, homebrewing, computer security, robots, UAVs, mind hacking, radio, and pretty much anything else you can think of… in a field! See http://www.emfcamp.org

Talks: A 1hour presentation about a topic in science, engineering, DIY, technology, arts, or crafts. The allocated time includes Q&A, setup, and teardown.

Workshops: A 1 hour, 2 hour, or 3 hour workshop involving practices in science, engineering, DIY, technology, arts, or crafts. The allocated time includes setup and teardown.

We hope to have enough desk space and chairs for everyone, but details are yet to be determined. If you prefer to hold open-ended workshops then we encourage you to start or join a village: see below for details.

Performances: Musical performances, DJ sets, artistic performances, general evening entertainment, … We will provide a stage area in a tent and a basic PA.

Villages: Villages are dedicated camping areas for particular groups, with shared access to power and Internet. You can form a village for your local hackerspace, art form, project, or any other community. This makes it easier for people to get to know each other and encourages collaboration while at the festival, be it for cooking sessions or to
build ambitious installations.

Villages are not planned through our submissions system. Instead you can register your village here: http://wiki.emfcamp.org/wiki/Villages

You may also be interested in our mailing list and IRC channel: http://wiki.emfcamp.org/wiki/Contact

Venue Details :: EMF 2012 is a camping festival in a field. The venue is Pineham Park, near Milton Keynes in the UK.

We plan to have two event tents with an audience capacity of about 100 each, both with access to power and Internet, each with a projector, and at least one of the tents will have a PA for larger presentations.We also aim to have camp-wide wifi, and ethernet ports in key locations.

We will attempt to stream the talks and performances and publish the recordings after the event.

Budget and Travel expenses : The EMF camp is a non-profit event produced entirely by volunteers, and speakers are not paid. Unfortunately we can not subsidise your entry ticket, and we do not have a travel budget for contributors
either; due to the nature of the event we expect that everyone pays. We may be able to make a few very rare exceptions, but don’t count on it.

Dates and Deadlines: The deadline for submission is Friday 29 June 2012, 23:59 UTC. Notification of acceptance will be sent by e-mail as early as possible, but on Friday 13 July 2012 the latest.

Electromagnetic Field 2012 will be held held between Friday 31 August and Sunday 2 September 2012.

Submissions: All proposals for talks, workshops and performances must be submitted online using our submission system at http://pentabarf.emfcamp.org/submission/EMF2012. Please follow the instructions, and state if you have special requirements besides the basics mentioned there. If you have any questions regarding your
submission you can contact us at events@emfcamp.org

For more details about the event in general see our wiki at http://wiki.emfcamp.org

Please note that much of this may be subject to changes, in which case we will make corresponding announcements. To stay up do date follow @emfcamp, or have a look at our mailing list and IRC channel: http://wiki.emfcamp.org/wiki/Contact.

We are delighted to announce a new summer workshop held in collaboration between the ifs internationale filmschule köln and the School of Sound. It will take place at the ifs from 11-31 August 2012, 9:30 a.m. until 18:00 p.m.

It is especially designed for Editors, Sound Designers and Composers looking for new ways to work with each other and to improve their skills. For more information, download the application form: http://library.constantcontact.com/download/get/file/1101841735024-58/Workshop_Application_Form.pdf

Focusing on the creation of soundtracks for fiction films, The Soundtrack goes beyond the usual teaching of sound design and composition to create an awareness of how these disciplines fit within the structure of film narrative.

The workshop is a hands-on course combining practical exercises, intensive tutoring and lectures, integrating professional post-production techniques with creative theoretical concepts.

“As someone with a fairly constant stream of work and regular clients to keep happy, taking three weeks out to do the workshop wasn’t a trivial decision. But I’m so glad I did … The best thing has to be the calibre of the tutors and the fact that they are around for most of the time … It was a chance to stand back and think about what I do professionally every day in a different and bigger way.” Participant feedback from the Edinburgh workshop

THE SOUNDTRACK requires 18 participants: 6 who are skilled as sound designers/editors, 6 who edit picture, and 6 who compose music. Working in groups of three (sound designer/ editor/composer), the participants learn the benefits of collaborative post-production. We encourage applications from individuals or existing teams.

Added to our group of outstanding teachers is sound designer, Paul Davies, who will deliver a masterclass focusing on his work with artist filmmakers Lynne Ramsay (Ratcatcher, Morvern Caller, We Need To Talk About Kevin) and Steve McQueen (Hunger).

Also invited to speak is editor Monika Willi, best known for her work with Michael Haneke (The Piano Player, The White Ribbon, Amour). To be confirmed

The workshop will be held in English.

For full details about the course curriculum, tutors, fees and application procedures, download the Workshop Application Form. Or contact us at sos@schoolofsound.co.uk.

Information can also be found on our website under Workshops and Events.

Building on the success of recent sound courses, these seminars are aimed at those working in screen-based media, and offer three integrated perspectives on the use of sound and music in filmmaking.

Larry Sider, Annabelle Pangborn and Stephen Deutsch will each deliver a half-day seminar demonstrating the interrelationship between sound, music, image and story. The programme will include a discussion of strategies and concepts for working with sound and music, from pre- to post-production.

With particular relevance for directors, writers and producers as well as sound designers, editors and composers.

Read details on our Workshops page at http://www.schoolofsound.co.uk/index.htm?http://www.schoolofsound.co.uk/content/workshop.htm or go to the LFS Workshops sit

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.

“Radio signals are not, as commonly thought, a recent phenomenon. Nature has spoken through radio signals from the origins of the universe. ”

“In an age of high technology, such as now, we are surrounded by many electronic devices, which manage our day to day operations. They can be useless or useful. We are so accustomed to their presence; they are part of the environment that we see every morning on waking. ”

“Clearly we are connected in real time to everything that happens on our planet. It remains to be seen how much this may help improve our knowledge of ourselves. ”

“Nature gives us a powerful device, the radio signal, to observe what is around us. We must be careful not to forget that most of the advanced knowledge we have today about the universe comes from observations with radio telescopes, and not with the observations in an optical field. ”

“Even our planet is a radio signal source, especially at low frequencies: each of us has heard the radio crackling noises during a storm. Different natural phenomena such as auroras, earthquakes and storms create radio signals and these signals can be studied with a very simple and inexpensive device. ”

“We have lost the direct physical contact with our surroundings. We just have to think about the objects that meant the technology to our grandparents.” Renato Romero

Each form of address to the radio from nature means a knowledge of ourselves. Our relationship with this device is already 90 years old: the radio sound is our grandmother.

“AIR / EAR” is the assembly of a radio transmission in a / a space / cultural hall of a small town in rural Argentina. Over the years in my relationship with the radio, I was penetrating into the ambient sound of space around me constantly, in everyday life and transmission of these devices, like having a pair of headphones built all the time. This combination made in time I discovered the term radio art and began to investigate.

“AIR / EAR” joins two English terms related to the transmission and listening to together form a Spanish word, meaning fresh, oxygenation and giving to know one thing.

“AIR / EAR is through sound show the different ways in which the radio art grows, so by means of a call over the Internet, you are invited to participate in this event, transforming it into a sample collectively.

“AIR / EAR” arises to make known a new art form, the radio art through sound public places and means of communication.

You are invited to send audio output as follows:

1) Sound file (s) (MP3, WAV, cassette) that produced it yourself or with others. The same may include: a) sounds of a radio in a natural environment in which both soundsmerge: a radio transmission and the sounds of nature, b) soundscapes that will air the day of installation c) musical composition through sounds of nature. Duration between 5 and 15 min … you want your 15 ‘fame?!

2) Write your thoughts on the play (written on paper, email, and / or hand-written) – If it is written on paper or written by hand, please be good to spend a PDF, or mail it to me address (included below).

• The themes of the sounds and noise in other (aesthetic, emotional, religious, psychological, philosophical, sociological, historical, political, etc).

• The filtered sounds through the compositions.

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• Sounds submitted will be played from a computer, is an audio (audiogallery), so that people will have access only acoustic, do not be discouraged by the low frequency: all will be part of the sample, the receivers will be the curators themselves.

• If your recording is a cassette recorder, do know. They can be digitized.

• If you can only record on cassette tapes let me know. If submitted in time, I can record to a digital format.

• Please include your name and contact details (web address – mailing address and short biography.)

• The productions, in all cases, be transferred under Creative Commons license.

• The files are compiled as a playlist in the living room, through a streaming e-radio.

Reception:

Preferably to rmtolosa@gmail.com

By mail to:

Gobernor Cabal 2333
Rubén Marino Toulouse 2333
(3040) San Justo, Santa Fe
Argentina

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Timing:

Make sure you arrive until 1 June.

Inquiries:

Send email to rmtolosa@gmail.com

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

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.