Experimental Intermedia celebrates its 43rd Anniversary of performances at 224 Centre Street ::
the Forty-third Anniversary of the 224 Centre Street loft :: the 39th Anniversary of EI performances at 224 Centre Street :: and the Twenty-second Annual Festival with no fancy name, Part Two (or B) :: Wednesday, March 28, 2012 , at 9:00 p.m. :: 24 Centre Street at Grand, Third Floor, N Y 10013 :: with Koosil-ja and Geoff Matters

212 431 5127 :: 212 431 6430

Body Controlled #3: Creative Feedback :: Performances by Trio Brachiale : Alberto de Campo, Hannes Hoelzl, Dominik Hildebrand :: Friday, March 30, 2012 at 8:00 p.m. :: performance will be available from 20h CET via livestream on http://bit.ly/uXRgyq.

The third edition of the BodyControlled series presents a group of performing artists using diverse feedback procedures as a motor for their performance work. Known mostly as the result of an audio loop between a microphone and a speaker, feedback can be a powerful and dynamic creative tool in both visual and sound performances. Each of the artists in BodyControlled #3 uses feedback in a personal way (and at a different level in the processing chain) to either shape their sounds and images, or to create a – relatively – controlled dialogue between them and their instruments.

Sonorities Festival :: Net Concert :: March 22, 2012; 5:00 pm :: In São Paulo: auditório Lupe Cotrin da ECA/USP :: In Belfast: Sonic Lab at Sarc :: Streaming here.

The University of São Paulo Mobile research group in Brazil invites to an Internet concert in collaboration with the SARC (Sonic Arts Research Centre) in Northern Ireland. Two groups of artists, one in the ECA/USP in São Paulo, the other in the SARC in Belfast will be presenting five new pieces created especially for this network environment. The concert is part of a collaborative research project between the institutions and will be presented in the Sonorities Festival opening day. More information here. Continue reading

Symposium #7 :: Locus Sonus :: March 24-25, 2012 :: Nantes, France :: Internet Auditoriums: What are the new forms of listening? :: Roundtables: 9h-12h & 13h30-17h :: Ecole nationale supérieure d’architecture de nantes / amphi 250.

Roundtables with: ximena alarcón / samuel bordreuil / anne bossé / julien clauss / stéphane cousot / alejo duque / bill fontana / marcus gammel / jérôme joy / anne laforet / grégoire lauvin / anselm nehls / katrin moll / pauline oliveros / julien ottavi / anthony pecqueux / marilou polymeropoulou / alain renaud / matthieu saladin / mariateresa sartori / peter sinclair / bruno suner / kasper t. toeplitz and remote participation : Scot Gresham-Lancaster / Roger Malina / Jocelyn Robert / Atau Tanaka.

Trans-X Symposium: A Symposium About Transmission Art :: May 25-27, 2012 :: Call for Papers — Deadline March 16.

Rooted in the earliest experiments with radio, Transmission Art has continued to flourish with experiments with wireless communications technology over the past 100 years. The 21st Century is not excluded from this experimentation as artists have ventured into exploring a variety of mobile-based platforms and more lesser known forms of transmission such as VLF. The terrain of transmission art is dynamic and fluid, always open to redefinition. Continue reading

Making Noise: From Babel to the Big Bang and Beyond by Hillel Schwartz (Zone Books).

When did the “silent deeps” become cacophonous and galaxies begin to swim in a sea of cosmic noise? Why do we think that noises have colors and that colors can be loud? How loud is too loud, and says who? Attending, as ears do, to a surround of sounds at once physical and political, Hillel Schwartz listens across millennia for changes in the Western experience and understanding of noise. From the uproarious junior gods of Babylonian epics to crying infants heard over baby monitors, from doubly mythic Echo to amplifier feedback, from shouts frozen in Rabelaisian air to the squawk of loudspeakers and the static of shortwave radio, Making Noise follows “unwanted sound” on its surprisingly revealing path through terrains domestic and industrial, urban and rural, legal and religious, musical and medical, poetic and scientific. Continue reading

Sound Art. Sound as a Medium of Art with works by John Cage, La Monte Young, Rolf Julius, Timo Kahlen, Steve Roden, Carsten Nicolai, Ryoji Ikeda, Iannis Xenakis and more :: March 17, 2012 – January 6, 2013 :: Opening: March 16, 2012; 7:00 pm :: ZKM_Foyer, Lorenzstraße 19, D-76135 Karlsruhe, Germany. Continue reading

x_sound: John Cage, Nam June Paik and After :: March 9 - July 1, 2012 :: Nam June Paik Art Center, Paiknamjune-ro 10, Sanggal-dong Giheung-gu, Yongin-si Gyeonggi-do, Korea.

The year of 2012 marks the 80th anniversary of Nam June Paik’s birth and the 100th anniversary of John Cage’s birth. The exhibition includes Cage’s and Paik’s works, but also works of today’s sound artists inheriting the two frontiers’ experimentations.

The term “x_sound” has a triple meaning: a sound that is unknown(x), that is ex-panded and that ex-pels fixed ideas about sound. “Sound” itself is literally a neutral and straightforward term, but in the contemporary art’s context, it’s a complex arena of different questions and discourses. Continue reading

Oorwonde (Earwound) by Laura Maes :: until April 22, 2012 :: Usurp Art Gallery, 140 Vaughan Road, London HA1 4EB, UK.

Oorwonde is an interactive aural installation in which the visitor becomes a willing ‘patient’ to hear, feel, influence and manipulate the soundtrack of a fictitious operation. Speakers, electro-magnets, vibrator motors and piezoelectric disks entwine with the human body, creating a unique composition and performance. Based on Bernhard Leitner’s philosophy that ‘listening is understood to extend to all parts of the body and sound to touch a deep nerve’, Oorwonde explores the concept of bodily hearing as multiple elements target different body parts. Hearing is no longer restricted to the ears. Continue reading

The Global Composition: Conference on Sound, Media and the Environment :: July 25-28, 2012 :: Darmstadt/ Media Campus Dieburg (Hochschule Darmstadt), Frankfurt, Germany :: Call for Submissions — Deadline extended to March 30, 2012.

The sonic environment is an indicator for the quality of life: One crucial aspect, however, remains open and leads to a multitude of questions: Is this, what our hearing is exposed to, satisfying and enhancing our individual, social, functional, biological, economical, aesthetic and existential needs and endeavors? If not, which concepts exist to “orchestrate” everyday life’s cacophony? Which methods exist to successfully evaluate the quality of soundscapes? Continue reading