PROCESS Festival Berlin :: Call for Proposals — Deadline: January 2, 2010.

PROCESS Festival Berlin is now accepting proposals for performances and new-media work, to be shown at our 2 day festival in mid-March 2010. The Festival seeks to highlight new and compelling work in the field of generative or process music - focusing on sound pieces which are inspired by or emulate algorithms, biology, or other defined systems.

From scores generated from nature (Mamoru Fujieda’s “Patterns of Plants”) or mathematics (John Cage’s “Sonatas and Interludes”), to interactives which allow users to create music (Brian Eno’s Bloom for iPhone) or a system as simple as 2 tape recorders (”It’s Gonna Rain” by Steve Reich), this space has enjoyed a compelling history. Continue reading

Upgrade! Warsaw: Paweł Janicki :: November 3, 2009; 6:00 pm :: 2.0 Gallery, The Academy of Music, 58/60 Krakowskie Przedmieście, Warsaw, Poland.

Paweł Janicki (1974) is an independent media artist and producer working in the field of media art, microsound aesthetics and algorithmic composition, is a creator of audiovisual interactive systems, installations and performances. He creates and continuously develops software tools and interfaces. Special place in his activity takes developing software according to his own projects – and broadly – creating his own media either sabotaging already existing solutions. Continue reading

[image: Leafcutter John]

Transfer — an evening of beautiful experiments in music from humans and computers as part of the knowledge futures conference :: microfolk, brainjazz, robotic theramin cabaret and livecoding :: October 16, 2009; 7:00 - 10:00 pm :: Goldsmiths Great Hall, New Cross, London.

Featuring: Leafcutter John :: Leafcutter John’s experimental approach to music, including handmade synthesis algorithms, contact microphones and handmade interfaces like his “electric breasts” beloved him to a crowd more used to industrial techno through his chaotic Planet Mu releases. Continue reading

Read | Write Storage in Collaborative Networked Art by Jason Freeman — in Networked: a (networked_book) about (networked_art):

ABSTRACT: This chapter explores the role of storage in media art and, more specifically, its role in collaborative creativity within the field of networked music. Through a series of paired analyses of works that differentially emphasize transmission and storage or which employ different approaches to storage, the chapter discusses different opportunities, challenges, and issues related to storage in collaborative, networked art. Music by the Rova Saxophone Quartet and by Nick Collins frames a discussion of composition and improvisation; two works by The Hub initiate an analysis of the influence of technology on network design and on collaborative models of shared material and shared control; broadcast works by Max Neuhaus introduce the concept of active storage systems; the online sites WebDrum and Jamglue raise questions about network latency and the persistency of storage; and Bicycle Built for 2,000 and Graph Theory manipulate the level of awareness of storage mechanisms by various participants.

UPIC is a computerised musical composition tool, devised by the composer Iannis Xenakis. It was developed at the Centre d’Etudes de Mathématique et Automatique Musicales (CEMAMu) in Paris, and was completed in 1977. The name is an acronym of Unité Polyagogique Informatique du CEMAMu. Xenakis used it on his subsequent piece Mycènes Alpha (1978), and it has been used by composers such as Jean-Claude Risset (on Saxatile (1992)), Takehito Shimazu (Illusions in Desolate Fields (1994)), and Curtis Roads.

Physically, the UPIC is a digitising tablet linked to a computer, which has a vector display. Its functionality is similar to that of the later Fairlight CMI, in that the user draws waveforms and volume envelopes on the tablet, which are rendered by the computer. Once the waveforms have been stored, the user can compose with them by drawing “compositions” on the tablet, with the X-axis representing cumulative duration, and the Y-axis representing pitch. Continue reading

IEEE International SocialCom-09 Conference :: August 29, 2009 :: Vancouver, Canada :: Social Behavior in Music: Final Call for Papers — Deadline: May 17, 2009.

Music making and listening are a clear example of human activities that are above all interactive and social. On the one hand, however, nowadays mediated music making and listening is usually still a passive, non-interactive, non-context sensitive, and non-social experience. The current electronic technologies have not yet been able to support and promote these essential aspects. Continue reading

SONIC ARTS @ GASP proudly presents: SuperCollider Concert and Workshop :: Workshop: with Ron Kuivila — April 5, 2009; 12:00 - 5:00 pm :: Concert: Dan St. Clair, Andrew Greenwald, Ben Klein, Ron Kuivila, Ivan Naranjoriva, Marcelo Rilla — April 5, 2009; 6:30 pm :: 362-4 Boylston St., Brookline, MA.

Workshop: A friendly introduction to SuperCollider for absolute beginners, aimed at artists and musicians. Aside from a little familiarity with the digital arts, no prerequisites, though some prior exposure to computer music (perhaps through Max/MSP or Csound) may be helpful. The supported platform will be Mac OSX. SuperCollider is a free, cross-platform environment and programming language for real-time audio synthesis and algorithmic composition. The GASP event is a prequel to the Third International SuperCollider Symposium which will run from April 9 to 11 at Wesleyan University, Middletown Connecticut. Continue reading

LIVE sound & image :: July 18, 2008; 8:00 pm :: East Coast Aliens Salon, 216 Franklin Street, Greenpoint, Brooklyn, NY.

An evening of innovative approaches to sound and image, featuring three duos that each take distinctive approaches with roots in past practices. DRAW creates immersive live sets of video and sound collage, LoVid links sound and image synthesis, and Cinemage draws on Chris Marker’s La Jetée as inspiration. With a live set by Amsterdam based turntablist dj sniff and Keir Neuringer. Continue reading

CARL STONE :: HAN BAT INSTALLATION :: C-Square Gallery, Chukyo University :: 101-2 Yagoto Honmachi Showa-ku :: NAGOYA JP :: June 30 at 6:30 pm.

HAN BAT is a multi-channel sound installation work by Carl Stone that builds from slow juxtapositions of various acoustic dimensions and spatializations that were enregistered using a special 8-channel portable recording system, The Octaphone, in 2007 and 2008. The Octaphone was developed by Carl Stone in collaboration with Professor Oizumi Kazufumi, of Chukyo University, and features 8 separate microphone capsules connected to two four-channel recorders, mounted on a specially designed transport bar that is light and small enough for portability. Continue reading

April ReSiDeNt Show: New Works, New Instruments, New Artists :: Featuring new works by Dafna Naphtali, Andrew Schneider and Simon Morris :: at LEMURplex, 461 3rd Avenue, Brooklyn, between 9th & 10th Streets :: Friday, May 2nd :: 8 pm - 11 pm :: $5 at the door

Dafna Naphtali is a sound-artist and improviser-composer from an eclectic musical background. As singer/guitarist/electronic-musician she performs and composes using custom sound processing of voice and other instruments. Besides her composing and improvised projects, she co-leads the digital chamber punk ensemble What is it Like to be a Bat? with Kitty Brazelton (http://www.whatbat.org) and has collaborated/performed with Lukas Ligeti, David First, Joshua Fried, Continue reading