Amori Water will play at the Listening Gallery, SFCA [isaw+subtropocs] :: studio 101, 924 Lincoln road, miami beach :: until May 1, 2013 ::

“Aomori Water is a sound collage piece made in 1998, in Aomori Japan. I was in a residency with other artists. A Japanese sculptor was making a round house and wanted a sound piece to play in it. I recorded some very gentle waves lapping the beach, for the first part. And a very small mountain stream, flowing, for the second part. I layered 8 tracks. This was the first work that I did in ProTools.” — Phill Niblock
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Listen to the Surface of Earth transposed on Vinyl Record :: FLAT EARTH SOCIETY [Art of Failure 2008-2011] ::

FLAT EARTH SOCIETY from art of failure on Vimeo.

“Can we hear the Earth? Not the sounds occurring upon it but the Earth on a geophysical scale? […] The hill-and-dale technique was used in Edison’s phonograph, recording sound with a stylus that vertically cut a minute landscape into the grooves of the cylinder. 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

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: March 12, 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

Nathalie Miebach is a Boston-based artist who translates weather data into complex sculptures and musical scores.

“Recently, I have begun translating weather data collected in cities into musical scores, which are then translated into sculptures as well as being a source for collaboration with musicians. These pieces are not only devices that map meteorological conditions of a specific time and place, but are also functional musical scores to be played by musicians. While musicians have freedom to interpret, they are asked not to change the essential relationship of the notes to ensure that what is still heard is indeed the meteorological relationship of weather data.” (Scroll down for the Call for Composers.) Continue reading

The World as Instrument: A Theoretical Workshop Taught by Francisco López :: September 5 - 9, 2011 :: Open Campus 2011, Art Media Center, Tokyo University of the Arts, Senju Campus (Adachi-ku, Tokyo) :: Fee: 24,000 yen :: Participation is limited to 30 participants ::

This workshop focuses on the theory of field recording, audio recording of environmental sound.

The World as Instrument that López has organized worldwide introduces the participants to the art of field recording through huge sonic samples and discussion. At the end of the workshop, the participants will experience the depth of the art at his blind live performance. The live performance will be held on September 10, 2011 at the Tokyo University of the Arts. Continue reading

Via wired.com: Nathalie Miebach uses data from meteorological and astronomical instruments and ecological surveys to create sculptures and music. The chosen medium for Miebach’s work is basket-weaving, because it presents a three-dimensional grid on which to plot raw numbers. The dimensions, shape and orientation of the basket also depend very much on the data. “I never know what the shape will be beforehand, which often leaves me scratching my head,” said Miebach, in an interview with the Peabody Essex Museum.

Miebach likes to collect the data herself, spending hours and days in the field trying to understand complex, dynamic relationships between different variables in an environment. The key, she says, often isn’t to examine the numbers on the instrument — it’s to observe the different things that are going on around you. Continue reading

Sound Fields :: Call for sound work about sound and the city :: Gowanus Hotel, Brooklyn, NY :: Deadline: September 1, 2010.

image: the Gowanas Canal, Brooklyn by Tod Seelie

Accepting submissions for an exhibition of sound work to take place in a massive industrial space in Brooklyn :: Sound Fields is about sound and the city, different acoustic territories and the control of them:: The exhibition will take place at the 8000 sq ft Gowanus Hotel from September 23rd to the 25th. Visit our website or contact sound.culture@yahoo.com for more information.

Constructing acoustic boundaries by listening allows us to recognize sounds and utilize them to navigate the city. This is at the core of Sound Fields: Mapping Acoustic Territories. Critical awareness of sound is an important tool for perception and the production of meaning. The exhibition will allow the participants to forge their own path through shifting landscapes of sound.
For more: http://sensoryregimes.byethost12.com/?page_id=2

Ocean Voices by Halsey Burgund and Wallace J. Nichols :: July 30, 2010; 1:00 pm + 6:00 pm :: Museum of Science, 1 Science Park, Boston.

Ocean Voices is a collaboration between Boston-area sound artist Halsey Burgund and California marine biologist Wallace J. Nichols and features spoken-voice recordings from people around the world woven into a musical score for acoustic and electronic instruments performed by Burgund and his group Aesthetic Evidence. The voices have been collected via in-person interviews, an interactive website and an iPhone application.

Initially performed on June 3 at the California Academy of Sciences in San Francisco to honor World Oceans Day and the 100th anniversary of Jacques Cousteau’s birth, this work aims to “open minds and expand awareness” about the world’s oceans. Continue reading

The American Society for Acoustic Ecology presents Listening for the Future Symposium :: July 9-11, 2010 :: Chicago, IL :: Hosted by the ASAE’s Midwest chapter and the World Listening Project this conference is the first of its kind in the United States.

Event Highlights: July 9 - ‘Citizen Sound’ symposium (5-7 p.m.) opens with a wine and cheese reception, introductions to each of the ASAE chapters, and presentations by leaders in Chicago’s cultural and advocacy scene at Columbia College, 33 E. Congress Parkway, basement lobby and room # LL11. Featured guests include Lou Mallozzi, Executive Director of Experimental Sound Studio and architect Graham Balkany of the Gropius in Chicago Coalition. A media lounge, where guests can sample CDs and peruse publications by participants, performers and ASAE members, will be open all night. Following dinner at a local eatery, we’ll be treated to a concert (8:30-10:30 p.m. - $10) featuring ASAE member composers, performers and special guests. Continue reading