Slow Electronics hosted by Jake Elliot & jonCates :: June 6, 2010; 6:00 – 7:00 pm (EST) and every Sunday/Monday (Sundays: 2-4PM (US Pacific); 4-6PM (US Central); 6-7PM (US Eastern); Mondays: 10PM-12AM (UK/GMT); 11AM-1PM (NZ)) :: On transatlantic nets to connect Chicago .US, Linz .AT & internets radio via http://glitch.fm from 4PM – 6PM CST (Chicago .US) AKA 11PM CEST (Linz .AT)

“A weekly broadcast of Slow Electronics – measured sounds in active inversion of misogynist+fascist Power Electronics. The grind of disused VHS decks, turntables at -500%, low-power high-impact wall-of-drone solutions.” … listen to the slow streams within streams of recursive machines inna feedbacked whirld we live in live every Sundaze: glitch.fm_v2.

Southbridge is the label for the musical genre of Slow Electronics. We are concerned with decoding and resisting crypto-fascist patriarchal Power Electronics. Continue reading

Sound & Television: Transmission Art Series :: Six Tuesday evenings; April 27 – June 15, 2010; 9:30 – 10:00 pm (see schedule below) :: on “i mellemtiden” (“meanwhile”), tv-tv, Copenhagen.

From glitches and disrupted audiovisual flows to scrambled signals and noise via avant-retard aesthetics and live montage — Sound & Television offers you artistic re-imaginations of the future (and past) of live digital-TV broadcasting. As a Transmission Art series, Sound & Television invites artists who work with the materiality of audiovisual flows to realise performances exploring the performativity of television: not live on TV, but live as TV. Continue reading

Videotage is proud to present Hong Kong-based Portuguese artist Joao Vasco Paiva as the first selected artist-in-residence of fuse:: residency program 2010. The objective of fuse:: residency program has always been encouraging individuals interested in the field of new media art, be it art & technology, art & science or art & anything, to create new works. With the support from Videotage, Joao Vasco Paiva will bring the audience a new sculptural sound installation Chirps, through which he creates a score by determining rules.

The prototype of the work (v1) was presented in the Microwave International New Media Art Festival 2009 in which a set of toy birds performed a sequence of calls and movement interfered by the passers-by at the lobby of Langham Hotel, while this time, Vasco has made the toy birds migrate to the raw space of Videotage where they would react to the motion and sound of a new player – a real mynah bird. Continue reading

glitch.fm is a newborn radio station specializing in all things with a glitchy touch – glitch-hop, midtempo, breaks, dubstep, chillout etc.

The station is currently actively fielding talent!

If you’re interested in getting involved, please feel free to contact us.

DJ Applicants: The application process is OPEN! Feel free to apply on our contact page!

A10LAB & SCIE PROTOCOL are invited to the MobilFest III – Conference on Cyborgorganism – Open Cities – Electromagnetic Spectrum Research performance by THE NOISER :: November 14-17, 2008 :: Sao Paulo, Brazil.

“The Farther we emerge from the inner city, the more political the atmosphere becomes. We reach the docks, the inland harbors, the warehouses, the poor neighborhoods, the scattered refuges of wretchedness: the outskirts. Outskirts are the state of emergency of a city, the terrain on which incessantly rages the great decisive battle between town and country. It is nowhere more bitter between Marseilles and the provençal landscape. It is the hand-to-hand fight telegraph poles against agaves, barbed wire against thorny palms, the miasmas of stinking corridors against the damp gloom under the plane trees in brooding squares, short-winded outside staircases against the mighty hills. Continue reading

In case you missed it, Radiohead have gone all data-aesthetic with their latest video, House of Cards. What’s more, it’s fully zeitgeist-compliant, with open access and a call for re-visualisations of a quite massive dataset: hundreds of megabytes of spatial data gathered with various 3d laser-scanning rigs. If the download stats and early signs are anything to go on, we will be seeing much more of this dataset. Continue reading

Golan Levin is an artist/engineer interested in the exploration of new modes of reactive expression. His work focuses on the design of systems for the creation, manipulation and performance of simultaneous image and sound, as part of a more general inquiry into formal languages of interactivity, and of nonverbal communications protocols in cybernetic systems. Through performances, digital artifacts, and virtual environments, Levin applies creative twists to digital technologies that highlight our relationship with machines, make visible our ways of interacting with each other, and explore the intersection of abstract communication and interactivity. Presently he is Associate Professor of Electronic Art at Carnegie Mellon University, Pittsburgh. Continue reading

Michel Chion describes the term synchresis as… “the forging between something one sees and something one hears – it is the mental fusion between a sound and a visual when these occur at exactly the same time. Synchresis is an acronym formed by telescoping together the two words synchronism and synthesis”. (excerpt from: http://filmsound.org/chion/sync.htm)

ANAT, the Australian Network for Art and Technology has just launched its latest copy of Filter magazine (issue 66, [southern] summer 2007) with Synchresis the theme, with a special release DVD, and the launch (and xmas party) tonight at the Chauvel cinema in Paddington… Continue reading

Noise/Music looks at the phenomenon of noise in music, from experimental music of the early 20th century to the Japanese noise music and glitch electronica of today. It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde.

While it provides an excellent historical overview, the book’s main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise/Music is the perfect primer for anyone interested in the louder side of experimental music.