Throughout six weeks in July and August, the Sunday Sound Waves series will aim to critically engage with the surrounding environment through sound, and to explore the influences it has on new ways of making and experiencing visual forms.

The series includes a broad range of artists and creators who are increasingly blurring genre lines and sensibilities in the realms of sound and visual culture. Participating artists will do this by recording the sounds of architectural spaces, re-inventing musical instruments, using sound as a sculptural material, or working with music and cinematography.

24 July / From Music to Sound:
Janek Schaefer: Local Radio Orchestra : Live, interactive performance and film screening by the artist

31 July / Sound Tracking
MUSE Radio: Hackney Sound Walk and Live performance by Tim Gill

7 August / Synesthesia
Pure Evil and Lucas Price: Live performance and installation by artists

14 August / PHONO: GRAPHIC
In collaboration with Soundfjord. Live performance by Formanex and Tim Yates. Evening includes artworks and installations by David Chapman, Claudia Molitor, Steve Roden, Gary James Joynes, Jo Thomas, Bill Thompson, Luke Munn and James Saunders

21 August / Rhetorical Visions: Sound & Text

James Mathe & Friends
Live performance by special guests

28 August / Sound Rider: Sound & Cinematography
Vincent Moon
UK Premiere film Screening of Petites Planètes

Two-Day Conference: Tuesday May 17 and Wednesday May 18, 2011 :: Venue: Institute of Musical Research, University of London:

Speakers: Martin Stokes (Oxford), Nacim Pak (Edinburgh), Kay Dickinson (Goldsmiths), Kamran Rastegar (Tufts), Peyman Yazdanian (Iran), John Baily (Goldsmiths), Tony Langlois (Limerick), Havana Marking and
Federico Spinetti (Alberta). Plus film screenings. Further details: http://music.sas.ac.uk/research-groups/middle-east-and-central-asia-music-forum.html#c1448

Contact: music@sas.ac.uk
http://music.sas.ac.uk/

FILM SCREENINGS (all films are in the original language with English subtitles)

FEATURE FILMS: Saturday May 14th 2011 and Sunday May 15th 2011 :: Tricycle Theatre, Kilburn: http://www.tricycle.co.uk/ :: Tickets: £8.50/£7.50 :: Box office: 020 7328 1000 ::

Saturday May 14th 2011, 4:00 p.m. :: The Band’s Visit (Dir: Eran Kolirin, 2007/Israel/France/USA/89 mins)

Sunday May 15th 2011, 3:00 p.m. :: Santuri (Dir: Dariush Mehrjui, 2008/Iran/106mins)

DOCUMENTARY FILMS: Thursday May 19, 2011 and Friday May 20, 2011 :: Khalili Lecture Theatre, School of Oriental and African Studies, University of London, Thornhaugh Street, Russell Square, London WC1H
0XG ::

Admission free to all screenings below

Thursday May 19th 2011
1:00 p.m. - Back Vocal (Dir: Mojtaba Mirtahmasb, 2003/Iran)
2:00 p.m. - I love Hip Hop in Morocco (Dir: Joshua Asen & Jennifer Needleman, 2007/USA/Morocco)
3.30 p.m. - Umm Kulthum, A Voice Like Egypt (Dir: Michael Goldman,1996/USA/ Egypt)
4.40 p.m. - Two Bows (Dir: Bahman Kiarostami, 2004/Iran)
5.40 p.m. - Arabic Fusion: The Sound Between the Notes (Dir: Cyril Eberle,2010/ Dubai)
6:30 p.m. - Breaking the Silence (Dir: Simon Broughton, 2002/UK/Afghanistan)
7:30 p.m. - Crossing the Bridge (Dir: Faith Akin, 2005/Germany/Turkey)

Friday, May 20th 2011
2:00 p.m - Sounds of Silence (Dir: Amir Hamz & Mark Lazarz, 2006/Germany/Iran)
3:00 p.m. - A Kabul Music Diary (Dir: John Baily, 2003/UK/Afghanistan)
4:00 p.m. - Muezzin (Dir: Sebastian Brameshuber, 2008/Austria/Turkey)
5:30 p.m. - The Singing Barber of Mosul (Dir: Katia Saleh, 2007/Lebanon)
6:00 p.m. - Slingshot Hip-Hop (Dir: Jackie Reem Salloum, 2008/Palestine/USA)
7:30 p.m. - Heavy Metal in Baghdad (Dir: Eddy Moretti & Soroosh Alvi, 2008/USA/ Iraq)

Times may be subject to change. Full details on: http://middleasternmusicandcinema.wordpress.com

With this program we take a closer look at how artists, over the last fifty years, have been using a broad range of cinematic techniques to investigate the analog and electronically induced play at the boundaries of perception. Ranging from stroboscopic patterns and psychoacoustic drones to visual chaos and pure silence, all used techniques tickle, hypnotize or physically assault the senses resulting in hallucinating trips, exercises in abstraction, and sublime audiovisual spectacles.

Modulating the Human Sensory Apparatus is guest curated by the Amsterdam based Sonic Acts festival, and presented by Sonic Acts’ co-founders and curators Lucas van der Velden and Gideon Kiers. The biannual Sonic Acts festival takes place in Amsterdam and consists of an international conference, numerous live performances, an extensive film program and an exhibition. Since 1994 Sonic Acts has developed a reputation as a progressive and pioneering international festival with a specific interest in contemporary and historic developments at the intersection of arts, technology, music and science.

In tacit compliance with the Flickering Fingers of Fate Friends of the Creepy TriAngle proudly presents:
* Lesley Flanigan - 9:00-9:30: speaker feedback instruments + voice performance

**Naval Cassidy - “instant cinema” performance - 9:45-10:15

***”MERCE” Maria Chavez & Shelley Burgon -10:30-11:00: Turntable / Harp & electronics duet with live visuals by Thomas Dexter.

http://www.mynamelookslikeme.wordpress.com/

****Marcia Bassett /Margarida Garcia / Barry Weisblat -11:15-11:45 - Noise/Drone trio with video by Margarida Garcia: 4 compositions in chromadream: El, 2008. Sleep’s Bright Land, 2005. Sunnet, 2006. It had been a rainy day, 2006

http://www.zaimph.org/
http://margaridagarcia.blogspot.com/
http://post.thing.net/node/62

*****NOTEKILLERS - 12:00-12:45 - David First’s proto no wave power drone trio with guest visualist Ben Dierckx

http://pitchfork.com/features/the-out-door/7887-the-out-door-9/4/
http://www.sondies.com/

******”Bicameral Research Sound & Projection System” - (Throughout the evening in between sets… ) - David Linton solo audio/video feedback performance vignettes — with surprise guest David Watson @ 1 AM!!!

http://www.youtube.com/user/bicameralresearch

a statement:

“OBJECT” is a curious word… when it refers to an actual “thing” it constitutes the basis of our sense of “form”… when referring to a “concept” (as with objects of thought or of language) it manifests as the essence of our sense of “content” which moves through the world at large to be “put forth” or “brought home” - etc

When both senses of the word “Object” collude a simple mundane physical “object” can come to be seen as a “Fetish” or “Symbolic” Object - a strange hybrid of thing and concept “embodied” all in one & defined as: any “thing” that conjures or represents another supposedly unrelated “thing” or “quality” that is thought to exist distinctly apart from “the first thing in itself”… etc Oh boy!

There was a time not that long ago when all aesthetic activity was invested in exploring the navigational contours of one categorical class of “object” or another… (painting, sculpture, dance, music, drama, literature - etc…)

For decades now a tendency has prevailed where many cultural producers have rather preferred to navigate the creative contours of a more ephemeral class of “objects” (borrowing from Language or Mathematics) that consist entirely of Information… sometimes eschewing “the physical” altogether or until the final “output” phase of the creative process… etc
Indeed this has become the way of the world… and while there is evidently no turning back… we may still take heart in the knowledge that there will always be a physical place in the human universe for willful acts of Perversion….

Today we beg to ponder the practical and thematic implications brought about by the continued navigational use of literal objects - by which we mean those possessing physical mass - as energetic “templates” in/for acts of temporal performance…

Cinematheque - streaming media project environments Flash & Thunder — Flash as a medium and tool for artistic creations.

Since the Internet became popular in the late 90′ies of 20th century, the software program “FLASH”, once developed and prepared for the commercial market by Macromedia, and now owned by Adobe, represents a vector based developing environment which enables the creator to combine different media and develop vector based animations especially for the Internet. .swf data file extension became a standard for animations online and offline, and Flash video and its .flv file format stands for “videostreaming” on the net.

As soon as the Internet started, artists captured it for artistic purposes, and the same is good for certain software used for the net, particularly Flash is predestined for developing artistic creations due to its intuitive use. It became one of the most popular software tools for the net, computer based animations and interactive applications like games. Flash based artworks entered media festivals, even festivals solely based on movies created in Flash are organised.

After Cinematheque - streaming media environments - explored in 2007 the capabilities of “Quicktime” as an artistic medium in the comprehensive show “Slowtime Quicktime as an artistic medium” - its now the time to explore in 2009/2010 the artistic potential of Flash in its own way in a big online show, as well.

Flash and Thunder — Flash as a medium and tool for artistic creations is looking for the best artistic Flash works created since 2000.

Please find the regulations and entry form on http://www.nmartproject.net/netex/?p=408

Cinematheque - streaming media project environments is a corporate part of [NewMediaArtProjectNetwork]:cologne, the experimental platform for art and new media from Cologne/Germany

image: Loud Objects — USA

Espacio Enter Canarias is a International Meeting for all sectors related to art and digital culture, for ideas that will allow us to design the future of technological innovation. Espacio Enter Canarias will embrace contemporary artistic expression related to innovation and new media and also the Future Now Symposium. It aims to strengthen the linkage between Art, Science, Innovation, Technology and Enterprise in order to construct Knowledge Society for all citizens.

Art-Science-Innovation: Digitals Communities- Storytelling- geoespacial- Artificial Life- Software Art- Transgenic Art- Generative- Art- Videogamess- Robotic- Open Source- Animation, 2D, 3D- Videocreation- Net-art- Blog, Videoblog- Creation for mobile platforms- Videodance. Go to registration form: art_science_innovation

International Digital Experimental Cinema Festival: Film- Webfilm- 3D_Cinema- Short Film- Animation- 60seg. Go to registration form: internacional_digital_cinema_experimental

STAGE call: Performance- Theatre new media- Dance new media- Fashion Innovations- Web development 2.0, 3.0- Others. Go to registration form: Stage_call

ADVANCE MUSIC call: DJ S- Wj S- Electronic Music- Experimental Music- Live Visual Sessions- Streaming Music- Experimental Sound Sessions. Go to registration form: Advance_Music_call

ARTISTS: http://www.espacioenter.com/artinnov_generativo.htm

A captivating weekend packed with visionary new motion graphic video and live cinematic work that spans the range of moving image creative practice, from industry to art gallery. The weekend kicks off with a moving audiovisual performance by Scanner (aka Robin Rimbaud) and Olga Mink and a reception with lush live video and music by EMPAC luminaries skfl and jenkins. Over three days from the mezzanine to the studios, from the Theater to the Café, EMPAC spaces will flicker and pulse with sound and vision courtesy of the internationally revered onedotzero digital film festival.

On Saturday night local musician and multimedia artist Jesse Stiles presents a new live score for and within Quayola’s brilliant video installation viewed on a massive screen suspended on the ceiling. Quayola will then follow with his own performance, Path to Abstraction a live synesthetic audiovisual event.

All-day screenings feature compilations of short form videos that represent the latest innovative work in moving image including music videos, character animation, experimental digital shorts and motion graphic design.

Extraordinary installations by Troika and Quayola will be installed in the EMPAC studios and mezzanine, which also includes a lounge and café.

Leon Theremin made music as strange as the life he lived. In 1918, using newly discovered vacuum-tube technology, the Russian-born scientist invented a musical instrument unlike any the world had seen before: one that utilizes electronic oscillation to produce its sound and is played entirely without human contact. Theremin toured the United States and Europe giving public recitals, and became the toast of New York City’s artists and intellectuals during the roaring ’20s, rubbing elbows with such luminaries as Albert Einstein and Dwight D. Eisenhower. But in 1938, at the height of his promising career in the U.S., Theremin mysteriously disappeared. Decades later, it was discovered he had been abducted by KGB agents and interred in a Russian prison camp to be “rehabilitated.” Later, Theremin even developed pioneering spy technology for Stalin’s regime during the Cold War.

Over the years, the ethereal, otherworldly sounds of the theremin became the backdrop to scores of science fiction and horror films (particularly in the ’50s), and have inspired numerous musicians, from the Beach Boys’ Brian Wilson to synthesizer pioneer Robert Moog. Director Steven Martin’s documentary, THEREMIN: AN ELECTRONIC ODYSSEY, deftly explores the remarkable story of Theremin the man, and traces the lasting influence of his work. (1994, 1h23m). For more details, visit the Coolidge website or call 617/734-2500.

The Voice software has been designed by Peter B. L. Meijer to propose an alternative way of perception for blind people. With the use of a webcam or a mobile phone, a sound transcription of the visual scene recorded by the device is synthesized. After a learning phase, this set-up allows blind people to recognize some elementary objects, and then a real space movement (link).

PERFORMING WITH THE VOICE: The concept of this software has been embezzled from its first usage by the two artists. This minimal interface is thought as an audiovisual improvisation set-up sending back to the beginning of experimental movies as well as a questioning about synesthesia. The usage of this interface is intuitive and fluid because of the direct action of objects simply ordered in front of the web-cam. The spectator assists to the manipulations of objects and experiments a direct relation between the image and the sound. Every choice of an object which will be « projected » then transformed into sound is arranged at the same moment by; its suggestive or narrative potential, its formal or graphic structure, and the sound qualities we can expect from it. The connection of several visual and sound elements leads to an embryo of story than each one can fill with his own experience. This performance / installation is not more centred on the sound than on the visual, it is all this at the same moment, and quite particularly between these two fields, in the empty and impalpable space between these two informations.

THE VOICE 2004 from art of failure on Vimeo.

THE ACTUAL PERFORMANCE SET UP: The set up of the performance is simple. Two web cam are recording two zones on a table. The image of these zones are then scanned by a software and transcripted in realtime into sounds. The artist can compose these zones with a serie of objects (paper or 3d objects) and interact simultaneously on the videoprojection and the sound produced.

Nicolas Maigret, has been developing an experimental practice of sound and electronic images (performances, installations, programming, radio) since 2001. Researcher between art and science, his work takes the shape of a laboratory, decomposing technological tools to generate specific sonic or visual language from them. He tends to place audience in the situation of psychic and physical experience. Ex-member of the laboratory Locus-Sonus, he teaches the Intermedia at the fine arts School of Bordeaux at present.

Nicolas Montgermont, researcher and artist, studies the relations between art and sciences using the computer as a workshop. After a formation in signal processing, he studies sciences applied to music at the IRCAM center, being specially focused on real time control of synthesis. Currently, he carries out a PhD thesis on the analysis of the flutist playing at the Laboratory of Musical Acoustics (LAM) in Paris. His creating work is the search of a numerical aesthetics, using and developing personal tools to explore the specific possibilities of a computer. He works mainly on performances with the chdh collective and on installations in duo with Nicolas Maigret (Festival du Cube (Issy les Moulineaux), Nuit Bleue (Arc et Senans), Elektricity (Reims), Pixelache (Helsinki, FI), Scopitone (Nantes), NIME (Paris), Kassel DokFest (Kassel, DE), vision’R (Paris), simultan 03 (Timisoara, RO).