Presented by the Music Technology Program Lecture Series, Steinhardt School, New York University, ResoNations Panel Access Grid Video Teleconference is an international videoconference on the groundbreaking international telematic music concert for peace, ResoNations. Panelists will make presentations on the ResoNations concert and the ongoing project. Performance highlights will be shown. Local and online international audiences will participate in discussion.

ResoNations was an international telematic music concert for peace November 21, 2009 performed by twenty-six renowned musicians in five international locations: United Nations Headquarters in New York, University of California San Diego, The Banff Centre in Alberta, Canada, Queens University Belfast, and Dongguk University in Seoul with support from the Korean Advanced Institute of Science and Technology (KAIST).

Telematic music is real-time performance via the internet by musicians in different geographic locations. Four new contemporary music works for peace were performed by the composite ensemble: Hope’s Dream by Mark Dresser and Sarah Weaver, Disparate Bodies by Pedro Rebelo, Rock, Paper, Scissors by Chris Chafe, and Green-colored Harmony by Jun Kim. The performance took place on high-bandwidth internet with JackTrip audio software developed by Chris Chafe and Access Grid video software developed at Argonne National Laboratory. There were audiences in each location and a world-wide webcast.

ResoNations was part of the annual Innovation Talks Symposia held at the United Nations Headquarters New York by World Association of Former United Nations Interns and Fellows (WAFUNIF), a United Nations Peace Messenger. WAFUNIF Arts For Peace and the Permanent Mission of Romania to the United Nations sponsored the event. Arts for Peace has also worked with artists Mark Dresser and Sarah Weaver as a sponsor of Deep Tones for Peace, another recent telematic music project, and looks forward to further opportunities to support the work of the United Nations through telematic music and technology.

April 9, 2010

Greeting: Dr. Agnieszka Roginska, Associate Director, Assistant Professor, Music Technology Program, Steinhardt School, New York University
Introductions: Dr. Robert Rowe, Vice-Chair, Director of Music Composition, Steinhardt School, Department of Music and Performing Arts Professions, New York University
Dean Sally Blount, Leonard N. Stern School of Business, Undergraduate College, Advisor to the President and Provost for Global Integration, New York University.

Panelists and Audience Locations:

Site 1

New York University, Steinhardt School, Music Technology Program
Public Audience: 35 West 4th Street, 6th Floor Conference Room, New York, New
York 10003

Sarah Weaver, Moderator
ResoNations Coordinator, Composer, Performer, United Nations Site Director
Arts for Peace Music and Technology Director, World Association of Former
United Nations Internes and Fellows (WAFUNIF)
Graduate Student, Music Technology Program, Steinhardt School, New York
University

Dean Leslie
ResoNations United Nations Site Director
Presidential Attaché, Arts for Peace Director, World Association of Former
United Nations Internes and Fellows (WAFUNIF)

Frank Dominguez
ResoNations Development
Arts for Peace Development Director, World Association of Former United Nations
Internes and Fellows (WAFUNIF)

Pedro Rebelo
ResoNations Composer, Performer, Belfast Site Director
Professor, Sonic Arts Research Centre (SARC) Queen’s University Belfast

Franziska Schroeder
ResoNations Performer, Belfast Site Director
Professor, Sonic Arts Research Centre (SARC) Queen’s University Belfast

Woon Seung Yeo
ResoNations Performer, Technologist, Seoul Site Director
Professor, Audio and Interactive Media (AIM) Lab, Graduate School of Culture
Technology (GSCT), Korea Advanced Institute of Science and Technology (KAIST),
Seoul, Republic of Korea

Site 2
University of California San Diego, Calit2 at UCSD
Public Audience: Atkinson Hall, 5th Floor, 9500 Gilman Dr. MC0436, La Jolla,
California 92093

Mark Dresser
ResoNations Composer, Performer, San Diego Site Director
Center for Research in Computing and the Arts (CRCA), Professor, University of
California San Diego

Todd Margolis
ResoNations Technologist
Center for Research in Computing and the Arts (CRCA), University of California
San Diego

Site 3
Stanford University
Center for Computer Research in Music and Acoustics (CCRMA), Palo Alto,
California

Chris Chafe
ResoNations Coordinator, Composer, Performer, Software Designer, Banff Site
Director
iCore Visiting Professor, The Banff Centre
Professor, Director of CCRMA, Stanford University

Site 4
Dongguk University
Musical Arts and Technology (MARTE) Lab, Seoul, Republic of Korea

Jun Kim
ResoNations Composer, Seoul Site Director
Professor, Musical Arts and Technology (MARTE) Lab, Dongguk University

Online Audience Participation: Multimedia Art Research Centres and Electronic Laboratories (MARCEL) is a permanent high band-width network dedicated to artistic, educational and cultural experimentation, exchange between art and science and collaboration between art and industry with 150 members in 22 countries. The panel will take place in the MARCEL Access Grid virtual venue and the general public is encouraged to be an audience as well as participate in the Q&A.

For Full Listing of ResoNations 2009 Musicians, Technologists, and Further Information, View the ResoNations Website.

The individual scores are created using software that reads the RGB pixel information across the X axis of the image and assigns a unique tone to each colored pixel. Two 20 minute movements of MUSICfor.one [byTEN] will be performed live on the Chatroulette network March 20, 2010 at 10:00 pm EST [-5GMT]. Click through and see if you can find the performance. Documentation of MUSICfor.one [byTEN] will be made available.

Threscwald brings together three musicians working in the realm of digital audio and the performative arts. Brought together by a similar love - building software to create unique sound and imagery - they share creative processes that bear diverse yet homogenous results.

John Mcgill’s Lightning, Lizards of the Sky is a piece that attempts to harness various FFT-based effects originating in the Max/MSP environment. A sonic duality is conveyed using live audio signals to cut into saturated ‘noise’ textures. Using complex algorithms and generative techniques, Mcgill’s sound is born from a place of sensitivity towards abstract design and phrasing.

Max Abeles will present a new work, Journey Along a Vibrating Membrane. It is posed: We are slaves to technology, so what happens when our masters breakdown or run amok? A live audio/video performance oscillating between sequenced electronic music and complete degradation of digital noise, the visual journey starts on the exterior but quickly moves internal to a body whose existence hinges on the continuum of speeding zeros and ones.

Pierce Warnecke’s ‘data decay’ is an audiovisual performance that explores interactivity in its fullest spectrum by putting the audience to the test of what eyes and ears perceive as interactive. Basic audio and video forms are generated using recycled scientific data culled from various French CNRS research labs. Their initial interactive bond is then deteriorated, delineraized and made chaotic via custom data processing modules to the point where an interactive relationship is no longer apparent.

________________________________________________________________
John McGill is a multi-instrumentalist engaged in the fields of analog circuitry and digital signal processing. Primarily composing for guitar, pedals, and laptop he strives to develop interesting musical systems. These generative structures, either controlled by the performer or automated by code, can be used to reliably seek out new textures for use in real-time composition.

Max Abeles is an installation artist whose work explores the relationship between organic and inorganic structures. His practice utilizes a myriad of media to express the tension felt by a soft machine living in a world built around hard data. He received his BFA from the Art Institute of Boston and now lives and works in Brooklyn NY. He has had solo exhibitions at Harvestworks Digital Media Arts Center in New York City and Lesley University in Cambridge Massachusetts. His performance piece Plaster_Patch was included in last years SIGGRAPHAsia in Yokohama Japan.

Pierce Warnecke has been creating digital material since his studies at the Berklee College of Music. Attracted equally to image and sound, he develops modules to forge custom audiovisual elements. He is inspired by the interactions between humans and machines, scientific research and complex data structures, and pushes to develop alternate ways of integrating sound, video, light and data into performance/installation contexts. He has worked as a programmer for installations and interactive projects in the US, France and Germany, and also works as a sound designer and electronic musician in France where he currently resides.

Developed by curators Pablo de Ocampo, Jacob Korczynski and Christof Migone, No Images features the work of Ryan Driver, Annie MacDonell, Alexis O’Hara & Mary Margaret O’Hara and Alex Snukal. Imagine a pitch-black space. Immersed in absolute darkness, you cannot see your own hand, you have no idea of the size of the space that you are in, and your sense of time is completely lost. One’s typical dependence upon an encounter anchored by eyesight is replaced by an amorphous and immersive environment. This presentation strategy is not only ideally suited for sound art, it is also a radical engagement of the senses by way of complete deprivation of the visual.

This concept was initiated by Marvin Green and John Oswald in 1976 and has had many iterations in cities across the world since. This is the first Toronto presentation of this unique performance experience in many years. The audience is led into the space by ushers with flashlights before the darkness descends. Not recommended for claustrophobes.

Ryan Driver is a Toronto-based musician who plays, writes and sings music in spirals and swirls through the void of everythingness. Quiet absurdity, free improvisation, psychedelic reinterpretation of jazz ballads, and performance as a soloist and in a multitude of peculiar ensembles, using a variety of instruments and aesthetics have long been his main foci. He is a prominent figure in the catalogue of the Rat-Drifting record label.

Annie MacDonell is a Toronto-based artist working with film, photography,collage and installation. Recent exhibitions include solo shows at The Khyber ICA and Gallery TPW, and participation in group shows such as “Dans la nuit, des images” at the Grand Palais, in Paris, “Modestly Spectacular” at Katherine Mulherin Contemporary Art, and “Signals in the Dark” at the Blackwood Gallery.

Alexis O’Hara is an interdisciplinary artist based in Montréal. Her practice exploits allegories of the human voice via electronic improvisation, video and installation. Her eclectic performances have been presented in a variety of contexts in Slovenia, Austria, Mexico, Germany, Spain, the UK, Ireland, France, Belgium, Canada and the USA. She has shared the stage with such diverse artists as Diamanda Galàs, Ursula Rucker, Henri Chopin and TV on the Radio. SQUEEEEQUE, her sound installation, is set to tour Germany and France in early 2010.

Undisciplinary artist, Mary Margaret O’Hara is a graduate of The Ontario College of Art and Design who typecast herself with her 1988 album Miss America. All over the creative map, if there is such a map, she loves drawing, painting, her original calligraphy, free improv, hosting her brother’s events, making people laugh and cry, acting in and composing for theatre and film, doing wordless backup for singers and musicians, making noises on the fly, off the cuff, and out of the ballpark, composing for film and being with her brothers and sisters. You know who you are.

Alex Snukal is an artist and musician who lives and works in Toronto. Snukal performs regularly as part of Awesome, Animal Monster, and New Feelings. Recent projects have included Souvenir Pressed Pennies (an installation for No Melatonin during Nuit Blanche), Symphonic Poem for 100 Delay Pedals (as part of Toronto Free Broadcasting), and Me and Julio down by Diter’s Dung Hole (an edition for Nothing Else Press).

For more information or to purchase tickets visit: http://www.imagesfestival.com

Vibrations of motors, tiny gestures, the hum of energy- How does movement look and sound? Tremorrage is a duo with sound artist, Pascal Battus and video artist, Angie Eng who take you on a audio visual journey with mini-cameras, contact mics and drawings in real time. Battus holds pen on paper that moves by vibrating motors. Line is created by rotating machines that vibrate the paper. The sound resembles a buttterfly entering a storm. His music and video is mixed with the work of Eng who develops her images with digital technology. A contact mic is attached to a wacom tablet while each line emits its own sound. She animates the designs with the software, Module 8 and mixes them with Battus’ imagery. If you appreciate synesthesia as in the work of Len Lye, Cornelius Cardew or Kandisky, don’t miss March 20th at Centre Mercoeur.

A tram equipped as an art space and radio studio, informal radio is a live on air multi-channel radio performance, including nine radio stations based throughout Austria.

informal radio is a project by students of the Digital Art class at Vienna’s University of Applied Arts, supervised by Nicolaj Kirisits and Klaus Filip. The tram becomes a mobile exhibition space for twelve time-based installations by Kathrin Stumreich, Viktoria Wöß, JoaKnierzinger, Mara Bloom, hpl, Johannes Muik, Daniel Gyolcs, mths, Miriam Mone, conny zenk, Karl Salzmann, Jan Perschy and Conny Zenk + mths.

The episodes of the ride are marked by the trams stops. Six microphones will be moved through the carriage and provide the sounds for the 6-channel-radio broadcast. Listeners are requested to set up three radios, ideally stereo, and tune each in to another station:

1) OE1 oe1.orf.at/konsole/live

2) FM4 fm4.orf.at

3) one of the free radios:
orange94.0 in Vienna o94.at
Radio Helsinki 92.6 in Graz www.helsinki.at
Radio Freirad 105.9 in Innsbruck www.freirad.at
FRS Freies Radio im Salzkammergut www.freiesradio.at
MiRa Campusradio 94.4 in St. Pölten www.campusradio.at
Freies Radio B138 90.4 in Krems www.radio-b138.at
Radiofabrik 107.5 in Salzburg www.radiofabrik.at

The world renowned Swedish audio-visual artist Carl Michael von Hausswolff will create a performance with 8 local musicians and sound artists at Watford House in Avoca this Saturday night, the 13th March. It is going to be a very enjoyable night of experimental performance under the stars.

Fine weather is forecast and food and drink will be available. The event is free and bookings are not required. Come along for a great night of sound in the country. Avoca is 2 and a half hours from Melbourne. A limited number of accommodations are available in the town.

Hosted by David Strang’s Surface Sound Series on Soundart Radio, the OPEN PROCESS series curated by Helen Pritchard & Gillian Wylde invites artists to explore collaborative processes of doing and making in an experimental lab context.

As part of the OPEN PROCESS series at Dartington Gallery, University College Falmouth, Dartington Campus, Petra Klusmeyer sets out to investigate questions in regard to auditory and psychological aspects of spatiality. What is the relationship between sound, space and memory? How does sound influence the perception and representation of space, and how can we transcribe auditory memory in ways which interpret individual perspectives and meanings and hereby draw-out the sonic unconscious?

Participants were invited to develop strategies to translate the auditory experience into the gallery space either individually or
collectively. The focus of this artistic experiment does not lie on sound production and composition; the aim lies on the convergence
between sound and artistic practices, i.e., writing, installation, performance to conjure up a topology of unconscious knowing.

Petra Klusmeyer is currently a teaching researcher of Sound Studies at the University of the Arts, Bremen and a PhD canditate with
SMARTlab, University of East London. She completed a Master of Fine Arts in Time Arts at The School of the Art Institute of Chicago in 1999. Her work creates an architecture of sound and image associations. Sonic glitches and fragments are reorganized into a sounding detritus of culture. As post-graduate student with SMARTlab, she conducts research in the area of sonic art practices in the expanded field. She investigates the relationship between technology, sound and failure.

Her work has been internationally performed and exhibited such as in 2008 Not Berlin and Not Shanghai, Guangxi Arts Institute Nanning, China; 2006, Dislocate, Trampoline, Tokyo; 2006 Terra Cognita, Neues Museum Weserburg Bremen; 2002, Creation in Movement, Canard Galeria Central, Mexico City; 2002, Music in Me, GAK Bremen; 2001, x-tract: Chicago Sounds, Podewil Berlin; 1999, Groove, Pit &Wave, ZKM Karlsruhe. She has been the recipient of numerous grants and awards such as The Joan Mitchell Foundation Stipend, The School of The Art Institute of Chicago Trustee Scholarship and the 2000 John Quincy Adams Fellowship. Her sound works are published on Staalplaat, Boxmedia und Experimental Sound Studio Chicago.

Upending is a revelatory stereoscopic theater performance: an animated, actor-less drama of disorientation and reorientation that compels viewers to rethink their relationship with the material world. Using ordinary flat photographs and stereoscopic HD video as the basis for a battery of non-photorealistic rendering technique, Upending transfigures familiar objects, spaces, and persons in ways that are both beautiful and uncanny. The play of images is accompanied by a gutsy new EMPAC-produced recording of Morton Feldman’s first String Quartet by the FLUX Quartet that places the listener, literally, in the center of the ensemble, with every sonic gesture articulated across space simultaneously. Through this aural lens, the video becomes almost balletic, even as the visuals allow the audience to hear Feldman as never before.

Following a post-performance break for refreshments, each evening will conclude with The Making of Upending, a talk and q&a covering the two year process of the work from inception to premiere.

Upending was commissioned by EMPAC and developed in residence over a two-year period utilizing EMPAC’s unique facility, technology and staffing. The commission was made possible by support from the Jaffe Fund For Experimental Media And Performing Arts.

For more information on this event, please call the EMPAC Box office at 518.276.3921 or visit the EMPAC website.

About EMPAC

The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) opened its doors in 2008 and was hailed by the New York Times as a “technological pleasure dome for the mind and senses… dedicated to the marriage of art and science as it has never been done before.”

Founded by Rensselaer Polytechnic Institute, EMPAC offers artists, scholars, researchers, engineers, designers, and audiences opportunities for creative exploration that are available nowhere else under a single roof. EMPAC operates nationally and internationally, attracting creative individuals from around the world and sending new artworks and innovative ideas onto the global stage.

EMPAC’s building is a showcase work of architecture and a unique technological facility that boasts unrivaled presentation and production capabilities for art and science spanning the physical and virtual worlds and the spaces in between.

[image: An Etherwave-Theremin, assembled from Robert Moog’s kit]

This workshop allows each participant to build their own theremin, the first electronic instrument, patented in 1928 by Lev Theremin. Starting with instrument designs from these articles, we will modify each theremin in a unique way. The built instruments will have the features of a real theremin, with more than 5 octaves and 2 antennas, for volume and pitch control.

More Info here.

Fees: 100 Euros for participation + 55 Euros for parts. All parts included except cabinet (see below)
- Electronic components, capacitors, resistors, transistors, ics, coils etc
- Printed Circuit Board
- Connectors, Mechanical parts: screws, spacers, washers, tube rod to build the 2 antennas, etc

Those who have access to these items through other means, must submit the parts list for a check before the beginning of the workshop. Workshop price minus parts is 100 euro

Cabinet: The cabinet sizes have the main role in the behaviour of the instrument and its playability. The two antenna (horizontal volume loop on left and vertical pitch rod on right) may be spaced in a range from L= 400 - 500 mm, to avoid interferences The other two are related to the overall dimensions of electronics and the other devices as antenna connectors etc: must be l 120-140mm X h 40-50mm. Thickness from 10 ? to max 14mm. The cabinet has its cover. All conductive materials are not advisable.
Wood (plywood) or MDF (Medium density fiber)are the cheapest as recommended. We can refinish some holes on the cabinet during the workshop. Recycled enclosures, a broken C64, 128 or VIC20, an old tubes radio receiver, will host the electronic of your theremin. Set in motion your imagination and eyes during your walks and visits to flea markets. A complete cabinet ready to be drilled and used, we suggest a box like this, item 520780-62 from Conrad http://www1.conrad.de :sizes are far below only in width L min, (310mm) but the instrument can still operate properly only with a little modification. You can also build, test your electronic antennas in a mannequin-box, waiting to fit into your cabinet

Every participant should bring:
Soldering iron (Ltkolben) 30w 20-45W max 230volt round tip (spitze) of 1.5mm I.E http://www1.conrad.de, items 588552-LN or 588332-LN

POWER SUPPLY (WALL WART ADAPTER ? STECKERNETZGER?T) standard 230 volt ac ? 12-14 volt AC 300mA . This is a very popular device, take a look in your house. ATTENTION:switching mode power supply is not allowed

Cutter, screwdrivers and pliers, a multimeter and 2 mt of soldering wire Sn60%Pb40%, are welcome but we have some of these items and we can share these things

About the theremin: http://www.theremin.altervista.org/thlinks.html

http://www.youtube.com/watch?v=e6bSRcRAhnc&feature=related