Call for Mash-ups :: To be exhibited February 24, 2010 - April 1, 2010 :: at the Sonnenschein and Albright Galleries, Durand Art Institute Building on the campus of Lake Forest College, IL, USA :: Deadline: 6 January 2011 ::

Contemporary art has seen a marked increase in practices that defy traditional descriptions of media. Categories like painting, drawing, sculpture and photography no longer suffice to describe the full range of processes and forms that artists engage. Even relatively newer media categories like conceptual art, video art and performance art cannot encompass what many artists today do in their studios and in the streets. Many artists approach subject matter conceptually or thematically, choosing materials, processes and forms that resonate with a particular theme, while others complicate formal concerns directly by working through and across many media at once, or sequentially, arriving at products that resist easy categorization. Continue reading

European Media Art Festival 2010 :: April 21-25, 2010 :: 49074 Osnabrück, Germany.

The motto of the EMAF 2010 is MASH UP! Productions by internationally renowned media artists and the innovative works of new masters from the academies will be presented at the 23nd European Media Art Festival. The EMAF is one of the most influential forums of international Media Art. As a meeting point for artists, curators, distributors, gallery owners and an audience of specialists, the festival has a great impact on the topic and aesthetics of Media Art. Each year the festival offers its visitors a current overview of new experimental films, performances, lectures, an exhibition and the Media Campus. Continue reading

RiP: A Remix Manifesto (Filmmakers in attendance for Q&A) :: June 19-30, 2009; 10:00 pm :: 92YTribeca, 200 Hudson Street, New York, NY (Tickets).

In RiP: A Remix Manifesto, Web activist and filmmaker Brett Gaylor explores issues of copyright in the information age, mashing up the media landscape of the 20th century and shattering the wall between users and producers. The film’s central protagonist is Girl Talk, a mash-up musician topping the charts with his sample-based songs. Continue reading

social [net.work music] — by Jason Sloan — is a new improvised network sound project and performance which utilizes the MySpace Music social network as its core sound library. Sloan will webcast a live set from his studio in Baltimore on June 25, 2009; 8:00 pm [EST].

“Recently, I’ve been interested in the the connections created through the MySpace Music social network. By navigating the “Friends Space” link section on each member’s page, reminiscent of web 1.0 webrings, the user can access an interconnected network of that artists influences, friends and label mates, allowing them to discover new artists and different genres of music. Most of the pages feature a jukebox with samples of the musicians work which automatically begin to play once the page has finished loading. Continue reading

Like so many of us, Ophir Kutiel enjoys cruising YouTube, land of a million amateur film clips. Unlike the rest of us, the 27-year-old Israeli musician and producer - who goes by the name Kutiman - has found in his virtual wanderings the raw materials for a groundbreaking project called ThruYou: seven original songs made by mixing dozens upon dozens of music clips that have been uploaded to YouTube. — Boston Globe

After disclosing ThruYou to just twenty friends, Kutiman’s project spread virally across the web, racking up more than one million views in less than a week. After viewing ThruYOU, open source advocate Lawrence Lessig praised the project as a pioneer of a new, less regulated form of media, saying “If you come to the Net armed with the idea that the old system of copyright is going to work just fine here, this more than anything is going to get you to recognize: you need some new ideas.” — Wikipedia Continue reading

They called for professionals and amateur musicians of all ages, locations and instruments to audition for the YouTube Symphony Orchestra by submitting a video performance of a new piece written for the occasion by the renowned Chinese composer Tan Dun. Continue reading

Cheryl L’Hirondelle nikamon ohci askiy (songs because of the land) :: until February 2009 :: Vancouver, B.C.

This project explores the relationship between sound, space and identity as experienced through a cree worldview. By creating a “performative audio map”, L’Hirondelle will negotiate a journey through new territory, developing a nomadic relationship with the land. Her actions/singing will be in direct response to her encounters within the territory - the physical environment she finds herself in and its inhabitants.

During the month of December, the artist will make daily journeys throughout Vancouver and “sing” the landscape she encounters. These encounters will be captured by mobile phone by the artist and whatever other technologies are made available by participating viewers/audience (video, photo, audio). Continue reading

Antarctic Data Jams: In February 2007, Mediashed and The Junction invited you to come and play with live data sent from Antarctic by the I-TASC Groundhog team, and turn it into shapes for your ears and eyes. All the performances from both events were recorded and excerpts from them now appear for the first time on CD. Also included are tracks made from Antarctic data by artists who were on the ice or who submitted work for the performances.

Artists that took part in ADJ were: Thomas Mulcaire, Adam Hyde, 1st Born aka Ntsikelelo Ntshingila, Rebecca Mattos, Amanda Rodrigues Alves, Aymeric Mansoux, Harwood, Tony Shaper, Derek Shaw, Stuart Bowditch, Rob Gretton, David Valentine, Mike Lowther and Johnathon Gilmurray. Continue reading

[Image: Solomon Linda and the Evening Birds, ca. 1941] Song of Solomon — by Ralph Borland and Julian Jonker — is an aleatoric audio collage and 8-channel installation that samples many versions of Mbube, aka Wimoweh aka The Lion Sleeps Tonight, in a sonic tribute to the song’s dead author Solomon Linda. By fragmenting and reordering compositional fragments of this ’song of songs’, the installation questions the assumptions about compositional innovation and imitation that inform Western intellectual property law. In this jungle of sounds, the dead Author rests.