stationary æmotion by æther9 in the frame of Tremor_ 4: Live.doc :: Online :: November 9, 2007; 7:00 pm Columbia time (UTC/GMT -5) Performance duration: 15:00 min [Check your local time here]

The æther9 group presents stationary æmotion: 4 remote performers from 4 different locations united in a real-time broadcast. Remote performers: N3krozoft Group Brussels (BE), Paula Vélez (CO), N3krozoft HQ Geneva (CH) :: Live audio: Christiaan Cruz (California) :: Original screenplay: Nicola Unger & Audrey Samson Continue reading

ELECTRA by the Geneviève Favre :: October 27, 2007; 9 pm :: Festival NWEAMO at Roulette SoHo, NY :: October 28, 2007; 10 pm :: Galapagos Art Space, Brooklyn, NY.

ELECTRA makes reference to the mythological figure, but also to electronic music and to opera. White hair, in the middle of the stage, I stand, dressed with a long satin dress. On my head, a luminous crown reacts to the prerecorded elements which accompany my songs. As a modern diva, I move my arms, turn my face to the sky and play with the different jewels made of LED that I wear. These add mysteries to the story I tell you, such a clear and awake nightmare. ELECTRA evokes the psychological theme of the relation between parent and child and treats the subjects of death, violence and vengeance. Continue reading

Teri Rueb’s Core Sample, like many Land Art works, is dependent on weather conditions, has limited access, and demands physical exertion. Two subways and a ferry boat later, we arrived at Spectacle Island - one of the eleven islands in Boston Harbor Islands national park - and headed for the Visitor’s Center. Outfitted with a GPS enabled PDA and a set of Seinnheiser headphones, I stepped into the bright sunlight and waited - as per instructions - for the signal to activate the device. After about 4 or 5 minutes, the headphones came to life, and I began my walk. Continue reading

Janet Cardiff and George Bures Miller create multimedia pieces that combine aspects of sculpture, cinema, sound installation, and short-story fiction. Installations such as ‘The Paradise Institute’ (2001) use forced perspective and a three-dimensional sound track to create the illusion that one is sitting in a large theater. Their ‘sound walks’ and ‘video walks’ are immersive pieces that use common consumer technologies, such as iPods and video cameras, to create experiences that blur the line between experienced reality and narrative fiction. Their works are exhibited internationally and they currently have a solo exhibit ‘The Killing Machine and other stories’ that will arrive at the Miami Art Museum on Oct. 15, 2007.

Due to Janet and George’s busy schedule, they will not be able to answer reader’s questions in the comments section following the interview. Continue reading

There are a number of fun and interesting things in Skelvik’s portfolio from the Oslo School of Architecture and Design in Norway. Among them is Listening Lamp (2004), just like an ordinary flexible reading lamp, except that the book is a audiobook, and the light is the transmitting medium. LED light has some very different properties than incandescent lamps. One is that you may modulate the electric current, making the LEDs oscillate in a way that may be received by photo sensitive receivers that is not very different from radio technology.

Sitting comfortably in your chair, one lamp on either side, you will get stereo quality, and a strange spatial sound experience. Moving your head wearing the headphones closer to one of the channels increases the volume. Adding physical response to the thrilling story, and, as Skjelvik writes, eventually a stiff neck…

Bombay Sonic, by Vishal Rawlley, is a collection of individual narratives which attempts to seek out the meta-narrative of the city. Every tale in this project is loaded with urban metaphors and ironies of city life. Each story reveals a love-hate relationship between the character and the city. For every pleasure comes with the pain. Coming to terms with the city requires the acceptance of this fact… John - the flower seller - has long been seeking a beloved. A life partner is essential in life, he proclaims, but for that, first one needs money and a house. All day he sells flowers for income, but will he like his clients, ever find someone to gift flowers to? Continue reading

Wish You Were Here (2007) — by Colin Asquith, Terry Nauheim, and Jennifer Schmidt — is a collaborative sound installation that will be on exhibit at SIGGRAPH from August 5-9, at the San Diego Convention Center, San Diego, CA .

A site for interactivity and reception, Wish You Were Here is a collective soundscape of audio greeting cards meant to be experienced within the hands of participants through physical and aural sampling. Our sounds are of field recordings, fragmented and manipulated to reinterpret the conventional notion of a sentiment in the model of a greeting card. Re-contextualizing recorded material within this format places limits—including time, compression, and availability—while initiating an accessible, portable, and participatory narrative. Continue reading

Garrett Lynch writes about Always Something Somewhere Else by Duncan Speakman, a sound artist exploring ideas of memory, geography and communication. The work is a GPS based soundwalk that builds itself as you experience it. To create it I worked with Hewlett Packard in Bristol and their new mscape software.

In the work the listener is asked to locate various substances that form the contemporary urban environment (glass, stone, concrete etc.). As they mark the location of each one they begin to hear interwoven stories connecting them to remote locations around the world, soundtracked with a generative music score. The narratives are progressed and concluded as the listener returns to the locations they chose. The piece is reflective and sometimes melancholy, it touches on issues of climate change and global awareness, but ultimately encourages the listener to treasure the moments around them… Continue reading

Pixilerations [v.4] – the fourth annual showcase of New Media arts - invites artists, musicians and film/video makers to submit work that investigates connections or disparities between story and ornament. The submission deadline is June 1, 2007. Pixilerations [v4] is part of the larger FirstWorksProv festival; it investigates the state of New Media arts through installation, interactive concert performance and film/video screenings.
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Roman Stolyar, Susan Allen, Nicholas Chase and friends - Mutli-Media and Music at REDCAT :: April 27, 2007, 8:30PM :: Corner of 2nd and Hope Streets in the Walt Disney Concert Hall Complex 637 W. 2nd Street, Los Angeles, CA 90012 (213-237-2800) :: Tickets $18 (students $14, CalArts $10)

The Russian free jazz innovator and members of the CalArts Improvisation Ensemble weave together a series of new collaborative multimedia works developed using Stolyar’s unique “Improvising Orchestra” methodology. In a continuance of their ongoing collaboration, Chase and Allen join Stolyar, forging ahead into uncharted aesthetic territory. This project was first begun in
Siberia between Allen and Stolyar following an arts conference that touched on improvised music as a means for transnational communication. Chase’s interactive visual work with the improvising trio NIRUSU III (Chase, Allen, Pearson) has been acclaimed by the LA Weekly as “pushing the edge of audio/visual improv”, and his animated/projected composition 2UIQ was featured last October at the Illuminated Corridor (San Francisco/Oakland) exhibition Mobility. In this appearance at REDCAT, Chase explores the possibility of a dynamic, spontaneously composed visual narrative that includes animated film, vector generated graphics, and electro-acoustic musical improvisation, performed by Chase and Stolyar together. Continue reading