Sound Full: Sound in Contemporary Australian and New Zealand Art :: July7, 2012 – November 11, 2012 :: Dunedin Public Art Gallery, 30 the Octagon, Dunedin 9011, New Zealand :: Opening weekend of Sound Full, 7–8 July, will include performances by all the artists represented in the exhibition :: T +64 3 474 3240 :: dpagmail@dcc.govt.nz

Artists: Vicky Browne; Philip Dadson; Robin Fox; Marco Fusinato; Michael Graeve; Brent Grayburn; David Haines; Eugene Hansen, Jenny Gilliam and Dr Kron; Joyce Hinterding; Michael Morley; Kusum Normoyle; Thembi Soddell; Torben Tilly and Robin Watkins.
Curated by Caleb Kelly and Aaron Kreisler. Continue reading

Sideband June 15, 2012 at 8:00 p.m. :: At The Museum Of The Moving Image, 36-01 35th Avenue, Astoria, New York City, New York :: Tickets: $12 public / $8 Museum members. Free for Silver Screen members and above. Order online or call 718 777 6800 to reserve tickets.

Sideband creates audiovisual music using laptops as musical instruments, wireless networks, multichannel speakers, live 3-D video projections, hacked video game controllers, homemade hardware, traditional instruments, physical movement, and much more. Continue reading

Incidental Music – Site-Specific Installation/Performances :: In Fragmental Museum — a 50,000 Sq Ft Former Warehouse :: 47-10 Austell Place, Queens, New York 11101 :: Saturday, June 16th, 2012 from 4:00 p.m. – 11:00 p.m. :: Reception and refreshments at 6:00 p.m. :: Performances from 6:00 p.m. – 9:00 p.m. ::

Fragmental Museum’s Sound Series kicks-off with a day of site-specific installations and performances curated by Composer/turntablist Tristan Shepherd. Continue reading

New Radio and Performing Arts, Inc. is now accepting proposals for its Turbulence.org Commissions Program. The deadline for New York practitioners is May 31, 2012; June 30, 2012 for everyone else. The Application Guidelines are here.

Turbulence.org is the oldest and most consistent net art commissions site in the world. Now celebrating 16 years it has commissioned, exhibited and archived over 200 works. We are also in the process of archiving the collection at the Rose Goldsen Archive of New Media Art, Cornell University, Ithaca, New York. You can read about the project in Virtueel Platform Research: Archiving the Digital by Annet Dekker and Rachel Somers-Miles.

Listen to a conversation between Tetsuo Kogawa And Yasunao Tone On Radio Art :: Lines Of Sight is a Ràdio Web MACBA podcast series, curated by Barbara Held and Pilar Subirà, which takes its name from the interconnected points of the global resonant space created by radio and other wireless technologies. From out of the extraordinary array of music that plays on this world-wide stage, the series follows threads as diverse as musical notation and non-linear composition, and introduces artists who explore the ideas around transmission as a medium for creative expression.
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Turbulence.org, Eyebeam Art & Technology Center, and ISSUE Project Room present: L-Carrier — A Networked Installation and Performance by Eli Keszler :: Performance: June 7, 2012; 7:00 – 8:00 pm :: Installation: June 7-23, 2012 :: Eyebeam, 540 West 21st Street, New York + Turbulence.org [Needs Safari, Firefox or Chrome; and Speakers/Headphones].

From June 7-23, composer-percussionist Eli Keszler transforms Eyebeam’s Project Space with L-Carrier, a large-scale, mechanical stringed instrument that will immerse audiences in rich harmonies and sparse, multi-directional rhythms. Fluid, dynamic acoustic sounds will push and pull against the installation’s sonic control. The website displays the piece’s evolving visual data score, and streams real-time audio from the physical environment. Continue reading

Source of Uncertainty II: Music of the Buchla Synthesizer :: with Richard Lainhart / Mort Subotnick :: Saturday, Jul 7, 2012 at 7:30 p.m. :: Michael Schimmel Center for the Arts at Pace University, 3 Spruce Street, New York :: Free ::

Source of Uncertainty II: Music of the Buchla Synthesizer features a premiere performance of Energy Shapes by Morton Subotnick and a quadrophonic version of his legendary Silver Apples of the Moon. Preceding Mr. Subotnick’s performance will be a presentation of Orchestra of the Damned by Richard Lainhart.

Source of Uncertainty II is part of the part of the annual River To River Festival.

The Stanford Laptop Orchestra (SLOrk):: Thursday May 3rd, 2012 at 8pm :: CCRMA Stage, Center for Computer Research in Music and Acoustics, Stanford University, 660 Lomita Dr., Stanford, CA 94305-8180 USA :: tel: (650) 723-4971 :: free and open to the public ::

SLorktastic Chamber Music 2012 presents all new works for electronic chamber music, by members of the SLOrk ensemble and seminar. You are cordially invited to join them in exploring new sonic spaces + musical places with instruments and performances crafted for humans, laptops, iPads, and hemispherical speaker arrays.

For more details, visit: http://slork.stanford.edu/events/2012/slorktastic/

Toni Dove’s Spectropia :: May 4, 2012 and May 5, 2012 8:00 p.m. :: at Roulette, 509 Atlantic Avenue, Brooklyn, NY 11217 :: (917) 267-0363 :: Featuring Toni Dove, R. Luke Dubois, Elliott Sharp and the ’31 Band with special guest vocalist Barbara Sukowa

“…it’s just plain cool to watch. Highly recommended.” – Jeremy Barker (Culturebot)

Over two nights, MAY 4 and 5 ROULETTE will present two radically different aspects of Toni Dove’s Spectropia. A sci-fi hybrid with themes of time travel, telepathy, and elements of film noir, Spectropia features live VJs orchestrating onscreen characters through a mix of film, performance, and a system of motion sensing that serves as a cinematic instrument. For more information on Spectropia, visit http://tonidove.com/blog. Continue reading

Body Controlled #3: Creative Feedback :: Performances by Trio Brachiale : Alberto de Campo, Hannes Hoelzl, Dominik Hildebrand :: Friday, March 30, 2012 at 8:00 p.m. :: performance will be available from 20h CET via livestream on http://bit.ly/uXRgyq.

The third edition of the BodyControlled series presents a group of performing artists using diverse feedback procedures as a motor for their performance work. Known mostly as the result of an audio loop between a microphone and a speaker, feedback can be a powerful and dynamic creative tool in both visual and sound performances. Each of the artists in BodyControlled #3 uses feedback in a personal way (and at a different level in the processing chain) to either shape their sounds and images, or to create a – relatively – controlled dialogue between them and their instruments.