Vigilance Improvisations by Eric Laska :: January 28, 2012; 8:00 pm :: Vox Populii Aux Performance Space, 319 N. 11th Street, Philadelphia PA.

This event will feature two pieces in the Vigilance Improvisations framework: “Mutability” performed by Bryan Eubanks and Eric Laska; and “Recursion” performed by Bonnie Jones and Reed Evan Rosenberg and presented by the Philadelphia Sound Forum.

Vigilance Improvisations is a series of structured frameworks for improvising electronic musicians. The archetypical design consists of two musicians, one working with computer and the other with non-computer electronics, improvising together while following unique visual scores. Continue reading

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The Digital Musicoloy Study Group:: Friday, November 4, 2011 at 3:00 p.m. :: Room 4-152 Maclaurin Building, MIT : Directions and Map: http://whereis.mit.edu/?go=4 :: Thomas Bonte and Nicolas Froment of MuseScore share their vision for the future of sheet music :: Co-organized by Matthias Röder and MIT’s Hyperstudio ::
Free and open to the public ::

The life of printed sheet music started in Germany when included in the Mainz psalter in 1457. It has been hooked to paper ever since. Up to now. Sheet music is about to get a new life. A truly digital and social one. Continue reading

Composer/performer Pamela Z is leading a fun walk in SoHo called Site Reading, that she created for an organization called “Elastic City”. Originally there were four of these walks scheduled; there are still two remaining, so there’s still time to register and join her on one of them.

The remaining walks are scheduled for this coming Monday (September 26, 2011) and Tuesday (September 27, 2011) at 6:30 pm. Walk Starting Point: 60 Spring St., New York, NY

Composer/performer Pamela Z will lead participants on a walk that creates musical scores from the graphic features (micro and macro) of downtown Manhattan. Participants will form a roving experimental sound and performance ensemble that will interpret and play the neighborhood’s building facades, sidewalk hardware, public art and street markings to make a contrapuntal, chance-based chorus.

Vague Terrain 19: Schematic as Score; curated and edited by Derek Holzer: Over the past few years, a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analog processes, and a fresh exploration of the pioneers of the electronic arts during the pre-digital era of the 1960s and 1970s. Artists and inventors such as Nam June Paik, Steina & Woody Vasulka, Don Buchla, Serge Tcherepnin, Dan Sandin and David Tudor all constructed their own unique instruments long before similar tools became commercially available or freely downloadable — through a long, rigorous process of self-education in electronics. John Cage once quipped that Tcherepnin’s synthesizer system was “the best musical composition that Serge had ever made”, and it is precisely Cage’s reformulation of the concert score from a list of deterministic note values to a set of indeterministic possibilities that allowed the blurring of lines between instrument-builder and music composer that followed. Continue reading

Contemporary Music Review :: Volume 29, Issue 1 :: Special Issue: Virtual Scores and Real-Time Playing :: Arthur Clay and Jason Freeman, editors ::

Abstract:
Over the last decade, a growing number of composers have begun to use what is known as real-time notation in their work, and many have developed systems to facilitate its use in all types of performative situations. Although a community of practice around real-time notation is slowly emerging, there are few readily available tools for its creation, and little has been previously published about the technical, musical and design issues associated with its use.

We consider real-time music notation to be any notation, either traditional or graphic, which is created or transformed during an actual musical performance. However, the term has not been standardized, and various articles in this issue refer to real-time music notation using other terms, such as dynamic music notation, live scoring, virtual scoring, and reactive notation. Continue reading

Via wired.com: Nathalie Miebach uses data from meteorological and astronomical instruments and ecological surveys to create sculptures and music. The chosen medium for Miebach’s work is basket-weaving, because it presents a three-dimensional grid on which to plot raw numbers. The dimensions, shape and orientation of the basket also depend very much on the data. “I never know what the shape will be beforehand, which often leaves me scratching my head,” said Miebach, in an interview with the Peabody Essex Museum.

Miebach likes to collect the data herself, spending hours and days in the field trying to understand complex, dynamic relationships between different variables in an environment. The key, she says, often isn’t to examine the numbers on the instrument — it’s to observe the different things that are going on around you. Continue reading

Turbulence Commission: Moments of Inertia by R. Luke DuBois, with Todd Reynolds:

Moments of Inertia is an evening-length performance based on a teleological study of gesture in musical performance and how it relates to gesture in intimate social interaction. The work is written for solo violin with real-time computer accompaniment and video. Moments consists of twelve violin études written for Todd Reynolds – ranging from 1-10 minutes in length – each of which uses a different violin performance gesture as a control input for manipulating a short piece of high-speed film (300 frames-per-second) – of objects and people in motion. Taking its cue from principles in physics that determine an object’s resistance to change, the violinist’s gestures time-remap and scrub the video clip to explore the intricacies of the performed action. Continue reading

Videotage is proud to present Hong Kong-based Portuguese artist Joao Vasco Paiva as the first selected artist-in-residence of fuse:: residency program 2010. The objective of fuse:: residency program has always been encouraging individuals interested in the field of new media art, be it art & technology, art & science or art & anything, to create new works. With the support from Videotage, Joao Vasco Paiva will bring the audience a new sculptural sound installation Chirps, through which he creates a score by determining rules.

The prototype of the work (v1) was presented in the Microwave International New Media Art Festival 2009 in which a set of toy birds performed a sequence of calls and movement interfered by the passers-by at the lobby of Langham Hotel, while this time, Vasco has made the toy birds migrate to the raw space of Videotage where they would react to the motion and sound of a new player – a real mynah bird. Continue reading

Read | Write Storage in Collaborative Networked Art by Jason Freeman — in Networked: a (networked_book) about (networked_art):

ABSTRACT: This chapter explores the role of storage in media art and, more specifically, its role in collaborative creativity within the field of networked music. Through a series of paired analyses of works that differentially emphasize transmission and storage or which employ different approaches to storage, the chapter discusses different opportunities, challenges, and issues related to storage in collaborative, networked art. Music by the Rova Saxophone Quartet and by Nick Collins frames a discussion of composition and improvisation; two works by The Hub initiate an analysis of the influence of technology on network design and on collaborative models of shared material and shared control; broadcast works by Max Neuhaus introduce the concept of active storage systems; the online sites WebDrum and Jamglue raise questions about network latency and the persistency of storage; and Bicycle Built for 2,000 and Graph Theory manipulate the level of awareness of storage mechanisms by various participants.