Call for Submissions :: Worldmaking as Techné: Exploring Worlds of Participatory Art, Architecture, & Music:

The editors of this book project were drawn together by a common outlook that the creation of work is the creation of concepts, joining the efforts of theory and praxis in one process (techné), and that the results of our works are the expression of an ontological proposition (worldmaking). This connection was the catalyst to host the panel discussion, The Volatility and Stability of Worldmaking as Techné, at the Inter-Society of Electronic Arts conference 2011 (ISEA 2011). Continue reading

PuréeData by Ted Hayes [Optimized for Google Chrome]:

PuréeData is a web-browser interface for a single shared sound environment that allows live, collaborative patching for anyone, anywhere. Visitors interact with a shared PureData audio synthesis patch and listen to the results as an MP3 stream, with no software to install or set up. The project is open-source, and all are encouraged to modify, improve and set up their own PuréeData servers.

PuréeData is a 2011 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was made possible with funding from the Jerome Foundation. Continue reading

[Conceptual mock-up of Se­cu­rity Gate 26.11 by Molly Reichert] ISEA Istanbul presents Tyrannies of Participation — Chair Per­son: Seeta Peña Gan­gad­ha­ran; Pre­sen­ters: Jon Lei­decker, Joshua Kit Clay­ton, John Kim, An­thony Tran, Vasily Tru­bet­skoy :: Sep­tem­ber 16, 2011; 9:00 am - 10:30 am :: Sa­banci Cen­ter Room 3, Sa­banci Cen­ter, Lev­ent.

The pur­pose is to ex­plore the con­struc­tion and val­u­a­tion of par­tic­i­pa­tory dis­courses, de­signs, or ex­pe­ri­ences and chal­lenge re­ceived wis­dom of par­tic­i­pa­tion’s power. When does the dis­course of par­tic­i­pa­tion mask power? Who has ac­tual ver­sus per­ceived au­thor­ity? How do bot­tom-up, col­lab­o­ra­tive-based, lev­eled so­cial, cul­tural, and po­lit­i­cal ex­per­i­ments cre­ate new in­equal­i­ties?

Work­ing across the arts, music, and pol­i­tics, this panel con­sid­ers the dy­nam­ics of power in me­di­ated par­tic­i­pa­tion. Continue reading

You’re Not My Father, by Paul Slocum, [Requires Quicktime plugin] is composed of a sequence of recreations of a 10 second scene from the television show Full House, overlaid with sound loops from the scene’s original music. The crews who re-shot the scene were recruited through Internet message boards and Craigslist; each was paid $150. Instructions for shooting the scene and delivering the footage were issued to the crews. To-date, the project includes participants from Austin, Cincinnati, Chicago, Dallas, Denton, London, and San Francisco. Continue reading

Turbulence Commission: You Don’t Know Me by Liangjie Xia [Needs Software Download]:

You are not always who other people think you are; you even hear your own voice in a different way. By recording and manipulating a recording of your voice with You Don’t Know Me, you will be able to restore your real voice and share with people how you hear yourself. This is a unique task that nobody else in the world can do. You Don’t Know Me provides a toolset and an online voice gallery. We are looking forward to hearing your true voice.

You Don’t Know Me is a 2010 commission of New Radio and Performing Arts, Inc. for its Turbulence web site. It was supported by the Jerome Foundation. Continue reading

Moori: Audience Participatory Performance :: May 14, 2011; 9:00 pm + May 20, 2011; 7:00 pm :: Barkroom, Parsons, 2 W. 13th St. Ground Floor (corner of 5th Ave), New York, NY.

Moori, by Haeyoung Kim, is an interactive audience participatory audio-visual performance. By incorporating multiple modes of messaging on a mobile phone, users tell their stories to guided questions by the performer. User data is processed to generate algorithmic audio and visuals while creating a larger narrative. This collaboration creates dialog among the performer and audience members and suggests new possibilities that can exist through the combination of algorithmic animation, audio and language. Continue reading

UrbanRemix is a collaborative and locative sound project developed by Jason Freeman, Carl DiSalvo, Michael Nitsche, and many of our students at Georgia Tech. Our goal in developing UrbanRemix was to design a platform and series of events that would enable participants to develop and express the acoustic identity of their communities, and enable participants to explore and experience the soundscapes of the city in a novel fashion.

The UrbanRemix platform consists of a mobile phone system and web interface for recording, browsing, and mixing audio. It allows users to document and explore the obvious, neglected, private or public, even secret sounds of the urban environment. Continue reading

Nancy Garcia :: April 9 - June 9, 2011 :: Opening: April 9; 7:00 - 10:00 pm :: Bas Fisher Invitational, 180 NE 39th Street, Suite 210, Miami, Florida.

Nancy Garcia’s interdisciplinary practice incorporates choreography, music/sound, video, performance, image making, and new media. Often slinging the viewer to the edges of performative events, Garcia draws attention to the exultant body, considering it as a site as well as a vehicle for sound and movement. For her first solo exhibition in Miami, Garcia shows a new body of work incorporating photography, a new video entitled Power Trio, and a concept audio compilation, Lover’s Alarm Clock, for which she asked artist friends to “create a sound you want your lover/s to wake up to.” Each track will be downloadable and sharable as a smartphone ringtone at www.loversalarmclock.com, and be available for listening in the gallery. Continue reading

WWW-Enabled Noise Toy by Loud Objects (with funds from the Jerome Foundation) [Needs Firefox browser]:

Loud Objects, NYC-based circuit sorcerers, present a wacky way to learn hardware audio programming. The WWW-Enabled Noise Toy invites anyone with a web browser to write their own audio code, program it remotely onto a Noise Toy, and play it live via webcam. In the spirit of “try it yourself” software demos, the website provides a simple environment for experimenting with low-level microchip-generated audio. Load code from the Loud Objects’ own library of performance algorithms, hone your own noise techniques, and add your work to the online archive to share it with other microchip coders and create an open source noise community. Continue reading

The Stanford Mobile Phone Orchestra(MoPho) :: a mini-concert :: Thursday, November 18, 2010 @ 7:00 p.m. :: as part of the CCRMA Fall Concert :: before the Musicircus begins at 8:00 p.m., at Center for Computer Research in Music and Acoustics (CCRMA) Stage, Stanford University, Stanford, CA 94305-8180 :: tel: (650) 723-4971::

The works played will feature all pieces involving audience participation. One of the pieces by Jieun Oh and Ge Wang invites you to submit images and sounds of your daily life (starting today!) to be used in the performance: see: https://ccrma.stanford.edu/~jieun5/converge/

This then leads into the Cagean Musicircus, starting at 8pm!:: see: https://ccrma.stanford.edu/events/ccrma-fall-concert-cagean-musicircus