Cave (not to be confused with the musician of the same name) draws from sources as varied as African ceremonial costumes, Tibetan textiles, and pop-culture creatures. His elaborate suits aren’t just objects pegged to a pedestal; they’re meant to be worn, vitalized through movement and the sounds they make. In fact, the dance-trained artist is working toward a 90-suit performance that he’ll take around the world.

Read a New York Times feature about Cave, listen to his interview at Yerba Buena Center for the Arts, visit his current exhibition at UCLA’s Fowler Museum, buy the exhibition catalogue, and peek at past shows at his New York gallery.

For more images, see: flavorwire.

This four day workshop introduces basic soft electronics techniques for constructing fabric sensors and wearable circuits. Instead of using soldering irons and wire, we will use sewing needles and conductive thread. The theme of the workshop is hacking sound toys into wearables. During the workshop each participant will develop a wearable project, paying attention to the placement of components and the relationship between body, action and sound. Participants will design wearable interactions and deal with issues such as comfort, functionality, context and purpose. We will introduce to a range of available and affordable materials, tools
and craft techniques for making soft electronics that are easy to be continued at home.The textile components covered in this workshop will include: soft and stretchy fabric traces, battery pouches, hard/soft permanent and plugable connections, pressure, bend, tilt and stretch sensors as well as modifying sound toy circuits to be integrated in soft circuitry. Techniques will include: sewing, soldering, embroidery, fusing, knitting, crochet as well as isolation techniques.

Last but not least, we will be raising this question throughout the workshop: why we would ever want to map sounds to our bodies in the first place, let alone embed electronics in our clothing. Participants of all skill levels are welcome and encouraged to bring their
own old clothes to repurpose.

The workshop will be held in English by Hannah Perner-Wilson and Mika Satomi. For more information: www.kobakant.at/DIY/

Please apply by filling the form here: www.ateliernord.no. If you have any questions please mail to: office@ateliernord.no or call 23060880.
________________________________________________________________________
ATELIER NORD
Wergelandsvn. 17
N-0167 Oslo
www.ateliernord.no

Miya Masaoka has created works for koto, laser interfaces, laptop and video and written scores for ensembles, chamber orchestras and mixed choirs. Her work has been presented in Japan, Canada, Europe, Eastern Europe and she has toured to India six times.

http://www.youtube.com/watch?v=F4gAoJs5nDk

From CatSynth’s review of 2009 San Francisco Electronic Music Festival:

“The festival began with a piece by Miya Masaoka (whom Pamela Z jokingly referred to as the “mother of SFEMF” in her introduction). The LED Kimono project not surprisingly featured a kimono with LEDs, worn by dancer Mariko Masaoka-Drew. The dress itself was very pretty and simple, with a large LED array on the right-hand sleeve. Throughout the performance, different patterns were featured on the LEDa, sometimes very subtle with only a few active, and at other times large oscillating rectangular patterns.

The music began with a very traditional koto performance. There some delay, sampling and pitch-shift effects in the background. The koto was mostly struck or plucked, and occasionally bowed. During the section of the performance, there was almost no dance movement. Over time, more electronics came in, initially low, dronaning, and with overtones that sounded vaguely FM or inharmonic, almost like electrical noise.

As more electronic sounds came in, the dancer began to move, very slowly and subtly. Indeed, most of the movement throughout the piece was very subtle and slow, and did not clearly map to the musical material. On the other hand, the LEDs on the dress did match the rhythms and timbral changes. The first came on during and electronic arpeggio that sounded like classic FM synthesis. There were some dramatic swells with the higher FM-like sounds. The music primarily moved between the elements described, with the long drones and then the fast arpeggiation. But the physical movement of the dancer remained slow. As a result, I found myself mostly focused on the LEDs and the dress.

And the end, I stayed to watch the process of Masaoka-Drew being “unplugged” from the dress, and to fully observe the amount of electronics (and wiring) that were required for it to function.”

This year the main focus of the workshop is on perceptual processes. The project title — Halbinseln der Wahrnehmung/ Peninsulae of Perception — is a reference to a diary written by a person afflicted with Asperger’s Syndrome. The diary has been proposed as research libretto for investigations into differing perceptual channels and psycho-social research on autism, synaesthesia, music composition and real-time performance. The acoustic-musical dimension of the 2009 laboratory is complemented by research into design or wearable audiophonics and acousmatic architectures and sound perceptions.

The workshop brings together artists, scientists and researchers from different backgrounds committed to sharing their experiences and catalyzing multidisciplinary science-art collaborations. Special guests in residence at the summer lab are Stefan Scheib and Katharina Bihler from the Liquid Penguin Ensemble, an experimental music-theatre group that gained wide recognition through their award-winning radio music dramas. Their latest production, “Bout du Monde,” has just been selected radio drama of the month (June 2009) by the German Academy of the Performing Arts. Previously, “GRAS WACHSEN HÖREN - das biolingua Institut wir 100 Jahre alt” was awarded the prize for best german radio drama and the ARD Online Award in 2008. Their music theatre performance “Eurydike hinter den Grenzen” (2007) was shown at festivals in Luxembourg, Düsseldorf, Saarbrücken and other venues.

The laboratory is organized by theatre director and media artist Johannes Birringer who founded the Interaktionslabor in 2003 and currently holds a professorship in digital performance at Brunel University, London. “We have had many inquiries this year, as our subject combines research into media arts and psychology,” Birringer says, “and the lab also has a continuing commitment to challenging our assumptions about space and perceptual constructions. We look forward to the participants from Latin America, Great Britain, France and Switzerland who will join artists and educators from the region.” The lab ensemble plans to create a sonic installation in the 10KV, a former electric plant on the campus of the mine. The Interaktionslabor, which went on tour last summer to Belo Horizonte, Brasil, has become increasingly well known for its unique peripheral location, its independent, autonomous status, and the transcultural partnteships it has helped to build over the years.

The lab ensemble plans to create a sonic installation in the 10KV, a former electric plant on the campus of the mine. The Interaktionslabor, which went on tour last summer to Belo Horizonte, Brasil, has become increasingly well known for its unique peripheral location, its independent, autonomous status, and the transcultural partnerships it has helped to build over the years.
The activities are open to visitors, and information about the proceedings and the research process can be found here.

Sensory Threads — by Proboscis — is a work-in-progress to develop an instrument enabling a group of people to create a soundscape reflecting their collaborative experiences in the environment. For this interactive sensory experience, we are designing sensors for detecting environmental phenomena at the periphery of human perception as well as the movement and proximity of the wearers themselves. Possible targets for the sensors may be electro-magnetic radiation, hi/lo sound frequencies, heart rate etc). The sensors’ datastreams will feed into generative audio software, creating a multi-layered and multi-dimensional soundscape feeding back the players’ journey through their environment. Variations in the soundscape reflect changes in the wearers interactions with each other and the environment around them.

Featured artworks - The Knitting Scanner by Azusa Murakami reads patterns in knitted garments and translates them into music; Chromophone by Benjamin Newland allows people to make music from the colours that they see; Fabien Cappello turns type into beautiful music using a modified traditional typewriter; an installation of porcelain bowls by Jozephine Duker people play using their hands or everyday objects like a pen; a comfortable lounge chair by Vahakn Matossian houses an audio processing ‘brain,’ microphone, joystick and sound horns; Giuseppe Guerriero’s instrument has fifty sensors around its surface to allow body movements to compose and play music; Lucia Massari turns an ordinary book into an extraordinary musical instrument; Matthew Plummer-Fernandez has created a wind-up human-powered electronic instrument; Yiting Cheng and Ting-Chung Cheng have devised a wearable instrument with which body movements execute a symphony of buttons, zip fasteners, velcro and pins. Related: itSpace by Peter Traub.

http://www.youtube.com/watch?v=A2Bv2zMrcpM

Above is an interview with the works creators. Originally seen at Fashioning Technology. [posted by Garrett on Network Research]

This wearable electroacoustic instrument is shaped into a peacock’s fan-like plumage and is highly directional — projecting the sound into a space like an oversized radar dish. Much in the same way that the courtyard peacock “strutts his stuff” in front of a pea-hen and imposes with his awesome cry, so does the Audio Peacock stalk his architectural domain — using sound as a scalpel that cuts through air and sculpts it, transforming it to into his new realm. An Audio Peacock can either amplify and alter its own voice or electronic instruments using a microphone, sampler, and filters (loop + pitch), play pre-recorded sounds, or receive live sounds via transmitter/receiver.

As Video Peacocks (wearing white plexiglass „skins“) 4 of these electroacoustic birds patrol a darkened environment. Their audio costumes double as mobile projection screens: whenever their paths intersect the light of a video projector the costumes metamorphasize into multi-colored screens. Colorful visualizations (movies, pictures, internet blogs, interactive webcasts, closed-circuit cameras) are “beamed“ onto them as they play their sounds. As a site-specific and multi-phonic installation the parcours of these “cyber-birds“ is choreographed vis-a-vis to the emplacement of the projectors in the architectural space.

Benoît Maubrey was born of French parents in Washington DC in 1952. He graduated in 1975 with a Bachelor of Arts Diploma from Georgetown University. In 1979 he moved to West Berlin and after the collapse of the former East Germany moved to the state of Brandenburg where he and his partner Susken Rosenthal founded the non-profits arts organization Kunstpflug e.V. His performance and installation work has been presented in many international art festivals, Since 1990 he lives and works in the village of Baitz (near Belzig,Brandenburg/). Since 1983 numerous performances and exhibitions (a selection): Ars Electronica (1985), SONAMBIENTE/ Academy of Arts Berlin(1996), Tokyo City Opera/ NTT-ICC (1997), International Symposium of Electronic Arts/Chicago (1997), The Kitchen /NYC, Monaco Dance Danses Forum (2000), Seoul Performing Arts Festival, Location One/NYC, Gracia Territoria Sonor/Barcelona, (2003) , Thailand New Media Art Festival/Bangkok, Sitelines Festival/NYC (2006), Schloss Moyland/ Joseph Beuys Archive. (2007), Mostra des Artes/ Sao Paulo (2008).

The name Sound Jewelry was coined to refer collectively to a set of intelligent musical instruments to be held or worn somewhat like pendants. Each such item is designed to be capable of sound production and of sensing its relative distance from others. With them, they create musically responsive and interactive environments.

Takuya Yamauchi (designer, engineer, educator), Graduate School of Media and Governance, Keio University SFC, 252-8520, 5322 Endo, Fujisawa, Kanagawa, Japan.

Toru Iwatake (composer, educator), Graduate School of Media and Governance, Keio University SFC, 252-8520, 5322 Endo, Fujisawa, Kanagawa, Japan.

For more information, see Leonardo Music Journal - Volume 18, 2008, pp. 33-37. Cost: $10.00

Now in its seventh year, the Spark Festival invites submissions of art, dance, theater, and music works incorporating new media, including electroacoustic concert music, experimental electronica, theatrical and dance works, installations, kinetic sculpture, artbots, video, and other non- traditional genres. Although Spark does not force submissions to adhere to a annual theme, we are especially interested this year to feature wearable and mobile technologies, and events will include the first Spark Fashion Show.

Spark also invites submission of scholarly lectures and panel proposals on topics of Collaborative Arts, Interactivity, Cognition, Compositional and Artistic Process, Social and Ethical Issues in the Arts, Art, Music, Video, Film, Animation, Theater, Dance, Innovative Use of Technology in Education, Scientific Visualization, Virtual Reality, intermedia composition, performance, human-computer interaction, software/hardware development, aesthetics, and history and all topics related to the creation of new media art and music.

All accepted papers will be published as part of the Spark proceedings.

Music submissions will be accepted in seven categories:

1. Concert Hall works: Interactive works for acoustic instruments and electroacoustics (performance forces are available, TBA) and electroacoustic works with and without performers. Performance venues will accommodate 2-8 channel works and works with video. Although there is no strict limit of duration, pieces of fifteen minutes or less are strongly encouraged. This year, Spark encourages submissions of works for electronics with one of the following solo instruments: trumpet, tenor (voice), percussion (marimba especially), or violin. Additionally, the Renegade Ensemble, a local ensemble consisting of 2 percussion, 2 piano, clarinet (Bb, bass, etc), mezzo-soprano, cello and flute will perform several works. Other instruments and ensembles are possible. And, as always, bringing one’s own performer(s) is highly encouraged. Note: Although some “tape music” will be programmed, Spark generally favors works with live performers or other visual component. Some accepted “tape” works may be choreographed. Please indicate if you do not wish to be considered for this.

2. Pub/Club works (aka Spark Nightlife): Experimental electronic performances in a “club-style” venue. Performers of various styles will be considered, including those influenced by IDM, hip-hop, glitch, jazz, etc. Selected performers will be given sets of 15-45 minutes. Performance venue will accommodate stereo sound and video. Please note that this venue is literally a pub. It will be a loud place. If your work requires a quiet atmosphere, please submit under the Concert Hall or Ambient Room category.

3. Ambient Room works (aka Nightlife / Ambient): Experimental electronic performances in a coffeehouse or club lounge venue. Works of any aesthetic approach are welcome, but ought to be “quiet” music. Please note that this venue will be a public establishment, not a concert hall, and thus listeners may converse during performances.

4. Installations: [See “Art Works” above]

5. Music with video [See “Art Works” above for general parameters, but also note that this year we ask submitters to specify whether the work is a video piece or a music video piece and these will be judged by separate juries.] Music with Video may also be submitted in either the Nightlife category or Nightlife / Ambient category.

6. Special Submission Category: “Homemade” instruments showcase. We encourage submission of proposals for short (15 minute) talk/ performances to explain and demonstrate custom-made instruments. These presentations will happen in lieu of one or more daytime concerts. If the instrument is an item of clothing or otherwise mobile, please consider submitting under the Spark Fashion category (above).

7. Guerilla-style works/performances: See #2 in Dance / Theater, above.

PAPERS/TALKS/PANELS: Technical papers, lecture/demonstrations, panels, and workshop submissions that deal with topics relating to creating arts and music with new technology are encouraged, including discussions of ideas and technology related to works submitted for performance at Spark 2009, as well as topics of Collaborative Arts, Interactivity, Aesthetics, History, Cognition, Compositional and Artistic Process, Innovative Use of Technology in Education, Social and Ethical Issues in the Arts, Art, Music, Video, Film, Animation, Theater, Dance, Scientific Visualization, Virtual Reality, Intermedia Composition, Performance, Human- Computer interaction, Software / Hardware Development. For Spark 2009, we are particularly interested in papers discussing custom-made instruments and wearable / mobile creations; but submissions on other topics are welcome. All accepted authors must attend to present their lectures.

Submissions should consist of a 1-2 page abstract with bibliography. Where appropriate, camera-ready papers will be due on December 10, 2008.

SUBMISSION REQUIREMENTS: Applicants are invited to submit one work per category in up to three categories for consideration. All applicants must complete an online submission form on the Spark Festival website and include their submission number(s) with any physical media sent via postal mail. Applicants are strongly encouraged to post submission materials to their own websites or other online media resources (e.g. YouTube, FreeSound) and submit a URL with the online form, rather than sending via post (Spark does not accept submissions as email attachments). This will greatly help the Spark juries view submissions and make decisions in the most timely fashion. The submissions website is here. The online submission system will be opened on Thursday, Oct. 9. Music submissions for multichannel (more than stereo) speaker configuration should be submitted as a stereo mix.

Regarding music and other performance works: Performing resources will be drawn from the University of Minnesota and Twin Cities area musicians. However, Spark has only a small budget for this purpose, and availability of musicians will be taken into consideration when selecting works. Therefore applicants are encouraged to bring their own performers when possible. More information about available performers will be posted on http://www.sparkfestival.org when known.

Composers and artists whose works are selected for inclusion are strongly encouraged to attend the festival. Scholars whose papers, talks, demonstrations, or panels are accepted will be required to attend Spark to deliver their presentation. Spark is also looking for works that fit into the “Twin Cities Showcase Concerts” that happen as the introduction to the festival. To be considered for these events, please indicate in the comments section of the online application that you are a Twin Cities artist interested in this category.

Please note that Spark requires documentation of work in order for it to be selected. Spark does not program works from proposals or descriptions of works in-progress, without exception. (For a complete music work that has not yet been premiered, a MIDI realization is acceptable.) Also note that, regretfully, Spark does not have financial resources to fund selected artists.

TECHNICAL DETAILS: Selected works will be announced by November 30, and travel and accommodations information will be posted on http://www.sparkfestival.org by the same date. If an artist requires notification information sooner (for funding applications, for instance), s/he should email sparkfst [at] umn.edu to inquire about possible early notification.

Submission deadline is 11:59pm (PST), October 31 2008 (postmarked)

All submissions for Spark 2009 must be initiated via the online submissions procedure on the Spark 2009 website.

Materials not posted online can be mailed to:
American Composers Forum
c/o Spark Festival
332 Minnesota Street
Suite E-145
St. Paul, MN. 55101

Spark 2009 has been made possible by generous support from the University of Minnesota College of Liberal Arts and the American Composers Forum.