Laetita Sonami + Analogous Projects presents Torino:Margolis
Mar 11th 2010
Laetitia Sonami
Composer, performer, and sound installation artist Laetitia Sonami was born in France and settled in the United States in 1975 to pursue her interest in the emerging field of electronic music. She studied with Eliane Radigue, Joel Chadabe, Robert Ashley and David Behrman.
Sonami’s work combines text, music and “found sound†from the world, in compositions which have been described as “performance novels. Her signature instrument, the Lady’s Glove, is fitted with a vast array of sensors which track the slightest motion of her enigmatic dance: with it Sonami can create performances where her movements can shape the music and in some instances visual environments. The lady’s glove has become a fine instrument which challenges notions of technology and virtuosity.
Sonami’s sound installations combine audio and kinetic elements embedded in ubiquitous objects such as light bulbs, rubber gloves, bags and more recently toilet plungers. She collects electrical wire and embroids them in walls.
Sonami gives extensive workshops and classes. She tries to familiarize and enthuse students to adapting old technologies and new media to the creative process and thus expand their field of imagination and play.
Sonami has been performing in numerous festivals across the United States, Canada, Europe, Japan and China, among which the Ars Electronica Festival in Linz, the Bourges Music Festival in France, the Sonambiente Festival in Berlin, the Interlink festival in Japan, Bang-on-a Can, The Kitchen and Other Minds, S.F.
Awards include the Alpert Award in the Arts (2002), Foundation for Contemporary Performance Arts Award (2000), the Civitella Ranieri Fellowship (2000), Studio Pass-Harvestworks residency (2001) and a Creative Work Fund award (2000) for a collaboration with Nick Bertoni and the Tinkers Workshop.
Sonami lives in Oakland, California and is guest lecturer at the San Francisco Art Institute and the Milton Avery MFA program at Bard College.
“.. Sonami sometimes looked like a human antenna searching the air for sounds, or like a deity summoning earth-shaking rumbles with a brusque gesture.†– New York Times
“…sultry and magical†-Village Voice
ANALOGOUS PROJECTS:
Complexity theory is not new to art or to our culture. It migrated from computer science and biology to economics and art and, with the advent of the world wide web, it invaded our collective subconscious. Analogous seeks to support complexity-driven art and artists playing under this conceptual umbrella of “Interaction Artâ€. Progress occurs by metaphor and analogy: Their hope is (by bringing together people and projects irrespective of media and genre) to enable philosophical crosstalk.
Complexity theory centers around the concept of emergence, which refers to the observation that individuals acting within a shared context will create something greater than the sum of its parts. Since this principle explains the richness of biology — from molecule to ecology — it is able to lend an organic nature to highly-technical projects and to guide the logistics of elaborate social experiments.
We believe an emergence-based perspective can serve as both (1) a catalyst for new and progressive works, and as (2) a way to view existing works and practices from a new light.
Our objectives:
(1) to support artist-led, complexity-driven projects technically, financially, and administratively.
(2) to develop a cross-genre community of artists and philosophers in order to facilitate new works and novel collaborations.
http://www.analogousprojects.org/
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Golden Fur 2010 Series Tonight
Mar 11th 2010
First GOLDEN FUR concert for the 2010 Series is tonight at the Melbourne Recital Centre.
PROGRAM:
Liza Lim – Veil ( for sextet)
Robert Dahm – …nailed, unstreched, to the floor… (for piano/viola, cello/harp, clarinet/MaxMSP)
Robert Ashley – Waiting Room (for trio)
Cat Hope – Kuklinski’s Dream (for carving knives, clarinet, cello, viola and MaxMSP)
Morton Feldman – For Frank O’Hara (septet)
Performed by Golden Fur (Sam Dunscombe, James Rushford, Judith Hamann) with very special guests Kim Tan (flute), Lizzy Welsh (violin), Rob Mattessi (trumpet), Matthias Schack-Arnott (percussion), Nat Grant (percussion) and Timothy Phillips (conductor).
Thursday March 11, 6pm (no interval)
Melbourne Recital Centre SALON (Cnr Southbank Boulevard and Sturt Street, Southbank, Melbourne)
Tickets $35 ($25 concession) special three-concert subscription package available for $90 ($65 concession)
Book at www.melbournerecital.com.au or call the Box Office on 03 969….
N.B. Limited seating – bookings ESSENTIAL!
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tovsky/takeda live at fotofono
Mar 11th 2010
video artist shimpei takeda and sound artist bruce tovsky create one of their shimmering live improvisations in this intimate setting. using the barest of materials and a camera, takeda coaxes cascading waves of light in response to tovsky’s deep, low drones. best experienced on a sound system with excellent low-end reproduction (sub recommended) listening on computer speakers you may find yourself wondering where the sound went, as the beginning of this piece consists of extremely low sounds interacting with each other. recorded in binaural sound by tovsky, listening on headphones will give the full effect of the 360 degree soundstage.
tovsky/takeda live at fotofono from bruce tovsky on Vimeo.
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Ciclo Acción Improvisada . cronograma
Mar 11th 2010
acción # 1
domingo 31 de enero
tobias delius inglaterra (saxo tenor y clarinete)
christof kurzmann austria (laptop)
leonel kaplan (trompeta)
Eº (objetos, guitarra, baterÃa)
acción # 2
domingo 28 de febrero
lucio capece (saxo soprano)
cristian carracedo (objetos)
josé de diego (baterÃa)
federico lanchares (cine expandido)
sergio merce (saxo soprano)
acción # 3
jueves 11 de marzo
nicole bindler estados unidos (danza)
leonel kaplan (trompeta)
christof kurzmann austria (laptop)
acción # 4
domingo 18 de abril
george cremaschi estados unidos (contrabajo, electrónica)
stephan mathieu alemania (laptop)
leonel kaplan (trompeta)
christof kurzmann austria (laptop)
pablo reche (electrónica)
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CALL FOR ELECTRO-ACOUSTIC MINIATURES / 11th Electroacoustic Composition Competition Música Viva 2010
Mar 11th 2010
CALL FOR ELECTRO-ACOUSTIC MINIATURES – MUSICA VIVA FESTIVAL 2010 – “SOUND WALKâ€
Miso Music Portugal and the Música Viva Festival 2010 convokes composers to send electroacoustic miniatures to be diffused at the “Sound Walk†installation during the Música Viva Festival 2010 (from the 16th to the 19th of September 2010) at the Belem Arts Centre in Lisbon.
The “Sound Walk†is an outdoor stereo installation along the 100 meter walkway that leads to the main entrance of the Belem Arts Centre concert halls. Composed by several loudspeakers placed on each side of this walkway, the “Sound Walk†will be running daily from 10 A.M. to 12 P.M.
Rules:
1) There are no restrictions according to age or nationality.
2) The aim of the call is the creation of sound miniatures using the language of Electro-acoustic music. The minimum duration is of two minutes, and the maximum of five minutes.
3) Only one piece by composer may be presented.
4) All applications should be sent via internet only in 1 single Zip File by UPLOAD on the Miso Music’s FTP at the following web address:
http://www.misomusic.com/competitions/soundwalk.html
The Zip File containing the candidate’s application should contain 3 files inside a single folder:
- 1 Text file (.doc, .txt, .rtf or .pdf) with a short biography and contacts, as well as information about the piece (methods used, concept, etc.)
- 1 Audio file .AIFF or .WAV format 16bit 44,1kHz with the piece
- 1 Audio file .AIFF or .WAV format 16bit 44,1kHz with the recording of the composer’s name and title of the piece spoken aloud (this is to be used as an announcement and will be played before each piece on the “Sound Walk†installation.)
Important: The name of the Zip File and the folder should be identical to the name of the work submitted
(All incomplete applications or those not meeting these requirements won’t be taken into consideration)
5) The deadline for submissions is 12 P.M. GMT time, 31st of May, 2010. (Please note that due to bandwith limitations on the Miso Music server it is possible that around deadline hours an overload may occur, making impossible to access the FTP. Please upload your application before the deadline. Applications sent after deadline time won’t be considered valid.)
6) No applications sent by post will be accepted.
7) A maximum of 25 miniatures from all those entered will be selected by the artistic direction of the festival and diffused at the “Sound Walkâ€.
Participation in this call implies the acceptance of its rules.
11th Electroacoustic Composition Competition Música Viva 2010
RULES
In order to encourage the creation of electro-acoustic music, Miso Music Portugal, the Portuguese section of the ISCM (International Society of Contemporary Music) and the Portuguese Federation of the CIME (Confedération Internationale de Musique Electroacoustique), is organising, as part of the MÚSICA VIVA FESTIVAL 2010, the 11th Música Viva Electro-acoustic Composition Competition 2010.
1 – The works submitted shall be recorded electro-acoustic pieces, composed in studio, projected by loudspeakers in concert with the intervention of no live sound sources. They may include a maximum of eight channels and should have a duration between five and fifteen minutes. The competition is open to composers of any nationality, aged no more than 35 years on 31/12/2009, each of whom may submit only one work, which must not have been commercially published or awarded a prize in any national or international competition. Any previous Musica Viva prize winner composer will not be allowed to submit a work on the two years following the year of the prize award.
2 – All entries should be sent via internet only in 1 single Zip File by UPLOAD on the Miso Music’s FTP at the following address:
http://www.misomusic.com/competitions/electroacoustic.html
The Zip File containing the candidate’s application should contain 3 files inside a single folder:
- 1 Text file (.doc, .txt, .rtf or .pdf) with a short biography, contact information, as well as information about the piece (methods used, concept, etc.)
- Proof of nationality and age (a scanned image of passport or other document containing these elements)
- 1 Audio file .AIFF or .WAV format 16bit 44,1kHz containing the stereo version of the piece *
* additionally, in the case of works with more than two channels (multichannel pieces) the audio files corresponding to each of the channels in AIFF or WAV format should be recorded on CD-R or DVD-data and submitted by post to: 11th Música Viva Electroacoustic Composition Competition 2010 – Miso Music Portugal – Rua do Douro 92, Rebelva – 2775-318 Parede Portugal.
(All incomplete applications or those not meeting these requirements won’t be taken into consideration)
The name of the Zip File and the folder should be identical to the name of the work submitted
3 – The deadline for submissions sent via internet is 12 P.M. GMT time, 30th of June, 2010. The CD-R or DVD-data, in the case of the multichannel pieces, must reach Miso Music Portugal before the 15th of July (Please note that due to bandwith limitations on the Miso Music server it is possible that around deadline hours an overload may occur making impossible to access the FTP. Please upload your application before the deadline. Applications after deadline time won’t be considered valid.)
4 – Prizes: the jury may select up to 3 works which will be performed at the Miso Music Portugal Concert Series or at the Musica Viva Festival with the Loudspeaker Orchestra, and which will later be released on CD by Miso Records, provided the composers of the works selected agree with the terms offered by the record company.
5 – The jury will announce their decision during the Música Viva Festival 2010.
6 – The jury may decide that none of the works submitted merit selection. The judges decision shall be final.
7 – Submission of an entry to the competition implies the acceptance of all these rules.
8 – Any questions which may arise as to the interpretation of these regulations shall be clarified by Miso Music Portugal.
(All applications not meeting these requirements won’t be taken into consideration)
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ELEKTRAMUSIC AU TAPS SCALA . Scènes Strasbourgeoises
Mar 10th 2010
Elektramusic participe aux “Mélodies en sous-sol” confiées à Jean-Philippe Wurtz au caveau du TAPS Scala/Scènes Strasbourgeoises le vendredi 26 mars et le samedi 27 mars, avec un programme associant musique électroacoustique sur support, musique électroacoustique live, musique mixte et musique électroacoustique et art vidéo. Entre clin d’oeil à l’histoire et jeune création, le programme se décline ainsi :
Vendredi 27 et Samedi 27 mars à 20h30
PROGRAMME :
Bruno de CHENERILLES : Etude n°2 pour guitare électrique échantillonnée et préparée (électronique live) 2010 – création – 20 mn
Stefano SCARANI & Julia CHINER : Crisalidi
flûte enregistrée, électronique et vidéo – 2009 – 10 mn
Vincent LAUBEUF : Trajectoires/Répétitions
musique électroacoustique solo – 2006 – 14 mn
Edgar VARESE : Poème électronique
musique électroacoustique et images (Le Corbusier ) – 1958 – 8 mn
Frédéric KAHN : Là était le château
musique électroacoustique et vidéo (Thomas Bart)
Karlheinz STOCKHAUSEN : Gesang der Jünglinge
musique électroacoustique solo – 13 mn – 1955/1956
Paul CLOUVEL : Canranc
musique électroacoustique et vidéo (Michaela Schwentner, 2010) – 12 mn
Sungji HONG : Black Arrow
pour clarinette basse et électronique – 2005 – 6 mn 30
Avec :
Paul Clouvel, direction artistique et diffusion électroacoustique
Bruno de Chénerilles, électroacoustique live
Yuko Fukumae, clarinette basse
——————————————————————
Taps Scala : 96 rue du Polygone 67000 Strasbourg
Entrée tarif unique 5,50 euros
Réservations au 03 88 34 10 36 du mardi au samedi de 13h à 19H et sur resataps@cus-strasbourg.net
infos sur :Â http://www.elektramusic.com/taps.html
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Build your own theremin @NK Berlin
Mar 10th 2010
From 22nd to 26th March 2010
Build your own theremin
@NK
Elsenstr. 52/
2.Hinterhaus Etage 2
12059 Berlin Neukölln
0049(0)17620626386
Time: 10:00 to 17:00 daily with 30 min break
Registration: Preregistration is required and can be done by sending an email to enka_nk@gmx.de
This workshop allows each participant to build their own theremin. The first electronic instrument, invented in ‘20 by Lev Termen.
Starting with instrument designs from these articles, www.cs.nmsu.edu/~rth/EMTheremin.pdf we will modify each theremin in a unique way. The built instruments will have the features of a real theremin, with more than 5 octaves and 2 antennas, for volume and pitch control.
More Info:
http://www.theremin.altervista.org/workshop.html
Fees
100 Euros for participation + 55 Euros for parts
All parts included except cabinet (see below)
- Electronic components, capacitors, resistors, transistors, ics, coils etc
- Printed Circuit Board
- Connectors, Mechanical parts: screws, spacers, washers, tube rod to build the 2 antennas, etc
Those who have access to these items through other means, must submit the parts list for a check before the beginning of the workshop.
workshop price minus parts is 100 euro
Cabinet
The cabinet sizes have the main role in the behaviour of the instrument and its playability.
The two antenna (horizontal volume loop on left and vertical pitch rod on right) may be spaced in a range from L= 400 – 500 mm, to avoid interferences The other two are related to the overall dimensions of electronics and the other devices as antenna connectors etc: must be l 120-140mm X h 40-50mm. Thickness from 10 – to max 14mm. The cabinet has its cover. All conductive materials are not advisable.
Wood (plywood) or MDF (Medium density fiber)are as cheapest as reccomended.
We can refinish some holes on the cabinet during the workshop
Recycled enclosures, a broken C64, 128 or VIC20, an old tubes radio receiver, will host the electronic of your theremin. Set in motion your imagination and eyes during your walks and visits to flea markets.
A complete cabinet ready to be drilled and used, we suggest a box like this, item 520780-62 from Conrad http://www1.conrad.de :sizes are far below only in widht L min, (310mm) but the instrument can still operate properly only with a little modification.
You can also build, test your electronic antennas in a mannequin-box, waiting to fit into your cabinet
Every participant would bring
Soldering iron (Lötkolben) 30w 20-45W max – 230volt round tip (spitze) of 1.5mm I.E http://www1.conrad.de, items 588552-LN or 588332-LN
POWER SUPPLY (WALL WART ADAPTER – STECKERNETZGERÄT) standard 230 volt ac – 12-14 volt AC 300mA . This is a very popular device, take a look in your house. ATTENTION:switching mode power supply is not allowed
Cutter, screwdrivers and pliers, a multimeter and 2 mt of soldering wire Sn60%Pb40%, are welcome but we have some of these items and we can share these things
About the theremin
http://www.theremin.altervista.org/thlinks.html
http://www.youtube.com/watch?v=e6bSRcRAhnc&feature=related
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March 7, 2010 Africa!
Mar 10th 2010
Today I introduce two interesting projects in Africa.
1. MILICA PARANOSIC: KOPEYIA, GHANA
http://www.arts-electric.org/stories/100101_paranosic.html
http://www.milicaparanosic.com/
2. DURBAN SINGS
http://durbansings.wordpress.com/
http://www.archive.org/details/DurbanSingsARoughRadioMix
and the below are related URLs from today’s show.
http://www.ptarmigan.fi/
VIBRÖ: http://www.vibrofiles.com/index.php
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Un collage collectif…
Mar 10th 2010
Un collage collectif…
RÉVOLU-SONS
5′35”
À l’initiative de JLuc, voici un collage collectif réalisé pour le festival SONOR 5
Trois artistes sonores ont répondu à cet appel : Kate Kwett, Jluc & Anton Mobin
Une thématique qui se dévoile au fur et à mesure des fragments successifs de trente secondes,
où chaque participant est libre de compléter le son qui le précède.
Chacun y va de sa touche personnelle:
Jluc apporte toutes les séquences voix…
Kate Kwett pose sa guitare et ses bruits…
Anton Mobin propose le premier fragment en mixant les sons de son audioblog et une touche plus noise au milieu quand la voix nous dit entendre un son bizarre !!
Merci JLuc pour cette aventure !
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David Lee Myers: ‘Arcane Device – Engines of Myth’
Mar 10th 2010
Formado en Bellas Artes, el artista sonoro y visual David Lee Myers (1949- ) lleva más de veinte años produciendo feedback music, música basada en sistemas de realimentación electrónica. Primero bajo el seudónimo Arcane Device y más recientemente utilizando su propio nombre, Myers es autor de una veintena de grabaciones y ha colaborado con músicos y artistas como Ellen Band, Tod Dockstader, Asmus Tietchens y Thomas Dimuzio. Provisto de aparatos portátiles con los que interpretar su singular música, ha actuado en Europa y Estados Unidos. Además, sus pinturas y grabados, realizados a partir de la representación osciloscópica de sus sonidos realimentados, han sido objeto de diversas exposiciones.
Publicado en 2003 por ReR Megacorp, el CD “Arcane Device – Engines of Myth” constituye la reedición de dos grabaciones en vinilo, “AD1 (Engines of Myth)” y “AD3 (Improvisations for Feedback)”, aparecidas en 1988. Un repertorio de quince piezas que sirve de ejemplo de la incipiente experimentación del artista estadounidense con circuitos de realimentación electrónica.
Partiendo de una idea ingeniosa –que los dispositivos electrónicos canten sus propias canciones-, Myers desarrolló un sistema que permitiera hacer audibles los conflictos internos de las máquinas. Con ese propósito utilizó ciertos aparatos destinados al procesamiento de señales de audio y los realimentó, interconectando algunas de sus salidas con sus propias entradas. Por consiguiente, un aparato asà dispuesto nunca recibirÃa señales externas y, en su lugar, producirÃa ruidos originados por la libre circulación de electrones en su interior. Una vez obtenidos esos sonidos de comportamiento inestable, Myers pasaba a organizarlos, filtrarlos y darles forma con la ayuda de mezcladores y otras unidades de procesamiento. Asà compuso las primeras piezas de feedback music contenidas en esta grabación y ese mismo proceder, mejorado con el paso de los años, también le servirÃa de inspiración para sus creaciones visuales o feedback impressions. Mis trabajos sonoros y visuales son el resultado de captar, seleccionar, procesar y combinar. De hecho, yo no hago sonidos ni dibujos, sino que dejo que fuerzas y procesos latentes u ocultos se presenten a través de simples tecnologÃas. Selecciono los métodos, preparo el escenario y, cuando emergen los fenómenos, incluyo por supuesto mis propios juicios estéticos en la mezcla. Por consiguiente, los sonidos e imágenes que surgen no son producto exclusivamente de una ciencia azarosa ni de la actuación del artista, sino de algo intermedio y creo que éste es el modo más efectivo para evocar impresiones significativas de mundos ocultos.
De abstractas y muy misteriosas podrÃamos calificar sus impresiones musicales presentadas en el disco que nos ocupa. En ellas, Myers exhibe una gran capacidad para gobernar la actividad revoltosa e impredecible de un material aparentemente gélido, hecho tan sólo de interferencias eléctricas. Un material que además transformará en un espléndido abanico de texturas sonoras, reminiscentes, como él mismo sugiere, de la música electrónica desarrollada con anterioridad a la aparición de los sintetizadores.
“Arcane Device – Engines of Myth” CD: (Arcane Device 1: Engines of Myth) 1. ‘Lathe’; 2. ‘Engine of Myth’; 3. ‘Mg 24.312′; 4. ‘Prayer Cloth’; 5. ‘The Heavenly Discourse’; 6. ‘Jumpstart’; 7. ‘Keen Tooth’; 8. ‘Terra Incognita’; 9. ‘Pink Porous Rock’; 10. ‘Rare Power’; 11. ‘Deaf Men Hear No Tales’; (Arcane Device 3: Improvisations for Feedback) 12. ‘Studio-Front’; 13. ‘Studio-Back’; 14. ‘Live-Front’; 15. ‘Live-Back’.
electroacústica / CD / duración total: 60:31 / 16,50 EUR más gastos de envÃo
Ferran Cuadras
arsonal centre per a la difusió de les arts sonores
apartat de correus 9500
08080 Barcelona
Tel. 93 419 08 58
Fax 93 419 08 58
arsonal@arsonal.net
http://www.arsonal.net
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