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Net_Music_Weekly: Sound Machines

chandelierprototype.jpgThe Chandelier – developed by Mike Fabio, Steve Pliam, Brian Demers, and Lucas Hernandez-Mena – is a large-scale robotic musical instrument designed for the opera Death and the Powers. Using various electronically controlled actuators, The Chandelier is capable of creating sounds unlike traditional instruments, and even some sounds that defy the size of the instrument itself. In this installation participants are given control over an instrument that is clearly, visibly, much larger than themselves, yet inextricably linked to their movements on a traditional piano keyboard, exploring and breaking the limitations of human performers as well as the instruments that we think of as commonplace. Continue reading


Oct 29, 2007
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Live Stage: Nerve Theory [us Hamilton, NY]

nervetheory_poster1_web.jpgAn Evening of Multimedia Performance Art Featuring: Nerve Theory a.k.a. Bernhard Loibner and Tom Sherman :: With an opening video-set of Untitled Landscapes provided by Ecoarttech :: November 2, 2007; 9 pm :: The Palace Theater, Hamilton, NY :: Free admission & open to the public.

Nerve Theory will perform H5N1, a live multimedia performance blending video, music, voice and some very nasty dark humor. This transcontinental duo (Austria, Canada, USA) jumps on the mutating, evolving H5N1 virus, using the very real threat of a global pandemic as a launching pad for a series of bone-chilling statements about the world we live in. Continue reading


Oct 29, 2007
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Compare the Figures

gfta06_187.jpgThis is about caring for and supporting the arts. The figures speak for themselves.

The United States’ National Endowment for the Arts 2007 appropriation is $125 million (£61m) for a population of 300 million. Arts Council England’s is £417m ($855 million) for a population of 61 million; and there’s a lot more on the way:

“Arts Council England funding will increase from £417m this year to £467m in 2010-11. Peter Hewitt, its chief executive, said: “This is fantastic news – the government has acted on the case we have made for the arts. It’s a recognition of the work of our artists and arts organisations, whose energy and imagination have made our cultural life the envy of the world.” – The Guardian.


Oct 29, 2007
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Backyard Radio Conference [de Berlin]

backyard.jpgBackyard Radio Berlin: Imagine Radio 2.0 :: November 1-4, 2007 :: livestream & podcasts; microradio transmissions: 107.7FM

Micro.fm snatches the radio from tv towers and broadcasting agencies and instead of showering down on the city, the radio waves beam out of the districts and neighborhoods. Micro.fm uses small fm transmitters and wireless access points to broadcast in an area like a house or a neighborhood, it allows everybody with broadband access to run a tiny radio transmitter covering the own block. Everyone who passionately cares about his or her neighborhood adopts the medium and populates the ether. Backyard Radio reintroduces radio into the context of social media and peer to peer networks. A digitized version of the micro radio of the early 80’s, it is a great pleasure to have Tetsuo Kogawa present with the Radia.Fm Network. A long weekend of lectures, workshops, concerts and broadcasts take radio art apart and put it back together again. Continue reading


Oct 29, 2007
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Sediments, Sentiments (Figures of Speech)

sfai.jpgSediments, Sentiments (Figures of Speech) by Jennifer Allora and Guillermo Calzadilla :: until December 15, 2007 :: San Francisco Art Institute, 800 Chestnut Street, San Francisco, CA.

The third and final movement in a trilogy of site-specific sound-focused installations, Sediments, Sentiments (Figures of Speech) carries forward lines of investigation Allora & Calzadilla opened first in Clamor (at the Moore Space in Miami in 2006) and then in Wake Up (at the Renaissance Society at the University of Chicago in the spring of 2007). The trilogy of exhibitions comprises a series of works that counterpose militarism and war with adroit manipulations of sound, music, and—in this new project for the first time—spoken word. Continue reading


Oct 27, 2007
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New Performance Paradigms: New Languages [uk UK]

npp.gifNew Performance Paradigms: New Languages – An International Symposium at the Think Lab, Salford University :: November 20, 2007.

This one day event brings together writers, thinkers and performance artists from across the globe to discuss what the future holds for performance as a globally linked activity. The speakers include: Philip Auslander, Matthew Causey, Weng Choy Lee, Amelia Jones, Jem Kelly, Mary Oliver, Jennifer Parker-Starbuck, Nancy Reilly-McVittie, Michelle Riel, Toni Sant, Paul Sermon, Martin Turner, Niki Woods. With performance presentations from Julia Wilson, Helen Bailey and Ming Yuen Ma.

The day will focus on New Bodies, Second Life as Performance Site, New Performance Hybrids, New for old: methods of documentation and Philip Auslander will re-visit the subject of Liveness in light of the newly published second edition of his seminal text Liveness: Performance in a Mediatized Society.


Oct 27, 2007
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Live Stage: stationary æmotion [nl online + Rotterdam]

aether9.jpgstationary æmotion by æther9 :: Online :: Or @ WORM, Achterhaven 148, Rotterdam :: Performance: 22:00 Central European Time (UTC+2 – Bravo Time Zone) Performance duration: 15:00 min [Check your local time here]

The æther9 group presents stationary æmotion: 4 remote performers from 4 different locations reunited in a real-time broadcast. This performance is part of an evening presenting several works focusing on the theme of streaming, brought to you by the Labouretum Lumbrici, tonight at WORM (Rotterdam, NL). The æther9 group is interested in exploring the performative aspect of the infosphere. They make use of existing ‘lo-fi’ communication tools to experiment with the integration of dramaturgical elements linked to the constraints of working with a delocalised group to develop an audiovisual performance. Continue reading


Oct 26, 2007
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Noise/Music

noisemusic.jpgNoise/Music looks at the phenomenon of noise in music, from experimental music of the early 20th century to the Japanese noise music and glitch electronica of today. It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde.

While it provides an excellent historical overview, the book’s main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise/Music is the perfect primer for anyone interested in the louder side of experimental music.


Oct 26, 2007
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Live Stage: op7 [it Bergamo]

massi_t7c_centro3.jpgop7 by OTOLAB :: November 8 – December 31, 2007 :: Opening: November 7; 6.30 – 9.30 pm :: Traffic Gallery, Via San Tomaso 92 – 24121 Bergamo, Italy :: Curated by: Marco Mancuso and Claudia D’Alonzo for Digicult.

op7 – by octolab – is a live audiovisual performance that develops a new way of reading the concept of the tunnel as a metaphor of the journey and the survey about the audiovisual perception, through the optical language. The project was realized for the Mixed Media festival taking place at the Hangar Bicocca in front of the installation “Seven Heavenly Doors” of Anselm Kiefer. Seven entrances, seven tunnels, seven journeys throughout as many experience optical environments looking for the final entire and unique wholeness. Continue reading


Oct 26, 2007
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Reblogged My Body, My Discotheque

disco.jpgRather than fighting space station supercomputers, 2001 was the year to dance to the sounds of our own organic bodies. Between ‘A Chance to Cut is a Chance to Cure’ and ‘Bodily Functions,’ micro-samplers Matmos and Matthew Herbert respectively made excellent dance records that year that used the body as their source material. Taking this method one step further, Sonic Body is an audio-installation using “interactive technology to create an orchestra of the human body.” Opening November 1st in conjunction with the Brighton Digital Festival in the UK, the installation is inspired by the scientific tradition of listening to the body as a means to diagnose illness. Continue reading


Oct 26, 2007
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Interviews

Current interview:
Robin Meier, Ali Momeni and the sound of insects

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What is this?

Networked_Music_Review (NMR) is a research blog that focuses on emerging networked musical explorations.

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Net_Music_Weekly

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Two Trains: Sonification of Income Inequality on the NYC Subway by Data-Driven DJ aka Brian Foo: The goal of this song is to emulate a ride on the New York City Subway's 2 Train ... Read more
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