Networked_Music_Review
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Live Stage: MOUVEMENT 2009 [de Saarbrücken]

180px-nwpeters08.jpgMouvement, Festival für Neue Musik-American Dreams — Alvin Lucier, Hauke Harder, Malcolm Goldstein, Utte Wasserman, Elliot Sharp and others :: May 20 – 24, 2009 :: Saarbrücken.

The concert will be carried by Saarland Radio, and on May 23rd will include a premiere of the radiophonic concert, beau son ge – An Electric Fayerie by Norbert Walter Peters. The composition compares the noise character of an e-bass, a distorted e-guitar and a male voice with the sound quality of slap-e-bass effects and percussion as well as electronically amplified conventional string and wind instruments. It is an hommage to Jimi Henrix. For more on Peters go here.


May 13, 2009
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Live Stage: e-MobLArt [gr Thessaloníki]

n81846179124_897.jpgThe Institute of Unnecessary Research presents e-MobLArt — Exhibition of the European Mobile Lab for Interactive Media Artists following a one year collaboration :: May 20 – June 10, 2009 :: Opening: May 20; 8:00 pm :: Center for Contemporary Art – Warehouse B1, Thessaloníki, Greece.

The exhibition includes two projects involving Anna Dumitriu: KryoLab is an installation that brings together bioart, ice sculpture and sound, in an investigation of delicate relationships in the Arctic ecosystem. This work is about our journey, the experience of participating in the E-MobiLArt project, working with artists from other backgrounds and travelling to new locations. Initial discussions about the nature of arctic, the sound of cracking ice, the disintegration of ice with sound, and the bacterial flora of the Arctic, discussed under the hot Athens sun at the first workshop gained momentum during long nights of conversation illuminated by the cool midnight sun at the edge of the Arctic Circle. Continue reading


May 13, 2009
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Live Stage: Tetsuya Umeda [at Vienna]

n87193962342_663.jpgCoded Cultures presents Dorkbot Vienna/Tokyo: Tetsuya Umeda :: May 17-18, 2009; 7:00 – 11:00 pm :: Metalab Wien, Rathausstraße 6, 1010 Vienna.

Altering fans, televisions, and other everyday appliances, converting their functions into something utterly different, Umeda creates objects freed from their original meanings. His works, created to suit the spaces in which they will be installed, use utterly familiar, commonplace phenomena, channeled through his clever handiness and unique spatial sensibility, to create mysterious, seemingly impossible sensations. They thereby free one from rigid perceptions constrained by preconceived ideas. Continue reading


May 13, 2009
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Tone Matrix and Audio Tool

hobnox.jpg Tone Matrix is a simple sinewave synthesizer triggered by an ordinary 16-step sequencer. Each triggered step causes a force on the underlying wave-map. The sound generation is basically a polyphone synthesizer with a simple delay with a varying read-offset to make the tones vibrating in the end. It’s fun to play with.

From Andre Michelle: After uploading it on my laboratory the run began. I am counting more than 250.000 impressions, endless feedback, suggestions and even videos on Youtube. I will definitely put the sequencer in our AudioTool. But don’t expect an update before autumn. We are trying to make 1.0 a serious music application with sequencing, automation, modulation, audio-tracks, synthesizers and what not. So there is no time to enhance this little toy. But I have added at least Clipboard support to let you save your pattern to sequence of numbers. Unfortunately the audio output is very glitchy when the context-menu is running. Continue reading


May 13, 2009
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The UPIC System (1977-2009)

xenakis.jpgUPIC is a computerised musical composition tool, devised by the composer Iannis Xenakis. It was developed at the Centre d’Etudes de Mathématique et Automatique Musicales (CEMAMu) in Paris, and was completed in 1977. The name is an acronym of Unité Polyagogique Informatique du CEMAMu. Xenakis used it on his subsequent piece Mycènes Alpha (1978), and it has been used by composers such as Jean-Claude Risset (on Saxatile (1992)), Takehito Shimazu (Illusions in Desolate Fields (1994)), and Curtis Roads.

Physically, the UPIC is a digitising tablet linked to a computer, which has a vector display. Its functionality is similar to that of the later Fairlight CMI, in that the user draws waveforms and volume envelopes on the tablet, which are rendered by the computer. Once the waveforms have been stored, the user can compose with them by drawing “compositions” on the tablet, with the X-axis representing cumulative duration, and the Y-axis representing pitch. Continue reading


May 13, 2009
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Inclusiva-Net: P2P Networks and Processes [es Madrid]

< Inclusiva-Net: P2P Networks and Processes — International Seminar :: July 6 – 10, 2009 :: Medialab-Prado, Madrid, Spain :: Call for Papers — Deadline: May 31, 2009.

Medialab-Prado issues a call for the presentation of papers to be publicly presented during the 4th International Inclusiva-net Meeting. This edition will focus on an analysis of “peer-to-peer” networks and network processes, highlighting the social potentials of cooperative systems and processes based on the structures and dynamics inherent to these types of networks. Selected papers will be presented within a program that will also include invited lecturers and debates. Continue reading


May 13, 2009
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Live Stage: Spy Numbers [fr Paris]

spynumbers.jpgSpy Numbers :: May 28 – August 30, 2009 :: Opening: May 28; 8:00 pm (with Gypsy Sound System: DJ Olga and Dr Schnaps) :: Palais de Tokyo, 13, avenue du Président Wilson, Paris. [See Yoshi Sodeoka’s Prototype #44, Net Pirate Number Station]

On the short waves of our radios, voices read out uninterrupted series of numbers. 2… 11… 58… 35… 23… Whether they are encrypted instructions intended for sleeping agents, messages exchanged between traffickers, or simple telephone settings, the “Spy Numbers Stations” have been broadcasting for several decades without their precise function becoming known. In the wake of GAKONA, the previous exhibit inspired by the work of Nikola Tesla, Spy Numbers continues the exploration of the electromagnetic spectrum and its margins in this second session of 2009. Beyond the visible and closer still to the infra-thin and the spectral, the Palais de Tokyo experiments with forms of art that elude any wistful desire for fixed interpretations. Continue reading


May 11, 2009
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Notation. Calculation and Form in the Arts [de Karlsruhe]

benjamin.jpgNotation. Calculation and Form in the Arts :: until July 26, 2009 :: ZKM Center for Art and Media Karlsruhe, Lorenzstraße 19, D – 76135 Karlsruhe, Germany.

Notation. Calculation and Form in the Arts is dedicated to the multifaceted spectrum of artistic process existing between concept and work. The exhibition places works from all areas of art from 1900 until today in relation to one another: sign systems in literature, music, painting, choreography, architecture, photography, film and in media art. During the 20th century, artists have repeatedly made visible new realities through the connection between scientific calculation and artistic form. Morphic resonances, serial structures and sound waves: Modernity has rediscovered the intellectual aspect of existence as a field of research for art. Continue reading


May 11, 2009
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[Yasmin] Oral Traditions and the Digital Arts

rg-notation-1-small.jpg“… As a musician/ composer I am studying new digital forms of notation and especially the replacement of oral instructions and oral transmissions by what I call “encapsulated traditions” which can be likened to software manuals.

Notations are interesting entities, because they usually are not artworks themselves but invite actions that produce artworks.

Usually, throughout different musical cultures, notations constitute that part of a performative action that someone (author, cultural environment etc.) considers non-contingent on the performance context i.e. the essence of the work. E.g. western music notation has struggled over centuries to define pitch (vulgo: melody) and durations (vulgo: rhythm) in notationally unambiguous ways, where chinese music notation was more concentrated on pitch and timbre (e.g. how to play a note). Continue reading


May 11, 2009
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Radiocasting: Musings on Radio and Art

bild.jpg[Image: Max Neuhaus, Radio Net, 1977] “Although historical and contemporary artistic and theoretical discourse regarding radio art is scant to say the least, there has been, and continues to be, audible evidence of artists and writers whose considerations on the subject begin to shape a theoretical body. The combination of influences shaping this history sheds valuable light on radio art practices today, as there appears to be a clear relationship between early explorations and more recent theoretical considerations. From the beginning, artists were prone to considering radio as a material as opposed to merely a distribution apparatus, as is evidenced by the writings of Bertolt Brecht, F. T. Marinetti. and others. However, when compared to the other arts, namely the visual, there is a marked absence of historical radio art works and theoretical writings. Continue reading


May 11, 2009
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Interviews

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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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NMR Commissions

NMR commissioned the following artists to create new sound art works. More...
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Net_Music_Weekly

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