Occulto Fest :: A two day festival. A series of sound performances. A video screening. A workshop :: March 12-13, 2011 :: Ausland, Lychener Straße 60, 10437 Berlin ::

At the end of the 1970s Sam Wagstaff put together an extensive collection of photos taken between 1870 and the 1930s, including Mumler’s ghost portraits, Kirlian’s experiments, Darget’s “thoughts photographic pictures” and other pioneering photographer’s works attempting to demonstrate the reality of certain supernatural phenomena. These pictures, beside the historical and ethnographic interest, are strongly suggestive abstract pieces, and Wagstaff explained that the he had collected them to satisfy his own desire to contemplate and explore the “pleasure to see, as when we see people dancing from a window.” Continue reading

Lemurs Over Laptopia: Will new performance interfaces rejuvenate live electronic music? asks Thomas Bey William Bailey on Vague Terrain:

For roughly 160 years since Richard Wagner published his Artwork of the Future, Western audio culture has been forced to take sides on the issue of music and its relation to the other arts: should music be just one element in a fully-integrated artistic program, or should ‘absolute music’ unfettered by lyrics (let alone other sensory effects) run the show? … Continue reading

Radio Fragments: Transforming Radiophonic Silences into Sound Stories — A sound installation by Andre Castro :: January 4-8, 2010; 2:00 - 5:00 pm :: NK, Elsenstr. 52/2, Hinterhaus Etage 2, 12059 Berlin.

Radio Fragments is a radiophonic project that aims to explore an auditory attention, different from the one usually associated with the experience of listening to the radio, making use of the spaces-in-between-words-and-songs that occur throughout the radiophonic discourse as its main reagent.

Its basic formula consists of an analysis-control mechanism (built in Super Collider) residing inside a computer to which a real-time mainstream radio broadcast is fed. This mechanism acts as a reversed-noise-gate, singling out what is usually ignored or avoided in a radiophonic context (whispers, stumbles, pauses, dead spaces and errors) and muting all the other sounds such as words or songs. Continue reading

International Interaktionslabor 2009: Peninsulae of Perception :: July 20 - August 2, 2009 :: Site of the former coal mine Göttelborn in southwest Germany.

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. Continue reading

Natasha Barrett is a freelance composer, performer, and installation artist. The composition and manipulation of space is a central element in much of her work, and it is the focus of this interview. Barrett completed her Master’s Degree at the University of Birmingham, where she studied with Jonty Harrison and became practiced in the art of live sound diffusion using Birmingham’s renowned BEAST (Birmingham Electroacoustic Sound Theatre) system. She completed a Doctoral degree in composition at City University in London in 1998, studying with Denis Smalley. Her body of work includes large architectural installations, electroacoustic concert pieces, works for instruments and performers, and live improvisation. Barrett’s works have won international acclaim and numerous awards, including the Nordic Council Music Prize in 2006, a first prize at the Bourges International Electroacoustic Music Competition (1998 and 2001), and most recently, a commission from the 2008 Giga-Hertz Award. Barrett was born in the UK, but currently lives in Oslo, Norway. She has released numerous CDs, available through her website. Continue reading

Creative Research in Sound Arts Practice invites you to the following seminar exploring Aspects of Current Research
into Improvisation and Performance; a short performance by the Ecosonic Ensemble featuring the Ouija Board will be followed by a discussion lead by the specially invited guest speaker Taina Riikonen, Post Doctoral Research Fellow at the Sibelius Academy in Finland :: March 18, 2009; 4:00 pm :: Performance Laboratory, M108, Media Block, London College of Communication, Elephant and Castle.

The discussions will explore some of the following areas: the roles of instruments (acoustic/ electronic/ mixed) as cultural and material producers of musical interaction; the sonic and verbal definition processes of authorities in the improvisation; the different fine-textured nuances of embodied communication in rehearsal/ performance processes; embodiment, collective authorities and electronics. Continue reading

ARTS Lab presents the first in a series of experimental music concerts featuring composer-performers who work inside (and outside) the musical fields of electroacoustic, acousmatic, noise, and free improvisation. The first evening features a collaborative performance by Raven Chacon and William Fowler Collins and a set by Luperci :: November 6, 2008; 7:00 pm :: ARTS Lab Garage, 131 Pine Street NE, Albuquerque, NM.

RAVEN CHACON (b. Fort Defiance, Navajo Nation, Arizona, United States, 1977) is an American composer and artist. He is known for being a composer of chamber music as well as being a solo performer of experimental noise music. Continue reading

David Morneau will bring his composition-a-day project, 60×365, to an end on June 30th. You can hear the conclusion by visiting http://60×365.com

Every day for the past year, Morneau has composed and posted a new sixty-second composition. That’s just over six hours of new music in sixty-second installments. For this project, Morneau explored a wide variety of musical styles and techniques, including musique concrète, sine wave synthesis, digital sampling, 8-bit constructions, process music, acousmatic composition, and post-techno beat manipulations. He found the requirement to make a new, complete piece every day an exhilarating challenge, and reveled in the constant variety of ideas the project embraced. This project began as a challenge to compose more, and ended up as an audio diary of the past year. Continue reading

Diapason gallery for sound and intermedia presents Micah Silver: You and Me, Going, and Patrick K.-H. ScAS (ScotchAcoustic Session):: Two sound installations :: Programmed as part of Diapason’s exchange program with Moscow’s Theremin Center :: JUNE 14, 21 and 28 // SATURDAYS 2-8 PM :: FREE :: OPENING RECEPTION: JUNE 14 6PM :: 882 Third Avenue (between 32nd and 33rd Street) // Brooklyn, NY :: Subways: D, N, R to 36th Street :: 718.499.5070 // info@diapasongallery.org :: Sponsored by The Trust for Mutual Understanding.

Program Notes: You and Me, Going is the result of an imaginary unfolding — of a near-archaeological process through my recent work: of unearthing artifacts, brushing them off, finding new resonances with old things, and deducing / constructing narrative from emerging layers of association. My recent installations Continue reading

Sculpt: An interactive sound/image work for sensor gloves - MEME Thesis Performance by Robert Griffin Byron :: April 1, 2008; 8:00 pm :: Grant Recital Hall (behind Orwig Music Bldg., corner of Hope Street and Young Orchard Avenue), Brown University.

Sculpt is work for sensor gloves, interactive electronics and interactive projected image that explores the relationship between synthetic sound and synthetic image through the tactile nuance of human gesture.

Robert Griffin Byron won the A.B.C. Young Composer’s Award in 1995. Since then, Byron’s chamber music and orchestral works have been heard all across Australia, the United States, and Asia. His work has been performed by the most of Australia’s state orchestras. Continue reading