image: Norbert Herber and Rowland Ricketts, The Gradual Accumulation of Additional Layers of Matter, 2011.

This exhibition explores, through an examination of creative and artistic practices, the interface of sound and new media technologies. The works in the exhibit include a number of trans-disciplinary interactions and collaborations that include sound in the context of visual and spatial artistic practices, including sound sculpture, installations, and performance works.

Featured artists include Carrie Bodle, Jacob C. Hammes, Norbert Herber/Rowland Ricketts, Tesia Kosmalski, Lou Mallozzi, Shannon McMullen/Fabian Winkler, Stephanie Rowden, and Jesse Seay. The list includes both emerging and established artists, primarily from the Midwest.

Because this exhibit is about the exchange of thought among a variety of disciplines, it will highlight the role that artistic practice and creative thinking have in our appropriation and understanding of technology, including practice and dialogue related to changes within both the natural and man-made environment. By comparing material practices in a variety of creative fields, new insights are gained into the way that artists and collaborators recognize the “new” and how the “new” becomes a building block for future discoveries.

This exhibit and symposium is sponsored by New Frontiers in the Arts and Humanities at Indiana University. A catalog will be published documenting the exhibition. Please contact the gallery for further information. 812-855-8490 ::
gruwald@indiana.edu

The main component of EU_tracer is the specially designed software that scans messages and information in the Internet not for their contents, but for the dynamics of the interrelations among them, which it translates it translates into graphic metastructures and musical forms.

EU_tracer will be presented as both a performance and an installation. The site of each performance is a significant aspect of the project: The particular geographic locations from which the program connects with the internet will affect the data flow and availability. As the work is displayed in successive geographically and politically varied European and Asian cities, it will create a sort of cyber-cartographic trail leading through the musician associated with the particular locate, using an acoustic instrument to improvise on the flow of internet data. This musician, in addition to being a collaborator whose inventiveness will shape the work, will also serve as a symbolic representative of his/her community in European/global digital communication space.

Internet Topography 2011 by art of failure.

In Internet Topography, 50Hz audio signals are sent from the exhibition space to Tokyo, then returned within the installation space where we can listen to it. The transmission errors that occur during these streamings are analyzed and then considered as a potential and incomplete layout of the network topography. Similar to a landscape, this digital topography proves to be an unstable organization of patterns, shapes and outlines opening the way to multiple mental representations. This imaginary scope is made perceptible trough an immersive sound and light installation.

Featuring: Zach Layton - brainwave solo AV :: Adam Kendall - solo AVT (audio/video/text) :: ZAIMPH (Marcia Bassett) - music /// VADE(Anton Marini) * - visual :: Bradley Eros - film: TransTrans (TRANSFORMERS Transformed, 2009) :: Hahn Rowe - music /// Aki Onda - image (35 mm slide show) :: Bicameral Research Sound & Projection System: david Linton - solo AV :: David Last - music /// Chi ka - visual ::

Moori, by Haeyoung Kim, is an interactive audience participatory audio-visual performance. By incorporating multiple modes of messaging on a mobile phone, users tell their stories to guided questions by the performer. User data is processed to generate algorithmic audio and visuals while creating a larger narrative. This collaboration creates dialog among the performer and audience members and suggests new possibilities that can exist through the combination of algorithmic animation, audio and language.

Through text inputs, buttons, and multi-touch pads, user-data is processed to generate algorithmic audio and visuals. iPhone, iPod, and iPad users are encouraged to download the Mrmr application prior to the concert. The set up guideline can be found here.

Moori from haeyoung kim on Vimeo.

I C::ntr::l Nature v. 3 excerpts - Audiovisual concert for augmented electric bass guitar, self-designed software and butterfly from Marco Donnarumma aka TheSAD on Vimeo.

A gigantic, stringy life form struggles to take life, the convulsions slowly transform its shape in a brand-new body, at last a caterpillar is revealed. From now on its whole life cycle is semantically deconstructed. While the new born butterfly feed itself, its microscopic, meaningless world becomes an immersive and surreal ambient. Where minimal and organic sounds mutate in fearful drones its last beat of wings will finally defeat the fire of Nature.

I C::ntr::l Nature (Marco Donnarumma) is an unambiguous, synesthetic action of audiovisual improvisation. The live act represents the sarcastic celebration of the human instinct finally able to govern the nature. The improvised body gestures of the performer sculpt in real-time the soundscape and the moving images. The living creature on the screen reacts to the movements of the performer on stage in a mutual agreement and attraction.

Work info: http://marcodonnarumma.com/works/i-cntrl-nature/
Author info: http://marcodonnarumma.com

The WRO Biennal is the leading international forum for new media art in Poland and Central Europe.

Other artists performing at WRO2011: Stelarc, Istvan Kantor, Incite, Noriko Yamaguchi, Cécile Babiole.
http://wro2011.wrocenter.pl/site/en

This is the third publication in the See This Sound project which comprises stimulating essays on the current and historical position of sound and image in art and media, and their interconnection.
The point of departure for the prominent authors was the fact that our realm of experience is today shaped by an omnipresence of audio-visual products and structures, in which the cultural image and sound production are tightly entwined with one another in terms of technology, art and market strategy.

The project See this Sound explores the current diversity and long history of these syntheses and contradictions, this linking, overlapping and sometimes also irreconcilability through the perspectives of contemporary art and art and media science.

With this program we take a closer look at how artists, over the last fifty years, have been using a broad range of cinematic techniques to investigate the analog and electronically induced play at the boundaries of perception. Ranging from stroboscopic patterns and psychoacoustic drones to visual chaos and pure silence, all used techniques tickle, hypnotize or physically assault the senses resulting in hallucinating trips, exercises in abstraction, and sublime audiovisual spectacles.

Modulating the Human Sensory Apparatus is guest curated by the Amsterdam based Sonic Acts festival, and presented by Sonic Acts’ co-founders and curators Lucas van der Velden and Gideon Kiers. The biannual Sonic Acts festival takes place in Amsterdam and consists of an international conference, numerous live performances, an extensive film program and an exhibition. Since 1994 Sonic Acts has developed a reputation as a progressive and pioneering international festival with a specific interest in contemporary and historic developments at the intersection of arts, technology, music and science.

OptoSonic Tea is a regular series of meetings dedicated to the convergence of live visuals with live sound which focuses on the visual component. These presentation-and-discussion meetings aim to explore different forms of live visuals (live video, live film, live slide projection and their variations and combinations) and the different ways they can come into interaction with live audio. Each evening features two different live visual artists or groups of artists who each perform a set with the live sound artists of their choice. The presentations are followed by an informal discussion about the artists’ practices over a cup of green tea. A third artist, from previous generations of visualists or related fields, is invited specifically to participate in this discussion so as to create a dialogue between current and past practices and provide different perspectives on the present and the future.

Organized by Katherine Liberovskaya and Ursula Scherrer :: OptoSonic Tea is partly funded by the Experimental Television Center. The Experimental Television Center’s Presentation Funds program is supported by the New York State Council on the Arts.

About the artists:

Alex Carpenter is an Australian artist and researcher living in New York City. He has performed extensively as a soloist playing guitar, keyboard and electric zither through a multi-amp and delay network he calls the Live Audio Delay System, and has also independently produced and coordinated a number of large-scale ensemble performance and multi-media events under the moniker Music of Transparent Means. Music of Transparent Means was Alex’s chief project in Australia from 2002 to 2007, initially providing a platform for his meticulously-tuned wineglass inventions, then later incorporating instruments such as prepared guitars, woodwind, strings, percussion and brass, and featuring as many as 21 performers at a single time. Alex’s most recent performance activity has centered on his own Live Video Delay System, an extension of the audio system which employs multiple cameras and extreme color isolation to facilitate a unique looping and layering of live laser drawings. The system was first tested at MELA Foundation in 2009, and continues to be shown on screen and in performance internationally. Alex has performed alongside artists such as Francisco Lopez (Madrid), Will Guthrie (Melbourne), Kyle Bobby Dunn and Richard Lainhart (NYC), and has produced several CD and DVD releases on his own label, Vanished Records.
http://transparentmeans.net/

James Ross is a guitarist and composer living in Brooklyn, NY. Originally from Pittsburgh, PA, he has studied guitar at the University of Pittsburgh and the Mannes College of Music in New York City. He is currently studying North Indian classical music and composition with La Monte Young and Marian Zazeela. A composer in a variety of genres, James has written music for orchestral and chamber ensembles, as well as solo music for the guitar and the zhongruan (a type of Chinese lute). In addition to scored works, he has created electronic pieces and recordings of improvised music. Recent performances as a composer and performer on the electric guitar, laptop and other instruments include sets at The Bell House; a performance with Kyle Bobby Dunn at Issue Project Room; at Goodbye Blue Monday with David Beardsley; providing live music for Katherine Liberovskaya and Ursula Scherrer¹s OptoSonic Tea series at Diapason Gallery in Brooklyn; with video artist Alex Carpenter at The Tank in Manhattan; and at Damrosch Park at Lincoln Center as part of the guitar ensemble for Rhys Chatham’s “A Crimson Grail.” As a classical guitarist, James has performed as a soloist and ensemble player throughout the Northeastern Unites States. He received a Solo Recitalist Fellowship in 1992 from the Pennsylvania Council on the Arts and won the 1993 Mannes College of Music Concerto Competition, resulting in a performance of Joaquin Rodrigo’s “Fantasia para un Gentilhombre”, at Symphony Space in New York City.
http://www.facebook.com/jrossmusic
http://soundcloud.com/jrossmusic

Chris Jordan explores the medium of light, movement, and time through the use of technology. His installations have appeared at the Moma, The New Museum, The Whitney, The Museum of Natural History, The Chelsea Museum, Times Square, numerous galleries and clubs; and the incidental spaces inbetween. The common elements that define Chris¹ work include explorations into memory, photography, film, interactivity, and projections. By examining the political and social implications technology has on us through a diversity of media, his work challenges the viewer to redefine perceptions of audience and performer. In addition Chris teaches interactive design at Baruch College and NYU; and organizes T-Minus, G33kXmas, rooftop movies, and visualist salons in New York City.

Bradford Reed is a Brooklyn based composer, performer and producer who fights and tames the idiosyncrasies of the pencilina, an original instrument of his own design and construction. He played with King Missile III (and produced 4 of their records) and in the Blue Man Group’s original band. He’s composed for film and television including the music for Superjail! on Adult Swim and is currently working on the score for Ugly Americans the new hit series on Comedy Central, an album of his own music and playing the drums with Zach Layton in their new project Minerals. More info at pencilina.com
http://pencilina.com/

Andrea Monti is an Italian artist and curator, living and working in Brooklyn, NY. His work ranges from mixed-media collages to music for films and video-installations. In 2005, he was one of the founders of the Lucca Film Festival, annual event in Italy focused on avant-garde and experimental cinema, where he presented over the years large retrospectives of works by Stephen Dwoskin, Kenneth Anger, Michael Snow, Guy Debord, Christian Lebrat, and others. Recently, he has been curating film series, exhibitions and video-programs for Anthology Film Archives, FIAF (French Institute), Italian Cultural Institute, White Box Gallery and Warhol Museum (Pittsburgh). His current projects include Microscope Gallery, a new art space in Brooklyn devoted to film, video, sound, and other time-based arts. http://www.microscopegallery.com/

for more information about OptoSonic Tea please visit: http://www.diapasongallery.org/optosonic.html

Moments of Inertia is an evening-length performance based on a teleological study of gesture in musical performance and how it relates to gesture in intimate social interaction. The work is written for solo violin with real-time computer accompaniment and video. Moments consists of twelve violin études written by R. Luke DuBois for Todd Reynolds – ranging from 1-10 minutes in length – each of which uses a different violin performance gesture as a control input for manipulating a short piece of high-speed film (300 frames-per-second) – of objects and people in motion. Taking its cue from principles in physics that determine an object’s resistance to change, the violinist’s gestures time-remap and scrub the video clip to explore the intricacies of the performed action. More >>

R. Luke DuBois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera. More >>

Todd Reynolds, composer, conductor, arranger and violinist, is a longtime member of Bang On A Can, Steve Reich and Musicians and an early member of Yo-Yo Ma’s Silk Road Project. More >>

Upgrade! Boston is curated by Jo-Anne Green for Turbulence.org. It is one of 34 nodes currently active in Upgrade! International, an emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. If you would like to present your work or get involved, please email jo at turbulence dot org.