Loud Objects, NYC-based circuit sorcerers, present a wacky way to learn hardware audio programming. The WWW-Enabled Noise Toy invites anyone with a web browser to write their own audio code, program it remotely onto a Noise Toy, and play it live via webcam. In the spirit of “try it yourself” software demos, the website provides a simple environment for experimenting with low-level microchip-generated audio. Load code from the Loud Objects’ own library of performance algorithms, hone your own noise techniques, and add your work to the online archive to share it with other microchip coders and create an open source noise community.

BIOGRAPHY

Graduates of Columbia University, Kunal Gupta, Tristan Perich and Katie Shima have been performing as Loud Objects since 2005. Their performances, focused on sound from programmed microchips, have ranged from live circuit constructions on overhead projectors and slide projectors, to soldering atop a 24-light bulb fluorescent podium, and later with modified fluorescent light guitars.

Loud Objects have performed in the USA and internationally at numerous festivals on four continents, including Sonar (Spain), Transitio_MX (Mexico), Piksel (Norway), Evolution (UK), Bent Festival and Blip Festival (NYC), Electric Eclectics (Canada), Screen Music 2 (Italy), Art and Music with the Overhead Projector (Germany), Festival of Endless Gratitude (Denmark), NIME (Brooklyn). Their varied performances range from solo acts to shifting duets with vocalists, drummers, susophonists, tuba quintets, laptop musicians, singers, painting machines, manatees, and recently as movie soundtracks.

As teachers, they have hosted workshops where attendees learn to build and program sound- generating circuits. They have explored teaching as performance, explaining their motions as they solder their circuit live, fielding questions above the noise. They have spoken and given workshops at Maker Faire (California), Handmade Music Night (Brooklyn), Le Cagibi (Canada), Museum of Science (Arkansas), Columbia University (NYC).

As artists, Loud Objects blanket walls with small speakers and microchips. Instead of pushing buttons, the audience is encouraged to rewire the actual circuit with soldering irons, hanging as part of the installation. These installations have been in shows including Art and the Overhead (Sweden), Piksel (Norway) and Art and Music with the Overhead Projector (Denmark).

The Austin Motion Graphics Festival provides seven days of educational, entertainment and networking events featuring artists such as: Herzog & de Meuron, Lucas Arts, N.A.S.A. w/ Tom Waits and Kanye West, Basement Jaxx, Warp Records, Ninja Tune, Royksopp, The Crystal Method, Puma, The Flashbulb, Carl Burgess, The Mill, Dvein, Pleix, Psyop, Max Hattler and many more.

A full week of entertainment events kick off Monday with the Austin Film Meet, a networking event for those passionate about creating films, movies, and new media projects. Tuesday night, MGFest premiers a Screening Series featuring the best of international call for entry submissions as well as selections from Stash’s DVD Magazine and Lumen Eclipse’s video art exhibits in Boston’s Harvard Square. Curated from international talent, the screenings set the tone for MGFest’s focus of showcasing innovative local and global artists. Wednesday night, Android meets free beer at the Austin Flash Group Meetup, a short speaker series including Ryan Stewart, a special guest from Adobe, covering AIR for Android, a Flash framework review, with free pizza and beer. Thursday night’s installation art showcase, “The Digital Made Analog,” takes place at the US Art Authority and features Austin-local installation, interactive, and projection artists in a buffet of media mayhem.

As the week transitions into weekend, The Austin Motion Graphics Festival culminates into Art Outside, a 3-Day camping festival at the beautiful Apache Pass festival grounds near Rockdale, Texas. The site features hundreds of acres of grassy camping areas and lush pecan trees scattered throughout. Over the weekend, festival participants experience the creations of over 300 Artists including: Random Rab, Gift Culture, Artificial Life Preserver, Psymbolic–visuals, Win Win Creative, VJ Mason Dixon, Michael Christian, Art of Such-N-Such, Life-Size Mousetrap, Ricochet, Elemental Uprising, 999 Eyes Freakshow, Agent Red, Blockhead, God-des and She, Spoonfed Tribe, Community Art Makers, The Art Department, George Krause, Minor Mishap, Gyronauts, T-Bird and the Breaks, Heyoka, Brownout!, Govinda, Anahata Sound, plus many more!

MGFest’s educational program consists of daytime, hands-on workshops Monday through Thursday at LumenBrite Training in the Design Center of Austin. Workshop topics include: Maxon’s Cinema 4D with Mograph, programming-based animation with Adobe Flash ActionScript, and creative motion design with Adobe After Effects and Photoshop.

The Motion Graphics Festival is the premier creative conference for motion design, visual effects, sound design and interface technology - presenting a wide array of events including: art showcases, workshops, studio tours, theater screenings, industry mixers, and audio visual showcases.

Full Event Information + Registration >> http://www.MGFest.com/#Austin

Advance Ticket Links:

$25 MGFest Austin Weekday Arts and Entertainment:
http://www.Psymbolic.com/boxoffice/?Event=mgfest_austin_weekday_arts

$99 MGFest Austin All Arts Access Pass:
http://www.Psymbolic.com/boxoffice/?Event=mgfest_austin_all_arts_access

$119 MGFest Austin Monday Animating w/ Actionscript 3 Workshop + All Arts:
http://www.Psymbolic.com/boxoffice/?Event=mgfest_austin_monday_workshop_arts

$119 MGFest Austin Tuesday Interactive 3D in Actionscript 3 Workshop + All Arts:
http://www.Psymbolic.com/boxoffice/?Event=mgfest_austin_tuesday_workshop_arts

$119 MGFest Austin Wednesday Creative Techniques w/ After Effects & Photoshop Workshop + All Arts:
http://www.Psymbolic.com/boxoffice/?Event=mgfest_austin_wednesday_workshop_arts

$119 MGFest Austin Thursday Cinema 4D Essentials Workshop + All Arts:
http://www.Psymbolic.com/boxoffice/?Event=mgfest_austin_thursday_workshop_arts

$150 MGFest Austin All Arts Access Pass w/ Art Outside RV:
http://www.Psymbolic.com/boxoffice/?Event=mgfest_austin_all_arts_rv_access

MGFest Austin is sponsored by: Adobe, Maxon, Stash, United States Art Authority, Art Seen Alliance, LumenBrite, VidVox, IdN, Netdiver, Gen Arts, Resolume, Boris FX, Livid Instruments, Red Giant, School of the Art Institute of Chicago, Digieffects, Lumen Eclipse, Toolfarm, Noise Industries, lynda.com, Total Training + more!

Republic! Just in time programming music in networks. Algorithms as letters; acoustic code art; writing programs while they run. Conversational programming in a networked ensemble.

Already in the 1960s, conversational programming languages arose in the intersection of telecommunications, programming and conputer experiments. As graphical interfaces dominate the interaction with computers today, the literary aspects of programming have taken the back seat. Algorithmic sound synthesis have given this form of improvisation an interesting objective: in acoustics we depend on experiments. Programming becomes part of algorithmic music, and not just its preparation.

Julian Rohrhuber and Alberto de Campo have been developing software for and performing with just in time programming languages and in networked contexts for years, most prominently in the ensemble powerbooks_unplugged. This presentation with a larger group is using a new library for networked music written in SC3, Republic.

The term breakthrough describes a sudden shift in understanding or technologies, and, finally, a clearing (Lichtung), an entry into unknown and unmapped territories. An enclosure is breached allowing access to another, totally unforeseen state or space. Communication is thus implied, a new form of exchange, perhaps between two otherwise unconnected domains, between the living and the dead, between many worlds. What does the sheer possibility of a breakthrough imply for communication between the past and the future?

Breakthrough, as event, signals a change in direction, a pointing towards new ways of actively describing and creating the world. Within a complex mise en scene of workshops, lectures and performances, diverse artists, theorists, researchers, and hackers collaborate in the creation of a breakthrough which can rupture the enclosure of scientific rationalism and enlightenment without recourse to named magic. Self-organising nodes construct an event occupied with the dislocation of representation [language, software], time and space, and maintained with a strict scheduling and interrupt system backbone (micro-FM and Internet).

Participants: backyardradio Berlin, Oswald Berthold, Benjamin Cadon, Ewen Chardronnet, Alejo Duque, Verena Friedrich, Brendan Howell, Jonathan Kemp, Yunchul Kim, Martin Kuentz, Olga Panadés Massanet, Shintaro Miyazaki, Douglas Park, Otto Rossler, Gordan Savicic, Danja Vassiliev.

Activities: practical endophysics, sound and radio wave transitions, diagrammatic formation, clustering and islanding, simulations coding and exploration, biologic interface, crashing, brain writing, construction, environmental steganography, data forensics, escape hatch literature, novel geometry description, life coding, interrupt theatre, pornographic coding, amateur radio astronomy

Constructivist Workshop: Breakthrough will be prepared within a three day workshop at _____micro_research [Berlin] :: June 24-26, 2009 :: Linienstrasse 54. Berlin 10119.

Postscript:
1]

Byrne: “I do not want to get a long half-hour involvement about Faraday cages, diodes, or transistors and so on. Ken, in very simple language and very shortly, have you been able to break this thing technically?”

Attwood: “Technically, no.”

[Voices From The Tapes. Peter Bander. 1973]

2]

Whatever you feed into the machine on subliminal level the machine will process–So we feed in ‘dismantle thyself’ […] We fold in writers of all time in together and record radio programs, movie sound tracks, TV and juke box songs all the words of the world stirring around in a cement mixer and pour in the resistance message “Calling partisans of all nation–Cut word lines–Shift linguals–Free doorways–Vibrate ‘tourists’–Word falling–Photo falling–Breakthrough in Grey Room.

[William S. Burroughs. The Soft Machine. 1961]

Breakthough is supported by Hauptstadtkulturfonds, Berlin 2009 with the assistance and collaboration of backyardradio Berlin, General Public, Mute Magazine, STYX Project Space, ua.

A production of: _____-micro_research, pickledfeet, Linienstrasse 54, Berlin 10119
U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl.
Telephone: 3050187482.

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. In spite of a reduced exhibition area due to renovations, Spy Numbers brings together a variety of artists whose interests include mathematical encoding, the production of aurora borealis, archiving contact lenses, seismic sensors, the disappearance of hanged men and mountain summits.

Ten solo exhibitions by Dove Allouche & Évariste Richer | Pascal Broccolichi | Luca Francesconi | Ken Gonzales-Day | Norma Jeane | Arthur Mole & John Thomas | Matt O’dell | Felix Schramm | Jim Shaw | Tony Smith | Stephane Vigny.

MORE OF SPY NUMBERS…

A SPECIAL MODULE WITH JEAN-MARC CHAPOULIE

THURSDAYS OF SPY NUMBERS /
TOKYO CODE /

Gypsy sound system
Return of the duo DJ Olga and Dr. Schnaps for a frenzied DJ set.
Thursday, may 28th / 8 p.m. to midnight

Hack Lab (1/3)
A class in three parts to learn how to become a perfect hacker. With /tmp/lab. In conjunction with ”Hack Space Fest’ at Vitry-sur-Seine.
Reservation: jeudis [at] palaisdetokyo.com
Thursday june 4th / 7:30 p.m.

Hack Lab (2/3)
Reservation: jeudis [at] palaisdetokyo.com
Thursday june 11th / 7:30 p.m.

Hack Lab (3/3)
Reservation: jeudis [at] palaisdetokyo.com
Thursday june 18th / 7:30 p.m.

Visite codée
Guided visit of the exhibition Spy Numbers accompanied by the artists and Marc-Olivier Wahler, director of the Palais de Tokyo.
Thursday june 25th/ 7:30 p.m.

Streetwars
Streetwars come back to Paris. An envelope contains a photo and address of your target. With a water gun, the city wide manhunt can begin. Reservation and infos: http://www.streetwars.net
Thursday june 2nd

Under pressure
Full immersion with a selection of submarine cinema. Projections on the facade of the Palais de Tokyo all night. Part of the 1st Night of Cinema.
Saturday july 4th / From 9 p.m.

Blitz
Session of chess simultaneously with a young champion, playing alone against everyone. With the Fédération Française des Échecs.
Thursday, july 9th / 7:30 p.m.

Micro-ondes
Concert-performance of Ondes Martenot, instrument with electronic oscillation contemporary of the Theremin. Performed by Julie Normal.
Thursday, September 3 / 7:30 p.m.

MAGAZINE PALAIS / Issue 9 - OUT on May 28th

New issue around SPY NUMBERS: an essay on Mole & Thomas by Louis Kaplan, portfolios (Ken Gonzales-Day, Matt O’dell…), sound phenomena by Pascal Broccolichi, archive documents about aurora borealis (proposed by Dove Allouche and Évariste Richer), as well as a guide section. Bilingual magazine (French & English)

Suite for Mobile Tags is a project based on QR-Code (Quick Response Code), which proposes an exercise of random and anonymous collective musical composition. Don’t say: I cant go to Rio. Test the suite on-line.

Suite para Mobile Tags é um projeto baseado em QR-Code que propõe um exercício de composição musical coletivo, repentino e anônimo. Não diga: Não vou ao Rio…Se não puder comparecer, faça um test drive no site.

A clock: twelve cages sing twelve songs for twelve hours of the day. A flock: which has temporarily gathered up high on a lamp post, as birds are wont to do, and every hour, on the hour, they sing a song. These songs, composed of recorded bird calls and simple synthesized tones, are warnings, expressions of joy, crooning love songs, mating calls, questions, frustrated cries… Simultaneously they’re mysterious offerings and homages to the wind, the air, and to the things that slip through the rungs of a cage.

Cuckoo, that’s nonsense. Language is complicated. As time passes, it seems to gain complexity: meanings, associations, uses and misuses all accrue. The twelve songs that play over the course of the day through the speakers in the cages are written as a manner of disassembling and reformatting language. The arrangement of their tones are based on patterns of Morse-code-translations of words whose use I have found to be so complex and diluted that meaning is often lost or taken for granted.

These coded words share many qualities with bird songs: both being tonal, chirping languages which, without a means of translation, can only be recognized as skeletal structures; only hinting at content through their ability to contain. But even when a translation occurs, by nature of design, so many other things pass through rungs, and meaning happens somewhere in the wind, through the wires.

This machine is best explained in a connect-the-dots fashion:

sing song—bird song—12 eggs makes a dozen—a coded message—transmission—distress call—beep beep beep—12 tones makes an equal temperament—tweet tweet tweet—language—like, um, totally—(secret) well, not so much—meaning just this, this is what I’m saying—blah blah blah—visceral—nuance—what?—tick tick tick—12 numbers make the face of a clock—moment—ding—cuckoo cuckoo cuckoo

Mass communication and Babilonia. Fragmented communication and freedom of expression. Secrecy and disclosure. Locked and open. Black and white. Morse Code and Light. Hallucinatory flashes of light from the top of the Petrin Tower in Prague illuminate and disorient the nocturnal cityscape of this historical and fascinating place. Sound sequences play intermittently night and day, concurrently accompanying light signals that simultaneously spell out cryptic messages in Morse Code.

In “Music for Prague 1968,” the famous Czech composer Karel Husa played his oboe while following the Morse Code rhythm as trombones wailed like sirens. Likewise, Stefano Cagol exploits the secretive Morse Code communication system to remember the Spring of Prague anniversary, evoking miscommunication, classified secrecy, displacement and disturbance.

Sound signals will pervade the city during the day, while at night they will be re-invigorated by the inclusion of pulsating light that renders them more evident and visible but nonetheless incomprehensible and mysterious. Stefano Cagol’s work nurtures and questions the ambiguity inherent in and the limitations of contemporary communication. He challenges the use of language in mass media and places his interventions between freedom of expression and mass manipulation. This consideration of control issues and mass communication is all the more pertinent for the city of Prague during its 40th anniversary of the Spring of Prague, an event that has become a strong symbol of liberty and free thought, as well as of the ill-fated imposition of political and military might. It has taken on a profound new meaning in light of the recent events currently taking place in Georgia.

Stefano Cagol (Italy) has exhibited internationally in many solo and group shows. Most recently his work was included in Eurasia, MART Museum, Rovereto and Manifesta 7, parallel event, Trento. He also participated to The Peekskill Project 2008 at HVCCA Hudson Valley Center for Contemporary Art, New York (2008). Upcoming projects include: Abschiedsfest at MARTa Herford (Germany) and artist residency with solo show at the Hoet Bekaert Gallery, Ghent (Belgium), in April 2009.

How does code dream? What are the dreams of code? Piksel08 examines the other side of code, an alternative side to a hard-coded reality of work and play. Open hardware and free software project a utopic vision, yet exist within economies of capital, the dream factory of mainstream technology. Within the chance meeting of sewing machine and umbrella on the dissecting table, hardware and software are flattened.

Piksel08: code dreams explores the dreams of this soft machine; bachelors coding for pleasure, reverse engineering paranoiac constructs of the real, automatic coding practice, soft hardware, and everyday magic.Open Call:

: Projects related to the code dreams theme including but not restricted to: reverse engineering, soft hardware, code poetry, novel instruction sets, invisible exploration, ghosted computation… programmed by and running on free and open source software and/or open/DIY hardware.

:Live art realised by the use of free and open source software. We specially encourage live coding and DIY hardware projects to apply.

: Innovative DIY hardware and audiovisual software tools or software art released under an open licence.

Deadline - August 15. 2008

Please use the online submit form at: http://piksel.no/piksel08/subform.html

or send documentation material - preferably as a URL to online documentation with images/video to piksel08@piksel.no

**subsections:

**real code :
real.co.[de][re] actively explores code which has strong effects on the real, constructing the world through prediction and description. The twelve hour real.co.[de][re] session will attempt the active construction of a working code model (of any form) which addresses a flattening of the distinction
between software and hardware, to resolve a new political reference for real core code.

**abstract code:

Abstract code is software whose results can be invisible, a software implementing different layers of action at the same time. Abstract code is a connection to parallel worlds, a poetic formula dealing
with outer forces. Code is art, its action is subtile, effective, magic.

procedural text :maledictions, oracles, iambi, hymn, formula, refrains, hypnotic sentences,
prayers, and other.

Piksel is supported by the Municipality of Bergen, Arts Council Norway, Vestnorsk Filmsenter, Hordaland County Council and others.

More info: http://piksel.no

PulseCode is still under development and more information and examples will follow. In the meantime, if you are interested, you can download an alpha version here. PulseCode currently runs on Mac OS X 10.4 and later, but should be relatively easy to port to other platforms. It is released under the GPL. If you have any questions or suggestions, you can send mail to: fokke [at] pulsecode.org.