The purpose of the project is to connect and highlight Slovenian authors who make contemporary music in the music performance, sound, intermedia, performing, online and other areas and to present them, using existing communication possibilities, into the wider arena of world contemporary sound creativity.

The ZVO.ČI.TI. so.und.ing Collection presents: Marko Batista, Marko Batista and Nataša Muševič, Miha Ciglar, Luka Juhart, Januš Aleš Luznar, Jernej Marušič (aka Octex), Miha Milek (aka Errorist), Luka Prinčič (aka Nova Viator), Maja Delak & Luka Prinčič (Wanda & Nova deViator), Vasja Progar, Random Logic, Borut Savski and Milan Kristl, Borut Savski, son:DA with s.pecar.dj splinter.emkej, son:DA with s.pecar.dj splinter, Bojana Šaljić Podešva, Irena Tomažin, TAO G. Vrhovec Sambolec and Brane Zorman.

The DVD ZVO.ČI.TI so.und.ing Collection brings into focus conversations with the authors about their ways of working, approaches to material, about creating, concept development and realisation of ideas, their thoughts about technology, the world, art, music. Besides the included sound art works, most of which haven’t been released until now, the collection also includes texts about the makers, their biographies, links to websites, and photo materials, which altogether results in a complex and unique record and document of the current music creativity in the Slovenian and wider space.

ZVO.ČI.TI. (so.und.ing) Collection and podcasts (mp3 files) published on DVD-ROM is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.5 Slovenia License (CC BY-NC-ND 2.5)

Partners: RAM Live (Rome, Italy), Novi Radio Beograd (Belgrade, Serbia), ColaboRadio (Berlin, Germany)

The project is supported by the Republic of Slovenia - Ministry of Culture and The City of Ljubljana

4–6 PM Talks by Jana Winderen, Marina Rosenfeld, and Christopher Bergevin. Moderated by Micah Silver.
7–8 PM Sonic presentation by Jana Winderen
8–9 PM Diagram/for room and phonographic loudspeaker, sonic installation by Marina Rosenfeld
Curated by Ute Meta Bauer, ACT Director

October 22, 2011, marks the second anniversary of the passing of electroacoustic pioneer and CAVS fellow Maryanne Amacher. Intelligent Life is the title of an unrealized media opera that Amacher worked on for over a decade.

Maryanne Amacher was an American composer and installation artist whose pioneering work in acoustics and architectural installation paved the way to new forms of sound art and performance. In the 1970s, Amacher was a fellow at MIT’s Center for Advanced Visual Studies (ACT’s precursor) where she worked on her noted “City-Links” series.

For this year’s tribute, we have invited two outstanding sound artists: Jana Winderen and Marina Rosenfeld, as well as Columbia University Auditory biophysics/physiology scientist Christopher Bergevin. The evening will be moderated by ACT graduate candidate Micah Silver, who along with artist Robert The co-founded the Marianne Amacher Archive.

Micah Silver will feature a selection of archival video footage and rarely seen interviews with Amacher; Jana Winderen will present underwater sound recordings and frequencies that cannot be heard by the human ear; Marina Rosenfeld will talk about psychoacoustics, the way we experience sound through our body and our psyche; and from Chris Bergevin we will learn about otoacoustic emissions, the sounds produced by the ear.

The program will culminate the live performances by Jana Winderen and Marina Rosenefeld.

For 42 years STEIM has helped local and international artists build their own dream instruments. The Patterns + Pleasure Festival will feature some of the newest and most adventurous approaches in today’s live electronic music. Every artist brings their own unique rendition of musical styles and genres - from Industrial Drone to Instrumental Hip-Hop and Tuvan singing to Boogie-Woogie-Noise.

The music program includes first time Netherlands appearances by acclaimed “Bio-feedback” Tuvan singer Fuyuki Yamakawa, a collaboration project by composer Takuma Watanabe and noise pioneer Hair Stylistics - both groups coming from Japan, and beat wizard Edison from the U.S. Other exquisite acts such as Dutch live-sampling-pilot toktek, Jessica Rylan, Moldover, Author & Punisher from the U.S., voice virtuoso Alex Nowitz from Germany, a world premier of composer Tom Johnson’s new piece for Gandini Juggling group from England, and many more will be presented throughout the program.

The symposium program includes internationally renowned artists, writers and researchers from different fields. Steina Vasulka, David Toop, Hans Boutellier, Jamie Allen, Joel Ryan, Peter Kirn and others will discuss the future of new music, improvisation and the influence of modern technology in music. During the Handmade Music session, students and local artists will present their uniquely odd and one-and-only handmade instruments.

There will also be several workshops, lunch concerts and discussions throughout the festival.

For more information and ticket sales visit www.patternsandpleasure.com

February 27, 2011 from 17:00-19:00 Uhr :: Peter Behrends: soundso and Hanna Hartman: The Importance of Getting Lost:: SOWIESO, Weisestraße 24, 12049 Berlin, U8 Leinestraße :: conversations in English or Deutsch :: complimentary coffee & cake :: Admission: 5€

Peter Behrendsen: From 1965 to 1972 studied Theatre Science, German language, and Social Sciences at the University of Cologne; self-studied electronic musician since 1972, member of Josef Anton Riedl’s ensemble, for ten years as collaborator with Klaus Schöning at the WDR-Studio für Akustische Kunst.

Behrendsen performs old and new compositions of experimental music and is a performer/composer of his own live electronic, electro-acoustic and text-sound pieces. Behrendsen regards as his “teachers” John Cage, Alvin Lucier, Jackson Mac Low, and David Tudor, with whom he collaborated many times. Since 1987 he has been an organizer of various audio-visual projects (e.g. 1995–2004 BrückenMusik in the Deutzer Brücke, Köln).

Hanna Hartman is a Swedish sound artist and composer living in Berlin. She studied literature and theater history at the Universities of Uppsala and Stockholm, radio and interactive art at Dramatiska Institutet and electro acoustic music at EMS in Stockholm.

Since 1990 Hartman has composed works for radio, sound sculptures, and numerous performances all over Europe. More recently, she has begun to write pieces for instrumentalists. Her many awards and grants include Prix Europa (1998), the Karl-Sczuka-Preis (2005), the Phonurgia Nova Prize (2006), and a Villa Aurora stipendium (2010). During 2007 and 2008 she was Composer-in-Residence for Swedish Radio.

Hartman creates compositions that are exclusively from authentic sounds which she has recorded around the world. Sounds are taken out of their original context and perceived in their purity. She seeks to reveal hidden correspondences between diverse auditory impressions and to create extraordinary worlds of sound in new constellations.

For inquiries about the series, write: certainsundaysberlin@gmail.com

Tali Hinkis and Kyle Lapidus will use their Sync Armonica, a 9 ft. sculptural, analog, handmade A/V synthesizer and electrical signals gathered from guest performers. LoVid events are playful yet aggressive, with realtime audiovisuals that are immersive, visceral and intensely colorful, patterned and rhythmic. Works combine handmade and machine produced craft, DIY electro-engineering, textile, video and noise.

Saturday they’ll premiere two new works — fast-flickering “C/O/L/O/R/G/B” with a new synthesizer color wheel, and “Becoming One.2.” Here, LoVid invites guests to contribute body signals that are amplified by the duo’s circuit tacos. Two people look at each other while holding patch cords that connect to LoVid’s synthesizer, Sync Armonica. Their bodies’ signals are fed in and contribute to the sound and video being produced. The video is projected onto each of the lookers’ faces. Each looker sees the video containing both lookers’ signals on the other looker’s face, and each looker attempts to control the video such that they look more like the other looker.

LoVid is the art duo of Tali Hinkis (b. 1974, Jerusalem) and Kyle Lapidus (b. 1975, New York). Working together since 2001, LoVid’s interdisciplinary works explore social, personal and corporal experiences in the networked era. LoVid has performed and exhibited internationally in venues such as: Real Art Ways, Urbis (Manchester), MoMA, PS1, The Kitchen, The Jewish Museum, The Neuberger Museum, The New Museum of Contemporary Art and Institute of Contemporary Art (London). LoVid has been artist in residence at Smack Mellon, Cue Art Foundation, Eyebeam, Harvestworks, free103point9, and has received grants, awards, and fellowships from NYFA, LMCC, Experimental TV Center, NYSCA, Foundation for Contemporary Arts, turbulence.org, Puffin Foundation, and Greenwall Foundation.

Co-presented with the Graham Foundation for Advanced Studies in the Fine Arts

Note: The RSVP list for this event is currently full. If you have RSVP’d but cannot attend, please let us know so that we can make room for others. If you have not RSVP’d, we encourage you to add your name to the waiting list. You will be contacted automatically as spots become available. Also, seats often become available the night of the show. Doors open at 7pm and unfilled seats will be released to those waiting before the performance begins.

Presented in partnership with Lampo.

Founded in 1997, Lampo is a non-profit organization for experimental music, sound art and intermedia projects. For information and to add your name to the Lampo list, contact info@lampo.org or visit
http://www.lampo.org.

2011 marks the 10th anniversary of NAISA’s Deep Wireless and SOUNDplay festivals and so it is an opportunity for NAISA to both reflect on the past and look ahead to the future. With this in mind, New Adventures in Sound Art invites artists of all ages and nationalities to submit works on the theme ABOUT TIME for consideration in New Adventures in Sound Art’s 2011 programming for its annual Deep Wireless, Sound Travels, and SOUNDplay festivals presented in Toronto, Canada. Artists may submit works in one or all of the following four categories (Note: please send separate submissions for each entry).

Preference in programming will be given to works that respond in some way to the theme ABOUT TIME. Individual interpretations or variations on the theme are encouraged, but should be realized with sound as the primary component.

Artists may submit works in one or all of the following four categories (Note: please fill out one on-line submission for each entry):

1) Radio Art
2) Electroacoustic Music & Sound Art
3) Videomusic
4) Installation Art

1) Radio Art (for Deep Wireless) : The Radio Art category is for works conceived for radio or that use radio and other wireless technology in their creation and that play with the medium. Special consideration will be given to 1 minute radio art pieces for broadcast as well as 1 page proposals for collaboration on translocal and network performances.

Pieces will be selected for broadcast within Canada and on several international radio stations in May 2011 as part of the Deep Wireless Festival of Radio and Transmission Art.

Both Canadian and International radio art submissions will be considered for inclusion in the following:

-The Deep Wireless 8 radio art compilation CD
-The Radio Art Interventions (1 minute pieces played guerilla-style on radio stations during the Deep Wireless festival)
-The Radio Art Salon - a listening gallery of radio art works exhibited for the month of May.

2) Electroacoustic Music & Sound Art (for Sound Travels & SOUNDplay). The Electroacoustic Music & Sound Art category is for multi-channel and stereo works conceived for concert performance or presentation in the
Sound Travels Festival of Sound Art and SOUNDplay festivals. Preferred formats for performance presentation include 5.1, octaphonic, 12 and 16-channel formats in both acousmatic (tape), live, and mixed formats. Please indicate in the notes the intended format of presentation and any required instrumentation or specialized equipment.

3) Videomusic (for SOUNDplay) The Videomusic category is for works that explores non-narrative abstraction with equal emphasis on sound and image. Submitted works will be considered for video screenings with either stereo or multi-channel playback for screenings in either a performance venue or a small-size gallery alongside other works selected from this call for submissions.

4) Installation Art (for Deep Wireless, Sound Travels or SOUNDplay): Installation proposals of previously realized works for site-specific and gallery installations will be considered for presentation as part of
Deep Wireless, Sound Travels or SOUNDplay. Site-specific works can be for indoor or outdoor locations. Works can use multichannel or single channel playback and may incorporate any number of media, but must feature original sound as a primary element.

Preference will be given to small to medium scale interactive works that appeal to all ages. Please note that almost all of NAISA’s exhibition locations are multi-use venues and often require works to be moved and
re-positioned on non-exhibition days. Also attach a list of the necessary equipment required to mount the installation and which of these items can be supplied by the artist. Submissions should include audio, video or audio-video documentation of previously realized versions of the work.

Submission Guidelines: Please complete in full the online submission form by midnight on September 30, 2010 and submit by post your submission materials (postmarked September 30, 2010) to:
New Adventures in Sound Art
601 Christie Street #252,Toronto, ON, M6G 4C7, Canada.

Organised Sound has regularly covered networked music in the past, including a themed issue (vol. 10/3, 2005). The proliferation of Internet2 has resulted in a sustained practice of sonic and multimedia experimentation over high-speed research networks. This current themed issue aims to explore and document current work, practices and innovation in this new musical space. Are there new issues in aesthetics to be addressed in electroacoustic music as mediated by networks? What continuing practices and roles are being transformed and/or reinterpreted as a consequence? What are the most significant new outcomes or processes? What are the current research questions that need to be explored? As the diffusion of multichannel audio set an agenda for a generation of electroacoustic music, will geo-diffusion be a new benchmark?

Topics for investigation might include, but are not restricted to:
Conceptual frameworks for current and continuing research
Perceptual/cognitive framing of the tele-musical event
Aesthetics/philosophy of sonic interconnection
Beyond spatialisation: geo-diffusion
New tools and techniques being used and explored
Production and social-organisational challenges created by distributed work
Hybrid art-forms that may have emerged
Challenges in combining local and remote acoustics
Human and Network Interaction (HNI)
Distributed / remote participation (composition, performance, reception)
Network acoustics: sonifying the network
Sonic outcomes of machine, Internet2, and human interaction
Artistic statements and innovative outcomes

The OS issue Networked Electroacoustic Music will also be encouraged through a networked symposium in January 2011. For updates subscribe to:http://mailman.ucalgary.ca/mailman/listinfo/stremes-l

As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.

Deadline for submissions is 15 June 2011. Submitted papers may supporting audio and audio-visual material will be presented as part of the journal’s annual DVD-ROM which will appear with issue 17/3 as well on the journal’s website when the issue is published.

SUBMISSION FORMAT

Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url:

http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf)

Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk, not to the guest editors.

Hard copy of articles and images (only when requested) and other material (e.g., sound and audio-visual files, etc. normally max. 15 sound files or 8 movie files) should be submitted to:

Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK.

Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Joel Chadabe, Lonce Wyse, Eduardo Miranda, J?ran Rudi, Barry Truax, Ian Whalley, David Worrall
International Editorial Board: Marc Battier, Hannah Bosma, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Margaret Schedel, Mary Simoni, Martin Supper

Studio Soto presents the dynamic London sound artist Kaffe Matthews in a special Boston appearance. Joining her on the bill will be Boston’s Derek Hoffend. Both artists share an interest in creating autonomous sound environments and special frequencies through sonic furniture, though this performance presents their concert works’ modalities.

Kaffe Matthews - making architectural music to feel through your body as well as your ears - was born in Essex, England and lives and works in London. Since 1990 she has been making and performing new electro-acoustic music worldwide with a variety of things and places such as violin, theremin, Scottish weather, desert stretched wires, NASA scientists, melting ice in Quebec and the BBC Scottish symphony orchestra. Currently she is researching 3D composition through Hammerhead sharks in Galapagos and Atlantic salmon in Northumberland rivers. Acknowledged as a pioneer in the field of electronic improvisation and live composition, Kaffe has released 6 solo CD’s on the label Annette Works.

Often collaborating, her present projects are with sonic furniture project ‘music for bodies’ and climate change activist fan band The Gluts with Café Carbon.

Derek Hoffend is a visual and audio artist who creates sound-sculpture installations and electro-acoustic music. Installations examine intersections between sound, objects, body, and environment, combining electronic, acoustic, recorded, and self-generative audio processes with found and constructed objects and spaces. Live performances traverse immersive, evolving, textural soundscapes, combining composed and improvised digital and analog processes for computer, hand-made circuits, and modified electronic and acoustic instruments. Recent work has explored immersive audio, multi-channel arrangements and sculptural forms (4 to 12 speakers), tactile interfaces, viewer participation, resonant objects and spaces, and architecture and site as instrument.

The Sound Travels Intensive is an opportunity for artists from across Canada and around the world to create and present new work in Toronto, exchange ideas with others, and hone electroacoustic skills with the guidance of a diverse group of world-renowned instructors. Four the intense days of workshop sessions, private instruction and creative activity culminate in a public concert presentation at Toronto’s Artscape Wychwood Barns.

Participants must apply by Thursday July 30 at 12 noon Toronto time to be eligible for a limited number of scholarships and billeting possibilities.

On-line registration: https://www.naisa.ca/eshops/eintensive.php

Intensive Instructors:

Marcelle Deschênes - composition and multimedia: A celebrated figure in the development of electroacoustic music and art, Marcelle Deschênes is a composer, multimedia artist, pianist and teacher. Her oeuvre is important not only for its pioneering nature, but also its diversity: multimedia performances, photography, video art; instrumental, mixed, acousmatic and application music; radio art, installation art, and animation/creation for non-musicians. Over the past 35 years she has concentrated primarily on the development of new forms of artistic expression that integrate music, new technologies, performing and visual arts and multi-disciplinary teamwork.

Satoshi Morita - experimental recording and transducers: Berlin-based sound artist Satoshi Morita deals with issues of inter-sensory sonic experience. His sonic object “Sound Capsule” received an honorary mention at Prix Ars Electronica 2008 and has been exhibited internationally (currently at the Science Gallery in Dublin, Ireland). At the Sound Travels Intensive, Morita will deal with the use of transducers, and experimental field recording techniques.

David Ogborn - interaction and programming: David Ogborn is the President of the Canadian Electroacoustic Community (CEC) and teaches digital audio and physical computing at McMaster University, where he also directs the Cybernetic Orchestra. Recent artistic highlights include Metropolis (live electronics + silent film), Opera On The Rocks (opera with live electronics and video) and Waterfall (a collaboratively-produced interactive video sculpture at the 2010
Olympic Games).

Eldad Tsabary - electroacoustic ear-training: Eldad Tsabary is a professor of electroacoustic music at Concordia University in Montreal, where for the past five years he has been developing a new aural training method for electroacoustics, based on perceptual and educational research. His compositions have received prizes and mentions in several international competitions including Bourges, Miniaturas Electroacousitcs, ZKM, Harbourfront, and others. Recent artistic highlights include From My Home to Your Home (a telematic duet with David Eagle for Deep Wireless 2010), Tikkun Nefesh for
trombone and electronics (commissioned by trombonist Haim Avitsur), and Homo Religiosus (an interreligious piece containing prayers and interviews from five places of worship). Eldad is the Treasurer of the Canadian Electroacoustic Community.

Darren Copeland - sound recording and transformation: Darren Copeland is a soundscape composer, radio artist, sound designer and concert producer. He has studied electroacoustic composition under Barry Truax (Simon Fraser University) and Dr. Jonty Harrison (University of Birmingham). His concert works have received mentions in competitions (Vancouver New Music, Luigi Russolo, Hungarian Radio, La Muse en Circuit, and Phonurgia Nova) and appeared on compilation CD releases (Storm of Drones, Radius #3, DISContact I & II, Lieu - Non Lieu, and Soundscape Vancouver). The CDs Rendu Visible and audio DVD Perdu et retrouvé, devoted to his work, are available on the empreintes DIGITALes label.

Rob Cruickshank - DIY electronics and circuit-bending: Rob Cruickshank is a Toronto-based multidisciplinary artist whose works often include custom electronics. He has developed many workshops to assist artists with learning technology, and is the creator of the NAISAtron instrument kit for New Adventures in Sound Art. He plays in the audio/visual collective i/o media and is a long-time member of the Board of Directors of InterAccess Electronic Media Arts Centre. Recently he has been working with MusicWorks magazine to create a series of DIY articles.

For further information: https://www.naisa.ca/eshops/eintensive.php
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Content-based analysis techniques, i.e. synthesis techniques guided by the acoustical and perceptual properties of the source sound material, have been rapidly gaining ground in the sound and music computing community in the last decade. This workshop acknowledges the importance of these new techniques and aims at helping the participants to experiment with content-based techniques and laying a groundwork for further exploration.

We will start by introducing a framework that allows experimentation with content-based analysis and recomposition of sound segments stored in a database with only minimal programming knowledge. We will have an occasional closer look at more involved techniques and concepts such as musical feature extraction, concatenative synthesis and audio mosaicing. The focus will be on showing how various open source tools can be used productively in combination, without having a master degree in music technology.

Participants should have a strong interest in electroacoustic or electronic music production and shouldn’t be afraid of using a text
editor for code editing. The tools we’ll be using are Haskell, SuperCollider and MeapSoft; we will provide participants with a Linux
Live CD with the relevant software installed as well as software packages for installation on a laptop (the installation method works
for Linux and MacOS X only). Participants should bring their own laptop and headphones.

The first session will be mainly an introduction and a session to get the software up and running on the participants’ machines. During the weekend, the workshop will start at 11:00 and extend until the evening until around 20:00., with some time allocated for lunch in-between those hours.