ARTER’s new series of sound art projects opens with the exhibition Freedom to the Black by renowned Turkish composer, sound designer, guitarist and producer Erdem Helvacıoğlu. Curated by Melih Fereli, the installation features Fluxus pioneer George Maciunas’s work “Piano Piece” (1970) along with Helvacıoğlu’s composition inspired by Maciunas’s very piano, which is in the Vehbi Koç Foundation Contemporary Art Collection.

During the first ever performance of Maciunas’s work, Ben Vautier, the French performance artist, nailed down all the white keys of this upright piano one by one, rendering the white keys immovable and thus leaving only the black keys functioning.

Freedom to the Black is “an attempt to liberate ‘the black’ from all biases and prejudices,” says the exhibition’s curator and Vehbi Koç Foundation’s Culture and Arts Advisor, Melih Fereli: “Take it as a plea, or even as a protest, if you like; but do bear in mind that ‘the black’ is a powerful part of the celebration of life, just like in Erdem Helvacıoğlu’s music, and in particular his composition as part of this installation, which is filled with the riches that ‘the black’ deserves.”

The accomplished composer Erdem Helvacıoğlu recorded the ’sound memory’ of Maciunas’s piano to create his astonishing 10-minute composition, Freedom to the Black. He accomplished this over a four-day recording session, by using various pieces of equipment and materials — scissors, bows, earplugs, stuffed toys, drum sticks, mallets, hammers, screwdrivers, pieces of silk and wool, among many others things—to extract a wide range of sounds from the piano’s body. Helvacıoğlu used 17 microphones with diverse characteristics and in unconventional placements for the recordings.

For the spatial design of the installation at ARTER, the artist and the curator collaborated with Dr Tony Myatt, director of the Music Research Centre at The University of York. Freedom to the Black utilises an innovative sound system, “Ambisonic B-format”, here used for the first time in Turkey. The system is installed in a specially designed ground-floor room at ARTER and it involves sixteen speakers that surround the audience in three dimensions for full spherical sonic diffusion.

An initiative of the Vehbi Koç Foundation (VKF), ARTER’s programmes are created with the aim of encouraging production of contemporary artworks both nationally and internationally, providing a platform of visibility for artistic practices especially in Turkey. ARTER offers artists a sustainable infrastructure for artistic production in terms of funding, exhibiting, promotion and publications, as well as support for educational activities.

Freedom to the Black inaugurates ARTER’s “Sound Art Projects” series. ARTER has added this exciting area of artistic production to its repertoire and it will continue to commission and exhibit new works in this genre.

Curator: Melih Fereli

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

GenComp Collective Berlin: Chaotic, cybernetic, and hybrid systems — Neurological and cybernetic research techniques have been adopted by many experimental music protagonists, such as Louis and Bebe Barron, Alvin Lucier, David Tudor and others. The GenComp Collective Berlin (Alberto de Campo, Hannes Hoelzl, and students, alumni and associates of the class Generative Art / Computational Art at UdK Berlin) explores the use of such systems for experimental performance. They use current developments like Rob Hordijk’s chaotic synthesizers (the Benjolin and the Blippoo box), Peter Blasser’s hybrid designs Fourses and the Rollz family of modules; they design, build and program their own performance systems based on a variety of sensors, analog electronics, and software synthesis.

The book to-be-launched: Critical Neuroscience. A Handbook of the Social and Cultural Contexts of Neuroscience, Choudhury, Suparna / Slaby, Jan (eds.): Critical Neuroscience brings together leading scholars in a collective effort to understand the impact of the intellectual, economic and political conditions on current views of the brain and how these models may in turn impact society. With illuminating insights and deep scholarly rigour, Critical Neuroscience offers a comprehensive interdisciplinary perspective that aims to enrich our understanding of the brain as situated in the body and world, and neuroscience as embedded in a complex cultural context.

One Thousand Pulses, the Northeast’s premier concert series for electronic and experimental music, proudly presents:
EQ2011 — Equinoxygen Festival — Featuring: Bernhard Wostheinrich :: Dean de Benedictis & Vic Hennigan :: The Electric Golem :: Ezekiel Honig :: John Hudak :: Jon Durant :: Mem1 & Stephen Vitiello :: Neil Nappe :: Richard Lainhart :: Taylor Deupree & Marcus Fischer ::

EQ2011 | EQUINOXYGEN FESTIVAL is the first large-scale event of its type ever to take place in the Northeast New Jersey area.

Hosted in the prestigious Wilson Auditorium on Fairleigh Dickinson University’s Teaneck/Hackensack campus, just 15 minutes north of New York City, Equinoxygen presents a single-day of provocative, experimental music.

With a roster of renowned artists from across the globe, spanning the bandwidth of electronic music’s genres, styles, and approaches, Equinoxygen 2011 is the opening salvo in an annual series of festivals to take place in the region, bridging the analog and the digital, & the audio and the visual, to yield a unique sensorium of sound and image.

This year’s lineup:

BERNHARD WOSTHEINRICH elicits meaning from abstraction in electronic music and media whether as an artist, musician, painter, graphic designer, small town bohemian, or failed control freak. Using a compositional approach akin to his work as a visual artist, Wöstheinrich usually begins by improvising abstract sonic structures which are subsequently developed into an increasingly detailed aural picture, both in his own solo project as The Redundant Rocker, and in collaboration with colleagues Markus Reuter (as Centrozoon), Ian Boddy, Klaus Hoffmann-Hoock, No-Man singer Tim Bowness, Thorsten Niestrath, and Synapscape’s Philipp Münch. He has released music on a variety of labels such as DiN, Burning Shed, Tonefloat, and Unsung, and continues to push at the boundaries of rock, electronica, and the avant-garde.
> www.centrozoon.bandcamp.com

DEAN DE BENEDICTIS is a Southern California-based musician who has utilized his interest in a variety of styles and cultures to enrich the quality of his musical expression. Beginning his deep exploration of music in the 80′s, De Benedictis has covered a wide gamut of sonic experience, moving through many jazz-fusion and progressive rock bands, music theory classes, and producing/performing source music for network television. Known to the electronic/ambient community as Surface 10 (as well as under his given name), De Benedictis has realized numerous recordings for labels like Hypnos, Lektronic Soundscapes, Spotted Peccary, DiN, and Cleopatra, founding the Fateless Flows Collective and its subsequent imprint in 2004. De Benedictis has spent the last few years refining his own idiosyncratic approach to rhythmic & non-rhythmic-based musics, to the effect that after a period of dormancy, he is actively reviving Fateless Flows as a ongoing conduit for his colleagues and his own future endeavors.
> www.fatelessmusic.com/deandebenedictis

EZEKIEL HONIG is a New York City native, founder of the labels Anticipate and Microcosm, who concentrates on his idiosyncratic brand of emotively warm electroacoustic music across a breadth of quietly insinuating recordings and performances. Using the loop as more of a tool than a rule, Honig paints outside the lines, nestling into a comfortable, shared space between muted techno, melodic, event-driven ambient, textural downtempo and slowmotion house, using them as reference points from which to stray, rather than as steadfast frameworks. Honig looks to incorporate a material nature into his music by imbuing it with a host of field recording/found-sound sources in the search for a balance between digital software innovation and the physicality of the world around us. His improvisational approach combines loops and elements from various songs with on-the-fly arrangements, editing and effects. Honig has performed in numerous galleries and alternative spaces worldwide including Montreal’s Mutek festival, the Plateaux Festival in Poland, Fondazione Arnaldo Pomodoro in Milan, Italy, and the Detroit Electronic Music Festival.
> www.ezekielhonig.com

JOHN HUDAK is a field recordist, sound collagist, and arch experimentalist, courting interests in sound and music from the age of four. At the University of Delaware and the Naropa Institute for the Arts, Hudak studied English, video, photography, creative writing and dance, and soon thereafter began to create taped soundtracks for solo performance art/dance and mixed media. Language has also been a predominant focus in his life and artistic pursuits, having studied and published haiku poetry, the literary equivalent of the reductive, minimal, and nature-based sound forms that consistantly fascinate him. Hudak’s current work focuses on the rhythms and melodies that exist in our daily aural environments; on his usually limited edition CDs, both self-released and found on such labels as Meme, and/oar, Intransitive, Alluvial and others, plus his web-based projects, mixed-media installations and performances, Hudak reframes and transforms sound in our environment so it can be noted, admired, and valued. > www.johnhudak.net

JON DURANT is a guitarist who brings a unique sense of texture and melody to his instrument. His distinctive “cloud guitar” soundscapes and engaging lead work have graced numerous CD recordings and film soundtracks. Either solo or in a group context, his myriad influences reference such colleagues as Fripp & Eno, Steve Tibbetts, David Torn, and the early work of Bill Frisell and Andy Summers. As executive producer of Alchemy Records, he produces recordings for internationally acclaimed artists in his small Massachusetts-based studio. In addition to longtime collaborators Tony Levin (bassist with King Crimson and Peter Gabriel), percussionist Vinny Sabatino, pianist Michael Whalen, and guitar/synth master Randy Roos, Durant has recorded with Colin Edward of Porcupine Tree, electric violinist Caryn Lyn, and many others. At EQ2011, Durant will perform with his son Harrison accompanying him, as the duo interface their liquid guitars within the labyrinthine environment of the iPad.
> www.jondurant.com

MARCUS FISCHER is a musician and multimedia artist currently based in Portland, Oregon. While drumming in various bands in and around his prior residence in Olympia, Washington, Fischer discovered new opportunities arising for him to further experiment with sound using tape loops and electronics. Field recordings, chance, and DIY instruments, coupled with acoustic instrumentation and visual art, define what has become Fischer’s minimal signature. Fischer curates vision+hearing, a series of audiovisual events that bring musicians and filmmakers together for collaborative performances, and is the co-curator of SIX, an annual six-speaker surround sound performance series, and has had the opportunity to score various short films and multimedia performances. Past musical releases include his recent Monocoastal on 12k, Arctic/Antarctic (Luxus-Arctica), contributions and remixes to various compilations and net labels as map~map, various untitled 3” CDRs, and two CDs as part of the duo Unrecognizable Now.
> www.mapmap.ch

MEM1, the husband and wife team of Mark and Laura Cetilia, seamlessly blend the sounds of cello and electronics to create a limitless palette of sonic possibilities in their improvisation-based performances. They use custom hardware and software in conjunction with a uniquely subtle approach to extended cello technique and realtime modular synthesis patching, which results in the creation of a single voice rather than a duet between two individuals. Their music moves beyond melody, lyricism and traditional structural confines, revealing an organic evolution of sound blending harmony with cacophony. The duo have taken part in residencies at Harvestworks in New York, STEIM and Kunstenaarslogies in the Netherlands and USF Verftet in Bergen, Norway. In 2009, they created a site-specific installation for the Museums of Bat Yam (Israel); their collaborative works with media artists Kadet Kuhne and Liora Belford have been screened and installed at venues including the Sundance Film Festival, Fringe Exhibitions (Los Angeles), and the Hordaland Kunstsenter (Bergen). Throughout their career, they have collaborated with a variety of artists including the Penderecki String Quartet, Steve Roden, Jan Jelinek, Frank Bretschneider, and Stephen Vitiello, amongst many others.
> www.mem1.com

NEIL NAPPE is an accomplished guitarist and synthesist whose pioneering work dates back to the 80s and his seminal release on Larry Fast’s Audion label, July. Spending years refining and applying numerous approaches, techniques and disciplines to the performance capabilities of synthesizers and interactive guitar playing, Nappe’s keen ear for texture and nuance has set him on a course that breaks with any established genre boundaries or confines. His dazzling work with guitar synths, generating loops and triggering samples to yield intensively immersive waves of undulating notes and frequencies, have rightly drawn comparisons with like-minded texturalists Robert Fripp, Manuel Gottsching, and Richard Pinhas. Equinoxygen will mark Nappe’s eagerly anticipated return to live performance after a 15-year-plus hiatus.
> www.discogs.com/Neil-Nappe-July/master/183105

RICHARD LAINHART is an award-winning composer, author, and filmmaker, a sonic artisan who works with audio and visual data, expert in processes both analog and digital. Since childhood, he’s been interested in natural processes such as waves, flames and clouds, in harmonics and harmony, and in creative interactions with machines, using them as compositional methods to present sounds and images that are as beautiful as he can make them. Studying composition and electronic music with Joel Chadabe at the State University of New York at Albany, Lainhart has gone on to compose music for film, television, CD-ROMs, and web-based applications. His compositions have been performed in the US, England, Sweden, Germany, Australia, and Japan; recordings of his music have appeared on the Periodic Music, Vacant Lot, XI, Airglow, Tobira, Field Studies, Infrequency, VICMOD, and ExOvo labels. As an active performer and composer of over 150 electronic and acoustic works, Lainhart has appeared in public approximately 2000 times, and worked with such notable musicians as John Cage, David Tudor, Steve Reich, Phill Niblock, David Berhman, and Jordan Rudess, among many others. Lainhart has also recently the CD, Polychromatic Integers, on OTP’s Periphery label.
> www.otownmedia.com

STEPHEN VITIELLO is an electronic musician and sound artist who transforms incidental atmospheric noises into mesmerizing soundscapes that alter our perception of the surrounding environment. He has composed music for independent films, experimental video projects and art installations, collaborating with such artists as Nam June Paik, Tony Oursler and Dara Birnbaum. In 1999 he was awarded a studio for six months on the 91st floor of the World Trade Center’s Tower One, where he recorded the cracking noises of the building swaying under the stress of the winds after Hurricane Floyd. As an installation artist, he is particularly interested in the physical aspect of sound and its potential to define the form and atmosphere of a spatial environment. This year has seen the CD release of MOSS (with Molly Berg, Olivia Block & Steve Roden) on 12k, plus collaborative work with Machinefabriek and Lawrence English; exhibitions include sound works hosted by Museum 52, and the first aural exhibit to grace New York City’s celebrated High Line park. Vitiello has collaborated with such musicians as Pauline Oliveros, Scanner, Steve Roden, Frances-Marie Uitti, Andrew Deutsch, and Yasunao Tone. He is currently an Associate Professor of Kinetic Imaging at Virginia Commonwealth University.
> www.stephenvitiello.com

TAYLOR DEUPREE is a sound artist, graphic designer, and photographer residing in New York. His solo works in recent years have explored a fusion of digital sound manipulation with organic and melodic textures that take influences from his interest in architecture, interior design, and photography. Themes of minimalism, stillness, atmosphere, nature, and imperfection prevade his work. In 1997, he founded 12k, a record label that focuses on minimalism and contemporary hybrids of acoustic and electronic music. Deupree has released over seventy CDs on the label by a roster of international sound artists and has developed 12k into one of the most respected experimental music labels in the world. Since 1993, he has released critically acclaimed recordings for labels worldwide including Spekk, Plop, Ritornell/Mille Plateaux, Raster-Noton, Disko B, Sub Rosa, Room40, and many others. Over the years, Deupree has collaborated with artists such as guitarist Christopher Willits, Kenneth Kirschner, Tetsu Inoue, Frank Bretschneider, Richard Chartier, and Stephan Mathieu. Deupree feels the importance of collaborative work is not to layer two individual styles but rather to fuse each artist’s concepts to forge a unique, third identity.
> www.12k.com

THE ELECTRIC GOLEM is comprised of James Spitznagel and Trevor Pinch, who yield generative, modern psychedelic mindscapes thanks to Pinch’s command of his Moog Prodigy and homemade modular synths, and Spitznagel’s battery of similar devices like the Evolver, Mopho, Tenori-on, Nintendo DSi, iPod Touch, and Orb Sequencer. During his daylight hours, Pinch is Professor of Science and Technology Studies and Professor of Sociology at Cornell University, and the coauthor of perhaps the definitive book on synthesizer technology, Analog Days: The Invention and Impact of the Moog Synthesizer. Spitznagel is a true techno-polyglot, a digital computer artist, photographer, and sonic provocateur who has released all manners of twisted electronica on his Level Green imprint, and continues to raise the bar for circuit-based music as he craftily wrestles with the vagaries of tone, glitch, frequency, and pulsation. The duo recently released Sky Snails, their 2nd CD and the first release on OTP’s Periphery label.
> www.facebook.com/electricgolem

VIC HENNIGAN is a practicing Buddhist, artist and spiritualist who contemplates the state of humanity through his music. “Many of us have lost our connection with ourselves, the planet, the universe and those around us. My intention and purpose is to create and bring forth music for dance, for harmony and for spiritual connection.” Hennegan’s work as a live performer makes him a rare commodity in the electronic world. With computers, samplers, vocals and synthesizers, Hennegan’s instinctive hand creates techno-trance and ambient music as a wildly pleasurable, uplifting experience that will take your soul on a journey to the center of ecstasy. Hennegan’s music emanates a unique warmth which moves the listener to a state of euphoria. Aside from working with vocalists Juliet Annerino and Becca Fuchs, Hennegan is also a member, along with frequent partner-in-sound Dean De Benedicitis, of Los Angeles’s Fateless Flow Collective.
> www.vichennegan.com

Through Localore, AIR will recruit talented radio, TV, film, and online producers to lead 10 station-based projects blending approaches to broadcast and digital platforms. The range of radio and television stations signed on to Localore crisscrosses from Vermont to Alabama, Ohio to Arizona, Pittsburgh to the Pacific Northwest. Big stations in major markets have begun to throw their hats into the ring alongside small rural stations, public television dual licensees, and Native American stations out west. Launch stations will be announced at an event on September 22nd at the PRPD’s Public Media Programming Conference in Baltimore.

Radio and television stations interested in taking on a Localore project are encouraged to “raise their hands” and demonstrate their preparedness for incubating Localore innovation by signing on to the Station Runway. There, prospective incubator stations will present three to five minutes of media (slide show, video, or audio piece) showcasing their creative culture, their distinctive community, and their vision for engaging a new community of public media citizens.

Localore producers are invited to submit proposals between today’s launch date — September 15th — and November 10th at Localore.net. A second round of vetting in December will call on producers, matched with incubator stations, to submit final proposals. Projects will launch between March and June 2012, with a time frame of execution anticipated at nine to 12 months.

AIR has assembled its own multiplatform, collaborative production team to lead Localore, including Executive Editor Noland Walker, a Peabody- and Emmy Award-winning producer/director of PBS and independent documentaries, and author/journalist Jessica Clark, who led the Future of Public Media project at American University’s Center for Social Media from 2007 to 2011. She serves as AIR’s Media Strategist.

In many ways, the Localore project reflects the changing composition of AIR itself, with a membership that is rapidly diversifying and expanding public media and journalism. AIR was founded in 1988 by a group of 10 independent public radio producers in New York City. It has since grown into a global, social and professional brain trust of more than 800 producers — both independent and those employed by media organizations — representing an extensive range of disciplines, from NPR news journalists and reporters to sound artists, station-based producers, podcasters, gearheads, web developers, and more. Public media’s leading networks — American Public Media, NPR, PRI — and leading producing stations from across the U.S. are also in the ranks of AIR.

Learn more about the nuts and bolts of Localore in this video of AIR’s recent producers’ webinar.

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Links:
www.AIRmedia.org
www.localore.net
Webinar video: www.vimeo.com/29065323
Project logos are available at: http://www.airmedia.org/PageInfo.php?PageID=480

Funding for AIR comes from our members and the generous support of the Corporation for Public Broadcasting (CPB), the John D. and Catherine T. MacArthur Foundation, the New York State Council on the Arts (NYSCA), Wyncote Foundation, Recovery.gov, and the National Endowment for the Arts (NEA), which believes that a great nation deserves great art.
Association of Independents in Radio
P.O. Box 220400
Boston, MA 02122
Phone: 617-825-4400
www.airmedia.org

Association of Independents in Radio
PO Box 220400
Boston, Massachusetts 02122

Copyright (C) 2011 Association of Independents in Radio All rights reserved.

CTRL+ALT+REPEAT is an experimental music series that focuses on cutting-edge electronic music, improvisation, contemporary classical music, and sound art. The Spring 2011 edition will feature Morton Feldman’s 1951 string quartet Structures and Christina Kubisch’s Vibrations for string quartet and vibrators, performed by the Community MusicWorks Players alongside performances by Ernst Karel, Lyn Goeringer and Mem1. This concert is presented in conjunction with Community MusicWorks and is made possible in part by a grant from the Brown University Creative Arts Council.

Halim El-Dabh composed his first experimental piece in Cairo in 1944, his work can be related to other pioneers such as Luigi Russolo, John Cage, Walter Ruttmann, and Pierre Schaeffer. The official history of experimental and electronic music is mostly centered around three starting poles : Paris, Cologne, New York and then everything seems to have spread all over the Western civilization. This is what C-drík learned when he studied electro-acoustic music at the conservatory. Most contemporary media introduces us to Western electronic music as if nothing else existed, the West is self-centered and consciously or not often denies the others the right to express themselves.

Have you ever heard about the pioneers who composed electro-acoustic music in Israel, Japan, Iran, Turkey or Indonesia in the 1950′s and 1960′s ? The Filipino experimental scene ? The Chinese sound art scene ? The Tunisian electronica ? The South African shangaan electro ? The Lebanese dubstep and breakcore parties?

This lecture will be an introduction to C-drík’s research on electronic and experimental music in Africa and Asia, from 1944 until today.

http://www.syrphe.com/

http://www.myspace.com/syrphe

First Event :: In Your Ear :: Thursday, April 7, 2011, 7:00 –10:00 p.m. :: MOCA, Grand Avenue :: Neighborhood Public Radio (NPR) will harness the airwaves around the museum to transmit a collection of radio programs on local frequencies. MOCA visitors may tune into these programs via handheld personal transistor radios they either bring to or buy at the event for 2 USD. For “FMemory,” NPR will broadcast interviews with downtown Los Angeles’s communities about memorable experiences of MOCA as well as their perceptions of Bunker Hill’s evolving landscape. “Small Audience (for Large Ensemble)” will create a large-scale polyphonic voice ensemble, creating an unexpected space for museum-goers to perform on-air together. For “Silent Disco Party,” NPR will transmit live performances of original music and remixed dance classics.

Second Event:: In Your Car :: Thursday, May 5, 2011 7:00 - 10::00 p.m. :: The Geffen Contemporary at MOCA :: In Your Car will comprise two concurrent sound projects broadcasting on local frequencies, “Park Park Revolution” and “Ping Modulation.” “Park Park Revolution” will comprise layers of choreographed and looped sound emanating from visitors’ car radios. “Ping Modulation” will pay homage to artist Robert Rauschenberg’s Open Score. For this project, NPR will outfit ping-pong tables with contact microphones and sound processors; as visitors match off in games of table tennis, the noise of their play will be fed to radio broadcasts that will transform their participation into sound art. Parking is FREE in public lot 7, the entry to which is accessible from Judge John Aiso Street.

Third Event: In the Air :: Thursday, June 2, 2011 7:00-10:00 p.m. :: MOCA Grand Avenue :: For In the Air, NPR will bring together local noise musicians and sound and performance artists to facilitate a live performance gesture exploring the ways in which we sonically experience indoor and outdoor spaces, and how sound informs our perceptions of our surroundings. Approximately 100 guitarists will occupy MOCA’s galleries and plaza; oscillating between moments of silence and moments of drone, these musicians will perform an open-ended score that will be transmitted through speakers scattered around the museum as well as broadcast on local airwaves.

Neighborhood Public Radio is an independent artist-run radio collaborative committed to exploring new frontiers of broadcast expression through technical and social experimentation. NPR began, as a commentary on the state of “public” radio, with a five-day broadcast from 21 Grand Gallery in Oakland, California, in 2004. Since then, the group has evolved into a workshop developing wireless geographical experiments, cell phone exploitations, and sound deformations, all the while re-imagining the idea of “public” space and art exhibition space through an artistic approach to social engagement.

Engagement Party offers Southern California–based artist collectives and collaborators an opportunity to make new artworks, interacting with and exploring MOCA and its resources in unexpected ways. Invited to work on site for three months, the artists may employ any medium, discipline, or strategy to create performances, workshops, screenings, lectures, or any other activity emerging from the group’s particular focus.

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

Georgia Tech’s chamber music ensemble-in-residence, Sonic Generator, will explore open musical scores on the boundaries of composition, improvisation, and interactivity in a free exhibition and concert in partnership with the Woodruff Arts Center. The performance features music with unconventional and technologically-driven scores by Kaija Saariaho, Frederic Rzewski, Jason Freeman, Bill Ryan, David Kim-Boyle, and Akito Van Troyer. It takes place at the Rich Theatre at Woodruff Arts Center on January 24th. The exhibition opens at 7:00 p.m. and the concert begins at 8:00 p.m.

The concert features two works created at Georgia Tech’s Center for Music Technology. Tech professor Jason Freeman’s Piano Etudes invites anyone to remix short pieces for solo piano through an intuitive web-based interface. Sonic Generator’s performance will feature the winning versions from a recent contest sponsored by The New York Times. The concert also features LOLC, a project spearheaded by music technology alum Akito Van Troyer, in which the musicians of Sonic Generator perform on laptop computers, using new software developed at Tech to improvise music together by typing text.

Sonic Generator will present the world premiere of Australian composer David Kim-Boyle’s reTunings for solo cello, electronic sound, and a computer-animated score that changes with each unique performance. The concert also features Kaija Saariaho’s Mirrors, in which the flutist and cellist are invited to cut and paste the score in a new order; American composer Bill Ryan’s open-form Blurred; and Les Moutons Des Panurge, a classic open score by Frederic Rzewski.

Before the performance, concertgoers are invited to attend a special exhibition and reception, beginning at 7 p.m., which will include prints and interactive computer kiosks featuring some of the unusual scores on the program. There will also be an opportunity to meet some of the composers and performers.

Sonic Generator, Georgia Tech’s chamber music ensemble-in-residence, explores the ways in which technology can transform how we create, perform and listen to music. The ensemble, comprised of some of the top classical musicians in Atlanta, works closely with Georgia Tech faculty in the GVU Center and the Center for Music Technology to present concerts that bring cutting-edge technologies to the world of contemporary classical music.

Sonic Generator is sponsored by the GVU Center, which seeks to advance the state of the art of the interaction between people, computing machines and information. The concert series is organized in collaboration with the Center for Music Technology and the School of Music in the College of Architecture. These entities champion advancements in creativity, expression, and human-computer interaction through research and education at Georgia Tech. Sonic Generator’s season is also supported by the Aaron Copland Fund for Music.

Over the past 40 years, the Woodruff Arts Center has distinguished itself as one of the premier cultural centers in the nation. The Woodruff Arts Center campus houses four renowned arts organizations including Alliance Theatre, Atlanta Symphony Orchestra, High Museum of Art, and Young Audiences. In addition to its role as a cultural beacon and hub of the Southeast, the Woodruff serves as a critical economic, educational, and social catalyst for Atlanta and the region. For more, visit woodruffcenter.org.

For more information, visit http://www.sonicgenerator.gatech.edu/upcoming_concerts/monday-january-24-2011.html