As a part of our Non-Bio Boom season we are delighted to host a new work development residency by Marco Donnarumma, with Brendan F Doyle (Production Sound Engineering). The residency will conclude with two concerts over the course of one evening for bio-sensing wearable technologies.

The first concert will include Music for Flesh II, a new solo piece by Marco Donnarumma; the second concert will be the premiere of a multi-channel work specifically created by the artist for Inspace, which will actively involve the audience in an augmented Cagean Musicircus.

Xth Sense is an ongoing research project which investigates experimental applications of Open Source based, bio-sensing technologies for musical performance and responsive milieux. The Xth Sense software framework is implemented in Pure Data.

Marco Donnarumma is a performer, new media and sonic artist currently interested in critical analysis and development of experimental paradigms for embodied interaction in performative environments.

More about Music for Flesh II

Music for Flesh II is a solo sonic piece for augmented muscles sounds, which aims at demonstrating an experimental coupling between theatrical gesture and biological sounds of human body.

Composition was developed as a first milestone of the Xth Sense project, a broader ongoing research which investigates exploratory applications of biophysical sound design for musical performance and responsive milieux. The long-term outcome is the implementation of low cost, open source tools (software and hardware) capable of providing musicians, performers and dancers with a framework for biosensors-aided auditive design in a real time environment; such framework will be re-distributable, customizable and easy to set up.

Presently Xth Sense technology consists of a low-cost, biosensing wearable hardware device and a Pure Data-based framework for capture, analysis and real time processing of biological sounds of the body.

In Music for Flesh II the only musical instrument available to the performer is his own body. Performer’s voluntary muscles contractions produce kinetic energy, an acoustic sound which is captured by the biosensor and deployed as only sonic source. At the same time the biological signal undergoes a feature extraction which provides control parameters for the real time processing of muscles sounds.

Performer uses his body not only as a controller, but, more importantly, also as a truly real musical instrument; he is capable to actually creates music in real time exciting his muscles fibres.

Such paradigm attempts at informing classical gestural control of music and musical performance itself. During the execution both performer and listeners can perceive an authentic auditive and cognitive intimacy; the neat and natural responsiveness of the system prompts a suggestive and unconventional coupling of sound and gestures.

One of the major aims of the design of Music for Flesh II was to avoid a perception of the sound being dissociated from the performer’s gesture. The dissociation I point at does not only refer to the visual feedback of performer’s actions being disjointed from the sonic experience, but it also concerns a metaphorical level affecting the listener’s interpretation of the sounds generated by the performer’s somatic behaviour. Therefore, chosen sound processing techniques were evaluated according to their capability of enhancing the metaphorical interpretation of performer’s physiological behaviour.

Additional Information

The use of open source technologies is an integral aspect of the research. The biosensing wearable device was designed and implemented by Marco Donnarumma, with the support of Edinburgh Hacklab, Andrea Donnarumma and Marianna Cozzolino. The Pure Data-based framework for real time analysis and processing of biological sounds was designed and coded by the author on a Linux machine, with inspiring advice by Martin Parker, Sean Williams, Owen Green and Andy Farnell.

Below you can view a live recording of the performance at The University of Edinburgh, UK, March 2001.
Music for Flesh II, for solo performer Marco Donnarumma (Xth Sense biosensing technology).

Music for Flesh II - solo piece for Xth Sense biosensing wearable device from Marco Donnarumma aka TheSAD on Vimeo.

The Center for the Study of Sociological and Musical Aesthetics – CESEM (Faculty of Humanities and Social Sciences, University NOVA of Lisbon), announces the call for papers for the 2nd Musical Itineraries Forum: ‘Music and Gesture’ taking place in Lisbon, October 28 and 29, 2011.

The Musical Itineraries Forum was established in 2010 as a meeting place for interdisciplinary debates and presentation of scientific projects, encouraging the discussion between researchers, performers, students and creative artists. This Forum promotes an open critical reflection on contemporary subjects in artistic practices fields and music and sound discourses and its relationships with other disciplines. Its main purposes are: 1) to address innovative areas of research in the fields of music and sound and establish synergies between a variety of scientific and artistic domains providing e opportunities for meeting and discussion between artists and researchers from diverse origins, as well as promoting the crossover between theory and practice; 2) to establish dynamic and interdisciplinary methodologies that will contribute to “the state of art” advances in this field of study, revisiting and highlighting scientific questioning and providing the opportunity for collaboration between national and international researchers.

The 2nd Musical Itineraries Forum, dedicated to music and gesture will focus on the study of the relationships between sound, music, gesture, performing arts and technology. A reflection on how the discourses of identity, culture, power and knowledge are encoded in body gestures involved in artistic expression, links the main lines of thought to be presented at this Forum. Theater, dance, audiovisual, new technologies, and their crossover with sound and musical expression are the areas on which reflection and debate will be developed, particularly in relation to the representation and dramaturgy of gesture. Keynote speakers will include Atau Tanaka (Director of Culture Lab, Newcastle University), Adam Parkinson (Culture Lab, Newcastle University) and Paulo Ferreira de Castro (Universidade Nova de Lisboa).

We invite all those interested to submit their paper proposals for a 20-minute presentation, on the above topics and including title, abstract (up to 2000 characters) and five keywords. We also request a brief biography (up to 1500 characters), a phone number and an email address, as indicated on the attached form. Proposals should be submitted via email until March 16, 2011 to itinerariosmusicais@gmail.com and cesem@fcsh.unl.pt.

The acceptance of proposals will be communicated by April 10, 2011. All additional informations on the 2nd Musical Itineraries Forum can be found at the CESEM’s website: http://cesem.fcsh.unl.pt

Forum Topics:

1. Gesture, Body, Sound and Space
Gesture dramaturgies in a performative context. Sound and visual interaction and bodily representation.
Relationships and ruptures between sound, visual and scenic arts. Gesture and sound expression onstage (classical, virtual, public, hybrid… ): opera, theater, dance, audiovisual, and other artistic expressions and practices.
Sound production gestures, embodying, technology and performance.
Information sources for musical and scenic gesture theatrical piece, opera and ballet libretto, film script, iconography…). Problematics of movement notation.

2. Sound, Gesture, New technologies
Body virtualities, interactive gesture and sound production: problematics, potentialities and interdependences.
Gesture and virtual sound spaces creation. Virtual gesture and playability: sound and videogames, gesture and sound representation reciprocity.
Performing arts and new technologies of sound and gesture: body and instrument extension, post-human body, meta-body and meta-instrument.
Semiotics, semiology and digital semantics: transcription and representation of sound gesture.
Phenomenological aspects: experience and analysis of gesture’s embodying.

3. Sociology of Performance Practices: discourse, representation, power and mediation
The power discourses, knowledge, culture and identity in gesture, choreography, staging and the performing arts.
Institutional aspects, markets, production networks, industry and public of performative arts.
Performative gesture representation in the visual arts: film, literature and other collective cultural practices.

4. Gesture Ontologies and Performative Practices
Gesture, communication, language.
Theoretical and historical studies of gesture and body in performance practices. Iconographic sources and dance treatises. Choreographic notation issues in historical musical sources.

By decision of the Scientific Committee any proposals that do not address these topics may however be included in a free communication session.

Coordination: Paula Gomes Ribeiro and Isabel Pires
Scientific Committee: Carlos Sena Caires (EA / UCP), Isabel Pires (CESEM / UNL), Isabel Valverde (IHSIS), Luís Sousa (CESEM / UNL), Paula Gomes Ribeiro (CESEM / UNL)

Organizing Committee (CESEM): Beatriz Serrão, Ernesto Donoso, João Romão, Luzia Rocha, Manuela Oliveira, Rui Araújo

Calendar: Proposal Submissions: from 20th January to 16th of March 2011
Acceptance Notification: by April 10th, 2011.

Language: Portuguese, English and French

Subscriptions:
Subscription with communication including two meals : 50€
Subscription with communication without meals : Free
Entrance is free

Organization:
CESEM, FCSH, UNL

Subscription Form / Proposals Submission
2nd Musical Itineraries Forum: Music and Gesture :: Lisbon, October 28 and 29, 2011

Please complete the following information and send to itinerariosmusicais@gmail.com and cesem@fcsh.unl.pt

First Name:
Last Name:
University or Institution / Profession:
Address:
City:
Postal Code:
Country:
Telephone / Mobile:
Email:

Paper Title
Abstract (up to 2000 characters):
5 keywords:

Supplementary Information:

Musical Itineraries Forum : itinerariosmusicais@gmail.com

CESEM (Centro de Estudos de Sociologia e Estética Musical)
Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa
Av. de Berna, 26-C 1069-061 Lisboa Portugal
cesem@fcsh.unl.pt
http://cesem.fcsh.unl.pt
Tel. (351) 217 908 300 ext. 1496 Tm. (351) 96 555 37 55

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.

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 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.

R. Luke DuBois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera. He holds a doctorate in music composition from Columbia University, and has lectured and taught worldwide on interactive sound and video performance. He has collaborated on interactive performance, installation, and music production work with many artists and organizations including Toni Dove, Matthew Ritchie, Todd Reynolds, Michael Joaquin Grey, Elliott Sharp, Michael Gordon, Bang on a Can, Engine27, Harvestworks, and LEMUR, and was the director of the Princeton Laptop Orchestra for its 2007 season. Exhibitions of his work include: the Insitut Valencià d’Art Modern, Spain; 2008 Democratic National Convention, Denver; Weisman Art Museum, Minneapolis; San Jose Museum of Art; National Constitution Center, Philadelphia; Cleveland Museum of Contemporary Art, Daelim Contemporary Art Museum, Seoul; 2007 Sundance Film Festival; and the Sydney Film Festival. An active visual and musical collaborator, DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data.

CREDITS

Moments of Inertia is a commission of New Radio and Performing Arts, Inc. for its Turbulence.org website. It was commissioned through Meet the Composer’s Commissioning Music/USA program, which is made possible by the generous support of the Mary Flagler Cary Charitable Trust, the Ford Foundation, the Francis Goelet Charitable Lead Trusts, New York City Department of Cultural Affairs, New York State Council on the Arts, the William and Flora Hewlett Foundation, and the Helen F. Whitaker Fund.

The Occupants — by Stephan Moore — is a generative composition with some aspects that can be influenced through single- or multi-user interaction. Moore has used the piece to search for answers to both profound and insipid questions, such as: What does it mean to compose a “site-specific” composition when the site is the internet? Can a generative algorithm be imparted with a sense of long-term form that is also not pre-determined? How successfully can humans be programmed to be good collaborators with software algorithms, towards the latters’ goals?

The Occupants is a long-term project that will eventually encompass multiple sub-compositional personalities. The premiere performance will focus on a single personality, i.e. the first occupant, with its (mostly) monophonic voice and (mostly) agreeable disposition. A number of copies of this personality will be distributed throughout Issue Project Room’s array of Hemisphere speakers and set loose to compose themselves.

Moore dedicates this concert to Suzanne Fiol.

Stephan Moore is a composer, performer, audio artist, and sound designer in New York City. His creative work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity. Many of his performances and installation artworks make use of large, multi-channel arrays of his Hemisphere speakers. He performs regularly with Scott Smallwood in the electronic duo Evidence, and with a variety of musicians, live-video artists, and dancers. He has created custom music software for a number of composers and artists, and has taught college-level courses in composition, sound art and electronic music at several schools. He is currently the Sound Engineer and Music Coordinator of the Merce Cunningham Dance Company, and one of its core musicians.

Moments of Inertia by R. Luke DuBois, with Todd Reynolds (violin and electronics)

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 — ranging from 3-5 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 a person performing a social gesture. 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.

R. Luke DuBois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera. He holds a doctorate in music composition from Columbia University, and has lectured and taught worldwide on interactive sound and video performance. He has collaborated on interactive performance, installation, and music production work with many artists and organizations including Toni Dove, Matthew Ritchie, Todd Reynolds, Michael Joaquin Grey, Elliott Sharp, Michael Gordon, Bang on a Can, Engine27, Harvestworks, and LEMUR, and was the director of the Princeton Laptop Orchestra for its 2007 season. Exhibitions of his work include: the Insitut Valencià d’Art Modern, Spain; 2008 Democratic National Convention, Denver; Weisman Art Museum, Minneapolis; San Jose Museum of Art; National Constitution Center, Philadelphia; Cleveland Museum of Contemporary Art, Daelim Contemporary Art Museum, Seoul; 2007 Sundance Film Festival; and the Sydney Film Festival. An active visual and musical collaborator, DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data.

CREDITS

The Occupants is a commission of New Radio and Performing Arts, Inc. for its Turbulence.org website. It is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.

Moments of Inertia is a commission of New Radio and Performing Arts, Inc. for its Turbulence.org website. It was commissioned through Meet the Composer’s Commissioning Music/USA program, which is made possible by the generous support of the Mary Flagler Cary Charitable Trust, the Ford Foundation, the Francis Goelet Charitable Lead Trusts, New York City Department of Cultural Affairs, New York State Council on the Arts, the William and Flora Hewlett Foundation, and the Helen F. Whitaker Fund.

This intensive workshop offers hands-on introduction to interactive systems, based on the theremin-sensor technology developed by Andrei Smirnov and based on the same principle as a well known electronic musical instrument the Theremin, invented by Russian inventor Leon Theremin in 1919. The sensors are small and sensitive digital Theremins useful for numerous applications including motion tracking, gestural interfacing, monitoring of small variations of electrical capacitances related to any sorts of conductive materials and media, including metal objects, foil, liquids, water, human body, plants, metal threads, thin plastic films with metallization, all sorts of Christmas stuff etc.

As a starting point of the workshop participants will convert their laptops into digital multichannel Theremins to develop further, during the workshop different interactive audio/video installations, motion capturing systems, unusual gestural interfaces, 3D Theremins, digital Terpsitones and other unusual musical instruments.

The workshop is oriented on sound and media artists, composers and musicians, who have particular interest in sound art and interactive systems, forgotten history and musical technology in general.

The theoretical introductions, which accompany a workshop, give detailed technical overview of sensor technology and construction, basic principles of operation of the theremin based systems, art and music applications, useful concepts and ideas, condensed historical content, mostly related to almost forgotten historical facts.

Participants will learn:
= How to detect different sorts of motion and measure it
= How to monitor very small variations of electrical parameters
= How to deal with the data acquired
= How to integrate these systems into musical performance, dance, video, sound and art installations
= How to build multichannel sensor systems based on Arduino microcontrollers
= How to program new instruments and perform with them

Requirements: Each participant should have a computer with an audio input and headphones. All computers and software should be configured and checked in advance (!).

Minimal configuration
1. Laptop with PD or MAX/MSP installed
2. Stereo audio input
3. Personal headphones
4. All appropriate cables
5. Appropriate amount of power plugs

Useful options: Experienced participants interested in development of multichannel theremin-sensor systems should bring multichannel sound cards or Arduino microcontrollers which will be converted into multichannel USB theremins. For those who hate computers and interested in pure analog circuits some breadboards will be very useful.

Software: Participants should have some skills in PD or MAX/MSP programming. It is also possible to work with any favorite software, oriented on interactive systems development, which allow external control via OSC or MIDI (Supercollider, Isadora etc.). In all cases control data will be provided via MAX/MSP runtime or PD patches from instructor’s library. It is important to remember that in many cases the use of extra software will result in significant increase of latency and other possible timing problems.

Analog and digital USB sensors for testing, experimenting and performance as well as all appropriate software libraries will be provided by instructor as well as different stuff for antenna construction.

http://www.youtube.com/watch?v=aeI2GZ9aHCc

http://www.youtube.com/watch?v=GnJ-Bw-W6ac

http://www.youtube.com/watch?v=Lz70nC0HSIw

http://www.youtube.com/watch?v=Ll0IoLGmTL4

http://www.youtube.com/watch?v=rKFEjpEie5k

From Lisbon, musician Rafael Toral presents a collection of his Space Studies, a series of works exploring different combinations of gestural control and sonic palette. Each study is an interdependent spatial and aural exploration that together create an instrument of Toral’s own design. These instruments require visible performance techniques that in many cases are more akin to dance than to what we think of as part of a laptop or electronic music performance (clicking, knobbing, mousing, buttoning).

Toral has performed throughout Europe, USA, Korea, Japan, New Zealand and Australia and collaborated with Phill Niblock, John Zorn, Lee Ranaldo, Alvin Lucier, Jim O’Rourke, Evan Parker, Roger Turner and David Toop, among others. Formerly known for his acclaimed work with guitar and electronics and records such as Wave Field (1994) or Violence of Discovery and Calm of Acceptance (2000), in 2003 he terminated that line of creation to completely renew his approach to music. In 2006 he released “Space” his first CD document from The Space Program, a quest for a discipline/process to structure musical discourse in “post-free jazz electronic music.”

Produced in partnership with Roulette’s Mixology Festival, Gestures and Responsive Media consists of three concert programs focusing on modern experiments in performance technology. Central to this series is the exciting way that live performers are exploring the use of gesture to control computers and building technological environments for free, improvisatory play. From Pamela Z’s gesture-based vocal experiments to Sha Xin Wei’s phenomenological experiments with movement and media, the presenting artists not only expand the boundaries of traditional performance and instrumentation, but also humanize electronics through creative means.

May 14 - Pamela Z / Elliott Sharp

>Pamela Z will perform work for voice, electronics, and interactive video including Suitcase Suite, being developed as part of her work-in-progress Baggage Allowance. Elliot Sharp will present new works as part of his ongoing Tectonics project. Tectonics is the name under which Sharp performs his solo electro acoustic music. The live concerts are performed on his 8-string guitar bass, a laptop computer running a variety of applications, hardware processors, plus various electronically modified horns.

May 15 - Zach Layton / Sha Xin Wei

Zach Layton will perform new works exploring synaesthesia, geometric forms, minimal surfaces, kinetic visual patterns and sonic gestures. Sha Xin Wei, with Clarinda Mac Low, will present, Ouija, an open workshop/seminar experiment with dancers in responsive media. Ouija is a phenomenological experiment about gesture, intention and collective vs. individual agency. It uses the forms of a contemporary dance and movement art workshop to explore the medium of movement and media.

May 16 - Sawako / Bill Hsu & James Fei

Sawako, with a bit of help from technology, will improvise with underwater recordings from around NYC and Hawaii, as well as with actual water. Aqua Field is Sawako’s recent ongoing project related to water and the ocean. Bill Hsu and James Fei will perform a suite of pieces for alto saxophone and electronics. Hsu’s software extracts timbral and gestural information from the real-time saxophone performance, and uses this information to guide its behavior. The pieces will explore a range of system behavior, from completely autonomous improvisation to full manual control.

BIOGRAPHIES:

Pamela Z is a composer/performer who makes solo works combining a wide range of vocal techniques with electronic processing, samples, and gesture activated MIDI controllers. She has also composed scores for dance, film, and new music chamber ensembles. She has toured extensively throughout the US, Europe, and Japan. Her numerous awards include a Guggenheim Fellowship, the Creative Capital Fund, the CalArts Alpert Award, the ASCAP Award, an Ars Electronica honorable mention and the NEA/JUSFC Fellowship.

Elliott Sharp is a composer, multi-instrumentalist, and producer and central figure to the avant-garde experimental music scene in New York City for over thirty years. He has released over 200 recordings spanning the musical spectrum but all bearing his personal sound. He leads the projects Carbon and Orchestra Carbon, Tectonics, and Terraplane and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction as well as pioneering real-time computer-based improvisation with his Virtual Stance project of 1986. Sharp’s solo Tectonics program was featured at the re-opening of NYC’s PS1 Contemporary Art Center in October 1997.

Zach Layton is a composer, curator, improviser and new-media artist with an interest in biofeedback, generative algorithms, experimental culture and architecture. Based in Brooklyn, his work investigates complex relationships and topologies created through the interaction of simple core elements like sine waves, minimal surfaces and kinetic visual patterns. Zach has performed and exhibited at many venues in New York, South America and Europe. Zach is also founder of Brooklyn’s monthly experimental music series, Darmstadt: classics of the avant-garde co-curated with Nick Hallett. He is co-curator of the PS1 summer warm-up music series and is one of the directors of Issue Project Room.

Sawako is a Tokyo/NYC-based sound sculptor. After beginning in video art, Sawako shifted her focus from the video camera to sound. Sawako did audio and/or live performances in Japan, USA, Lisbon, London and Canada among other countries, and has collaborated with a wide range of artists such as Taylor Deupree, Taku Sugimoto, Chika, O.blaat, Toshimaru Nakamura, Jacob Kirkegaard and Andrew Deutsch. Sawako obtained a Master’s degree in Interactive Telecommunications from New York University and received a B.A. from Environmental Information Department at Keio University, SFC, Japan. Born in Nagoya, Japan.

Associate Professor of Fine Arts and Computer Science at Concordia University in Montréal, Canada, Sha Xin Wei directs the Topological Media Lab, a studio-laboratory for the study of gesture and materiality from computational and phenomenological perspectives. Sha Xin Wei was trained in mathematics at Harvard and Stanford Universities, and worked more than 12 years in the fields of scientific computation, mathematical modeling and the visualization of scientific data and geometric structures. In 1998, Sha also co-founded the Sponge art group in San Francisco, to build public experiments in phenomenology of performance.

BIll Hsu builds software and performs with electronics. His work mostly involves using gestural interfaces to control synthesis, and exploring systems that interact with human performers. His recent performances include concerts at NIME 2007 and MIX Festival 2007 (both New York), and Fete Quaqua 2008 (London). He teaches computer science at San Francisco State University.

James Fei (b. Taipei, Taiwan) moved to the US in 1992 to pursue a degree in electrical engineering. He has since been active as a composer, improviser and sound artist. Works by Fei have been performed by the Bang on a Can All-Stars, Orchestra of the S.E.M. Ensemble, MATA Micro Orchestra and Noord-Hollands Philharmonisch Orkest. Fei teaches sound art and intermedia at Mills College.

“Artists designing software and interfaces that become the engines of their art constitute an emerging field where viewers and performers participate and collaborate with machines to produce a new sensory experience.”

Harvestworks Digital Media Arts Center is a nonprofit that provides resources for artists to learn digital tools and exhibit experimental work created with digital technologies. Our programs are made possible with funds from New York State Council on the Arts, the National Endowment for the Arts, the NYC Dept. of Cultural Affairs, Materials for the Arts, the Mary Flagler Cary Trust, the Jerome Foundation, media The foundation, the Foundation for Contemporary Art, The New York State Music Fund, the Lower Manhattan Development Corporation, The Argosy Foundation, The Carnegie Corporation, The NY Community Trust, The Andy Warhol Foundation and the Friends of Harvestworks.

Roulette Intermedium is an Experimental and New Music presenting organization dedicated to the development of emerging and established artists. Since 1978, our ongoing purpose has been to provide opportunities for innovative composers, musicians, sound artists and interdisciplinary collaborators to present their work in accessible, appropriate and professional productions. Roulette hosts over 100 New Music concerts each season, with our annual spring Mixology Festival focusing on new and unusual uses of technology in music.

ZooZBeat is a gesture-based musical studio, simple enough for non-musicians to immediately become musically expressive but rich enough for experienced musicians to push the envelope of mobile music creation. Start playing with just a click or select among background beats in a variety of styles. Use shake and tilt movements, tap the screen, or press the keypads to create and modify rhythmic and melodic lines. Based on years of research, our musical engine will interpret your actions into beautiful music that fits your style.

About ZooZ: We are musicians, gamers, coders, and designers. We are a small group of graduates and faculty from the Georgia Tech Center for Music Technology who decided to bring some pretty cool projects from our labs to the hands of everyone. We believe that passion for music making is an innate and universal trait. We create technology to unlock musical expression and creative potential for everyone. We believe that passion for game playing is an innate and universal trait. We create technology to facilitate the most intuitive and expressive game experience for everyone. We believe that if more people played music and games, the world would probably be a better place. And this is just our preliminary goal for this quarter.

Pamela Z will present a set of new and existing works for voice, electronics, sampled sounds, and processed found objects. Dan Joseph presents a new work-in-progress for solo hammer dulcimer and electronics that offers a new perspective on this ancient and largely unknown instrument.

Pamela Z is a composer/performer who makes solo works combining a wide range of vocal techniques with electronic processing, sampled sounds, and The BodySynth™ gesture controller. She has also composed scores for dance, film, and new music chamber ensembles. Her audio works have been presented in exhibitions at the Whitney in NY and the Diözesanmueum in Cologne. She has toured throughout the US, Europe, and Japan in concerts and festivals including Bang on a Can, the Japan Interlink Festival, Other Minds, and the Venice Biennale. Her numerous awards include a Guggenheim Fellowship, the Creative Capital Fund, the CalArts Alpert Award, the ASCAP Award, and the NEA/JUSFC Fellowship. pamelaz.com.

Dan Joseph is a free-lance composer based in New York City. He works simultaneously in a variety of media and contexts, including instrumental chamber music, free improvisation, and various forms of electronica and sound art. Since the late 1990s, the hammer dulcimer has been the primary vehicle for his music. As a performer he is active with his own chamber ensemble, The Dan Joseph Ensemble, as well as in various improvisational collaborations and as an occasional soloist. danjoseph.org.