Hoerensehen 2.0 is a three day festival, presented by Klangnetz e.V. and the Berlinische Galerie. The festival explores possible interactions between contemporary music and video art under three curatorial aspects: installation, performance, and narrative. The festival features six mixed media works which have been developed in close collaboration by six international teams of composers and visual artists, and which are complemented with four lectures by both artists and theoreticians that reflect on general questions derived from the curatoriall themes, as well as from specific characteristics of the scheduled works.

urban sound stories is a five-part series of sounds and photographs as soundscapes of European cities. The artists participating in this “curated by”project were selected by Gruenrekorder, a German based organization and label for phonography, field recording and soundscape.

Five sound artists — Simon Whetham, Tobias Bolt, Eric Cordier, Lasse-Marc Riek and Roland Etzin — explore eight places each, in five different cities, using the means of phonography and photography. The exploration of artificial and natural space within the city takes place within the same space of time.

The field recordings are presented as a narrative. The photographs will be transformed into audible signals, with the help of digital processes. The whole composition presents the listener with a concrete soundscape opposed to one artificially produced from the photographs, transferred in the space of radio.

active, aethetics, aggregators, authenticity, authorship, BEN FRY, BEN RUBIN, BURAK ARIKAN, collaborative, communication, data, data mining, digital traces, distributed, DIY, EDUARDO NAVAS, everyday life, flow, GOLAN LEVIN, identity, improvisation, Internet, JANET CARDIFF, JASON FREEMAN, JODI.ORG, JONATHAN HARRIS, latency, lifelogging, lifetracing, MANIK, mapping, MARK AMERIKA, MARK HANSEN, MARTIN WATTENBERG, MAX NEUHAUS, Mechanical Turk, mediation, memory, music, narrative, NastyNets, NATHANIEL STERN, net art, network, NICK KNOUF, nonlinear, OLIVER LARIC, participation, performative, persistance, PETER TRAUB, platform, postmodernism, presentational, privacy, prosumer, prosurfer, ranking, realism, reality, real-time, relational, remix, representation, research, RYBN, SCARLET ELECTRIC, SCOTT KILDALL, SCOTT RETTBERG, search engine, self, self-exposure, SHIFTSPACE.ORG, social networks, software, sousveillance, STEVE LAMBERT, storage, surveillance, tactical media, telepresence, THE HUB, THEY RULE, TrackMeNot, transmission, TV, user-generated, visualization, web 2.0, webcam, widget, Wikipedia Art, YES MEN.

Please register and then Read | Write:

The Immediated Now: Network Culture and the Poetics of Reality
Kazys Varnelis

Lifetracing: The Traces of a Networked Life
Anne Helmond

Storage in Collaborative Networked Art
Jason Freeman

Data Undermining: The Work of Networked Art in an Age of Imperceptibility
Anna Munster

Art in the Age of Dataflow: Narrative, Authorship, and Indeterminacy
Patrick Lichty

BACKGROUND

Networked proposes that a history or critique of interactive and/or participatory art must itself be interactive and/or participatory; that the technologies used to create a work suggest new forms a “book” might take.

In 2008, Turbulence.org and its project partners — NewMediaFix, Telic Arts Exchange, and Freewaves – issued an international, open call for chapter proposals. We invited contributions that critically and creatively rethink how networked art is categorized, analyzed, legitimized — and by whom — as norms of authority, trust, authenticity and legitimacy evolve.

Our international committee consisted of: Steve Dietz (Northern Lights, MN) :: Martha Gabriel (net artist, Brazil) :: Geert Lovink (Institute for Network Cultures, The Netherlands) :: Nick Montfort (Massachusetts Institute for Technology, MA) :: Anne Bray (LA Freewaves, LA) :: Sean Dockray (Telic Arts Exchange, LA) :: Jo-Anne Green (NRPA, MA) :: Eduardo Navas (newmediaFIX) :: Helen Thorington (NRPA, NY)

Built by Matthew Belanger (our hero!), http://networkedbook.org is powered by WordPress, CommentPress and BuddyPress.

Networked was made possible with funds from the National Endowment for the Arts (United States). Thank you.

We are deeply grateful to Eduardo Navas for his commitment to both this project and past collaborations with Turbulence.org.

Jo-Anne Green and Helen Thorington
jo at turbulence dot org
newradio at turbulence dot org

Images of Ebb (with Adnan Hadzi (Deptford TV) + Rob Canning (GOTO10)) will introduce participants to Sousveillance and CCTV filmmaking where material and images from the Deptford.TV archive will be edited to submissions from Sounds of Ebb. Footage taken from Deptford.TV was filmed during a previous TV hacking workshop where participants equipped with CCTV surveillance signal receivers were lead through the city by incoming surveillance camera signals. CCTV video signal receivers cached surveillance camera signals into public and private spaces and were made visible: surveillance became sousveillance. By making images visible which normally remain hidden, we gain access to the “surveillance from above” enabling us to use these images to create personal narratives of the city. The Images of Ebb Workshop will look at constructing a narrative to the Sounds of Ebb.

Sound of Ebb (a branch project of The End of Something) is an open source sound series that asks sound artists and artists working with sound to respond to the question: What is the sound of Recession? Contributions are collected internationally reflecting the affects of crisis and recession from various social contexts and geographic locations. Together the Sounds of Ebb and images from Sousveillance produce articulations of a local city in crisis with global resonances of recession.

Deptford.TV is a research project on collaborative film - initiated by Adnan Hadzi in collaboration with the Deckspace media lab, Bitnik media collective, Boundless project, Liquid Culture initiative, and Goldsmiths College. It is an online media database documenting the urban change of Deptford, in Sout East London. Deptford TV functions as an open, collaborative platform that allows artists, filmmakers and people living and working around Deptford to store, share, re-edit and redistribute the documentation of Deptford.

GOTO10 is a collective of international artists and programmers, dedicated to Free/Libre/Open Source Software (FLOSS) and digital arts. GOTO10 aims to support and grow digital art projects and tools for artistic creation, located on the blurry line between software programming and art.

The End of Something is a critical archival project that aims create a platform for reflection on the global crisis. During August 2009, LOUDSPKR in collaboration with Volume will embark on an on-going process of accumulation to build up an archive of personal, critical and creative reflections from a local and international community. Located in the former “Archive Room” of a police station, Volume will become once again a bureau and repository for information. The archive exists both online in a ‘digital archive’ and in a physical archive at Volume. As a provisional space, the archive is perpetually incomplete and flawed. It, however, offers a space for dialogue and critical reflection on notions of crises that demand urgency as it increasingly seeps into our everyday. Through events, workshops and talks, the public will be engaged in processes of creating and imagining new narratives and understandings of a rather complex time.

Lucid Possession, the uncanny manifestation of a virtual multiple personality, combines music, text, dimensional robotic screens and projections to create a character, like an instrument, that speaks, sings, and dances. On-stage performers Toni Dove and composer, Mari Kimura control the entity’s physical and virtual movements, singing and speaking databases, in a form like cinematic bunraku. This short demo is a trio for two humans and one virtual entity. Lucid Possession is Winner of The Eugene McDermott Award, M.I.T.

Jan 15: Shared program with Alchemy of Light with Ruth Sergel and Peter von Salis. Jan 16: Showcase followed by Interactive Lecture Demonstration with Toni Dove and Mari Kimura.

At the Sydney Opera House a unique experience occurs throughout the course of a day and a night. An event with no beginning and no end, no division between stage and public, no specified path to take – it is a theatre liberated from rules. From the stalls to the circles to the stage, a forest of trees has grown and spread throughout the entire Concert Hall. The light of dawn barely shines on this valley obscured by clouds. This is an in-between reality, an image of an environment, a fact that appears for a brief moment just before vanishing.

Someone walking between the trees tells a story. As the voice draws the audience into the forest, the lyrics of the song tell how to find a way out; out of the Concert Hall and into the reality of a place elsewhere.

The Concert Hall presents a geographical displacement. This image is a diversion, an extension towards another world and yet it is the same. The song is a map for a journey towards what constitutes the image. It is a line following a chain of events in the life of an environment.

The cloud of narratives obscures the necessity to find an ecology between the image and its environment.

Huyghe has been creating a variety of artworks and collaborative projects since the early 1990s. Interested in the exhibition as a moment where potential new realities can emerge, in the freedom of non-productive actions, in the layering of interpretations, both factual and fictional, and in experience as a territory of infinite possible narratives, Huyghe’s practice has earned him a reputation as one of the most experimental artists of his generation. Evident in his works is a recurring desire to introduce a space of speculation and play into art, and the impulse to consider art as a landscape in which to make manifest the way people can, and do, react to the homogenising attempts embedded in consumer culture by encouraging the dynamic reconstruction of their everyday lives.

Made possible through the generous support of The Ellipse Foundation – Contemporary Art Collection, Portugal and Marian Goodman Gallery, New York and Paris. Presented by the Biennale of Sydney (2008) in association with the Sydney Opera House.

A Forest of Lines has been produced with assistance from CULTURESFRANCE, the Embassy of France in Australia, Lumens Arte, Rent-A-Garden (Terrey Hills) and the Technical Direction Company of Aust (TDC). Poster M/M (Paris)

The 16th Biennale of Sydney continues until Sunday, 7 September 2008 in venues across Sydney and online.
Artistic Director, Carolyn Christov-Bakargiev

To travel on a train, watch the landscape and gain an audio experience. This is the basic concept of what we propose. In the first phase, we will work with sound artists to develop the audio experience, developing and testing the basic technology needed for execution, and delivering a final working concept that can be implemented on a train ride.

The LocoSound team is: ALAIN BELLET (Graphic & Interaction Designer), Leader of the project. Works in Zurich as Freelance Designer and is teaching since 2003 as regular Professor at the University of Art and Design, Lausanne (écal) in the Media&Interaction Design Department.

IRIS RENNERT (Sound Designer) Works in the sound design and scenography field. She recently worked for the sound design of the swiss Pavillon at the World Exhibition in Aichi, Japan.

FABIEN GIRARDIN (Software Engineer) Doing his Ph.D. thesis on collaborative work in the context of mobile and ubiquitous environments at the Pompeu Fabra University in Barcelona. He worked on a lot of geo-localised projects.

HANSJAKOB FEHR (Graphic & Interaction Designer) Works as Grafic Designer between Berlin and Zurich and is also developing interactive installations (former Electronician). He worked on the project “signalpain” during expo.02

OLIVER FRIEDLI (Pianist, Composer & Coder) Independent musician, composer and sound designer, he also works for the University of Art in Bern as a lecturer in sound design and media integration. He is also a Max/MSP specialist.

We hear while we are in the womb, long before we see. For the rest of our lives, hearing essentially precedes the rest of the sensorium, as we move through a world of sonic fragments which affect us phenomenally and emotionally but of which we are often unaware. These fragments are mediated by our environment, our bodies, our individual and collective memories, and the technologies that pervade contemporary life: from books to radio to television to iPods. Through these mediations sounds give rise to stories, which though they might be as hazy as an aura, begin to narrate the world we move through as they themselves move through our bodies and minds.

Sonic Fragments is a sound art festival and symposium exploring how these mediations effect meaning in our lives, and how artists are actively engaging narrative and mediation in their work. We are hoping for a diverse and interdisciplinary dialogue between scholars and artists, between theory and practice.

Central to the festival will be the presentation of works written specifically for mobile mp3 players which engage the spaces, places, objects, and paths on or near the Princeton University campus. We are soliciting works of ten minutes or less. These works will be available on mp3 players at a kiosk throughout the festival, downloadable from the festival website, and may also be compiled onto a limited edition CD-R for later distribution.

Sound works may be created for any location on or near campus. We are hoping that people will engage Princeton’s weird nooks and crannies as well as its wonderful art collection, perhaps atop one of the many Neogothic towers, inside Henry Moore’s sculpture Oval with Points, or in front of Ellen Gallagher’s large-scale Blubber. We hope that each piece will exhibit a distinct relationship to its site. Existing works which are not site-specific will not be considered.

A few resources to help you find a site:

Most crucially, you must visit and just poke around. New Jersey Transit (about 1 hr, 15 minutes from NYC) http://www.njtransit.com.

But to get a taste of what the campus is like…

Princeton University
http://www.princeton.edu

Wikipedia Entry on Princeton University
http://en.wikipedia.org/wiki/Princeton_University

Campus Scenes
http://www.princeton.edu/pr/pictures/#scenes

Flickr Photos of Princeton
http://flickr.com/search/?q=princeton

Orange Key Virtual Tour
https://www.princeton.edu/oktour/virtualtour/index.htm

Princeton University Art Museum
http://www.princetonartmuseum.org

Putnam Collection of Sculpture
https://www.princeton.edu/oktour/virtualtour/Hist10-OvalPoints

Princeton University: An Interactive Campus History
http://etcweb.princeton.edu/Campus

Please send an email containing the following to sonicfragments[at]gmail.com by February 15:

1. A short (200-word max) description of your project as it relates to the site
2. A short (100-word max) bio
3. The completed piece (10 minutes or under)
4. A photo or graphic which can be used as your ‘album art’ – we suggest a photo of the site.

Deadline: February 15, 2008

For more information, please contact Betsey Biggs at sonicfragments[at]gmail.com

Brian Eno once famously remarked that the problem with computers is that there isn’t enough Africa in them. I kind of think that its the opposite: they’re bringing the ideals of Africa: after all, computers are about connectivity, shareware, a sense of global discussion about topics and issues, the relentless density of info overload, and above all the willingness to engage and discuss it all - that’s something you could find on any street corner in Africa.

I just wanted to highlight the point: Digital Africa is here, and has been here for a while. This isn’t “retro” - it’s about the future.

For the Venice Biennial 2007 I decided to go through a lot of my files of music from around the African Continent to accompany my installation for the Africa Pavilion. I looked through my record collection for non cliche kinds of stuff like the Baka People who make drums out the way they play in water or the “Car Horn Orchestra” of Ghana which has a gathering of many taxi drivers who converge in downtown Accra to make a large symphony of honks from their taxis at the end of the work day or for funerals of drivers.

Enjoy!!
Paul D. Miller aka Dj Spooky that Subliminal Kid, NY/Luanda 2006-2007

SignalPlay is an interactive installation that employs wireless sensors to control a spatialized sound environment, allowing participants to explore a distributed collaborative system. Unexceptional.net is a web-based application for visualizing and sonifying network, database and player information of a multi-modal online role-playing game. Sonic Panoramas utilizes image sonification, immersive projection and camera-based machine vision to allow users to create an interactive musical experience from panoramic landscape imagery. Datascape is a periscope-like system for the visualization of geographic information. This system allows users to explore a 3D topography and musical soundtrack that are generated from geospatial information such as marketing demographics.

In addressing the impacts of digital technologies on culture, these artworks employ the very technologies being investigated. Through the production and exhibition of this work, I hope to engage the public with these important issues and to help shape the ways that technological methodology embeds itself in our world and in our daily experience.