Edinburgh International Arts Festival presents the world premiere of The Wind-Up Bird Chronicle! :: August 20, 2011 – August 24, 2011 :: Kings Theater, Edinburgh :: an interdisciplinary, multimedia theatrical performance based on the internationally acclaimed novel by one of Japan’s most renowned writers, Haruki Murakami. Directed by Stephen Earnhart, co-written with Greg Pierce, Set and Puppet Design by Tom Lee, Lighting Design by Laura Mrockowski, Sound Design and Music by Jane Shaw, Costume Design by Oana Botez-Ban, Video Projection Design by Adam Larsen and Shawn Duan, Music and Live performance by Bora Yoon. Combining live performance, puppetry, and choreography with video projections and hypnotic soundscapes to create a “theatre of dreams.”

The Wind-Up Bird Chronicle is a detective story, an account of a disintegrating marriage and a dramatic revelation of long buried Second World War secrets. Continue reading

Todd Reynolds :: Still Life with Microphone Version 10.5 :: Saturday, November 6, 2010 from 8:00pm – 9:30pm :: Massachusetts Museum of Contemporary Art, 1040 Mass MoCA WAY , North Adams, MA 01247 :: $12 in advance / $16 day of / $10 students / 10% members discount ::

Bang on a Can violinist and composer Todd Reynolds lands classical music on its head. Controlling laptops, video and even guitar and percussion robots, he creates magic with a simple 17th-century violin. Featuring video by Luke DuBois, the films of Bill Morrison, and music machines by the League of Electronic Musical Urban Robots (LEMUR), Todd Reynolds’ Still Life with Microphone is a warm, human and passionate piece of concert theater, featuring music by him and for him by a host of New York music notables.

EMPAC Artist-in-Residence Program :: Rensselaer Polytechnic Institute, 110 8th Street, Troy, NY, 12180, USA :: empac_air@rpi.edu :: Phone: +1 518.276.3921 :: Fax: +1 518.276.4107 ::

Since 2005, the Experimental Media and Performing Arts Center (EMPAC) has established a vibrant residency program that has hosted over 40 artists and their collaborators, spanning theater, dance, music, video, and installation. While EMPAC will continue its open call residency program, EMPAC is pleased to announce four additional focused initiatives:

Audio Production / Post‐Production

For sound recording, development of multichannel sound works, documentation, mastering, mixing, film scoring, or any other task involving microphones, speakers, consoles and computers. Continue reading

Springerin 2/2010: Intermedia 2.0 | Hefte für Gegenwartskunst:

It is impossible to imagine art nowadays without the kind of interdisciplinary and multi-media approaches that began to play a key role in the 1960s. Since then, sculpture, sound, film, theatre, performance and many other branches have embarked on a broad spectrum of different kinds of fusion with pictorial forms. Recently, such “inter-mediality” has been given an additional boost thanks to new notions of creativity. It might be argued, albeit somewhat over-stating the point, that media-specific working methods have been replaced by more overarching types of production that short-circuit fairly disparate realms with each other. “Inter-creativity”, a paradigm of working methods located in the zone between individual disciplines, has begun to take the place of traditional models of creativity. “Intermedia 2.0”, produced in cooperation with Vienna’s “departure” initiative, examines the potentials and promises to be found in these broader concepts of media and creativity. Continue reading

The OpenEnded Group: Upending with music by Morton Feldman followed by The Making of Upending with The OpenEnded Group :: March 25 and 26, 2010, 7:00 p.m. (Matinee: March 27, 2:00 p.m.) :: Curtis R. Priem Experimental Media and Performing Arts Center, EMPAC @ Rensselaer, 110 8th Street, Troy, NY.

Upending is a revelatory stereoscopic theater performance: an animated, actor-less drama of disorientation and reorientation that compels viewers to rethink their relationship with the material world. Using ordinary flat photographs and stereoscopic HD video as the basis for a battery of non-photorealistic rendering technique, Upending transfigures familiar objects, spaces, and persons in ways that are both beautiful and uncanny. Continue reading

Radio Without Boundaries Conference :: Begins: 6pm May 28th with opening reception and performances, and continues May 29th and 30th :: $150/$130 2-day :: $85/$75 day rate :: At The LOOP Centre for Lively Arts and Learning, Artscape Wychwood Barns, 601 Christie Street #176, Toronto, CA :: Final date to register is May 22, 2009! :: go to www.naisa.ca/RWB and click there to the registration link to register

New Adventures in Sound Art is pleased to launch the 8th edition of the Deep Wireless Festival of Radio & Transmission Art with cutting edge performances, a theatre production, sound installations, special radio broadcasts, a compilation CD and the Radio Without Boundaries conference. “In an era when the channels for creative radio are rapidly being extinguished, Deep Wireless returns every May to bring people together from around the world who are continually pushing the creative boundaries of the world’s oldest electronic media as well as redefining radio and transmission through new technologies.”– Darren Copeland, Artistic Director, NAISA. Continue reading

Theatre Noise Conference :: April 22-24, 2009 :: The Central School of Speech and Drama, University of London, Eton Avenue, Swiss Cottage London.

More than an academic conference, Theatre Noise is a diverse collection of events exploring the sound of theatre from performance to the spaces in-between. Featuring keynote presentations, artists in residence, electroacoustic, percussive and digital performances, industry workshops and installations, Theatre Noise is an immersive journey into sound.

KEYNOTES: CICELY BERRY: Voice director of the Royal Shakespeare Company; HEINER GOEBBELS: Keynote address from the Grammy-nominated composer and director; and JOHN COLLINS: Artistic Director of New York’s Elevator Repair Service, former sound designer for The Wooster Group.

A Forest of Lines – Pierre Huyghe with music by Laura Marling :: July 9 – 10, 2008; noon to noon :: Concert Hall, Sydney Opera House, Sydney, Australia.

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. Continue reading

Unidentified Sound Object (U.S.O.) is an experimental electroacoustic evolving organism. It builds on cinematic scale to create an abstract theatrical experience in which electronic floes replace the traditional performer.

Born from the fusion of works by two experimental electronic musicians — Matteo Milani and Federico Placidi — U.S.O.’s sound spans highly abstract digital music, to electroacoustic music. U.S.O. develops through the exploration of elementary particles arranged and organized in clouds of discrete and punctiform events, until they compose structures of extensive polymorphic and spatial complexity. Continue reading

Performance Time 08 Istanbul :: March 24-30, 2008 :: Call for Submissions :: Deadline: January 15, 2008.

Galata Perform, an artist-run interdisciplinary performance venue in Istanbul, is organizing an event exploring new fields and approaches in performance. The aim is to bring together local and foreign artists from a number of disciplines, such as, performance art, experimental theatre, dance, music; all, which can be associated with the art of performance. Continue reading