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.

Toru Okada is an unassuming everyman. His cat has disappeared, a seemingly innocuous event that triggers a series of increasingly bizarre encounters. His wife inexplicably vanishes, leading Toru on a search during which he encounters a strange and compelling cast of characters, each with their own intriguing stories. Crossing the boundary between reality and dreams, these interactions open doors to a hallucinatory world charged with sexuality and violence. As the lines between fantasy and reality dissolve, Toru must confront the dark forces that exist inside him to begin to understand the mystery of his life.

Tickets & more info: http://www.eif.co.uk/wubc

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.

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.

Creative Research

Provides artists, writers, and theorists with the opportunity to conduct research over extended periods of time (minimum six weeks).

Dance / Theater

To rehearse, workshop or finalize a production. Provides a group of up to six individuals a two‐week rehearsal period in a 3,300 sq. ft. black box space with full production support.

Video Production / Post‐Production

For multiple camera shoots, documentation of a performance, development of multichannel video projection, digital video post‐production, or any project involving HD video cameras, computers, and projectors.

EMPAC’s unique facilities offer four major venues including a Concert Hall, Theater, and two black box Studios, in addition to artists in residence studios, and a state of the art infrastructure.

To apply, please include a letter of intent, a project description, a resume or CV for all major collaborators, as well as works, samples, and other supporting materials. Proposals are reviewed by EMPAC curators four times a year. Upcoming reviews will take place on October 15, January 14, April 15, and July 15. In general, residencies are scheduled six months to one year in advance.

For more information, please visit: http://www.empac.rpi.edu/residencies/artist/
empac.rpi.edu/residencies/artist/

About EMPAC:

EMPAC is an international hub for art, performance, science, and technology, founded by Rensselaer Polytechnic Institute. EMPAC offers adventurous interdisciplinary public events, support for artists and scholars engaged in creative research, and the resources of a state-of-the art facility for digital media production, research, and performance situated on a college campus.

EMPAC’s building is a showcase work of architecture that spans the physical and digital worlds. With a 1,200-seat concert hall, a 400-seat theater, two flexible black box studios, audio and video production rooms, and residency studios, EMPAC is a unique environment where digital technology and human experience can meet.

EMPAC 2010-2011 presentations, residencies, and commissions are supported by grants from the National Endowment for the Arts, the National Dance Project of the New England Foundation for the Arts (with lead funding from the Doris Duke Charitable Foundation; additional funding from the Andrew W. Mellon Foundation, the Community Connections Fund of the MetLife Foundation, and the Boeing Company Charitable Trust), and the New York State Council for the Arts. Special thanks to the Jaffe Fund for Experimental Media and Performing Arts for support of artist commissions.

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.

Contents:

Christian Höller: The Promise of Media De-Limitation
Alexander Horwath in Conversation with Eva Fischer about Visualizations of Music
Christa Benzer: Visualizing Classical Music – “Hugo Wolf Festival 2010″
Roundtable with VJs and Visualists Participating in the “Hugo Wolf Festival 2010″
Diedrich Diederichsen: Hatred of “Regietheater” and the New Tendency towards Opera
Christian von Borries: Strategies of the Common – Music, Opera, Politics
numen/for use: Intercreative Textures
Georg Schöllhammer in Conversation with Artist Markus Schinwald
Barbara Lesák: Frederick Kiesler’s Works for Theater
Jasper Sharp: In Two Minds – Creativity and Collaboration
Anne Hilde Neset: Sound Bleed – Music in Other Media
Thomas Keul: From Audio Book to “Visualized” Book
Kathrin Röggla & 4youreye: “die ansprechbare” – Example of a Visualized Reading
Christoph Thun-Hohenstein: The Importance of Intercreativity

Artscribe: Reviews about “Gender Check” (Mumok Vienna), “Afro Modern” (Tate Liverpool), Nasreen Mohamedi (Kunsthalle Basel), Luis Camnitzer (Daros Zurich), “Niet Normaal” (De Beurs van Berlange Amsterdam), plus many more.

Cover Image: LIA – Blumengruß_2010_03_20_16_25_36

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. The play of images is accompanied by a gutsy new EMPAC-produced recording of Morton Feldman’s first String Quartet by the FLUX Quartet that places the listener, literally, in the center of the ensemble, with every sonic gesture articulated across space simultaneously. Through this aural lens, the video becomes almost balletic, even as the visuals allow the audience to hear Feldman as never before.

Following a post-performance break for refreshments, each evening will conclude with The Making of Upending, a talk and q&a covering the two year process of the work from inception to premiere.

Upending was commissioned by EMPAC and developed in residence over a two-year period utilizing EMPAC’s unique facility, technology and staffing. The commission was made possible by support from the Jaffe Fund For Experimental Media And Performing Arts.

For more information on this event, please call the EMPAC Box office at 518.276.3921 or visit the EMPAC website.

About EMPAC

The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) opened its doors in 2008 and was hailed by the New York Times as a “technological pleasure dome for the mind and senses… dedicated to the marriage of art and science as it has never been done before.”

Founded by Rensselaer Polytechnic Institute, EMPAC offers artists, scholars, researchers, engineers, designers, and audiences opportunities for creative exploration that are available nowhere else under a single roof. EMPAC operates nationally and internationally, attracting creative individuals from around the world and sending new artworks and innovative ideas onto the global stage.

EMPAC’s building is a showcase work of architecture and a unique technological facility that boasts unrivaled presentation and production capabilities for art and science spanning the physical and virtual worlds and the spaces in between.

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.

What your registration gets you:
3 evenings of performances by such internationally renown artists as Tetsuo Kogawa, Brandon LaBelle, Hank Bull, Alessandro Bosetti and Kristen Roos amongst others
2 full days and one evening of lectures with keynotes by Brandon LaBelle, Gregory Whitehead and Hank Bull as well as hands-on workshops and panel discussions by world renown radio artists and award winning radio producers.
lunch on both days of the conference
an opportunity to network and build skills both as an artist and as a radio producer with others in the field.
experience radio art installations located in the same venue as the conference

Register now!

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.

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

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.

The Aural Streaming of the Performance defines a bi-directional vector where space and time become elastic variables subjected to generative and structural contingencies of every single “Event”, where every phenomenon re-arranges itself through a form of algorithmic interdependence “ab originem”.

http://www.youtube.com/watch?v=LrzJNHfLtyY
U.S.O. Project @ Giardino Sonoro, Florence

http://www.youtube.com/watch?v=dm-ZiF5CSzg
U.S.O. Project - Prelude Of Noises

By exploring U.S.O., listeners will have the chance to submerge themselves in a real-time generative course, where the contingency of the experience will dynamically vary from infinitesimal to immense. Travelling through the reference Vector, they will observe both simple and complex phenomena, which consequently define wider portions of known and unknown perceptible universe. U.S.O. is undergoing a continuous evolution. More here [PDF]

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.

Artists interested in presenting their performances in Performance Time 08, are invited to email galataperform [at] gmail.com. Galata Perform will provide accommodation during the event for elected artists, in the houses of local artists and give technical support for performances. Artists will cover their traveling expenses and provide their material.