4–6 PM Talks by Jana Winderen, Marina Rosenfeld, and Christopher Bergevin. Moderated by Micah Silver.
7–8 PM Sonic presentation by Jana Winderen
8–9 PM Diagram/for room and phonographic loudspeaker, sonic installation by Marina Rosenfeld
Curated by Ute Meta Bauer, ACT Director

October 22, 2011, marks the second anniversary of the passing of electroacoustic pioneer and CAVS fellow Maryanne Amacher. Intelligent Life is the title of an unrealized media opera that Amacher worked on for over a decade.

Maryanne Amacher was an American composer and installation artist whose pioneering work in acoustics and architectural installation paved the way to new forms of sound art and performance. In the 1970s, Amacher was a fellow at MIT’s Center for Advanced Visual Studies (ACT’s precursor) where she worked on her noted “City-Links” series.

For this year’s tribute, we have invited two outstanding sound artists: Jana Winderen and Marina Rosenfeld, as well as Columbia University Auditory biophysics/physiology scientist Christopher Bergevin. The evening will be moderated by ACT graduate candidate Micah Silver, who along with artist Robert The co-founded the Marianne Amacher Archive.

Micah Silver will feature a selection of archival video footage and rarely seen interviews with Amacher; Jana Winderen will present underwater sound recordings and frequencies that cannot be heard by the human ear; Marina Rosenfeld will talk about psychoacoustics, the way we experience sound through our body and our psyche; and from Chris Bergevin we will learn about otoacoustic emissions, the sounds produced by the ear.

The program will culminate the live performances by Jana Winderen and Marina Rosenefeld.

The Black Mountain College Museum + Arts Center in partnership with UNC Asheville and the John Cage Trust is pleased to announce ReVIEWING Black Mountain College 3 to be held October 7 – 9, 2011, a weekend gathering of scholars, performers and artists coming to Asheville to present ideas and perform works related to avant-garde composer John Cage. The program for the weekend will include music, performances, installations, exhibitions, films and scholarly presentations, all touching on some aspect of Cage’s life, work and genius…his Circle of Influence.

The keynote address will be given on Saturday, Oct. 8, 2011 from 5:00 - 6:00 p.m by Laura Kuhn, the Executive Director of the John Cage Trust. Ms. Kuhn worked directly with John Cage from 1986-1992 on a variety of large-scale projects, including his Europeras 1 & 2 for the Frankfurt Opera. Projects under her direction include a CD-ROM of sampled piano preparations from Cage’s Sonatas & Interludes (1946–48) and The John Cage Book of Days, a yearly pocket calendar filled with historically important dates, pithy quotations, and unique images drawn from the archives of the John Cage Trust. She created and directed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet, a theatrical realization of Cage’s radio play (2001). Kuhn is the John Cage Professor of Performance Arts at Bard College, where the John Cage Trust is headquartered.

John Cage (1912-1992) was a man of many interests: music, mushrooms, Zen Buddhism and Eastern Philosophy, visual art and dance. He pioneered the practice of ‘preparing’ the piano by inserting objects into the strings, thereby altering the sound of the instrument in radical ways. He worked collaboratively for many years with choreographer/dancer Merce Cunningham and with fellow musician David Tudor (both of whom were also at Black Mountain College). Cage’s most famous (and infamous) composition is 4′33′, first performed by David Tudor in August of 1952. The piece lasts for precisely 4 minutes and 33 seconds during which time the pianist sits at the piano, consults a stopwatch and turns the pages of a score, but never strikes a note on the piano. This courageously conceptual work confused and outraged audiences and established Cage as an iconoclast and radical thinker. Cage taught at BMC in the summers of 1948 and 1952 and was in residence the summer of 1953. While there in 1952, he staged the first ‘Happening’ in the United States, a multi-layered performative event that changed modern theater.

John Cage’s influence in multiple fields is a reason for his enduring legacy and contemporary relevance. As a musician, composer, philosopher and visual artist Cage’s work continues to inspire others. ReVIEWING Black Mountain College 3 will celebrate this enormously far-reaching influence through a mix of performances and presentations that address the many aspects of this visionary artist and thinker.

The schedule includes presentations by an impressive roster of participants, including some who worked with John Cage on visual art or music-related projects such as Ray Kass (worked with Cage at the Mountain Lake Workshop), Janos Négyesy (premiered Cage’s Freeman Etudes in 1981), (Beverly Plummer who made ‘edible paper’ with Cage)and others who are scholars or musicologists and have published books about Cage (David Patterson, editor of John Cage Music, Philosophy, and Intention, 1933-1950).

Schedule:

Activities will commence on Thursday night, Oct. 6th when the Mobile Art Lab Easel Rider projects imagery onto the BB&T building. Then, from noon to 1:30 on Friday, Oct. 7th a 90-minute MusiCircus will take place all over town. This random and unscripted series of musical performances will spontaneously ebb and flow in an unpredictable way. At 3:00 p.m. author and independent scholar Mary Emma Harris will give a talk entitled Eden Re-imagined: John Cage & Black Mountain College, 1948-54 followed by Beverly Plummer’s presentation Choice, Chance and Anarchy: Making Edible Paper with John Cage. Friday evening from 6:00 - 8:00 p.m. activities will shift over to the Black Mountain College Museum + Arts Center for the opening reception for the exhibition John Cage: A Circle of Influences and then over to the Grey Eagle for Roedelius w/XAMBUCA. Hans-JoachimRoedelius is one of the pioneers of electronic music, synthesis and sound exploration.

Saturday morning’s presentations and performances will begin at 9:00 a.m. and continue until midnight, all at UNC Asheville. The keynote address, delivered by Laura Kuhn, Executive director of the John Cage Trust will take place from 5:00 - 6:00 p.m. Saturday afternoon, followed by a reception. Saturday evening at 8:00 p.m. a set of three performances is scheduled to take place in Lipinsky Auditorium. This promises to be a highlight of ReVIEWING Black Mountain College 3 as the three performers are extremely accomplished. Louis Goldstein, Professor of Music at Wake Forest University and co-founder of the California New Music Ensemble will perform ASLSP INTERPENETRATED. Then, celebrated German pianist Jens Barnieck will perform The Age of Cage, a set of compositions by Cage, Yvar Mikashoff and Tui St. George Tucker. Saturday evening will close with Hungarian violinist Janos Négyesy performing one of Cage’s most difficult compositions, The Freeman Etudes.

Sunday morning’s activiites will commence at 9:00 a.m. with another round of presentations and performances including Matthew Burtner’s presentation Agents Against Agency: Environmental Activist Music and the Legacy of John Cage, film by Robbie Land and poetry by Joseph Bathanti. After lunch, a tour of the Lake Eden campus of Black Mountain College will be offered along with a Mushroom Walk.

In conjunction with ReVIEWING Black Mountain College 3, the Black Mountain College Museum + Arts Center will present an exhibition of Cage’s artwork called John Cage: A Circle of Influences. This exhibition explores multiple aspects of Cage’s work from his important time at Black Mountain College to his later collaborative projects including the Mountain Lake Workshop in Virginia. The exhibition will open on Sept 30th with an opening reception planned for Friday, Oct. 7, 6:00-8:00 p.m.

The Black Mountain College Museum & Arts Center preserves and continues the unique legacy of educational and artistic innovation of Black Mountain College for public study and enjoyment. We achieve our mission through collection, conservation, and educational activities including exhibitions, publications, and public programs.

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

image: Loud Objects

The term “audio-visual” means a lot of different things to a lot of different people. The multimedia gallery installation artist and the video-jockey in a dance club have developed techniques that begin with the desire to fuse visual and audible experience. In recent and international performance practice, we recognize a move towards the use of material, non-representational approaches to this impulse.

Massive Light Boner (MLB) is a project which brings together a set of contemporary performance artists with an interest in the possibilities of minimal and maximal use of white light and noise aesthetics. Hosted by STEIM and organized by Jamie Allen, the project is firstly an ensemble performance project featuring a collection of conceptual noise/white-light performance works together for the first time, live. Further, the project will culminate in a body of research, highlighting and documenting the approaches and motivations of an emerging and radical performance form.

In a world of ever more powerful technology, it [is] downright inspiring to experience the sort of communication that [can] be accomplished with a simple on-off switch. — Marc Weidenbaum, disquiet.com

Artist Biographies:

Loud Objects :: Tristan Perich, Kunal Gupta and Katie Shima create electronic noise with minimal components: microchips, a power jack, an audio jack, and wire. The group solders custom audio circuits live, creating audible fluctuations of electricity with these bare elements. The New York City-based trio stage their lush noise constructions with soldering irons on top of overhead projectors, slide projectors, flourescent light towers, and remodeled guitars.

Phillip Stearns a.k.a. Pixel Form: Phillip Stearns works with sound, light, electronics, found objects and biological systems, working directly with material to produce phenomenological experiences. His work approaches electronics as complex artificial living systems - creating new creatures for an electronic ecosystem. Phil shapes his hand-made systems into complex, generative systems. This is the sound of billions of neurons firing at once. Darkness is broken in brilliant eruptions of white light.

Jamie Allen’s circuitMusic: Jamie Allen’s circuitMusic project started as a exercise in radical improvisation - analog oscillators were built from bare circuitry and a breadboard while performing. Since then the live show has turned into an noise-synthesis project where signals from the home-made performance rig are offered to the audience as both audible sound and stroboscopic white light. Light and noise are shaped and into drones and pulses of raw static and electricity.

Chung-Han Yao: An active member of the new generation of sound artists in Taiwan, YAO’s works are mostly concerned with sound, while at the same time, searching for the ultimate connections between video, installation, space and various media. Yao’s live sets launch synchronous sound and fluorescent lamp elements via manipulation of a green laser trigger. The tiny noises emmited from the fluorescent lamps are manipulated and re-amplified.

Jo Kazuhiro: Kazuhiro Jo is a researcher and an artist. In his performance work, Kazuhiro subtly shifts sine tones and noise emissions with a set of self-built handheld luminescent orbs. The result is a meditative experience of sound and light being molested and twisted. A prolific researcher focusing on music participation and acoustic design. Jo was a founding member of the Sine Wave Orchestra in Japan as well as an organizer of Dorkbot Tokyo.

Felix Pfeifer will present his work (in progress). His project aims at providing an interface for creating improvized pattern based (dance-) music live in realtime (without loading or saving). He uses the novation launchpad and a selfmade USB-MIDI interface with many knobs and sliders custom-designed for a pd patch hosting the synthsLINK

Topics: * using the launchpad with Linux; * programming the launchpad LEDs in pd; * general discussion on (self-made) interfaces; * mappings in pd

Doors are open from 20h-20h15. After that they’ll be closed, and you will have to call someone from the Pd-meeting to get in. To get a telephone number to call or confirm assistance you can write to info_at_minitronics.net. Please, don´t call the staff of NK to open the doors. They let us use the space but we have to take care about having the meeting without producing any disturbance to them, and to clean the space after the meeting.

We would appreciate if you would send us a short mail to info_at_minitronics.net with your name, Pd experience and interests, so that we know how many people might be coming.

S.LOW is a Berlin-based cross-disciplinary project involving 34 international and national visual artists, music composers working with electronic media, musicologists, performers, engineers, physical scientists and film-makers. The project aims to articulate synergies from such a mixed community of individuals who have been invited to respond to the concept of ’slow’ and or ‘low ‘, in the context of the city of Berlin.

AUGUST 12, 2010: Artists Gathering :: Venue: Metropol Cafe-Bar - Landsberger Allee 62 - 10249 Berlin (map)

15:00-16:00 A chance for S.LOW participants and event attendees to meet informally before evening events.

Artist Presentations and Screenings
Venue: 91mQ - Landsberger Allee 54 - 10249 Berlin

16:00-18:00 Dawn Weleski, Cristina Martín Lara. Invited speakers will introduce their work and will invite questions from the floor at the end of the session.

Panel Two – Creative Extremes: Low versus High Technologies as Frameworks
Venue: 91mQ - Landsberger Allee 54 -10249 Berlin

19:00-21:00 Invited speakers to the panel: Dawn Weleski, Iain McCurdy, Jonathan Reus, Ricardo Climent. Moderator: Sunshine Wong

Panel Focus: The manipulation — or in some cases the subversion — of technology is fundamental to any creative endeavour. Whether it is the long-standing tradition of sewing or some cutting-edge development in robotics, the art practitioner’s role remains that of the innovator who, through varying degrees of deconstruction and recontextualisation, realises previously unexplored potentials. The artists involved in this round of talks will shed light on the media and techniques that have informed their work, and share their views on the utilisation of “old” and “new” technologies in contemporary art.

+ OFF-S.LOW PARTY. Various artists

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Friday 13th of AUGUST 2010
Artist Presentation: Audio Software for Artists
Venue: NK - Elsenstr. 52 - 12059 Berlin

16:00-16:30 Welcome to NK / coffee

16:30-17:15 Jonathan Reus (NK Artist in Residence)

For the last year, Jonathan Reus has been conducting research and development of new music performance systems at STEIM (www.steim.org), in Amsterdam. In this presentation, Jonathan will discuss interesting research topics in live computer-music performance, as well as give an overview of the work being done at STEIM in this regard and discuss his current work with ARM-Core embedded processors as part of a recent residency at studio N.K. in Berlin

(short break)

17:30-18:15 Ricardo Climent

This presentation will be a work-in-progress update of the methodologies and processes employed when creating my First Dynamic Documentary Film (DDF) with the working Title ‘Calle Garibaldi’. I am exploring a hybrid visual genre, guided through sound, which reunits aspects of DocuFiction, Interactive Inmersive Environments and the Acousmatic tradition in space environments. It builds upon my previous navigation system through sound experience, where music structures are built around our visual experience and intuitive decisions as a method of anticipating sonic behaviour’.

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Sound Installation: Su-Bahn Sonicography
Venue: Projektraum Schwarz - Weichselstrasse 34 - Berlin-Neukölln

19:00-21:00 Iain McCurdy sound installation opening

SU-Bahn Sonicography presents an interactive sound installation in which visitors are invited to explore physical channels in the piece’s surface with their finger tips. The shapes and arrangement of these channels has been inspired by a stylized map of the Berlin transport network and its musical inspiration from the ideas of interdependence within an internally dynamic yet globally equilibrius system. This piece continues my work exploring interdependence in the sonic realisation resulting from multiple interactions with the piece. The interdependent nature of control creating a social music making environment. The metaphor being applied is that the musical outcome will represent the equilibrium state resulting from all forces (interactions) acting upon the device. The number of musical possibilities resulting from a such a system can be huge, therefore this will be an instrument that remains enigmatic to the visitor and one that will resist swift reduction as a simple analogue electronic device.

Opening times: Friday 13th to Wednesday 18th of August : 18.00 - 22.00.

OptoSonic Tea is a regular series of meetings dedicated to the convergence of live visuals with live sound which focuses on the visual component. These presentation-and-discussion meetings aim to explore different forms of live visuals (live video, live film, live slide projection and their variations and combinations) and the different ways they can come into interaction with live audio. Each evening features two different live visual artists or groups of artists who each perform a set with the live sound artists of their choice. The presentations are followed by an informal discussion about the artists’ practices over a cup of green tea. A third artist, from previous generations of visualists or related fields, is invited specifically to participate in this discussion so as to create a dialogue between current and past practices and provide different perspectives on the present and the future. Organized by Katherine Liberovskaya and Ursula Scherrer and partly funded by the Experimental Television Center.

Nisi Jacobs creates multichannel video performance and installations. Her work has been exhibited in festivals at the Jeu De Paume Museum in Paris, Tribeca Film Festival, Hong Kong Film Festival, Circulo de Bellas Artes of Madrid, Maya Stendhal Gallery, SONAR festival at the Caracas Contemporary Art Museum, CalArts Film/Video Cinematheque, The Alejandro Otero Museum, National Cinématheque of Spain, Manchester Metropolitan University of England, River-to-River film festival, Ear to the Earth Festival; a CD release entitled ‘Weaves’, distributed by En’tract includes video by Nisi Jacobs released 2009. Upcoming performances include Synchroma Sonichrome¹, a score realized for bass/laptop/av at the VCW Performance, R.G.B.A.¹, a collaboration between DRAW/Sarah Bernstein/Stuart Popejoy at Brooklyn Arts Council, Dumbo 1st Thursday, a collaboration between DRAW and Philip White/Suzanne Thorpe of ‘thenumber46′ at Optosonic Tea, and a new DRAW installation in June at Diapason Gallery. Jacobs has curated multichannel video programs for Phatory Gallery, HOWL Film Festival, and SYNCH FESTIVAL of electronic art in Athens, Greece, and currently co-curates at Diapason Gallery where she has helped launch a new video scoring workshop, VCW, led and produced by Adam Kendall focusing on the development of performative video scoring systems.

Michael J. Schumacher’s sound installations have been heard at Art in General, Apex Art, PS 1, The Kitchen and Sculpture Center in New York City, CCNOA in Brussels, Singuhr Gallery and Tesla in Berlin, the Museum for Applied Arts in Frankfurt , the Museum of Contemporary Art in Lyon, Triskel Arts Center in Cork, Ireland, Transmissions Festival in Chicago, Tone Deaf in Kingston, Ontario, The Sound Art Museum in Rome, )toon Festival in Haarlem, RADAR in Mexico City, Ostrava Music Days and others. XI Records has published a DVD set of five sound installations as computer applications,
playable on up to eight speakers, which may be installed on a computer to create sound environments in the home. Schumacher¹s composition “Grid”, a computer generated score that unfolds in real time, has been in exhibitions in New York, Barcelona and Houston. He is currently creating a large scale continuous sound environment for the lobby of EMPAC in Troy, NY. In August 2007 Schumacher and Nisi Jacobs began DRAW, an audio-video performance group. Joined by Tom Chiu, Alex Waterman, Bruce Andrews and others, they create immersive live sets based on collaborative compositions. DRAW’s website is http://drawnyc.com .

Suzanne Thorpe is a composer, performer, arts activist and educator. With her work, Thorpe explores coexisting perspectives, peripheral consciousness, and concurrent realities. Her recent compositions are multi-channel works that employ psychoacoustic phenomena and tuned filtering systems. They have been featured at Issue Project Room (NYC), Diapason (NYC), The Stone (NYC), Activating the Medium Festival (San Francisco), No Idea Festival (Austin, TX), Redux Contemporary Art Studios (Charleston, SC), Pyramid Atlantic Center for the Arts (Silver Spring, MD), and other venues. As an improviser she has performed with Chris Brown, Annette Krebs, Maggie Nicols, Bhob Rainey, Pauline Oliveros, Gino Robair, Zeena Parkins, Ulrich Krieger, David Dove, Chris Cogburn, and Bonnie Jones among others. She has been awarded support for her work from Meet the Composer and NYFA, and has a discography of over 20 recordings released on Sony, V2, Beggars Banquet, Geffen, Specific Recordings and Tape Drift. Thorpe is a founding member of the alternative group Mercury Rev, with whom she worked from 1989 2001, earning numerous critical accolades, and a gold record for 1998’s Deserters’ Songs. From time to time, she can be heard with J Mascis of Dinosaur Jr., or with the Wounded Knees. Currently she is touring with feedback artist Philip White as the duo thenumber46 in support of their newly released recording Bleach & Ammonia.

Philip White’s performances center on a non-linear feedback system, which consists of a mixer and several homemade circuits. In addition to his work with analog and digital electronics, White has written extensively for chamber ensembles and created a large body of intermedia pieces that explore meaning in information transmission. He currently performs with Suzanne Thorpe (thenumber46) and Chuck Johnson (with chuck johnson with philip white). Recent and upcoming performances/exhibitions include Diapason (NYC), The Frying Pan (NYC), The Stone (NYC), Sonic Circuits (DC), Redux New Media Festival (Charleston, SC), Galerie Neurotitan (Berlin), Youngblood Gallery (Atlanta), the Red Room (Baltimore), Toy Room Gallery (Sacramento), 701CCA Gallery (Columbia, SC), Stu-stu-studio(Richmond, VA), Princeton University, Bent Festival 2010, NYCEMF 2010 and a featured spot on free103.9.org. thenumber46’s debut Bleach and Ammonia was recently released in cassette format on Tape Drift Records. Philip also writes about music, contributing to the Wire magazine, SEAMUS Journal, and Notes. In 2008, Philip received his MFA in Electronic and Recorded Media from Mills College where he worked with Chris Brown, Hilda Parades, Helmut Lachenmann, Roscoe Mitchell and James Fei. While there he taught both Sound Art and Electronic Arts.

Adam Kendall is a videoist and musician living and working in Brooklyn, NY. He treats video as dynamically and improvisationally as traditional performance arts and as a medium capable of detailed, structured composition. Adam regularly performs and screens pieces both solo and in various collaborations, organizes the a/v performance series {R}ake, and runs the Video Composition Workshop. He is a software developer and incorporates his own programming in his performances and pieces.

Charlie Morrow (1942 USA) is a composer, sound artist and producer whose work spans many styles and genres. He is based in Barton VT and Helsinki FI. In the 60s: Soundscapes for ‘The Knoll Furniture Show’ at Le Louvre, a sound portrait of Marilyn Monroe at Sidney Janus Gallery, the score and sound design for Frances Thompson Films ‘Moon Walk One’ and arrangements for The Rascals and Vanilla Fudge. In the 70s: explorations of the New/Old, outside the concert hall with shamanic chants, ‘A Healing Piece’ play for Performance Group now Wooster Group, Concert for Fish on Little Neck Bay, with poet Jerome Rothenberg the New Wilderness Foundation concerts, broadcasts, recordings and publications, collaborations with Fluxus artists including Corner, Higgins, Knowles, Hendricks. International Solstice event broadcasts with Wave Music series 40 Cellos, 30 Harps, 100 Musicians w lights, 60 Clarinets and a boat. In the 80s: Toot N Blink Chicago for two fleets of boats with radio DJ commands, Copenhagen Waves for all Copenhagen. Improvising on pocket trumpet and shell horns with Derek Bailey, Don Cherry.
Co-Founded the Ocarina Orchestra, Grand Conch Chorus. A Light Opera at La Mama with Min Tanaka dancers and Western Wind vocal ensemble. In the 90s: 64 channel sound installation for Hall of Planet Earth American Museum of Natural History, international radio Circumpolar Greeting Arctic Spring,
sound/music for art interactive Scrutiny in the Great Round, Tokyo New York Copenhagen 3 City Dance via video conference. In the 00s: True 3D sound and WIndsails electronic and landscape works and installations.

For more information about OptoSonic Tea please visit: http://www.diapasongallery.org/optosonic.html

Art.on.Wires is an open laboratory for live and interactive art where researchers, engineers and practitioners from various fields collaborate to explore and create a new generation of media technology for artistic performances and mixed-reality spaces.

We invite choreographers, dancers, singers, actors, musicians, composers, DJs, VJs, visual artists, programmers, set designers, light engineers, sound engineers and interested researchers to join our laboratory. The four-day event will feature workshops on artistic programming tools and interactive technologies, dorkbot talks and experimental performances. Art.on.Wires takes place in an old industry hall which will be equipped with interactive technologies to serve as a space for artistic and scientific experimentation.

Our main topics are Space and Interaction. Artistically we are interested in interactions with smart performance spaces and interactions between people in remote networked performance spaces. On the engineering side issues of interest are the integration of Vision, Sound and Motion technologies into a local space to enable remote and mixed-reality interactions.

Events:
- keynote talks by Mark Coniglio and Atau Tanaka
- dorkbot presentations
- workshops on artistic programming toolkits, technology and performance
- concerts and performances

Workshops:
- OpenFrameworks, led by Arturo Castro (ES), Pierre Proske (AU)
- Motion Capture Systems and Techniques led by Alexander Refsum Jensenius, NO
- BoBo – Gadgetto, led by DAAL/DKIA (AT)
- Playful Spaces, led by DAAL/DKIA (AT)
- Isadora – Advanced Features Quick Boot, led by Mark Coniglio, US/DE
- Using Interactive Environments for Performance
– Dance Track, led by Johanna Roggan (DE)
– Visuals Track - VVVV, led by Marko Ritter (DE)
– Music Track - Ableton Live, led by Kacob Korn (DE)
- Telematic Interaction, led by Alexander Carôt (DE)
- Systematic Understanding of Music, led by Lars Graugaard (DK)

Dates
25/4 - Early Registration Ends
09/5 - Online Registration Ends
10/5 - Art.on.Wires starts

Ricardo Climent will discuss his new research in music composition and new media, involving the use of audio metadata and 3D game-engine software. Climent is an active music composer. He often finds in the field of music technology, original new routes and stimuli to explore and develop distinctive aspects in his music, both in the creative and performing environment. Currently, he lecturers at the School of Arts, Histories and Cultures, University of Manchester and serves as Co-Director of the NOVARS Research Centre. He previously held a Lecturing position at the School of Music and Sonic Arts (SARC), Queen’s University of Belfast. Ricardo has served as resident composer and researcher at the JOGV Orchestra in Spain, Conservatorio of Morelia in Mexico, Kunitachi colleague of Music, Tokyo, LEA labs, at the Conservatorio of Valencia, the Cushendall Tower- In you we trust, Northern Ireland and at CARA- Celebrating Arts in rural Areas, cross- border Ireland.

Among his most original long-term collaborative projects we find The Microbial Ensemble, (repertoire for a bunch of microbes, with Quan Gan), The Carxofa Electric Band (a children’s workshop using vegetables and Electronics with iain McCurdy), The Tornado-Project (a cross-atlantic set of commissioned works for flute, clarinet and computer for American wind virtuosi Esther Lamneck (clarinet) and Elizabeth McNutt (flute)), Drosophila (a dance-theatre tour of a blind fly with KLEM and Idoia Zabaleta), Ho- a sonic expedition to Vietnam, (a 3D interactive interface project for plantariums) and more recently s.low, (a cross-disciplinary project in Berlin involving artists from 19 countries around the world, in collaboration with Ima Pico)

For more info visit:

www.electro-acoustic.com -> Flash web (general info)

www.sonorities.org -> List of works with details, mp3s and pdf scores

www.novars.manchester.ac.uk -> Current Research Project

http://soundcloud.com/ricardo-climent -> more mp3s!

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.