Recordings are wanted for the third edition of the Power/field compilation. This series is dedicated to recordings made “in the field” with processing on-site - i.e., pedals, laptops, or strange acoustic phenomena in the intersection of power and environment. No post-processing besides basic trim edits and gain.

Traditional field recording captures ambient sound in various locations via microphone without any effects. Power/field recordings are field recordings made with effects processing units used on-site. The intent is to take experimental music practices outside of their traditional operating venues (composing studios and performance venues) and into the “field” (anywhere you don’t normally compose/record/perform music).

Aesthetically speaking, anything goes - drone, microsound, synth, ambient, harsh noise. The recordings can come from a wide variety of musical practices, and can be made with electronic, electrical, mechanical, and acoustic means. Harnessing the existing sound in a space is preferred over generating sound within a space - but the latter can work when the results align within the perspective of the series. It is suggested for all to listen to the first edition (link below) for examples of successful submissions.

Typical scenarios for successful works: microphone feeding into a pedal; contact mic fed into a laptop; sounds played in an environment and recorded via mics; lathe records, cassettes, and circuit boards left outside all winter long, then recorded in their deteriorated condition outside, a microphone rubbed against subway walls, a microphone set inside the whirlwind funneling into an air conditioner.

Typical unsuccessful scenarios: recorded freak folk / alt rock / post-war classical jams in someone’s living room or an underground chamber. Please listen to the tracks from the first edition to get a sense of the aesthetic intent behind the project.

There is an honor system on the basic rules: the recording must be made outside of the studio or the stage; no overdubs except on-site; no re-processing; no edits besides cutting off the beginning or end. The submission can be an excerpt of a longer take, and basic normalizing of the levels is fine. Track length 3-15 min preferred, multiple short tracks are fine to submit. Previously released tracks will not be considered.

The final project will be released March 2012 in an edition of 200. The first 2 editions each had 2x CDrs, as there were a ton of great submissions. Traditionally the discs are housed in screen-printed cardboard sleeves. A digital edition will be created in addition to the physical one.

The entire contents of the previous editions can be found here:

vol 1:
http://anarchymoon.com/sounds/powerfield
( the first track of Disc 1 is titled “\\\” but the slashes don’t come out right in an online directory)

vol 2:
http://anarchymoon.com/sounds/powerfield2

Please submit everything online by Jan 1 2012. To prevent wasted CDrs, please upload your recordings (mp3s in the first round) to your own website, to a file sharing service such as yousendit, or soundcloud. I can also provide an FTP address if you aren’t able to upload it yourself. Once the final choices are made, I’ll need full resolution files (WAV / AIFF) uploaded by Jan 31 2012.

Send track(s), title(s), site location(s), equipment list(s), pictures of your setup environment, and any other info about yourself to: bob_AT_halfnormal_DOT_com

More info:

AlgoRhythms of mobile phones 2 with detektor prototype from Shintaro Miyazaki on Vimeo.

Almost any electronic gadget can be transformed into an audible and sometimes rhythmical sound object. “Detektors” is firstly (A) a cartography of user-generated geolocational sound recordings, logs and walks, which reveal hidden electromagnetic geographies of our urban areas and secondly (B) a database and catalog of sonic studies of electromagnetic emissions produced by our everyday electronic devices.

“Detektors” is an open, collaborative project which uses sonic strategies and DIY-devices to make audible the hidden infoscapes of
our time. The presentation will show data, recordings and cartographies of different spectral ecologies and trans-sonic machinic
assemblages.

Luc Ferrari, Lou Harrison, John Cage, Henry Cowell, Germaine Tailleferre, George Antheil, Henry Brant, Leroy Jenkins, Otto Luening, Ernst Bacon, Virgil Thomson, Benjamin Lees, Astor Piazzolla, Martin Bartlett, Percy Grainger, John Vincent, Aaron Copland, Vivian Fine, Jack Briece, Morton Feldman, Peggy Glanville-Hicks, Mauricio Kagel, György Ligeti, Conlon Nancarrow, Harry Partch, Roger Sessions, Nicolas Slonimsky, Andrew Imbrie, Frank Zappa, and Ivan Wyschnegradsky.

Wouldn’t you love to have the chance to speak with some of these distinguished composers personally and probe their thoughts on music? Well, that chance has come and gone since none of these composers are living among us. But at radiOM.org, their voices live on in personal interviews you can hear at the touch of your keyboard. Here you can eavesdrop on unique conversations and concerts recorded between 1949 and 1995 at KPFA Radio in Berkeley.

They still have hundreds of programs yet to digitize and catalogue, and your support can help them get the job done. Furthermore, your gifts ensure that we will keep this service FREE by helping them bear the cost of transferring programs (from reel-to-reel tape, Betamax videotape, cassettes, and DATs) and storing, uploading and cataloguing them.)

Their goal is to keep this service FREE TO ALL, just as we do at turbulence.org. To do so they have relied on foundation and government sources to pay all costs. But the work is outpacing the funding, so now for the first time they ask for your individual understanding and support.

Help them out at: radiom.org/contribute

In just the last five months they’ve had 1,500 unique visitors monthly from 104 countries including Slovenia, Mexico, the Philippines, Canada, Brazil, the Netherlands, Turkey, Russia, Germany, Italy, Israel, Norway, Armenia and Australia. During that short period of time they’ve added 108 new programs. They’ve also begun to add visual material to many of their program listings, including photos, letters, printed programs and other documents that will enrich your listening experience.

Voices from the Paradise Network is a 2007 commission of New Radio and Performing Arts, Inc., for Networked Music Review. It was made possible with the funding from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors.

BIOGRAPHY

John Hudak has been interested in sound and music from the age of four, when he began to play a variety of instruments. At the University of Delaware and the Naropa Institute for the Arts, he studied English, video, photography, creative writing and dance. John then began to create taped soundtracks for his solo performance-art/dance pieces, that later developed into audio, audio-video, and mixed-media pieces. Language has also been a predominant focus, and John has studied and published haiku poetry, the literary equivalent of the reductive, minimal, and nature-based sound forms that interest him.

John’s current work focuses on the rhythms and melodies that exist in our daily aural environments. These sounds usually remain hidden, as we tend to overlook their musical qualities; or, their musical qualities are obscured through mixture with other sounds. This work takes the form of audio CDs, web-based projects, mixed-media installations and performances. In simplified terms, what John is doing could be considered reframing and transforming sound in our environment so it can be noted, admired, and valued.

Dub Shop will exhibit works by Noah Angell, Alexis Bhagat, Ed Bear & Lea Bertucci, Simona Brinkmann, R. Luke Dubois, Nate Harrison, Harvestworks / Tellus Tapes, Richard Kostelanetz, Lary 7, LOUD5, Loud Objects, Cedric Maridet, Ken Montgomery, mudboy, Michael Northam, Ben Owen, Seasonal, thenumber46 (Suzanne Thorpe & Philip White)

Dub Shop at Kleio Projects is a pop-up exhibition organized by ((audience)) co-curators, Alexis Bhagat and Lauren Rosati.

A dubplate is a one-off acetate disc recording which contains an unreleased recording, an exclusive version of an existing recording, or a test recording for a master track. Since they are doubled or dubbed versions of an original track, they have a limited life span and can only be played about fifty times. Dub Shop is similarly time-sensitive, ”lasting only for two days” and will feature exclusive, one-off and unique artworks by sound artists and musicians including dub plates; limited edition records, CDs and DVDs; silk screened posters; hand-made electronic instruments; and other constructions.

The exhibition will be on view on Saturday, March 6 and Sunday, March 7, 2010 from 12:00 noon to 7:00 p.m. From 2:00 p.m. - 6:00 p.m. each day, artists in the exhibition will host informal talks about their practice and play their exhibited works on in-house turntables. Please visit the ((audience)) news page at http://lrlx.wordpress.com for the complete lineup of presentations and performances.

ABOUT AUDIENCE
((audience)) is an unprecedented project that explores the cinema as a 21st century concert hall. It is dedicated to the advancement of aural arts by providing wide distribution and new contexts for works by emerging and established sound artists and composers.

For more information on ((audience)), please visit http://au.dience.org. To contact ((audience)), send mail to 39 Ave. A, Box 103, NY, NY 10009 or send email to curators@au.dience.org.

((audience)) is a sponsored project of Fractured Atlas, a non-profit arts service organization, and Lower Manhattan Cultural Council’s Swing Space program.

Archival Records intends to articulate the Archive’s physical and material space through the medium of sound, and establish a new connection between the Archive’s ‘voices’. It focuses on the realm bridging textual readings (of printed material) and their vocal counterparts, through multilingual audio recordings of excerpts from the collection, supplemented by ambient sounds at the Archive. This sound installation not only aims at exploring the idea of the Archive, but also rediscovering the mechanics of sensory experiences and aural cognition through a composed technological mediation of experience.

Archival Records focuses on the reading of selected texts found in the Archive, which deal with sound or its particular vocabulary, either directly or indirectly. The collection of recordings will be continued during the exhibition with texts read by: Anthony Yung / Mary Lee / Asako Nishikado / Enoch Cheng / Kathy Mak / Angela Su / Janet Chan / Erika Kobayashi / Nadim Abbas / John Batten / Judith Pernin / Juliette Chen / Cedric Maridet / David Boyce / Rachel Catanach / Nana Seo / Angela Su / Xue Tan.

Cédric Maridet is an artist based in Hong Kong since 1999. He received his PhD in media art at the School of Creative Media, City University of Hong Kong in 2009. His research aims at clarifying fundamentals in the heterogeneity of listening intentions in order to frame essential connections for sound art in a holistic, perceptual and theoretical approach.

Through sponsorship from the Agency for Cultural Affairs Japan and in partnership with the School of Sound, London, Non Profit Organization Image Initiative Yokohama and Tokyo University of the Arts Graduate School of Film and New Media will host Sound Continuum, an international conference for recording arts and sound archives. This conference will focus on exploring the art of sound in moving image.

The field of sound recording and sound design is relatively new and therefore has not been researched extensively within Asia. In the past, recording and designing sound were regarded as subordinate to music and cinema. In this conference we will discover and discuss the philosophical and creative aspects of sound design, rather than sound design as just a by product of music and cinema. We would also like to explore the possibility of broadening the understanding of sound recording and sound design by inviting participants from Europe who posses detailed knowledge in this field.

Concept :
1: Exploring and interpreting the art of sound in film and new media.
2: Understanding the working process of artistic creation.
3: Exploring in depth new ideas for the relationship between sound and media.

Participants:
-Michel Chion [Professor of Paris 3 University / Film Sound Researcher / Composer]
-Richard Ranft [British Library, Head of Sound Archive]
-Larry Sider [Director ofSchool of Sound / Former Head of Postproduction NFTS]
-Kiyoshi Kurosawa [Film Director / Professor of Tokyo University of the Arts]
-Junichi Konuma [Professor of Waseda University]
-Minoru Hatanaka [Curator ]
-Keiko Torigoe [Professor of Aoyama Gakuen University / Sound Scape Researcher]
-Ho Tzu Nyen [Visual Artist / Film Maker from Singapore]
-Tomomi Adachi [Composer/Voice Performer ]

We are looking forward to hearing from you for interview appointments and further questions. Detailed information and artist biographies will be accessible soon on our website: http://www.facebook.com/l/abda4; www.the-concrete.org

Press Contact
Yasuhiro Morinaga
Mail: register@the-http://www.facebook.com/l/abda4; http://www.concrete.org

Tracks wanted for the second edition of Power/field compilation. Originally released in 2007, Power/field is a collection of recordings made “in the field” with processing on-site.

Traditional field recording captures ambient sound in various locations via microphone without any effects. Power/field recordings are field recordings made with effects processing units used (only) while on-site. The intent is to take experimental music practices outside of their traditional operating venues: composing studios and performance venues.

Aesthetically speaking, anything goes - the first edition contains a wide variety of drone, microsound, synth, and harsh noise. The recordings can come from a wide variety of musical practices - listen to the first compilation (link below) for examples. Random thought: it is possible to do this without electronics; however, it is suggested for all to listen to the first edition (links below) for examples of succesful submissions.

There is an honor system on the basic rules: the recording must be made outside of the studio or the stage; no overdubs except on-site; no re-processing; no edits. The submission can be an excerpt of a longer take, and basic normalizing of the levels it is fine. Track length 1-15 min preferred, multiple short tracks are fine to submit.

The final project will come out at the end of the year in an edition of 200 CDrs. The first edition had 2 CDrs, as there were a ton of great submissions. Packaging was cardboard sleeves from stumptown printers, hand-painted and screen-printed by Bob Bellerue.

The entire contents of the first edition can be found online here:
http://anarchymoon.com/sounds/powerfield

A few copies are left for $8+postage if anyone is interested.

Send track(s), title(s), site location(s), equipment list(s), pictures, and any other info about yourself to: Bob Bellerue, 512 w 19th street, New York, NY 10011 :: Download links via email are also encouraged.

News For Tomorrow is a commissioned piece by Beijing-based artist Yan Jun for the Birdcage itinerant sound gallery. The artist picked one of the desks in the editorial office of Beijing Youth Weekly and placed recording devices, mp3 players and cassette walkman in it. The devices either reproduce the interview recordings of the magazine’s editorial staff, or record the soundscape of the office, which will be simultaneously played and processed in real time through headphones while creating feedback noise.

The staff and writers of Beijing Youth Weekly, the people who go to the magazine’s office for business purposes, and the friends and relatives of the above mentioned are the only people allowed to experience the piece, using the headphones displaced in the office.

After Stockholm with Carl Michael von Hausswolff and Amsterdam with dj sniff, Yan Jun’s News For Tomorrow introduces the third Birdcage episode. The piece is also part of “The Invisible Generation” programme of art interventions in the cities of Melbourne, Beijing, Shenzhen and Kiev and will be exhibited, as a replica, at Blank / Beijing Zhongjian Gallery from the 24th of October 2009.

Yan Jun (born in Lanzhou in 1973, now based in Beijing) explores the realm of sound and language using different tools as feedback noise, drone sound, voice, field recording, site-specific sound installation, impro music, environmental sound, writing, publishing and curating. He’s the founder of Sub Jam and of its sub-label Kwan Yin Records. He runs a weekly event in Beijing called Waterland Kwanyin and organizes the annual festival Mini Midi since 2005.He has published 5 essay collections about Chinese new music and 3 poetry collections.

produced by: Vision Forum.