Organized by Lampo in cooperation with Columbia College, Audio Arts and Acoustics Department.

Epic new solo work from Joe Grimm. ALIAS (for Kathryn) is a synaesthetic light/sound performance for modified 16mm projectors, homemade light-sensitive audio electronics, and a large, white, side-mounted ceiling fan. The projectors create flicker-patterns that are often too fast for the eye to detect; but the changes in speed of these invisible flickers can nevertheless be traced in the illusions of movement (and stasis) in the fan-blades, as well as in the mutating timbres of the light-generated music. It is a meditation on the limitations of the body and the senses, on the breakdown of one’s ability to sensually access the physical world.

Joe Grimm (b. 1978, Safety Harbor, Fla.) is a Chicago-based interdisciplinary artist working primarily with light and sound. In his performances, sculptures, videos and constructed situations, he appropriates material from enlightenment-era metaphysics, contemporary pop music, and the troubled legacy of minimalism — insisting always on the centrality of sheer sensory pleasure. Grimm studied philosophy at Yale before receiving a graduate degree in experimental music composition at Brown and an MFA from The School of the Art Institute of Chicago. Collaborators and associates include Lauren Carter, Lucky Dragons, Glenn Branca, Alvin Lucier, Dirty Projectors, Lightning Bolt and experimental filmmaker Ben Russell. His work has been shown at institutions such as CAPC Bordeaux, La Casa Encendida in Madrid, Bezalel Gallery in Tel Aviv, and MCA Chicago.

Up next from Lampo: LOVID - Saturday, December 4, 2010 - Graham Foundation

Lampo everywhere:
http://twitter.com/Lampo (Twitter)
http://www.youtube.com/LampoVideo (YouTube)
http://tinyurl.com/5lvrjn (Facebook)

Founded in 1997, Lampo is a non-profit organization for experimental music, sound art and intermedia projects. For information and to add your name to the Lampo list, contact info@lampo.org or visit http://www.lampo.org.

Works by Art Clay (CHE), Harro Schmidt (DEU), David Cheung (CAN) and others in the second floor gallery. Looking at the building at night, public roaming the streets of the 798 area can enjoy the playful works by Christiane Oppermann (DEU) and Claudia Wissmann (DEU).

image: „For Cookie Cutters and Stern“ by Swiss artist, Art Clay

The works make use of a variety of lighting techniques, but are also divided into artwork for public and private spaces in a unique way making use of the different qualities and ambience found in day and night light.

One of the artworks that can be viewed during the day and only within a closed space,[is] the „For Cookie Cutters and Stern“ by the Swiss artist, Art Clay… This is an installation that uses a simple incandescent light to turn what is apparently a score for music boxes into an image-generating machine. With this work, there is no difference between a music score and a filmstrip. As the 12 meter punch card moves through two hand-cranked music boxes and a light machine, the work creates sound and visuals combine this synaeshetically with light based images that fragment and encircle the room.

This exhibition is part of a Special Exhibition for the Beijing 798 Biennale that introduces foreign artists and light based media work to a Chinese audiences. It opened on 18th September along with almost one hundred other more exhibitions.

Why would anyone want to merely bang out music, when you could have euphoria? Why be satisfied with an ordinary spinet when you could have The Emotion Organ? Developed over a rigorous three-year period in a small studio in Norway, Amanda Steggell’s The Emotion Organ is a synaesthetic, simulacrum machine that takes its public on a phenomenological journey through the physical senses. With the organ, you can hear colors and smell sounds. The Emotion Organ is also a time machine. It connects obsolete technology with the new, combining a 19th century organ with contemporary gadgetry to create a hybrid form that is part performance object and part scientific instrument for studying phenomenon. When playing the organ, various combinations of chords and foot pedals trigger cross-sensory events, such as the projection of visual patterns, vibrations, and/or emission of compelling aromas. Each viewer is invited to play the organ and come up with his or her own set of discoveries. As a sculptural object used to explore processual practices, Steggell’s The Emotion Organ is an exciting contribution to a contemporary artistic practice and redefinition of artistic roles from makers to facilitators that enable the exploration of complex relational, networked and social experiences.

The Emotion Organ will be installed within the Women’s Art Resource Centre (WARC) and be offered to the public to explore and perform with. You are allowed and encouraged to touch the art! The exhibition will open with an introduction to the organ by the artist followed by a special evening of performances by both established and up-and-coming Toronto musicians who will create live improvisations using The Emotion Organ.

Biographies:

Amanda Steggell, artist, born in Yokohama, based in Norway, works all over the place. She has a background in dance/choreography and is Associate Professor at Bergen National Academy of the Arts. Her interest is in the allurement and uncanniness of technology and its related devices with which she shares her life. As a collaborative and solo artist, her interdisciplinary work combines and shifts across the scope of the performing, visual, sonic and media arts. She has worked extensively with digital and communications technologies since the mid-1990s when she also co-founded the Motherboard project with Per Platou (www.liveart.org). In 2007 she gained a PhD-alternative qualification for artists in Norway for her artistic research in synaesthesia and contemporary live art practice. Her solo work is currently seeping into science/technology museums in the form of participatory installations as well as in public space as urban interventions.

Born in Canada, Michelle Teran is a media artist currently living in Berlin. In her work she explores the interaction between media and social networks in urban environments. She develops performances via the staging of urban interventions such as guided tours, walks, open-air projections, participatory installations and happenings. She has received numerous grants and awards for her work including the Prix Ars Electronica honorary mention for Interactive Art, the Vida 8.0 Art & Artificial Life Award and the Transmediale Award for 2010.

Eve Egoyan is a concert pianist who specializes in the performance of new works. Her intense focus, command of the instrument, insightful interpretations, and unique programmes welcome audiences into unknown territory, bridging the gap between them and contemporary composers. Composers have a uniformly high regard for her performances of their works, often considering them definitive.

Gordon Monahan’s works for piano, loudspeakers, video, kinetic sculpture, and computer-controlled sound environments span various genres from avant-garde concert music to multi-media installation and sound art. As a composer and sound artist, he juxtaposes the quantitative and qualitative aspects of natural acoustical phenomena with elements of media technology, environment, architecture, popular culture, and live performance.

Toronto-based composer and performer Martin Arnold studied in Edmonton, Banff, the Hague, and Victoria, where his teachers were Alfred Fisher, Frederic Rzewski, John Cage, Louis Andriessen, Gilius van Bergeijk, Rudolf Komorous, Douglas Collinge, and Michael Longton. Martin is a founding member of the Drystone Orchestra and from 1995-2000 he was artistic director of The Burdocks. Currently he plays guitar, banjo, melodica and live electronics in Marmots and Cow Paws as well as in bands led by Ryan Driver and Eric Chenaux. Martin works as a gardener and teaches in the Cultural Studies Department of Trent University.

Toddler Body, formed in early 2008, is the double side-project of Randy Gagne (Disguises, Man Made Hill) and Greydyn Gatti (Wolfcow). Originally conceived as a recording project via emailed exchanges of Mp3s, TB explore the murkier side of post-apocalyptic synthesizer pop, Sci-Fi disco, and creeped-out soundtrack music. They are currently devising a method of performing through the transmission of pure psychic vibrations.

How does the body respond to music? Is there a neuroscience of dance? Is there a formula for the perfect hit? Why does a minor cord sound sad? How does a DJ manipulate the emotions of a crowd?

Music, rhythms, melodies, voices, and the noises of the world around us are constantly with us, but why do we sing and dance, write sad tunes, whistle, tap our feet, cry, laugh, love and hate music? Manipulating sound is a fundamental part of almost every culture around the world, but what drives it? Tradition? Culture? Genetics? And what sounds can our physical bodies or brains create? The Science Gallery wants to take a close-up and personal look at all these and many other questions around how we
respond to, interact with and create music and sound.

Our goal is to explore how art and science help us interpret, understand and enjoy the sounds of the 21st century. We are looking for participative experiences and experiments for the public as well as stand-alone performances.

Science Gallery wants the creation of BIORHYTHM to draw on the diverse research, and artistic exploration currently taking place in sound. Moreover, through diverse and unlikely collaborations the exhibition will generate completely new and unique experiences
in sound, qualitative enjoyment and quantitative research in science.

Examples of areas that Science Gallery wants to get under the skin of include: The physiology and neuroscience of music and dance
Sound and hearing ? enhanced hearing. The neuroscience of music. Using the body as a musical instrument, from the vocal chords to human beatboxing.How our aural system and how we experience the world as sound. Music as a survival mechanism contributing to human evolution. Creating communal visual soundscapes. Music and the emotions ? why does certain music frighten us or make us feel elated? How hearing affects the other senses, synaesthesia. The difference between music and noise. White noise and infrasonics. Therapeutic effects of music.

Running for three months –July 2, 2010 to October 1, 2010], BIORHYTHM will also include special live performances, innovative installations, unique physical and mental experiences, high-profile talks, discussions and debates, and other musical and biological events web-focused interactions, games and truly collaborative experience.

Submitted projects will be evaluated on criteria including: relevance to the theme [music and the body], science/technology interest, artistic interest, potential to engage a broad public with the exhibition theme, track record of the participants, costs and ability to deliver the project.

Each project needs to delivered within a maximum budget of up to 7k, however a higher budget may be made available in exceptional circumstances. Previously, many participating artists have secured financial support from local arts/government sources or funding bodies. Science Gallery is happy to help with letters of support if needed.

We are also looking for digital proposals. If your idea is a web-based or mobile phone app., or can be reworked digitally, then let us know.

Science Gallery will include works, experiments and ideas created in response to this call and integrate them into the exhibition. Submissions must be received no laterthan Tuesday March 30 2010 to be considered for inclusion. Science Gallery will contact those selected for inclusion by Friday April 9 2010.

To submit your proposal and find more information please use the form on the BIORHYTHM website - www.sciencegallery.com/biorhythm.

Looking for collaborators? If you have a great idea for an installation, performance or workshop but are seeking a musical or scientific collaborator to make it happen post it on theBIORHYTHM forum - www.sciencegallery.com/forums/exhibitions/biorhythm.

To hear a selection from “Something Like Fireworks” go here.

The work of Stephen Vitiello includes collaborations with composers and visual artists. Most well-known for his World Trade Center Recordings, in which he created a sonic portrait of one of the towers through the use of contact microphones, Vitiello’s recent work links sound with light and color to create an enveloping physical experience.

A synesthetic exhibition lavishly brimming with resonant frequencies of sound and light! The Amazing Acoustaphotophonogrammitron is a group show featuring work by makers who find themselves somewhere between visual artist and musician.

Curated by MCLA Gallery 51 Gallery Manager, Ven Voisey, The Amazing Acoustaphotophonagrammitron features the work of local and national artists: Joshua Churchill (CA), Paul de Jong (NY), Lesley Flanigan (NY), Christy Georg (MA), Mark Mulherrin (MA), Ed Osborn (RI), Tristan Perich (NY), Ven Voisey (MA) and Nick Zammuto (VT).

“This show is about overlap and influence of the different senses.” says Voisey, “ Included are artists whose processes seamlessly move through mediums and whose works are simultaneously audio and visual instruments.”

On Thursday February 25, at 7:30 pm, an evening of in-gallery performances by several of the exhibition participants, including Paul de Jong, Lesley Flanigan, Tristan Perich, and Ven Voisey (aka Cabinets). For more info and to buy tickets, please visit www.mcla.edu/presents.

The Amazing Acoustaphotophonogrammitron is on exhibit through March 21, 2010.

MCLA Gallery 51, at 51 Main Street in North Adams, is open every day from 10 a.m. to 6 p.m. For more information, call (413) 664-8718, or go to www.mcla.edu/Gallery51. MCLA Gallery 51 is a program of MCLA’s Berkshire Cultural Resource Center. http://www.facebook.com/event.php?eid=273029714520&index=1

——————————————————————————

ODDLY ALIVE
Please join us for the opening reception of Oddly Alive at the Arts
Center for the Capital Region in Troy, NY, Friday, January 29, 2010,
from 5 to 9pm. The exhibition will run through March 19.

Oddly Alive is curated by Lauren Wolk and features work by:
Rachel Abrams
Graham Caldwell
Marianne Fourie
Sabrina Gschwandtner
Mayumi Ishino
Sky Kim
Ven Voisey

Uniting the artists of Oddly Alive is their rejection of the inertness
of materials. Instead, each explores his or her medium’s capacity to
conjure life. Three of the artists put their material into a state of
action: Sabrina Gschwandtner explores the behavior of string in
response to the light and fan of a slide projector; Ven Voisey’s
suspended apparatus has a cacophonous response to approaching viewers;
Mayumi Ishino performance at the opening yields portraits on mirrors,
which she then smashed and left on display. The works of the other
four artists teem with the sheer quality of life: Graham Caldwell’s
glass sculptures reference a fierce mouth, a complex system of veins,
or the serenity of Spanish moss; Marianne Fourie’s vibratory
photomontages describe the passing of time, rather than a preserving a
single moment; Rachel Abrams’s idiosyncratic sculptures result from
her studies of ecosystems, sea life and myriad biological forms;
finally, Sky Kim’s paintings and drawings feature a seriality of
circles and curves, alluding to the texture of skin, muscle tissue,
cells, and the dramatic energy of seeds about to sprout.
http://www.facebook.com/event.php?eid=264341268260&index=1

———————————————————————————–

And continuing for the next couple days:

@ Index Art Center
Index presents:
Rock Dreams: Artist Made Songs
Curated by Steven Dressler

http://www.facebook.com/event.php?eid=208963595905

Artists:
Authority Office
Daniel Brophy
CAPTURE
Stephen Chopek
Chris George
Sarah Granett
Jodie Mack
Erica Magrey
Rebecca Major
Frankie Martin
Rachel Mason
Mirror Mirror
Michelle Mumoli
Luk Paard
Kelly Pinho
Flash Prezlowski
Theresa Rivezzo
Eddy Savage
Amanda Thackray
Ven Voisey
Ellen Whitney
Zev and the Mantis

INDEX
585 Broad Street
Newark, NJ 07102
www.indexartcenter.org
index.gallery@gmail.com
201-218-9725

-

Share Prize: Orchestra Meccanica Marinette plays Nag Hammadi :: November 3 and 5, 2009 at 6:00 p.m. :: Regional Museum of Natural Science at via Giolitti 36, Torino.

The orchestra consists of robot drummers that play steel drums “live”, under the direction of a performer. The interactive rhythms of the OMM sound out the movement, work and machinery of Turin industry. The subtext moves along the lines of the “Nag Hammadi”, the third-century A.D. Gnostic text, before plunging into contemporary mythologies through pieces inspired by the works of Ballard and Burroughs, exploring the relationship between, and the fusion of, human and machine.

The theme of Share 2009 is Market Forces. The Share Festival in 2009 showcases works about complexity. “Market Forces” responds to the crucial contemporary concerns which affect us all. These works explore what happens when we connect things together into systems and set these systems into motion - questions of chaos and value, meaning and randomness, politics and economics. These unstable abstractions have a concrete effect on our daily lives.

Share Festival will also be featuring the international collective for synesthetic media, : Optofonica”, created by Maurizio Martinucci aka Tez, who lives and works in Amsterdam. Among the numerous artists working with the collective, the Festival will be presenting Tez, with his performance “pv868″, “Martis Fennis” and Evelina Domnitch and Dmitry Gelfand with their work “10000 peacock feathers in foaming acid”, a performance using a soap film and laser. The /OSC (Optofonica Surround Cinema)/ will also be a feature of the night.

Club To Club will be presenting: Jon Hopkins, composer, pianist and self-taught recording technician. Hopkins shows no disdain to working with the most diverse artistic forms – adding to his movie soundtracks is his recent score for Entity, the latest production by choreographer
Wayne McGregor; Teho Teardo is an Italian composer and musician. After having released a fourth album with Meathead and having worked with Mick Harris (Scorn, Napalm Death) and Lydia Lunch, Teardo now composes music scores for film and television.

For more information: http://www.toshare.it/?page_id=941&lang=en

2009 is the centenary of the publication of The Plan of Chicago. The Synesthetic Plan of Chicago: A Multi-Sensory Journey Through Chicago and Its Neighborhoods corresponds with the celebration of this historic event. An interactive installation at the Chicago Cultural Center Visitor Information Center (77 E. Randolph Street), The Synesthetic Plan of Chicago is part of the citywide summer tourism initiative, Explore Chicago: Take A Neighborhood Vacation (June 1–September 30). More than 40 artists and organizations have joined in creating this exploration of Chicago through the five senses.

Visitors and locals can experience Chicago imagery, sounds, fragrances, flavors and textures captured in miniature neighborhood scenes such as a mapping of the tastes and recipes of Chinatown, and an exploration of East Garfield Park candy. SPC’s participating artists and organizations have designed installation pieces which invite people to interact with the sensory “artifacts” of Chicago in creative and imaginative ways, and to think about synesthetic connections with things that relate to Chicago. The Synesthetic Plan of Chicago is commissioned by the City of Chicago, and it is co-curated by Annie Heckman and Dan Godston.

Explore Chicago: Take A Neighborhood Vacation showcases the city’s famous enclaves through over 100 insider events and activities including this special exhibition. Presented in collaboration with Chicago cultural and neighborhood organizations, the Chicago Department of Cultural Affairs, Chicago Office of Tourism and the Illinois Department of Commerce and Economic Opportunity, Bureau of Tourism.

This year the main focus of the workshop is on perceptual processes. The project title — Halbinseln der Wahrnehmung/ Peninsulae of Perception — is a reference to a diary written by a person afflicted with Asperger’s Syndrome. The diary has been proposed as research libretto for investigations into differing perceptual channels and psycho-social research on autism, synaesthesia, music composition and real-time performance. The acoustic-musical dimension of the 2009 laboratory is complemented by research into design or wearable audiophonics and acousmatic architectures and sound perceptions.

The workshop brings together artists, scientists and researchers from different backgrounds committed to sharing their experiences and catalyzing multidisciplinary science-art collaborations. Special guests in residence at the summer lab are Stefan Scheib and Katharina Bihler from the Liquid Penguin Ensemble, an experimental music-theatre group that gained wide recognition through their award-winning radio music dramas. Their latest production, “Bout du Monde,” has just been selected radio drama of the month (June 2009) by the German Academy of the Performing Arts. Previously, “GRAS WACHSEN HÖREN - das biolingua Institut wir 100 Jahre alt” was awarded the prize for best german radio drama and the ARD Online Award in 2008. Their music theatre performance “Eurydike hinter den Grenzen” (2007) was shown at festivals in Luxembourg, Düsseldorf, Saarbrücken and other venues.

The laboratory is organized by theatre director and media artist Johannes Birringer who founded the Interaktionslabor in 2003 and currently holds a professorship in digital performance at Brunel University, London. “We have had many inquiries this year, as our subject combines research into media arts and psychology,” Birringer says, “and the lab also has a continuing commitment to challenging our assumptions about space and perceptual constructions. We look forward to the participants from Latin America, Great Britain, France and Switzerland who will join artists and educators from the region.” The lab ensemble plans to create a sonic installation in the 10KV, a former electric plant on the campus of the mine. The Interaktionslabor, which went on tour last summer to Belo Horizonte, Brasil, has become increasingly well known for its unique peripheral location, its independent, autonomous status, and the transcultural partnteships it has helped to build over the years.

The lab ensemble plans to create a sonic installation in the 10KV, a former electric plant on the campus of the mine. The Interaktionslabor, which went on tour last summer to Belo Horizonte, Brasil, has become increasingly well known for its unique peripheral location, its independent, autonomous status, and the transcultural partnerships it has helped to build over the years.
The activities are open to visitors, and information about the proceedings and the research process can be found here.

Produced in partnership with Roulette’s Mixology Festival, Gestures and Responsive Media consists of three concert programs focusing on modern experiments in performance technology. Central to this series is the exciting way that live performers are exploring the use of gesture to control computers and building technological environments for free, improvisatory play. From Pamela Z’s gesture-based vocal experiments to Sha Xin Wei’s phenomenological experiments with movement and media, the presenting artists not only expand the boundaries of traditional performance and instrumentation, but also humanize electronics through creative means.

May 14 - Pamela Z / Elliott Sharp

>Pamela Z will perform work for voice, electronics, and interactive video including Suitcase Suite, being developed as part of her work-in-progress Baggage Allowance. Elliot Sharp will present new works as part of his ongoing Tectonics project. Tectonics is the name under which Sharp performs his solo electro acoustic music. The live concerts are performed on his 8-string guitar bass, a laptop computer running a variety of applications, hardware processors, plus various electronically modified horns.

May 15 - Zach Layton / Sha Xin Wei

Zach Layton will perform new works exploring synaesthesia, geometric forms, minimal surfaces, kinetic visual patterns and sonic gestures. Sha Xin Wei, with Clarinda Mac Low, will present, Ouija, an open workshop/seminar experiment with dancers in responsive media. Ouija is a phenomenological experiment about gesture, intention and collective vs. individual agency. It uses the forms of a contemporary dance and movement art workshop to explore the medium of movement and media.

May 16 - Sawako / Bill Hsu & James Fei

Sawako, with a bit of help from technology, will improvise with underwater recordings from around NYC and Hawaii, as well as with actual water. Aqua Field is Sawako’s recent ongoing project related to water and the ocean. Bill Hsu and James Fei will perform a suite of pieces for alto saxophone and electronics. Hsu’s software extracts timbral and gestural information from the real-time saxophone performance, and uses this information to guide its behavior. The pieces will explore a range of system behavior, from completely autonomous improvisation to full manual control.

BIOGRAPHIES:

Pamela Z is a composer/performer who makes solo works combining a wide range of vocal techniques with electronic processing, samples, and gesture activated MIDI controllers. She has also composed scores for dance, film, and new music chamber ensembles. She has toured extensively throughout the US, Europe, and Japan. Her numerous awards include a Guggenheim Fellowship, the Creative Capital Fund, the CalArts Alpert Award, the ASCAP Award, an Ars Electronica honorable mention and the NEA/JUSFC Fellowship.

Elliott Sharp is a composer, multi-instrumentalist, and producer and central figure to the avant-garde experimental music scene in New York City for over thirty years. He has released over 200 recordings spanning the musical spectrum but all bearing his personal sound. He leads the projects Carbon and Orchestra Carbon, Tectonics, and Terraplane and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction as well as pioneering real-time computer-based improvisation with his Virtual Stance project of 1986. Sharp’s solo Tectonics program was featured at the re-opening of NYC’s PS1 Contemporary Art Center in October 1997.

Zach Layton is a composer, curator, improviser and new-media artist with an interest in biofeedback, generative algorithms, experimental culture and architecture. Based in Brooklyn, his work investigates complex relationships and topologies created through the interaction of simple core elements like sine waves, minimal surfaces and kinetic visual patterns. Zach has performed and exhibited at many venues in New York, South America and Europe. Zach is also founder of Brooklyn’s monthly experimental music series, Darmstadt: classics of the avant-garde co-curated with Nick Hallett. He is co-curator of the PS1 summer warm-up music series and is one of the directors of Issue Project Room.

Sawako is a Tokyo/NYC-based sound sculptor. After beginning in video art, Sawako shifted her focus from the video camera to sound. Sawako did audio and/or live performances in Japan, USA, Lisbon, London and Canada among other countries, and has collaborated with a wide range of artists such as Taylor Deupree, Taku Sugimoto, Chika, O.blaat, Toshimaru Nakamura, Jacob Kirkegaard and Andrew Deutsch. Sawako obtained a Master’s degree in Interactive Telecommunications from New York University and received a B.A. from Environmental Information Department at Keio University, SFC, Japan. Born in Nagoya, Japan.

Associate Professor of Fine Arts and Computer Science at Concordia University in Montréal, Canada, Sha Xin Wei directs the Topological Media Lab, a studio-laboratory for the study of gesture and materiality from computational and phenomenological perspectives. Sha Xin Wei was trained in mathematics at Harvard and Stanford Universities, and worked more than 12 years in the fields of scientific computation, mathematical modeling and the visualization of scientific data and geometric structures. In 1998, Sha also co-founded the Sponge art group in San Francisco, to build public experiments in phenomenology of performance.

BIll Hsu builds software and performs with electronics. His work mostly involves using gestural interfaces to control synthesis, and exploring systems that interact with human performers. His recent performances include concerts at NIME 2007 and MIX Festival 2007 (both New York), and Fete Quaqua 2008 (London). He teaches computer science at San Francisco State University.

James Fei (b. Taipei, Taiwan) moved to the US in 1992 to pursue a degree in electrical engineering. He has since been active as a composer, improviser and sound artist. Works by Fei have been performed by the Bang on a Can All-Stars, Orchestra of the S.E.M. Ensemble, MATA Micro Orchestra and Noord-Hollands Philharmonisch Orkest. Fei teaches sound art and intermedia at Mills College.

“Artists designing software and interfaces that become the engines of their art constitute an emerging field where viewers and performers participate and collaborate with machines to produce a new sensory experience.”

Harvestworks Digital Media Arts Center is a nonprofit that provides resources for artists to learn digital tools and exhibit experimental work created with digital technologies. Our programs are made possible with funds from New York State Council on the Arts, the National Endowment for the Arts, the NYC Dept. of Cultural Affairs, Materials for the Arts, the Mary Flagler Cary Trust, the Jerome Foundation, media The foundation, the Foundation for Contemporary Art, The New York State Music Fund, the Lower Manhattan Development Corporation, The Argosy Foundation, The Carnegie Corporation, The NY Community Trust, The Andy Warhol Foundation and the Friends of Harvestworks.

Roulette Intermedium is an Experimental and New Music presenting organization dedicated to the development of emerging and established artists. Since 1978, our ongoing purpose has been to provide opportunities for innovative composers, musicians, sound artists and interdisciplinary collaborators to present their work in accessible, appropriate and professional productions. Roulette hosts over 100 New Music concerts each season, with our annual spring Mixology Festival focusing on new and unusual uses of technology in music.