Transmittance explores collaboration which is local, global, networked and broadcast. It involves an artistic group of performers, visual artists, musicians and computer programmers to research performative possibilities of streaming, broadcasting and telepresence forging new types of performance and audience. With focus on critical and socially-aware artistic languages this work is based on asking questions about body, self and society - opening non-dualistic perspectives.

The project tries to rethink the notions of spectatorship and spectacle, ways of watching and seeing and the audience as spectators from the outside. In the framework of free telepresence technologies it is a quest to open new spaces of visibility for performance and new media art and while critically deconstruct also actively bypass power structures that have a hold on physical spaces of artistic representation. Emphasis is made on creative use of free and open source software and its impact on artistic process and collaboration.

The project develops a specific method of improvised performance which allows compositional freedom beside specific prepared scenes at the same time and in the process collide different specifics of various artistic media (performance art, expanded cinema, sound art, new media realities).

Transmittance is a project proposed by Maja Delak & Luka Prinčič.

Transmittance_#2 is in collaboration with: Loup Abramovici, Boštjan Božič, Maja Delak, Matija Ferlin, Jakob Leben, Ana Pečar, Luka Prinčič, Maja Šorli, Igor Štromajer, Jelena Ždrale and Nataša Živković

Produced by: Emanat Institute, Ljubljana :: Coproduced by: Galerija Kapelica (Zavod K6/4), Tobacco 001 Cultural Center (MGML), Ljubljana :: Financial support: Ministry for culture of Slovenia, City of Ljubljana

Previous Transmittance phases: Transmittance #1.5, Ljubljana/Graz [26/8 2011] with Maja Delak, Luka Prinčič, ESC Gallery, Graz, Reni Hofmueler and “mur.sat” project // organized by Emanat Institute, ESC Gallery Graz

Transmittance #1 Pula,.hr [27/5 2011] with Marko Bolković, Maja Delak, Matija Ferlin, Luka Prinčič, Messmatik, Rea Korani, Mauricio Ferlin, Marcel Mars/Nenad Romič :: executive production by: Egle Vošten // produced and organized by:Polis Jadran Europa Pula, Emanat Institute Ljubljana // financially supported by: Ministry of Culture Croatia, Municipality of Pula, Ministry of Culture RS, City Municipality of Ljubljana // supported by: Region of Istria, Tourism Office Pula

Transmittance #0, Teatro Petrella, Longiano, Italy [19/12 2010] Maja Delak & Luka Prinčič (Wanda & Nova deViator) // preparation of the tools / open rehearsal // with Adele Cacciagrano, Tihana Maravic, Silvia Mei, Fabrizio Zanuccoli // program VIA DEL CONFINE, The East Side (of the moon) // curator: Nhandan Chirco // organized by: YANVII, Rad’Art Project/Artéco, Teatro Petrella, Emanat Institute

Dirty Dozen BodyLab, Berlin, Ljubljana [28/8 2010] Luka Prinčič & Maja Delak - research of streamed interactive performance by invitation of Kathleen Reynolds (Berlin team: Michel Abdoul / PascalBaes / Joao Costa / Awatef Fettar / Oscar Garcia / Dusan Pejcic / Kiril Bikov / Kathleen Reynolds / Aï Suzsuki / Gill Viandier / RaphaëlVincent / Vero Mota)

Penta Locus extends a history of networking music education at five universities for a concert of new telematic music pieces by students and faculty. The concert builds on 2010 Tri Locus between University of California San Diego, New York University, and Stanford University, and past work with Queens University Belfast, Concordia University, and Hamburg Hochschule of Music.

University of California, San Diego 12:00 pm PST
9500 Gilman Drive
Conrad Prebys Experimental Theatre (CPMC 122)
UC San Diego.
La Jolla, CA

Mark Dresser, Director, Bass, Jason Ponce, Technical Director, Kyle Blair, Piano, Joe Cantrell, Electronic & tabletop guitar, Torrance Carroll, Technology, Michael Cheng, Technology, Drew Ceccato, Winds, Yeung-Ping Chen, Clarinet, Tiffany Du Mouchelle, Voice, Adam Goodwin, Bass, Yvette Jackson, Trumpet, Bonnie Lander, Voice, Samuel Nacach, Technology, Luke Oskam, Technology, Conductor, Kjell Nordeson, Percussion, Alex Segal, Technology, Stephen Solook, Percussion, Kendall Tice, Technology

New York University 3:00 pm EST
35 W. 4th Street, 6th Floor.
Music Composition Program, Music Technology Program,
Steinhardt School.
New York City, NY

Sarah Weaver, Director, Conductor, Chris Cappozzoli, Technology, Allen Fogelsanger, Piano/Laptop, Phillip Mayer, Trombone, Andy McBeath, Percussion/Drumset, Sonia Megias Lopez, Voice, Conductor, Anna Morris, Woodwinds, Timothy O’Hara, Bass, Glen Saldanha, Technology, Lee Salevan, Technology, Tyler Sawyer, Technology, Ian Shafer, Oboe

Concordia University 3:00 pm EST
Concordia University, Music Department
1450 Guy Street (John Molson Building)
8th floor, room MB8.245 (EA classroom)
Montreal QC

Eldad Tsabary, Director, Conductor, Michael Baker, Laptop, Joe Browne, Laptop, Alexis Franco, Laptop, Ivo Tobin Lippold, Laptop, Marco Liy, Laptop, Marek Madej, Laptop, Greg Marino, Laptop, Patrick McDowall, Laptop, Kris McDougall, Laptop, Michael Palumbo, Laptop, Evan Stepanian, Laptop, Stephen Trepanier, Laptop, Patrick Valiquet, Laptop, Jamie Woollard, Laptop

Queens University Belfast 8:00 pm GMT
Sonic Arts Resource Centre
4 Cloreen Park
Belfast

Pedro Rebelo, Director, Franziska Schroeder, Director, Saxophone, Felipe Hickmann, Technology, Emily Robertson, Piano, Robert Casey, Piano, Adam Brown, Tuba, Steve Davis, Drums

Hamburg Hochschule of Music 9:00 pm CET

Georg Hajdu, Director, Technology, Konstantina Orlandatou, Accordion, Piano, Technology, Organisation, Daniel Dominguez, Electronics, Florian Vitez, Electronics & Fender Rhodes, Xiao Fu, Video & Guqin, Jiaying Lu, Violin

Coordinators:
Mark Dresser and Sarah Weaver

Audio Networking Director:
Felipe Hickmann

TeleArts: Artists Collaborating Over High Speed Networks. The course will be taught by Dr. Kenneth Fields Canada Research Chair in Telemedia Arts; Associate Professor of Music [ kfields@ucalgary.ca] :: University of Calgary Credit offered for remote participation :: You may attend this course as a resident of the Banff Centre. Complete info here: http://syneme.ucalgary.ca/SynemeSummer

Syneme will hold a ground breaking summer workshop on telearts from July 4-22, 2011, at the University of Calgary in Alberta, Canada at the foothills of the Canadian Rocky Mountains. The workshop explores the collaborative potential of mixed media/reality and live performance over high-speed networks using the power of 1 gigabit research networks. Real-time distance collaboration and performance will be the focus of our exploration. Syneme’s Telearts summer workshop aims to attract professional artists and musicians without year-round access to high-speed networks. Attendees will implement projects utilizing Syneme’s (and those of our partner’s) robust network infrastructure that carries HD video and uncompressed multichannel audio. A major focus of the course is to share ideas/methodologies in progress as related to telearts projects. The workshop will conclude with an international networked, real-time collaborative performance.

Workshop Schedule:
April: Announcement
May: Registration
June: Remote pre-collaboration (proposals, brainstorming)
July 4th, 6th, 8th: First Week Classes
July 11, 13, 15: Second Week Classes
July 18, 20, 22: Third Week Courses
July 22nd (CA/UK) and 23rd (Beijing/HK/NZ) - Final Performance
August: Documenting and Online Summaries

The Syneme tele-performance lab includes the use of a 1Gig fiber optic research network link, Apple computers, Sony and Canon HD Cams, Lifesize Express Teleconference system, Lemur OSC controller, photographic lights, Neuman and AKG microphones, 2 Panasonic HD projectors, Blackmagic Multibridge pro video card, RME audio interfaces and state of the art performance spaces.

For initial inquiries, please contact Ellen Pearlman (elpearlm@ucalgary.ca) or Ken Fields (kfields@ucalgary.ca).

LEIGH SALES, PRESENTER: Classical music met cyberspace at the Opera House during the past week. The YouTube Symphony is no ordinary outfit. More than 100 musicians from 33 countries joined together for a unique multimedia event involving online auditions, mobile phone streaming and live tweeting of the finale. Rebecca Bailey produced this report.

LEIGH SALES: That report produced by Rebecca Bailey.
You can see a video at: http://www.abc.net.au/7.30/content/2011/s3169809.htm#

Loud Objects, NYC-based circuit sorcerers, present a wacky way to learn hardware audio programming. The WWW-Enabled Noise Toy invites anyone with a web browser to write their own audio code, program it remotely onto a Noise Toy, and play it live via webcam. In the spirit of “try it yourself” software demos, the website provides a simple environment for experimenting with low-level microchip-generated audio. Load code from the Loud Objects’ own library of performance algorithms, hone your own noise techniques, and add your work to the online archive to share it with other microchip coders and create an open source noise community.

BIOGRAPHY

Graduates of Columbia University, Kunal Gupta, Tristan Perich and Katie Shima have been performing as Loud Objects since 2005. Their performances, focused on sound from programmed microchips, have ranged from live circuit constructions on overhead projectors and slide projectors, to soldering atop a 24-light bulb fluorescent podium, and later with modified fluorescent light guitars.

Loud Objects have performed in the USA and internationally at numerous festivals on four continents, including Sonar (Spain), Transitio_MX (Mexico), Piksel (Norway), Evolution (UK), Bent Festival and Blip Festival (NYC), Electric Eclectics (Canada), Screen Music 2 (Italy), Art and Music with the Overhead Projector (Germany), Festival of Endless Gratitude (Denmark), NIME (Brooklyn). Their varied performances range from solo acts to shifting duets with vocalists, drummers, susophonists, tuba quintets, laptop musicians, singers, painting machines, manatees, and recently as movie soundtracks.

As teachers, they have hosted workshops where attendees learn to build and program sound- generating circuits. They have explored teaching as performance, explaining their motions as they solder their circuit live, fielding questions above the noise. They have spoken and given workshops at Maker Faire (California), Handmade Music Night (Brooklyn), Le Cagibi (Canada), Museum of Science (Arkansas), Columbia University (NYC).

As artists, Loud Objects blanket walls with small speakers and microchips. Instead of pushing buttons, the audience is encouraged to rewire the actual circuit with soldering irons, hanging as part of the installation. These installations have been in shows including Art and the Overhead (Sweden), Piksel (Norway) and Art and Music with the Overhead Projector (Denmark).

This one-day event explores emerging possibilities of distance and interaction in music. As new network-based technologies have facilitated and amplified human communal interaction, musicians have simultaneously embraced these for live performance. [Ø] [zerospace]—consisting of an afternoon colloquium with performances, and an evening concert—will explore several musical trends in distance and interaction in music.

NOMADS (Network-Operational Mobile Applied Digital System) :: Participatory Colloquium and Performance :: 3:30 p.m. in Curtin Hall 175 :: with Interactive Media Research Group/IMRG (UVA), Chris Chafe (Stanford), and Scott Deal (IUPUI); panel discussion moderated by Christopher Burns (UWM)

Evening Concert : 7:00 p.m. at Music Recital Hall ::Telematic interactive performances between UWM and UVA, IUPUI/Indianapolis, CCRMA/Stanford, and UMKC/Kansas City, featuring music and performances by Burtner, Chafe, Deal, Michael Drews (IUPUI), Aurie Hsu (UVA), IMRG, IUPUI Telematic Collective, Steven Kemper (UVA), John Mayhood (UVA), MICE (UVA), MiLO (UWM), Chryssie Nanou (Stanford), RAT (UMKC), and David Topper (UVA). Featured performers in the IUPUI Telematic Collective include Chuiyaun Meng, technical director; Nick Hartgrove, percussion; Brendon Rhia, Kara Commons, and Ben Rogge, technical support; and Margaret Dolinsky, VRT Navigation ::

More Info http://www4.uwm.edu/c21/pages/events/abstracts/11spring/zerospace.html

World Time Clock: http://www.timeanddate.com/worldclock

Performed live at Kunstmuehle studio, Braunschwieg, Germany and broadcast online at http://radio.aporee.org. It is also being recorded for furthernoise Explorations in Sound Vol, 5.

Audio mix: http://radio.aporee.org
Visual mix: http://www.visitorsstudio.org
For full A/V experience open both URLs in separate browser windows.

Live at Kunstmuehle studio : Elke Utermoehlen – Voice , Max/MSP
Martin Slawig – Elecronics, Max/MSP
Edward Filipp – Percussion

New York, USA : 
Richard Lainhart – Buchla & Guitar

Sydney, Australia : Yavuz Uydu (Turkish Oud and Bendir)
Roger Mills (Processed Trumpets)

Networked visual mix featuring 
Helen Varley Jamieson - Munich, Germany, 
Graziano Milano - London, United Kingdom, and 
Neil Jenkins - Sydney, Australia

View Ethernet Orchestra tri-screen video excerpt: http://www.eartrumpet.org/eo/ethernetorchestra_distantpresences_10_05_10.mov

Distance Presences I, Sunday Night at the Movies, 20/7/2010 FBi Radio A/V mix
http://www.eartrumpet.org/distantpresences/

http://ethernetorchestra.netpraxis.net
http://www.blackhole-factory.de
http://www.theater-outlet.de/?page_id=626
http://www.furthernoise.org

… Using the term bridges as a metaphor, our initiative makes an attempt to bridge cultures, regions, locations and individuals, each with their particular history. Particularly Europe with its historical and ethnic diversity has repeatedly gone through massive changes separating and reuniting people often living in close vicinity.

Our concerts which bring together musicians from the former West (Germany and Austria) and East (Hungary) as well as a participant from Serbia (which is still some kind of pariah state in the heart of Europe) – all connected by the river Danube – demonstrate the potential of Internet performance as a means to overcome national borders and political single-mindedness. The aim of the project is to further explore the potential of taking participating musicians and artists out of their political and social isolation by creating communities of like-minded artists united by their creativity and mutual interests.

…
Since network music is a very new field of art, our approach had to start almost “from zero”. Nevertheless the “open” handling of time in the form of “time brackets” in some works of John Cage helped to lay out a method of dealing with certain temporal uncertainties of timing, which are unavoidable when transmitting musical information over Internet. Besides dealing with sound and timbre in various electronic works by composers like Marco Stroppa, Jonathan Harvey, Denis Smalley, The HUB had quite some influence on our work.

To read the full interview: http://www.percussa.com/artists/european-bridges-ensemble/

The European Bridges Ensemble will be performing on December10, 2010 @ Pécs D(é)RIVE: GPS-Trans 11, University of Pécs, Faculty of Visual Arts & Music, Pécs, Hungary ::

Links:

* http://E-B-E.eu
* http://quintet.net
* http://kainiggemann.com
* http://www.johanneskretz.com/
* http://www.georghajdu.de/
* http://www.sadam.hu

Maryanne Amacher: City-Links :: until November 28, 2010 :: Ludlow 38, Künstlerhaus Stuttgart Goethe-Institut New York, 38 Ludlow Street, New York.

Between 1967 and 1981 the pioneering sound artist produced 22 City-Links projects in total, connecting distant microphones to installations and performances using dedicated FM-quality analog phone lines. Areas of downtown Buffalo, MIT, Boston Harbor, the Mississippi River, the New York harbor, studios in various locations, and other sites in the USA and abroad were transported, sometimes integrating performers near the microphones (such as John Cage and George Lewis for City-Links #18 performed at The Kitchen in 1979). Maryanne Amacher: City-Links brings together a number of documents, images and sound samples selected and reproduced from the nascent Amacher Archive as a first look at this important series of early telematic art works about which little has been published.

Maryanne Amacher wrote about her City-Links series: In my first sound works I developed the idea of sonic telepresence, introducing the use of telecommunication in sound installations. In the telelink installations “CITY-LINKS” #1-22 (1967- ) the sounds from one or more remote environment (in a city, or in several cities) are transmitted “live” to the exhibition space, as an ongoing sonic environment. I produce the “CITY-LINKS” installations using real-time telelinks to transmit the sound from microphones I place in the selected environments, spatializing these works with many different sonic environments: harbors, steel mills, stone towers, flour mills, factories, silos, airports, rivers, open fields, utility companies, and with musicians “on location.” The adventure is in receiving live sonic spaces from more than one location at the same time - the tower, the ocean, the abandoned mill. Remote sound environments enter our local spaces and become part of our rooms. Instal lations of “CITY-LINKS” include works created for solo and group shows at the Museum of Contemporary Art, Chicago (1974); Walker Arts Center “Projected Images,” Minneapolis (1974); Hayden Gallery MIT, “Interventions In Landscape,” Cambridge, Mass (1975); Institute of Contemporary Art, Boston, Mass. (1975); Corps de Garde, Groningen, Holland (1978); the Kitchen Center, NYC (1979); Radio France Musique (1976); Mills College (1980 & 1994).

Maryanne Amacher was born on February 25, 1938 in Kane, PA and died October 22, 2009 in Rhinebeck, NY. At Maryanne Amacher’s urging The Amacher Archive was initiated by her friends Robert The and Micah Silver during her illness in the summer of 2009. A tribute to Maryanne Amacher will be held on the first anniversary of her death, October 22, 2010 and is organized and hosted by the MIT Program in Art, Culture and Technology in Cambridge, MA.

Maryanne Amacher: City-Links has been curated by Tobi Maier, Micah Silver, Robert The and Axel Wieder.

This edition of Sonorities celebrates artistic collaboration by showcasing new work developed in the context of the Comedia Culture 2007 European project. This year’s festival extends from Belfast to Graz in Austria and Hamburg in Germany through a vibrant and eclectic collective of musicians, coming together to perform in, on and across the network.

As the use of computer networks increasingly influences our daily lives and the way we approach artwork, social interaction and creativity, we feature three days of events which present experimental and groundbreaking work in the field of network performance as well as revisiting 20th Century classics performed across Europe. Along with highlights such as grandfathers of networked music The Hub, pianist and composer Chris Brown, invited artists include Carin Levine (flute) and Evan Parker (saxophone) who will be performing new network-centric pieces by artists associated with the Sonic Arts Research Centre and the Comedia project including Pedro Rebelo, Franziska Schroeder, Andrea Szigetvári, Felipe Hickmann, Rui Chaves, Justin Yang, Patricia Alessandrini, Shirin Abu Shaqra, Alain Renaud, Imogene Newland, Pierre Proske, Robert King, Winfried Ritsch and The European Bridges Ensemble amongst others. The festival culminates in a concert by an improvised music collective directed by Evan Parker.

The Two Thousand + Ten symposium has been running alongside the festival since 2006, providing a platform for creating relationships between a public artistic program and an interdisciplinary critical platform speakers from fields such as new media, choreography, music technology, musicology, sociology and philosophy. This year’s symposium focuses on improvisation and includes keynote addresses by Georgina Born and David Borgo.

Join us for this unique event of network music, dance, interactive video and installation staged between Belfast’s Sonic Arts Research Centre, Graz’s Institut für Elektronische Musik und Akustik and Hamburg’s Hochschule für Musik und Theater.

Festival Programme (See http://www.sonorities.org.uk for full details)

Thursday, 4th November - 13:10 Chris Brown

Sonic Arts Research Centre

Free Improvisation, with interactive signal processing

Invention #7 “Branches” (2000-01)

for piano with MIDI output and interactive computer

Thursday, 4th November - 17:30 Real Time Drill - Peter Ablinger

Installation/Performance

Sonic Arts Research Centre

Queen’s University Belfast

Thursday, 4th November - 19:30 NetComedia

Sonic Arts Research Centre

European Bridges Ensemble:

Adam Siska; 185

John Cage/Georg Hajdu: Radio Music

Fredrik Olofsson: the choir, the chaos

Johannes Kretz: Aria

Johannes Kretz: Encore

Adagio pour l’absence - Patricia Alessandrini

Packet Loss: A solo-duet for Keyboard, Network, and Disklavier - Rob King (Visuals), Pierre Proske (Piano, Digital Audio)

Performed by Franziska Schroeder and Steve Davis (Belfast), Clemens Frühstück, Elisabeth Harnik and Summerer Reinhard (Graz), and Carola Schaal, Stefen Weinzierl and Turo Grolimund and the European Bridges Ensemble (Hamburg).

Friday, 5th November 13:00 wewalktogether (Live Broadcast) – Rui Chaves

Platform Gallery, Belfast

Reception at 13:00, Performance at 13:30

Friday, 5th November - 5.30pm woman=music=desire - SOMA

Snack Bar of the Student’s Union

Friday, 5th November - 19:30 Net 20th Century

Sonic Arts Research Centre

Queen’s University Belfast

A Pierre, dell’azzurro silenzio inquietum - Luigi Nono

Five - John Cage

Music for Pure Waves Bass Drums and Acoustic Pendulums - Alvin Lucier

December 1952 - Earl Brown

Friday, 5th November 21:30 The Hub

Brian Friel Theatre, Queen’s University Belfast

Saturday, 6th November Two Thousand + TEN Symposium

Sonic Arts Research Centre

9.15 – 9.25 Welcome: Franziska Schroeder / Pedro Rebelo (SARC/CoMeDia)

9.25 – 9.45 Paula Chateauneuf: The Establishment of an Italian 17th-Century Style Improvising Ensemble

9.45 – 10.05 Owen Green: Leading Separate Lives: On the Musical Distinctions Between People, Other People and Things

10.05 -10.25 Phillip Henderson: Identifying a timeframe for temporally self-contradictory music

10.25 – 10.45 Felipe Hickmann: Game structures as grounds for improvisation in networked performance

10.45 – 11.05 Dara O’Brien: Improvisation, Metaphysical Experience and Spirituality in North Indian Classical Music

11.15 – 11.45 Coffee Break

11.45 – 12.45 KEYNOTE Prof. David Borgo, University of California San Diego

1.00 – 2.00

Lunch Break 2.00 – 2.20 Han-earl Park: Subject Matter: Improvising Cyborgs

2.20 – 2.40 Adam Parkinson: Improvisation, Multiplicity and the Blind Probe Head

2.40 – 3.00 Richard Scott: Interactivity versus infinite memory: reflections emerging from the development of gestural technologies for free

improvisation

3.00 – 3.20 Justin Yang: Modern free improvisation, the pursuit of an enigma

3.20 – 3.40 Break

3.40 – 4.00 Eduardo Abrantes: Insignificant Voices – the phenomenology of vocal improvisation and meaninglessness

4.00 – 4.20 Kent De Spain: Improvisation and Intimate Technologies

4.20 – 4.40 Marcel Cobussen: Improvisation and/as a Complex System

4.40 – 5.00 Thomas Ciufo: Computer-Mediated Improvisation and Interactive Instrument Design

5.00 – 5.15 Coffee Break

5.15 – 6.15 KEYNOTE Professor Georgina Born, Cambridge University

Saturday, 6th November 7:00pm Laser Avatars

Broadcast from Vienna and Hamburg

Sonic Arts Research Centre

Laser Turing Test for Dancers - Johannes Kretz
Send Me A Sound - Andrea Szigetvári

Saturday, 6th November 8:00 pm NetPLAY

Sonic Arts Research Centre

Renditions – Alain Renaud / Curtis McKinney

A man, A Mark, Amen – Felipe Hickmann / Caetano Galindo
Netgraph – Pedro Rebelo

Webwork I – Justin Yang

Sunday, 7th November 6:00pm Call them Improvisors! – Evan Parker

Sonic Arts Research Centre