 |
||
 |
 |
 |
 |
 |
 |
|
||
|
|
|
|
|
|
Know of an event or listing that belongs here? E-mail the host.
Updated 2 October, 2005 – check back tomorrow for more listings!
New Music Calendars
[east usa]
[central]
[west]
[canada]
[europe]
[organizations]
PARTICIPATE: Festivals, Contests, Conferences, Airtime Submissions Requested!
Know of an event or listing that belongs here? E-mail the host.
LOS ANGELES, CA:
A listing of experimental and exploratory music performances in the
Los Angeles area
Week of: Sunday 10/2 - Saturday 10/8, 2005
SPECIAL NOTICES:
* ACF/LA HOUSE CONCERT (Sun, 10/2) -- 4:00-7:00 pm
Memorial gathering in honor of Richard Zvonar
- live and recorded performances, special guests
www.composers.la/calendar.asp?myMonth=10&myYear=2005&myDayOfMonth=2
* LACMA CENTRAL COURT (Wed, 10/5) -- 6:00-8:00 pm
Memorial celebration of the career of Dorrance Stalvey
- Cocktails, refreshments, and music
- Complimentary parking will be available in the lot on the
southeast corner of Wilshire Boulevard and Spaulding Avenue
(Please enter the museum through the Wilshire Blvd. entrance)
WEEKLY SERIES:
* EAR ORCHARD, CLUB TROPICAL (Mon, 10/3) -- 8:30 pm
- Red Hill: Harvey Lane, et al.
www.bananabreadrecords.com/concerts.php
www.consaborclubtropical.com/
* CRYPTONIGHT, CLUB TROPICAL (Thu, 10/6) -- 8:00 pm
- Steuart Liebig/Seconda Prattica: Steuart Liebig, Dan Clucas,
Michael Vlatkovich, Bill Plake, Alex Cline
www.cryptonight.com
* SPECIAL FRIDAY CRYPTONIGHT, CLUB TROPICAL (Fri, 10/7) -- 8:00 pm
- Scott Amendola Band: Scott Amendola, Nels Cline, Jeff Parker
Jenny Scheinman, John Shifflett
www.cryptonight.com
ADDITIONAL EVENTS:
* OPEN GATE: CENTER FOR THE ARTS, EAGLE ROCK (Sun, 10/2) -- 7:00 pm
* MAIN GALLERY, CALARTS, VALENCIA (Sun, 10/2) -- 2:00 pm
* MUSIC HALL, CAL STATE UNIV. LOS ANGELES (Sun, 10/2) -- 8:00 pm
* PIANO SPHERES: ZIPPER HALL, COLBURN SCHOOL (Tue, 10/4) -- 8:00 pm
* ARTISTS UNION GALLERY, VENTURA (Tue, 10/4) -- 7:30 pm
* VENTURA COLLEGE THEATER, VENTURA (Wed, 10/5) -- 8:00 pm
* IL CORRAL (Thu, 10/6) -- 9:00 pm
* SPRING ARTS TOWER (Sat, 10/8) -- 7:00 pm - 2:00 am
* ARMORY CENTER FOR THE ARTS, PASADENA (Sat, 10/8) -- 8:00 pm
* ROSALIE AND ALVA PERFORMANCE GALLERY, SAN PEDRO (Sat, 10/8) -- 8:00 pm
LA:
ART WORKS by JACKI APPLE at the new LITTLE TOKYO BRANCH PUBLIC LIBRARY
THE GRAND OPENING OF THE
ART WORKS by JACKI APPLE
ARCHITECT: ANTHONY LUMSDEN
LA:
Jim McAuley Performances
Dear New Music Cognoscenti,
I am pleased to announce three upcoming l.a.-area performances celebrating the release of "GONGFARMER 18", my new CD of acoustic guitar improvisations (review below). Best of all, the shows are absolutely FREE--you're guaranteed to get more than you paid for!
SUNDAY, OCTOBER 2, 7pm:
Jim McAuley
Open Gate Series
REVIEWS:
"...genuinely evocative and refreshingly cliche-bashing work." --Josef Woodard, Los Angeles Times (concert review)
JIM MCAULEY - Gongfarmer 18 (Nine Winds)
"Half-composed music - or structured free forms, if you will - is probably what I like best when listening to solo acoustic guitar. Besides owning a dexterity which could silence many pretenders, Jim McAuley has an unique gift of transforming his imagination and dreams into untarnished grace; he's capable of putting your heart in full-resonance mode with delicate ornaments and evocative counterpoints and arpeggios then, all at once, he mutates his machine into an Eastern instrument through string detuning, a trick he performs pretty easily despite the fact he does it while playing the tune! Atonality and romanticism - minus the sugar - are both present, too (listen to the succession of "1+2" and "Nika's waltz") but great news also comes from Jim's use of the 12-string, as he is the first guitarist I've heard in a long time trying to tame this beast without sounding like a Ralph Towner clone. At the end of this record you feel a little more optimist and somehow relaxed - and that speaks volumes." ---Massimo Ricci, touchingextremes.com/.
NYC:
CCi brings you
for the forward thinking...
Box office: 212-663-1967
SERIES DETAILS:
Serial Underground at The Cornelia Street Cafe
Serial Underground 2005
Where: Cornelia Street Cafe (29 Cornelia Street, NYC)
Box office: 212.663.1967 (advance purchase discount available)
ComposersCollaborative inc's (CCi) Serial Underground introduces new multidisciplinary concert theater collaborations the second Monday of the month at the legendary Cornelia Street Caf, NYC. Doors open at 8:30 pm.
Composer/pianist Jed Distler (CCi artistic director) opens the September 12th evening with his own The Anthem atWoodstock(1996) for piano, a salvo to Jimi Hendrix's historic performance.
You might notice a political thread in our September 12 program directed by Arnold Barkus. David Lovett's lighting design adds glitz to the underground experience.
As of 1998 "the ever imaginative ComposersCollaborative" (Time Out) has presented such new music fare as the Solo Flights and Non Sequitur
festivals. Launched in the fall of 2004, Serial Underground presents multidisciplinary collaborations between composers, playwrights, directors,
spoken word artists. Allan Kozinn (New York Times) contextualizes Serial Underground, CCi's monthly performances in the basement of the Cornelia
Street Cafe "Informal performances of concert works were part of the musical ecology, and to some extent part of the ecology of urban night life
as well. That tradition lasted into the 20th century, when ... "serious music" reserved the concert hall as its home, and jazz (and later other popular forms) took its place at street level. ... Composers Collaborative and its inventive artistic director, the composer and pianist Jed Distler,
have decided that this [lost] intimacy [between listeners and performers] is worth recapturing."
The Cornelia Street Caf has presented an enormous variety of artists, from singer-songwriter Suzanne Vega to poet-senator Eugene McCarthy, from members of Monty Python to members of the Royal Shakespeare Company. Upstairs there is a beautiful oak bar, and 3 dining rooms. And there is a real kitchen, which garners much acclaim such as the 1998 Village Arts Award for "inspired cuisine."
about the Serial Underground artists on September 12, 2005 program:
Artistic Director of ComposersCollaborative, composer/pianist Jed Distler is developing a concert theater work, Everbest, Virgil, with director Arnold
Barkus for premiere at the Krannert Center of the University of Illinois. Jed is also collaborating with playwright Ed Schmidt (The Last Supper) on The Gold Standard, a piano theater work about a slightly disgruntled pianist. Highlights of the past season include solo performances in NYC at Joe's Pub and with the Bill T. Jones/Arnie Zane Dance Company at BAM, and a commission from Symphony Space for their Wall-to-Wall Sondheim. For the full scope of Jed's musical life, visit Composers Collaborative inc.
Pianist and composer David Hanlon is a member of the Anechoic and Tactus Contemporary Ensembles, with whom he has performed as a soloist and ensemble member in works such as Rzewski's De Profundis, Reich's Music for 18 Musicians, Xenakis's Palimpsest, and the American premiere of Michael Gordon's Decasia. He has also played with Newband in Harry Partch's Oedipus, the first staged production of the work since its first performance. David regularly travels to Egypt to perform recitals of classical, contemporary, and improvised works and to study Arabic music on the oud. A trained actor and director, David takes particular delight in participating in theatrical performances and writing theatrical music. He graduated from Wesleyan with a double major in Classics and Music and earned his Masters at Manhattan School of Music.
"...An exceptionally sensitive pianist" (Gramophone), Jenny Lin has earned a growing reputation for her adventurous programming and charismatic stage presence. Her performances have taken her to Carnegie Recital Hall, Kennedy Center, Miller Theatre, MoMA, Whitney Museum, Museum of Contemporary Art Chicago, BAM Next Wave Festival, Flanders Festival, Divonne Festival, Festival Ars Musica, with orchestras and ensembles such as Ensemble Contrechamps, and Elliott Sharp's Orchestra Carbon. Jenny's latest album "Preludes to a Revolution" on the Grammy-winning Hnssler Classic features Russian Piano Preludes from 1905-1922. Scheduled for release in 2005/6 are CDs for Hnssler, Koch Records, and AEON.
A veteran of the European touring scene, lighting designer David Lovett worked for the Almeida Theatre in London; designed pieces for Scottish Opera, Attic Theatre, Newcastle Playhouse, The Matrix Ensemble; realized John Cage's installation piece Essay in Barcelona and a tour of Cage's Europeras 3 & 4. For the Aldeburgh Festival, he lit the world premiere of John Tavener's Mary of Egypt, and re-lit Robert Wilson's Hamletmachine on the European tour. David has been on board with CCi since 2002.
Walt Christopher Stickney was born August 30, 1944. He received a B.A. in English and comparative literature from the University of Pennsylvania. His books include To Night: Little David On Mouth-Harp, Cover My Souls, one and five minute pose-pomes, The Bethesda Preludes, and How To Live With An Actor. He has performed widely in Europe and the United States. He received an award from The National Endowment for the Arts and several awards from the D.C. Commission on the Arts and Humanities including the 1st individual grant award.
Contact Celia Cooke (212-663-1967) for program updates and press information.
Composers Collaborative inc.
Silver Spring, MD:
Forest Song, a month-long exhibit by Marilyn Banner
This is an invitation to Forest Song, a month-long exhibit I will have at the hip new art space in Silver Spring, Space 7:10, 963 Bonifant St. I will be showing small intimate collage/mixed media pieces from a large body of work inspired by a trip to Costa Rica. Many of the works at Space 7:10 have never been shown before, and are priced at unusually friendly prices, many well under $100!
Works from this series are in more than 20 collections, including those of the Ambassador and the Cultural Minister of Costa Rica, as well as the Sheppard Pratt Collection in Baltimore.
My intention in all the work is to express the beauty, delicacy, and mystery I felt in the rainforests of Costa Rica. It often seemed that the forest had a "sound," or a song, one that required our listening, on the deepest level.
Many of us want to "save the planet" now. Perhaps the first step is to get quiet and focused enough to notice what we HAVE here, and to love it. Then we can think about what "care" would mean. I want this work to function as a reminder to the parts of us that need reminding or reflection of the beauty and mystery of our earth.
If you want to own a bit of this work, now is the time.
Opening: Tuesday September 13, 6-9 pm, at Space 7:10 (in Kefa Caf), 963 Bonifant Street, in downtown Silver Spring. Come to the reception (part of the famous Silver Spring Artwalk), or visit during regular business hours, M-F 7 am-6 pm, Saturday 8 am-5 pm.
Kefa Cafe is just a couple feet from the corner of Georgia Ave and Bonifant St. Also, within one-half block of the caf are restaurants with food from Cameroon (Roger Miller's), Burmese (Mandalay), Thai (Thai Derm), Indian (Bombay Gaylord), Chinese (Tian Palace) and old-style American, in the oldest operated bar in Silver Spring, an erstwhile speakeasy during Prohibition (it is said), the Quarry House. So make a night of it!
Hope to see you there!
About the Progressive Artwalk:
Where: Gateway's Heliport Gallery 8001 Kennett St. Suite 3, Los Arrieros 7926 Georgia Ave., Alchemy 8025 Georgia Ave., Pyramid Atlantic and Kari Minnick 8230 Georgia Ave., Space 7:10 963 Bonifant St.
When: 9/13/05: Groups depart from the Heliport at 6:30pm and 7:30pm. Event is from 6-9pm.
LA:
The Spirit Girls, Songs that Never Die
LUCKMAN GALLERY
announces
MARNIE WEBER's
Saturday, October 22, 2005, 8:00 p.m.
(Immediately following the Artist's Reception at the Luckman Gallery)
The Luckman Fine Arts Complex at California State University, Los Angeles announces the premier presentation of "The Spirit Girls, Songs that Never Die," an original multi-media work by Marnie Weber featuring live performances, music and visuals by the artist and cast. Weber's first performance in Los Angeles since 1998, this special one-night only event takes place Saturday, October 22 at 8:00 p.m. in the Luckman Intimate Theatre immediately following the Artist's Reception in the adjacent Luckman Gallery from 6-8:00 p.m.
"The Spirit Girls, Songs that Never Die" is an exhilarating descent into the half-trance, half-dreamstate of Marnie Weber's subterranean, subconscious-smitten world. Presented in multi-media surround, the performance invokes a waking reverie, a unique and extraordinary visual and aural experience. Vividly populated by ashen-faced girlish songsters and their hybrid animal consorts, and framed by a projected backdrop of swirling seasons and sweetly apocalyptic landscapes, "Marnie World" exists as antidote to the quotidian ills of runaway Disneyfication in serving up a sensory as well as thought-provoking feast for the eyes and ears.
"The Spirit Girls, Songs that Never Die" is a modern opera depicting the saga of five adolescent girl ghosts and their failed rock musical. According to Weber, "I thought of it as girls who were killed in their prime, and then they felt they wanted to come back and express things they weren't able to express. And so they decide to put on this musical. But they're so unaware of the way the world works that they find this abandoned opera house, and they put up posters all over town, and then nobody comes - because they're dead, and nobody can see the posters - or them. But the animals can, because the animals have special intuitions, as we all know." [LA Weekly, Aug. 12-18]
The performance features a floor-to-ceiling digital projection of the artist's newest video of the same title, along with a blend of live instruments, electronic music and vocals interwoven to create the rock-opera soundtrack, culminating in an otherworldly a cappella finale. Cast are slated to wear Weber's signature one-of-a-kind handmade costumes, many of which can also be viewed in the artist's five-year survey exhibition at the adjacent Luckman Gallery. About the artist: Marnie Weber was born in 1959, attended the University of Southern California in the late 1970s and received her BA at the University of California, Los Angeles in 1981. Weber's first public persona was as a member of the art-rock band the Party Boys, and eventually as a solo performer in clubs and art venues locally and internationally. In the early 1980s she began making collages, which she segued into multi-media installations in the 1990s that were also intertwined with her continuing performance work. Appearing with either a cast of characters or by herself in highly idiosyncratic and imaginative installations and performances, Weber delivers atmospheres and events that more often seem like magic residues from her own elaborate dreamscape.
Venue: Luckman Intimate Theatre
Tickets: 10.00 general admission.
"The Spirit Girls, Songs that Never Die" is presented in association with SASSAS (The Society for the Activation of Social Space through Art and Sound) luckmanarts.org or www.calstatela.edu (maps)
Public Information: (323) 343-6604 or luckmangallery@gmail.com
Senouillac, FRANCE:
Joseph Nechvatal
An Art Exhibition at Chateau de Linardie
Opening: September 4th at 5pm.
The artist Joseph Nechvatal has used the computer for twenty years to create his computer-robotic assisted acrylic paintings and electronic installations. To do so he has subjected his image compositions to custom computer virus programs. From 1991-1993 he worked as artist-in-resident at the Louis Pasteur Atelier and the Saline Royale / Ledoux Foundation's computer lab in Arbois, France on The Computer Virus Project: an experiment with computer viruses as a creative stratagem. In 2001 he extended that artistic research into the field of viral artificial life through his collaboration with the programmer Stphane Sikora of the collective music2eye.
The dominant hermaphroditic visual form seen throughout CONTAMINATION is created through the computational morphing of testicles, ovaries, female breasts, and the buttocks of both sexes. CONTAMINATION was chosen by the artist for the title of this exhibition for a very specific reason. Through the utilization of digital-robotics, the paintings on view hold in suspension aesthetic moments preserved from real-time computer viral attacks which the artist performed using the most recent version of his custom viral software. This C++ based software, developed with the programmer Stephane Sikora, launches unpredictable progressive real-time virus operations that live off and transform its image hosts hosts created by the artist using a blend of digital-photography, computer graphic maneuvers and externalized computer code. These real-time viral attacks fall into the category of artificial life (A-Life); that is into a synthetic system that exhibits behaviors characteristic of natural living systems.
With CONTAMINATION artificial life viruses are modeled to be autonomous agents living in/off the hermaphroditic image. These Contamination attacks simulate a population of active viruses functioning as an analogy of a viral biological system. The host for the viruses are the digital files on which the computer-robotic assisted paintings in CONTAMINATION are based. Among the different techniques used here are models that result from embodied artificial intelligence and the paradigm of genetic programming.
Dr. Nechvatal earned his Ph.D. in the philosophy of art and new technology at The Centre for Advanced Inquiry in the Interactive Arts (CAiiA) University of Wales College, Newport, UK. Dr. Nechvatal presently teaches at the School of Visual Arts in New York City (SVA) and at Stevens Institute of Technology.
His Home Page is at: www.nechvatal.net
Chateau de Linardie is in Senouillac - near Toulouse France
Admission is Free
Various Cities:
Peter Reginato: upcoming art shows
Dear Friends,
I have the pleasure to announce that I am now represented in Europe by White8 Gallery, located in Villach, Austria. I will be having a solo show at the gallery in the summer of 2006.
November 10, 2005, is the opening for my solo show at the Elaine Baker Gallery in Boca Raton, Florida. I am also in several group shows this summer. The Fells Conservancy, located in New Hampshire, is sponsoring a group show titled "Gateway to Sculpture", July 2nd through October 10th, in which I am represented by one large and two small sculptures. You can see, more of my work in the ACA Gallery summer group show Summer Salad at ACA Gallery in Chelsea, June 18th to August 19th.
I hope some of you can make it to one of the shows. And as always, you can see more of my sculptures on my website, www.peterreginato.com. Also, links to the gallery websites are below.
White8 Gallery: www.white8.at
Elaine Baker Gallery: www.elainebakergallery.com
The Fells Conservancy: www.thefells.org
ACA Gallery: www.acagalleries.com
Best Regards,
60 Greene Street
High Point & Raleigh, NC:
North Carolina Shakespeare Festival
North Carolina Shakespeare Festival Tickets on Sale
HIGH POINT Single tickets and subscriptions go on sale Tuesday, July 5 for The North Carolina Shakespeare Festival MainStage season of performances in High Point and in Raleigh, and A Christmas Carol performances in High Point and in Winston-Salem. Groups of ten or more may order tickets at a discount directly from NCSF. Details, special programs and ticketing options are posted at www.ncshakes.org and are available by request of The Festivals Quarto newsletter, also posted on the web site.
NCSF stages Shakespeares Julius Caesar and As You Like It us in repertory at the High Point Theatre (220 E. Commerce Avenue) from September 2 to October 1; and, brings both productions to Raleigh for a one week residency at the Fletcher Theater, BTI Center (1 E. South Street) from October 4 to 9. In addition to 22 public performances, NCSF will present 13 weekday morning matinees, exclusively for school and senior groups at deep discounts.
Special programs available by advance reservation through NCSF are Elizabeths Bard Weekend in High Point, exploring the topic Women in Shakespeare; and, five Saturday afternoon Classics in Context seminars, exploring production histories of both Shakespearean plays.
NCSF follows the 29th MainStage season with its beloved presentation of Charles Dickens A Christmas Carol, December 2 to 13 at the High Point Theatre and December 16 to 18 at the NCSA Stevens Center in Winston-Salem (405 W. Fourth Street). In addition to 12 public performances, The Festival will offer 10 weekday morning matinees exclusively for school and senior groups.
Single tickets and subscriptions to NCSFs 2005 MainStage performances in High Point, Julius Caesar and As You Like It (September 2October 1), and single tickets to all December performances of A Christmas Carol, may be purchased through the High Point Theatre Box Office in person or by calling 336-887-3001, MondayFriday, Noon5:00pm. Single tickets may also be purchased online at www.highpointtheatre.com.
Single tickets to NCSFs MainStage performances in Raleigh, Julius Caesar and As You Like It (October 4-9), may be purchased through any Ticketmaster outlet, online at www.ticketmaster.com or by calling 919-834-4000, 24 hours/day; or, in person through the BTI Center Box Office, MondayFriday, 9:00am5:30pm.
Group orders of 10 or more tickets to NCSFs MainStage and A Christmas Carol performances, including public performances in High Point, Raleigh and Winston-Salem; and, all SchoolFest and SeniorFest 10:00am weekday matinees, may be made through the NCSF Sales Office at 336-841-2273, x226, or by e-mailing sales@ncshakes.org. Paid reservations for Elizabeths Bard Weekend, and free-of-charge reservations for Classics in Context seminars may also be made through the NCSF Sales Office.
For complete details on The North Carolina Shakespeare Festival 2005 season of performances and special programs, visit the NCSF web site at www.ncshakes.org; or, request a July Quarto newsletter, by contacting NCSF via e-mail, sales@ncshakes.org, or fax, 336-841-8627.
NYC:
World Music Institute and Thomas Buckner present:
THURSDAY, OCTOBER 6, 2005 8:00 P.M.
Tribute to Steve Lacy (1934-2004)
Merkin Concert Hall - 129 W. 67th Street
Intepretations, the acclaimed series which features leading names in contemporary music and multi-media, continues on October 6th with an all-star tribute to the late saxophone legend Steve Lacy. The program, devoted to Lacy's extraordinary instrumental compositions and songs, will feature musicians who have performed with him (his wife and muse, Irene Aebi (vocal), Roswell Rudd (trombone), Joe Lovano (soprano saxophone), David Liebman (soprano saxophone), Jean-Jacques Avenel (bass), John Betsch (drums), Bobby Few (piano), Richard Teitelbaum (electronics), and David Wessel (electronics); his student from the New England Conservatory of Music (Jeremy Udden - soprano saxophone); and musicians who deeply admired his music and were inspired by him (Don Byron (clarinet), Gary Lucas (electric guitar), Thomas Buckner (baritone), Judi Silvano (vocal), and Daniel Tepfer (piano)). The concert will include "A Ring of Bone," "The Bath," "The Holy la," "Prospectus," "Esteem," "Le Jardin," "Bone," "Buddha's Path," "Inside My Head," and "Futurities." The program is part of Daniel Pearl Music Days, an annual event dedicated to the ideals of tolerance, friendship and shared humanity.
Steve Lacy, the great soprano saxophonist and jazz master whose playing encompassed the history of jazz from Dixieland to the avant-garde, once defined his profession as "combination orator, singer, dancer, diplomat, poet, dialectician, mathematician, athlete, entertainer, educator, student, comedian, artist, seducer and general all around good fellow." He is credited with bringing the soprano saxophone - an instrument that had been neglected during the Bop era - back from obscurity into modern music. He led a variety of groups, performed with many top musicians - including Cecil Taylor, Mal Waldron and Gil Evans - and was a foremost interpreter of Theolonius Monk. He collaborated with dancers (such as Merce Cunningham) and poets (whose words he set to music), and wrote many works for his wife, "his muse," Irene Aebi. For five decades he made innovative recordings, with more than 50 under his own name. He was named the top soprano saxophonist in Down Beat magazine on many occasions, received the MacArthur Foundation "genius" grant in 1992, and was given France's highest artistic honor (he was made a Commandeur de l'Ordre des Arts et des Lettres by the French government) in 2002. During the last two years of his life he taught at the New England Conservatory of Music. He leaves behind an immense legacy of recordings, compositions and inspiration.
This program is made possible in part with public funds made available by the New York State Council on the Arts, a State agency. Additional funding is provided by the Mary Flagler Cary Charitable Trust.
Upcoming Interpretations concerts include:
October 6 - Steve Lacy: Sound Legacy, a tribute concert
SAN FRANCISCO:
Meridian Music: Composers in Performance
Meridian Gallery
Meridian Music: Composers in Performance
This concert series celebrates new, traditional and world music through monthly
performances. The Spring 2005 concerts take place on the second Wednesday
February, March, and April, in the intimate setting of Meridian Gallery. The
series is devoted to the memory of Heather Leinss, one of Meridian Gallery's
first teen interns. Concerts for the 2005-2006 season will be announced later
in the spring.
www.meridiangallery.org/MGMusic.htm
NEW YORK CITY:
ARTS ELECTRIC 10th Season
EMF is planning a lively and varied series of events in New York during its 10th anniversary season, including concerts, workshops, encounters, and installations. All events, with time, location, admission, and other details, are listed at Arts Electric as dates are confirmed: www.emf10.org/
ARTS ELECTRIC
FEATURED EVENT:
Project RITE II
UPCOMING EVENTS:
Diamanda Galas: Defixiones, Orders from the Dead
Zach Poff and N.B.Aldrich: The Observational Soundscape
The Kitchen High Line Block Party
And more ...
Pauline Oliveros with Roscoe Mitchell at the Guelph Jazz Festival
And more ...
JOIN US!
CHICAGO:
Lampo
Friends,
Lampo is pleased to announce its Fall 2005 schedule. Details below.
- Thomas Lehn and Marcus Schmickler (Sept 10)
All events at 2116 W. Chicago Avenue, Chicago, Ill.
Fall 2005
THOMAS LEHN AND MARCUS SCHMICKLER
Lehn (analog synthesizer) and Schmickler (digital synthesizer and computer)
perform together in Chicago for the first time. Two heavyweights from
Cologne, they are. Agog and gaga, Lampo is.
Thomas Lehn (b. 1958) has been working as a performer, interpreter, composer
and improviser since the early 80s. In addition to his duo with Schmickler,
ensemble work includes Gerry Hemingway, Gnter Christmann, Eugene
Chadbourne, Paul Lovens, Raymond Strid, and trio Konk Pack with Tim
Hodgkinson and Roger Turner.
Marcus Schmickler (b. 1968) has been involved with numerous projects,
including the seminal group Kontakta. As a solo artist, he has created
important works such as Wabi Sabi, Sator Rotas and Param, as well as three
CDs under the name Pluramon. While rooted in electronic music, he also has
a background in contemporary composition, having studied under Stockhausen
collaborator Johannes Fritsch. Schmickler also has worked in the house and
techno scenes, both on his own and with musicians such as Thomas Brinkmann
and Cristian Vogel.
KEITH ROWE
Solo Rowe -- an evening of improv from the famed British tabletop guitarist
and radio manipulator.
In the mid 60s, Keith Rowe (b. 1940, Plymouth) began to develop his own
idiosyncratic guitar technique, setting the instrument flat on a table and
preparing it with various tools: transistor radio, contact microphones,
pedals, bows, springs, mini handheld fans and various metal scraps. He is
co-founder (and former member) of the groundbreaking collective AMM, and
current all-star in MIMEO (the 12-piece Music in Movement Electronic
Orchestra, which also includes Lehn and Schmickler).
JESSICA RYLAN
Jessica Rylan (aka Can;t) overlays voice and DIY electronics to make music
"as warm and direct as an autumn campfire." Here, she calls forth swishy and
fluttery sounds from the Natural Synthesizer, one of her recently completed
homemade synths. Think: tree branches waving in the wind or frogs croaking.
Spin: "New Secret" (RRR) her superb picture disc and so-called noise album.
Jessica Rylan (b. 1974, London) is a sound artist and electronic musician
who lives and performs in the Boston area, where she grew up. The main
focus of her work has been the design and construction of modular
synthesizers that use analog electronic circuits. She uses her synthesizers
in installations at galleries (LIST Gallery for Visual Arts at MIT, the
Boston Center for Contemporary Art, Bard College) and also in her
high-energy musical performances.
STEPHAN MATHIEU
For his Chicago debut, Mathieu will present "Radioland," a suite of
computer-processed live AM radio, accompanied by a fast, random video
flicker of 256 colors.
Stephan Mathieu (b. 1967, Saarbruecken) spent the 90s in Berlin as an
improviser playing drums. In 1998 he made a radical switch to the digital
domain. A composer, performer and installation artist, Mathieu has created
sound installation works for the cultural heritage monument Volklinger
Hutte, Germany, and elsewhere and has released more than 10 albums for
labels such as Orthlorng Musork, Ritornell, Lucky Kitchen and Fallt, both
solo and in collaboration with Ekkehard Ehlers, among others. He also
teaches Digital Arts at the Academy of Fine Arts and Design HBKSaar,
Saarbruecken, and has worked as a guest lecturer at the Royal Academy of
Arts, Gteberg, the Bauhaus University, Weimar and the Merz-Akademie in
Stuttgart, Germany.
ALESSANDRO BOSETTI
Bosetti, in his first local performance, presents solo work for voice and
electronics.
He also will premiere "Scena Muta," a project that he will complete in the
days immediately preceding his Lampo concert. For this new work, Bosetti
will make video portraits of Chicagoans listening to his short compositions
with headphones, after which he will destroy the music. Only the video
document of people listening, and the incidental sounds they make while
listening, will remain.
Alessandro Bosetti (b. 1973, Milan) is a composer, soprano saxophonist and
sound artist. He is interested in the musicality of spoken words and
different aspects of spoken communication, often employing field research
and interviews to gather material for his abstract text-sound compositions.
As a saxophonist, he has developed an original extended technique.
Collaborators include Michel Doneda, Axel Doerner, Annette Krebs and Andrea
Neumann.
BECOME A LAMPO MEMBER:
CULVER CITY, California:
EAR ORCHARD MONDAYS
Club Tropical
Salvadoran Food and Full Bar available
CULVER CITY, California:
CryptoNight at Club Tropical in Culver City
Cryptonight -- featuring jazz and improvised music
Date: Every Thursday Time: 8:00 PM
Club Tropical, 8641 Washington Blvd. Culver City
New York City:
TONIC events 2005!
This month at Tonic:
TONIC
Recently Posted and Ongoing
INTERNET:
Siberian traibride improvisation project
Hi, all...
you can follow me through Siberia with my improvisation project here
the mobicast:
or the live radio from the train:
all best,
INTERNET:
BINARY KATWALK
Binarykatwalk announces the launch of its first edition.
Binarykatwalk.net
Binary Katwalk is an on-line New Media exhibition focusing on work that is experimental
and would benefit from this non-traditional exhibition space. The goal
of the site is to unify works over time into one expanding and unified
exhibition as opposed to specific exhibitions that open and then close or
go to a secondary archive. It is co-curated by Jeremy Hight and Sindee
Nakatani.
Come to Binary Katwalk to see the work of 5 strong artists from very
different points in the spectrum of New Media.
AGRICLOA DE COLOGNE, OLIVER DYENS, BJORN WANGEN, LISA TAO, CATHY DAVIES, OLIVER DYENS
INTERNET:
Mediatopia.2 fresh! @ mediatopia.net
Mediatopia.2 fresh! assembles an exciting mix of recent net-based work by adiverse group of neoteric artists, creatives and thinkers. Their fresh, networkedinterfaces look to a variety of means to utilize the internet, as playground,platform or paintbrush. Mediatopia.net is a recurring network mediated culturespace for art, technology and writing. We still believe in networked culture. Mediatopia.net
Jessica Ivins
Produced by Adhocarts.org, a non-profit arts organization
Curated by Lara Bank and Andrew Bucksbarg
FOR IMMEDIATE RELEASE
Mediatopia.2 fresh!
Artists create art in cyberspace, but can you hang it on a wall?
Mediatopia.2 fresh! assembles an exciting mix of recent net-based work by a diverse group of neoteric artists, creatives and thinkers. Their fresh, networked interfaces look to a variety of means to utilize the Internet, both as creative medium and as a channel to share and distribute their output. The Internet, with its network functionality and potential for user interaction, is their creative playground: a form to manipulate and a means of social or political expression. Mediatopia.2 fresh! is a net-based opportunity for artists to gain exposure for their culture work. Mediatopia.2 fresh! is produced by Adhocarts.org, a non-profit media-arts organization. Lara Bank and Andrew Bucksbarg worked together to curate a program from recent work submitted internationally that uses the Internet as a playground, platform or paintbrush.
Jessica Ivan's Retrotype historically traces female representation in video games through an interface that allows the participant to personalize and question the object of their gaze. Do you live in East L.A. and long to live closer to celebrities in a gated community? Carlos Katastrofsky performs Neighborhood and Area Research for you, so you can discover who your IP address neighbors are in cyberspace. On the Internet, distance is collapsed as ideologues are brought closer together. Michael Takeo Magruder's
Together these disparate works signify the production, both singularly and collaboratively, of persons whose concerns go beyond the instance of capital and reach outward to the cultural center of what digital media can mean for human expression and communication. Their work is a mirror before us that traces both our success and failure: together and separate in the network. These words may wish to provide an overview or representation of their work, but fail to provide the one thing these artists considered as they created their work- your interaction. This interaction forms a means to destabilize the relation of the author or creator, bringing in the user as an active director or participant in the process.
Artist's work created for the Internet poses problems for persons, museums or galleries who would collect and display it. Internet Art is not easily installed in these traditional spaces, and although digital information does not degrade, the technology that expresses it is constantly changing and upgrading. Software evolves, computers and their operating systems change, as well as progressive modifications to the human-computer interface, making it difficult to collect and archive this kind of work. Net-based art is ephemeral under these circumstances.
Artists who create "net.art,' have another problem at hand as well. How do you create value for something that is distributed on a network and available to anyone with a computer and connection? Historically, most art, aside from live performance, is based upon its being a one-of-a-kind object that maintains or even gains value as a collected piece. This makes raising funds for or selling this work a difficult proposition. Rachel Greene, author of Internet Art, writes, "Internet Art has less to do with objects of social prestige, and little, at least currently, to do with the cosmopolitan art businesses that thrive in New York, Cologne, London and other culture capitals.' These limitations have given artists who work with the Internet a kind of freedom and revelry of exploration, as well as a particular tool for cultural and institutional critique. Many artists see the Internet as a cause to really challenge fundamental elements of humanity: identity, methods of communication, technology, politics and the institution. These artists understand that people expanded by the Internet all over the world, are brought together in cyberspace.
The Internet was launched in 1989 by the British scientist Tim Berners-Lee. As the use of the Internet grew, so did a community of artists who began to utilize it as a creative medium by the mid 1990s. Some of the early practitioners of Internet Art were Post-Communist East Europeans and organizations like the Ljudmila Media Center in Slovenia, supported by George Soros's Open Society Institute. Much of the practice of Internet Art also saw support in media arts festivals in Europe during this time. Internet Art has grown over the years as the Internet has seen increased use and is now getting more recognition from the traditional formats of museums and galleries.
Artists will continue to participate in the social uses of new technology. They will take part in future network technologies and cultures, where the Internet will be augmented by shared virtual space. People on the network will come together in synthetic worlds to create, communicate and recreate. This is already occurring in online multi-player games and environments like Second Life (http://secondlife.com), which include their own economies. Objects and land can be bought and sold and complex social transactions take place in these ephemeral, digital realms that exist on servers. Some artists, such as Chris Burke, are hacking online multi-user games for other purposes, such as a talk show in game space (http://www.thisspartanlife.com).
Artists have a long history of socially relevant communication from within the culture they are steeped. Mediatopia.net and its supporting organization, Adhocarts, offer perspective to this process in the continually shifting phenomena of cyberspace. Mediatopia.net is produced by Adhocarts (http://adhocarts.org), which sponsors a variety of expressions that fall on the lines of interconnecting disciplines, theories, technologies and cultures. Adhocarts.org is a non-profit collaboration supporting arts and culture by producing avenues for creative expression and thought both online and off. Adhocarts.org was founded in 2000 and exists as a catalyst for work that uses technology and hypermedia, such as net.art, installation, digital video, writing and live art.
We still believe in net-based culture.Mediatopia.net
Press contact:
INTERNET & LIVE LOCATIONS:
Le placard's 8th edition, non-stop three month streaming headphone festival
Le Placard is a headphone concert festival, playing with concentration, intimacy, time warp, and teleportation. This year it goes on for 97 days non stop, in different cities.
Get more info: www.leplacard.org/.
INTERNET:
The Invisible Guy
is online now!
Dear Friends, Colleagues, and Fellow Cyber-Surfers:
This is to let you know that my latest and current project, The Invisible Guy, is now officially online. Over three years in the making (and still in progress), it consists of lots and lots of music - surf tunes, humorous songs, a couple of tangos, and some demented anachronistic pop stylings not easy to describe - and for every number a scene (delivered in prose, I'm afraid; no flash cartoons or videos. You have to enjoy a good read).
These will be uploaded every Friday for the next 40 to 50 weeks, much like a serial novel. So to enjoy the full ride you'll have to keep coming back. It's cumulative though; once up there, every episode will be permanently available and accessible any time.
You are invited to get your first glimpse of The Invisible Guy right now at the above URL. Listen to the theme song, meet the gorgeous but wicked Zipper Ripper, and learn a bit of trivia.
This is a free online entertainment from the Leisure Planet.
(By the way, view it in Netscape if you can. Some stuff doesn't look right otherwise, and I'm not sure why.)
Thanks,
INTERNET:
bentstrings radio
Hello friends,
I want to let you know of an internet radio station that I have
started. It is called
bentstrings radio at
www.live365.com/stations/martinherman
When you get there, simply click on the listen icon for bentstrings radio.
It is live streaming internet radio, 24 hours a day 7 days a week. It
requires a cable modem or faster connection.
The station invites listeners to bend ears and minds and listen to
music that includes such composers as John Adams, Steve Reich, Gyorgy
Ligeti, Gerard Grisey, Frank Zappa, Lou Harrison, William Houston,
Evan Ziporyn, Joshua Fried, Eve Beglarian, Aphex Twin, Sigur Ros, Cort
Lippe, Gavin Bryars, Brian Eno, Arthur Jarvinen, Iva Bittova, Ivo
Medek, Miroslav Pudlak, Astor Piazzola, Conlon Nancarrow, Shaun
Naidoo, Carolyn Bremer, Robin Cox, Pauline Oliveros, Steven Mackey,
Nick Didkovsky, Michael Gordon, Bang on a Can Allstars, Autechre, and
more...!
I will be expanding playlists and am interested in your input.
My interest is in curating playlists to explore unusual or
infrequently considered nodes of contact among currently active
composers. Please drop in and have a listen.
And please pass the word to anyone you think might be interested.
Thanks and I look forward to hearing from you.
Bentstrings radio is a legal live365.com station and pays royalties to the artists programmed.
INTERNET:
The Memory Theater, an iPod opera
Plugged ~ In
18 April 2005
Dear Friends,
I wanted to let you know that we have just launched The Memory Theater, an iPod opera.
Serialized as 49 playlists between April 10, 2005 and February 24, 2007, The Memory Theater is a retelling of Cathedral's 5 moments through the myth of Orpheus and Eurydice.
The Fanfare (Program 1) has begun, and the Prologue will begin on April 24.
Featuring the pan-genre global collective Cathedral Band, The Chronicler, and the voices from the web, The Memory Theater is crafted especially for the sound world of the iPod.
I hope you'll be able to join Nora and me as we begin this new chapter in the Cathedral story.
Best wishes to all,
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
As a podcast:
1] download free podcast receiver software.
On the web:
Need more help? visit our FAQs at
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
INTERNET:
Viralnet.net is now online!
Viralnet is a productive nexus: critique, archive, art space and journal.
It intends to raise questions and provoke assumptions about culture,
media, politics and the arts.
Working with international social critics, media theorists, writers,
curators and artists, it is an online space that will grow and mutate as
it delivers material for these post-digital, post-democratic times. As
human experience becomes more mediated, we will highlight alternative
pathways into future thought and art making.
Produced by the Center for Integrated Media and the MFA Writing Program at
CalArts, Viralnet offers a series of commissioned online projects, essays
and interviews with a view toward articulating new concepts and working
strategies developed by contemporary intermedia artists, writers and
theorists. Tom Leeser, Director of the Center for Integrated Media,
says Viralnet is set up to look at digital media in relation to
culture, politics and the arts. The computer and the Internet have
expanded far beyond the boundaries of an exclusive digital domain,
allowing a transformation from novelty to the familiar," he says. "As with
radio at the beginning of the 20th century, digital technology has entered
a state of flux, going from an object of privilege to a common and
everyday ubiquitous appliance. This will have creative, social and
political ramifications that we are only beginning to
experience and understand."
Some of the contributors to this release of Viralnet include; social
critic and author, Norman Klein, new media theorist and author, Lisa
Nakamura, Kitchen curator and author, Christina Yang, artists, Perry
Hoberman and Sara Roberts.
You can find Viralnet at viralnet.net
INTERNET:
Iridian Radio
If you want to hear provocative "new music" that really is new, or at least created in the
last couple of decades, then check out Iridian Radio. You'll hear music of artists such as
John Adams, Bang on a Can All-Stars, Iva Bittova, Tan Dun, Kronos Quartet, Meredith
Monk, Steve Reich, and many more.
Not only is Iridian Radio's broadcast quality and programming unique to internet
streaming broadcasts, but the station home page also provides further info on the artists
and purchasing links for their recordings. This is a free service -no fees or subscriptions
needed to listen.
If you think Iridian Radio is an important outlet for this music, please forward the station
info to others that might be interested.
Iridian Radio is a fully legal Live365.com station and pays royalties to the artists
programmed.
INTERNET:
DRIFT Radio: from New Media Scotland
To listen to the stream, visit the DRIFT website at www.mediascot.org/drift
New Media Scotland
INTERNET:
New American Radio Website Project
New American Radio
New Radio and Performing Arts, Inc. is pleased to announce its
redesigned, updated and expanded NEW AMERICAN RADIO (NAR) website that
includes full-length radio art programs by American and European
artists. Currently available are works by Terry Allen, Jacki Apple,
Diamanda Galas, Sheila Davies, Suzan-Lori Parks, Gregory Whitehead and
others. Additional programs will be added to the site in the coming months.
A weekly series distributed to public radio stations nationwide from
1987-1998, NEW AMERICAN RADIO includes over 300 original works
commissioned from such artists as Pauline Oliveros, Rachel Rosenthal,
Christian Marclay, Alvin Curran, and Carl Hancock Rux. During its 15
years of broadcast life, NAR became known-nationally and
internationally as the principal source of radio experimentation in
America, ranking with such high-profile international programs as ABC
Australia's The Listening Room. Its works, which won numerous prizes
in competitions worldwide, were aired throughout North America, Europe
and Australia. Although now off-air, NAR enjoys an active afterlife on
the Internet, where full-length programs, audio excerpts, scripts and
other artist writings are available.
An amazing cultural mirror of its time, both in regard to the issues it
dealt with and the techniques and strategies used by its artists, NEW
AMERICAN RADIO is also being archived in the World Music Archive at
Wesleyan University, CT, where it will be accessible both on location
and on-line to students, educators, artists, scholars, and the general
public. The archive is made possible by grants from the National
Endowment for the Arts.
For more information, please contact Helen Thorington at
newradio@turbulence.org
INTERNET:
Spongefork Radio
Spongefork Radio
INTERNET:
Intercontinental spontaneous jam session
New artwork by Icelandic artist Pall Thayer, the Intercontinental
spontaneous jam session is now open and accessible at
www.this.is/pallit/isjs
This piece explores abstract imagery created via a musical interface to
combine the inherently abstract qualities of music with randomness and
multi-user interactivity to create a truly abstract image that contains
no references to the physical world.
Pall Thayer
INTERNET:
ARTPORT from the Whitney Museum of American Art
http://www.whitney.org/artport -- read more !!!
INTERNET & NORTHWESTERN University:
Home, an interactive, navigable web work, contains the work of 17
artists
Home, an interactive, navigable web work, contains the work of 17
artists. These include: a screenwriter, a photographer, a set
designer, film and video makers, and sound and computer artists. Each
has a unique perspective on the meaning of home, this most universal
and basic of necessities.
Primary collaborators Drew Browning and Annette Barbier will be at
the Block Museum at Northwestern University to demonstrate and talk
about the work during the following times:
on Tuesday, Sept. 25 from 12-5 PM
Home is permanently on line via the Block web site at:
http://www.blockmuseum.northwestern.edu/art_tech/virtual.html
For directions, see:
http://www.blockmuseum.northwestern.edu/welcome/directions.html
The development of Home was supported by a grant from the Center for
Interdisciplinary Research in the Arts at Northwestern University.
Contributing artists from the Northwestern community include: Dave
Tolchinsky, Michelle Citron, Sam Ball, David Downs, Rives Collins, Linda
Gates, Dan Brintz.
INTERNET:
Post Media Network
Michele Thursz, the former Director of Moving Image Gallery, is proud to
present her latest project the Post Media Network:
The network operates as a physical and virtual structure composed of
editorial, curatorial, and artists projects that stresses the different
perspectives and uses of the electronic and computer-based mediums.
Post Media is an action demonstrating the continuous evolution of the term
and uses of media. The network promotes actions of collaboration,
representation and market utilization of all media.
The Network
Portfolios showcase the artists on the network, the digital studio and the
marketable physical and virtual objects.
Represented artists:
Developed by Claire Barliant (senior editor of artbyte), Dialogue
features conversations with the artists to reveal their history
and process.
The archives document the on going exhibitions and events
presented or affiliated with all past and present network participants.
Director: Michele Thursz
"All data is created equal" -- Arcangel
INTERNET:
Announcing the Launch of the Website for:
"Re: Duchamp Traveling Exhibition"
La Biennale di Venezia:
49th International Exhibition of Art--
Concomitant Exhibitions
http://www.nyartsmagazine.com/duchamp
"The Re: Duchamp Travelling Exhibition is a project that has been evolving
over time. It has traveled to various cities in Germany, Poland, Chile and
Israel, as well as New York City. It is the ongoing work of Abraham Lubelski,
and incorporates the work of over 250 other artists, including Nam June Paik,
Dennis Oppenheim, Carl Andre, Ilya and Emilia Kabakov, Taylor Mead, Larry
Weiner, David Humphrey, Inka Essenhigh....
The Re: Duchamp Travelling Exhibition at the 49th Venice Biennale* is an
installation of clotheslines from which artwork is hung.** The idea for this
installation is derived from Marcel Duchamp's infamous benefit exhibition
organized on the Premises of the Coordinating Council of French Relief
Societies, 451 Madison Avenue, New York, October 14th - November 7th, 1942,
in which he criss-crossed the entire gallery with one mile of string. This
entanglement, which the public had to negotiate when they came to view the
art, stood as a metaphor for the difficulties encountered in attempting to
understand modern art.
The current exhibition uses this Duchampian metaphor to point to connectivity
as much as any difficulty that might hinder an appreciation of art in the
digital age---art whose nature may be partially or completely ephemeral,
time-based, or immaterial, and which might be conveyed digitally or housed
virtually. Re: Duchamp celebrates the process of visual sampling in a world
where the line between original and copy has been blurred, and the medium is
the readymade.
** Participating artists were asked to e-mail their submissions as digital
files. These were printed out, placed in plastic sleeves and brought to
Venice for installation. Hung from criss-crossing lengths of string at the
Church of S. Maria Ausiliatrice, they resemble so many Tibetan prayer flags,
the wind and the Web conveying and disseminating their messages.
* At the 49th Venice Biennale, the Re: Duchamp Travelling Exhibition forms
part of the Markers Project, which involves organizations in Venice including
the Peggy Gugghenheim Collection, the Biennale Arti Visive, and the
Municipality of Venice itself."
[--notes, Joy Garnett]
PARTICIPATING ARTISTS:
MARK AMERIKA, DANIEL GARCIA ANDUJAR, DOUGLAS DAVIS, CHRISTOPH DRAEGER, PETER
FEND, JOY GARNETT, PAUL GARRIN, KEN GOLDBERG, WANG GONGXIN, MARINA GRZINIC &
AINA SMID, WENDA GU, INGO GUNTHER, LIANG-MEI HUANG, JON IPPOLITO, EDUARDO
KAC, OLGA KISSELEVA, TINA LAPORTA, JENNY MARKETOU, MARCELLO MAZZELLA, PAUL D.
MILLER aka DJ SPOOKY, MTAA, OLU OGUIBE, ANDRES SERRANO,
HANI RASHID (ASYMPTOTE ARCHITECTS), MARK TRIBE & KERRY TRIBE
Curated by: CRISTINE WANG
http://www.tribes.org/dystopia
For More Information contact: Cristine Wang tel:
917.318.0081
http://www.nyartsmagazine.com/duchamp
Festivals, Contests, Conferences, Programs, Airtime Submissions Requested!
Neoteric announces a competition for original compositions for bassoon,
horn, and cello. Up to three winners will be chosen: First Prize (one
winner, $400) and Honorable Mention (one or two winners, each to
receive$150). All winning entries will be performed by Neoteric on a
faculty recital at Southern Illinois University.
Neoteric reserves the right not to name any winner. Neoteric may perform
non-prize-winning submissions. An archive recording of all works chosen for
performance will be provided. Each work should be 10 minutes in length or
less. Please include score (preferably computer generated) and parts.
Deadline for submission: 6 January 2006 (postmark). Entries received by 1
November 2005 may also be considered for additional performances in the USA
and Canada.
For submissions or queries, please contact:
Eric Lenz
INTERACTIVE FUTURES 06: Audio Visions
CALL FOR PAPERS, PANELS, PERFORMANCES, & INSTALLATIONS
INTERACTIVE FUTURES is a forum for showing recent tendencies in new media
art as well as a conference for exploring issues related to technology.
The theme of this year's event is Audio Visions. IF06 will explore new
forms of audio-based media art from a diverse body of artists, theorists,
and sound practitioners. Sound poetry, web-based audio and multimedia,
mobile audio performance, new forms of music theatre, synaesthetic
performance, hybrid forms, sound-based installation, video and sound, and
environmental sound are all of interest to Audio Visions.
The proliferation of audio technologies, audio-visual collaboration, and
hybrid forms of live performance in the new millennium is striking. Audio
artists are exploring the areas of mobility, virtuality, performance, and
audience interaction from an experimental point-of-view. Audio Visions
invites scholars, sound-artists, and performers of all stripes to submit
paper, panel, performance or installation proposals in one of the three
following categories.
1. "Sound and Vision" lecture and panel series - Scholars, artists,
and practitioners working in audio or audio-visual-based new media are
encouraged to submit proposals for IF06. We are interested in a broad
range of audio including: computational, interactive or generative audio;
the creation of digital audio tools; synchronization between sound and
visuals; performative art that explores language, voice and body;
streaming radio and mobile sound works. Presentations should be, in part,
demonstrative. We recognize that sound art is evolving and that categories
have become increasingly irrelevant - we encourage proposals that push the
boundaries of the traditional conference paper.
2. "Earshot" performance series "Earshot" is seeking experimental
audio-based performances that challenge assumptions about audio forms and
performance conventions. Avant-garde, post-avant-garde, techno,
electro-acoustic, synaesthetic production, liminal art and hybrid
performance are all within our desired range. "Earshot" is primarily
interested in new types of electronic audio-visual performance as well as
models for audience participation in sound works. "Earshot" will run
performances at Open Space for each night of IF06.
3. "Tangible Frequencies" installations We are interested in audio
installation works that consider site, space, vision, volume and
perception and how physical location 'matters' to the reception of audio
frequencies. IF06 has identified areas within Open Space Gallery to
function as controlled locations for sound installations.* We welcome
proposals that respond to the particular characteristics of these
locations through their acknowledgement of private and/or public space and
use. Installations may provide audio continuity to the existing locations,
or respond as intervention and critique.
INTERACTIVE FUTURES is part of the Victoria Independent Film and Video
Festival and applicants are encouraged to check the Festival website for
more information on the broader program.
CONFIRMED SPEAKERS / ARTISTS
Greg Hermanovic of Derivative software is a visionary
software-engineer involved in the creation of real-time visual tools. In
2003 he received an Academy Award for the pioneering of modeling in the
film industry with PRISMS and Houdini. Greg coordinated the realtime
animation at SIGGRAPH 98's Interactive Dance Club, and directed special
effects for Michael Snow's Corpus Callosum. Derivative's Touch software, a
range of tactile interfaces, brings advanced realtime animation tools to a
diverse cross-section of artists, including Richie Hawtin and Rush. Greg
will perform live visuals with Toronto-based DJ Tom Kuo.
Tom Kuo uses a grounding in techno to pursue a varied range of
precise electronic strains. Tom was recently named one of Toronto's Top
Ten DJs by NOW magazine.
Atau Tanaka is known for his work in interactive music, including
performances with biosignal gesture systems. He has conducted research at
IRCAM in Paris and was Artistic Ambassador of Apple Computer Europe. His
work with sensor-based musical instruments and network audio installations
have received prizes and support from Ars Electronica, the Fraunhofer
Institute, the Japan Foundation, and the Daniel Langlois Foundation. His
current research at Sony CSL Paris focuses on harnessing collective
musical creativity on mobile devices.
Jrg Gutknecht is a computer scientist with a passion for new
hybrid art forms. He has actively participated in culturally-oriented
"wearable computing" projects, including "Instant Gain in Grace" (motion
tracking of a Butoh dancer), "Going Publik" (distributed orchestra based
on mobile electronic scoring), and "On the Sixth Day" (multi-channel video
system for interactive storytelling). Together with Sound Artist, Art
Clay, he organizes the Digital Art Weeks which offers performances and
provides courses in the areas of computer-aided art and music.
Art Clay is a specialist in the performance of self-created works
with the use of inter-media, and has appeared at international festivals.
Recently, his work has focused on large-scale performative music-theater
works and public art spectacles using mobile devices.
Jim Andrews publishes vispo.com. It is the centre of his work as a
visual poet, audio artist, programmer, and critic. His work in interactive
audio and word-based web media has been published and shown widely in such
venues as rhizome.org, turbulence.org, and the trAce Online Writing
Centre. Since 1999, he has been creating interactive audio at
vispo.com/vismu.
SUBMISSION GUIDELINES
INTERACTIVE FUTURES is interested in artistic and theoretical work that
relates to audio performance, production and hybrid forms.
Papers, Panels, and Presentations can include DVDs, audio CDs,
video tapes, games, web-sites, etc. and should be 45-minutes in length.
Proposed artwork for exhibition may take the form of performances
("Earshot"), installations ("Tangible Frequencies"), or audio-related
screenings ("Earshot" or "Tangible Frequencies").
Applications should not exceed 500 words. Applicants should
indicate one of the three festival categories in the subject of the
message. Please include a 200 word max bio.
All proposals must be submitted in text only format either as an
attachment or within the body of the email message.
Please present examples of your work as a URL to a web-site.
If your presentation requires specific technologies please
describe your needs in detail.
Proposals should be submitted electronically to ONE of the following persons:
"Sound and Vision" lecture and panel series - Randy Adams
runran@runran.net
"Earshot" performance series - Steve Gibson sgibson@finearts.uvic.ca
"Tangible Frequencies" installations - Julie Andreyev lic@telus.net
* SPECIAL NOTE FOR INSTALLATION ARTISTS APPLYING TO "TANGIBLE FREQUENCIES':
Open Space has the following areas available to install sound installations:
A floor plan for Open Space can be downloaded at
www.openspace.ca/img/floorplan.pdf
Please indicate a preference for one of the above areas in your proposal.
Artists should keep in mind that Open Space is a shared space and
therefore low volume will be required. Other venues may be organized by
special arrangement if louder volume is required.
FUNDING
INTERACTIVE FUTURES does not have funding for travel or accommodation.
Presenters and artists are expected to apply for travel funding from their
home institutions and/or granting bodies. INTERACTIVE FUTURES is applying
for funding for performance and installation artists exhibiting at Open
Space. If this funding is obtained, performance and installation artists
will receive a modest fee according to CARFAC (http://www.carfac.ca/)
regulations.
All presenters and artists will be given a pass to all INTERACTIVE FUTURES
events and will have access to the "Hospitality Suite' at the Festival
hotel (food and drinks). All presenters and artists will be eligible for
the conference rate at Festival Hotels (between $40-110 per night).
DEADLINE FOR ALL PROPOSALS: Friday, September 23, 2005.
Notification of acceptance of proposals will be sent out on or before
October 7, 2005.
EQUIPMENT ACCESS
Laurel Point Inn Presentations
The following equipment will be made available for all presenters:
Mac computer with Monitor, keyboard, DVD/CD-ROM drive.
Open Space Performances and Installations
The following equipment is available for artists at Open Space. Artists
should be aware that equipment will have to be shared and therefore should
not propose to use all of the below devices simultaneously. Installations
and performances should be easy to set-up and take down. Wherever possible
artists should apply their own technology.
2 Data/Video Projectors.
For a full list of resources available at Open Space go to:
www.openspace.ca/space/resources.htm
CONTACTS:
Victoria Independent Film and Video Festival Director:
INTERACTIVE FUTURES Co-Curators:
Steve Gibson sgibson@finearts.uvic.ca
INTERACTIVE FUTURES Paper Editor:
OPEN SPACE New Music:
Victoria Independent Film and Video Festival:
University of Minnesota School of Music, Noel Zahler, Director
CALL FOR COMPOSERS, ARTISTS, and PRESENTERS
The University of Minnesota School of Music is proud to present the 2006 Spark Festival of Electronic Music and Art, February 22-26. The festival will be held on the Minneapolis campus of the University of Minnesota (USA) and at the Walker Center for Art, Minneapolis. Now in its fourth year, the Spark Festival showcases the newest groundbreaking works of digital music and art. Last year's festival included innovative works by over one hundred international composers and artists, including featured guest artists Philippe Manoury and DJ Spooky. Leading scholars and technology specialists also presented papers relating to new technology and creativity. Audiences for the concerts, installations, and lectures last year totaled approximately 2,000 people.
Spark invites submissions of works incorporating new media, including electroacoustic concert music, experimental electronica, theatrical and dance works, installations, kinetic sculpture, artbots, video, and other non-traditional genres.
Spark also invites submission of scholarly papers on technical and aesthetic subjects related to the creation of new media art and music. All accepted papers will be published as part of the Spark proceedings. Please see http://spark.cla.umn.edu/archive.html for a PDF copy of the Spark 2005 proceedings and program.
MUSIC SUBMISSIONS
2. "Club" works: Experimental electronic performances in a "club- style" venue. Performers of various styles will be considered, including those influenced by IDM, hip-hop, glitch, jazz, and etc. Selected performers will be given sets of 15-30 minutes. Performance venue will accommodate stereo sound and video.
3. Installations: [See "Art Works" below]
4. Music with video [See "Art Works' below]
ART WORKS
2. Radio: Spark Radio is a new addition for the 2006 festival, initiated and curated by Abinadi Meza, a Minneapolis-based artist. Submissions for Spark Radio may include sound art, samplism, field recordings, turntablism, pirate radio, sonic deconstructions, and other transmissions. Please submit on CD or CD-ROM.
3. Video: Experimental video works will be screened at multiple Spark events. Videos featuring digital music compositions (two-channel or Dolby 5.1) are welcome, but this is not required. Although there is no strict limit of duration, pieces of twelve minutes or less are encouraged. Please submit on DVD or VHS (NTSC).
4. Theater/Dance: A number of theatrical and dance works incorporating new technologies will be programmed at Spark 2006, with a special interest in shorter works that can be integrated into programs with music and video works. In addition, although not confirmed as of this writing, we hope to produce at least one performance in a dance theater with video projection and an Internet 2 connection. Please include performance venue and technical requirements with submissions.
PAPERS
Standard submissions should consist of a two-page abstract with bibliography. Short length submissions should submit a 1-2 paragraph abstract with bibliography. Camera-ready papers will be due on November 1, 2005.
Individuals may submit a maximum of one paper and one lecture/ demonstration, and these will be submitted online. More information about the submission process will be available soon on the Spark 2006 website when the online submission procedure has been activated. All accepted papers will be published as part of the Spark proceedings.
SUBMISSION REQUIREMENTS
Regarding music and other performance works: Performing resources will be drawn from the University of Minnesota, although applicants are welcome to provide their own performers if desired. More information about available performers will be posted on a href="http://spark.cla.umn.edu/">spark.cla.umn.edu/
Composers and artists whose works are selected for inclusion are strongly encouraged to attend the festival. Scholars whose papers or demonstrations are accepted will be required to attend Spark to deliver their presentation.
TECHNICAL DETAILS
Submission deadline is September 30 (postmark). More information and the online submissions procedure will be posted soon on the Spark 2006 website at a href="http://spark.cla.umn.edu/">spark.cla.umn.edu/
Douglas Geers
CALL FOR ARTS AND TECHNOLOGY PAPERS, MUSIC COMPOSITIONS, ART WORKS,
THEATER, VIDEO, FILM, DANCE COMPOSITIONS AND INTERACTIVE INSTALLATIONS
"CONNECTIVITY: THE TENTH BIENNIAL SYMPOSIUM ON ARTS AND TECHNOLOGY",
The Ammerman Center for Arts and Technology at Connecticut College is
pleased to announce "Connectivity: The Tenth Biennial Symposium on Arts
and Technology", March 30 April 1, 2006. The mission of the
symposium is to present new works, research and performances in the
areas of technology and the arts. The symposium will consist of
commissioned works, paper sessions, panel discussions, art exhibitions,
interactive environments, music concerts, screenings and multi-media
performances. In an effort to demystify the artistic process and create
a forum for dialogue, we are encouraging all presenters and artists to
speak about their work at the symposium.
The Center seeks submissions in the general areas of Interactivity,
Cognition, Compositional and Artistic Process, Social and Ethical
Issues in Arts and Technology, Art, Music, Video, Film, Animation,
Theater, Dance, Innovative Use of Technology in Education, Scientific
Visualization, Virtual Reality, and other pertinent topics relating to
arts and technology.
SUBMISSION CATEGORIES
COMMISSIONED WORKS
PAPERS
PANEL DISCUSSIONS
CREATIVE WORKS
ART
Submissions of digital art, web art and other technology-based or
technology-oriented art forms are encouraged. Submissions of desktop
interactive works, self-contained web works, time based work,
performance and installations will be considered. Acceptance may be
constrained by technical needs, security and financial considerations.
Artworks will be reviewed on the basis of documentation of the work
presented in the form of a website, CD, DVD, VHS or slides.
Submissions must include a one-page description/abstract for
presentation at the symposium about the work, portfolio (maximum 4
jpegs, no larger than 2 Mb each), brief biography, contact details, and
complete technical needs and spatial requirements
VIDEO AND FILM
Submissions of short video or film works that include a significant
'technology' component in their creation, aesthetic or theme are
encouraged. The 'tech' involved may be 'high' or 'low', ranging from
digital animations and motion capture work on the 'high-tech' end to
various methods of creating film without photography, or novel uses of
the projector beam on the low tech side. Works that display worthy
reflections on the nexus of art, society and technology, even if
created by primarily 'conventional' means, are encouraged. Submissions
in the category of 'expanded cinema' and projection performance will be
accepted, but resources are limited and artists presenting such work
should expect to bring all or much of their own essential gear.
Submissions must include a one-page description/abstract of the work
and VHS, DV or DVCAM tape, DVD (tape preferred). For works involving
anything other than standard video or 16mm projection, a complete
description of technical and space needs is required. Exhibition
format will be DV, DVCAM, or 16mm film (no home-burned DVDs).Selection
for screening may be made in part on the maker's willingness/ability to
attend the symposium.
DANCE AND THEATER
IMPORTANT INFORMATION FOR ALL SUBMISSIONS
DEADLINES
RETURN
SEND SUBMISSIONS TO:
The 10th Biennial Symposium is sponsored by Citizens Bank, USA.
(A) r4wB!t5 micro.Fest presents
The r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r serves sliced, diced, chopped, chunked + mashed up r4WB!t5 of [music/radio/culture] pressure cooked + digitally freeze dried to hard disk. opied, appropriated, reused + remixed audio files will be streamed through the gallery space via ye olde skool boomboxes. submit digital audio projects for play back on boom box systems as an aspect of the 2005.08.27 (A) r4wB!t5 micro.Fest to be held in CHI IL .US @ AlterSpace. (A) r4WB!t5 organizers seek digital audio projects conceived of as albums or especially appropriate for the context of radio broadcast to multiple boom boxes.
submit URI's aka web addresses of projects to:
by 2005.08.25 in order to be considered for inclusion.
(A) r4WB1t5 micro festival is a new platform or framework for (A)narchistic forms of decentralized mini or micro festivals to self-organize around themes + theorypractices of raw bits of digital art + dirty new media. (A) r4WB!t5 micro.fest is an open + decentralized platform for playing realtime systems in conversational contexts:
AlterSpace is n alternative gallery/workshop/critique space hosted in a Logan Square (Chicago) apartment. AlterSpace aims to provide a venue for emerging artists to share their work and ideas in a supportive environment that exists outside of the commercial sphere:
tracks wanted for a power-field comp - recordings made "in the field" using power electronics
whatever "field" means to you, go there. and however you want to process, amplify, make it audible in that location or not,,,,, just bring yr gear and record it, whatever. take a picture too if you can, i'd like to use them for the package. honor system - no edits or overdubs
track length 2-10 min, longer if it is really good.
the final project will come out end of the year. deadline around halloween. everyone gets 2 copies of the comp, and can order more for real cheap (not sure yet what that will be).
send tracks, title, site location && equipment (optional), pics, and any other info about yrself to
bob bellerue - power/field
email questions to bob_AAAATTT_halfnormal_DDDOOOTTTT_com. info about the label can be found here:
anok.halfnormal.com
thanks!!!! look forward to hearing some new work
bbbbbb
Postmark Deadline: September 15, 2005
MATA: Music at the Anthology is currently accepting scores for consideration for commissions and performances for the 2006 MATA Festival in New York City, in the Fall of 2006.
http://matafestival.org/guidelines.html
Materials for submission must include:
Although commissions are only awarded to composers under 40 at the time of submission, composers of all ages who are at the early stages of their careers will be considered for programming on the festival. Commission amounts range from $1500 to $3000, depending on the parameters of the work. Composers are expected to attend the premiere of their work. Please include a sentence in your cover letter specifying if you would like your works to be considered generally for the festival in the event that you are not chosen for a commission. MATA has commissioned work for a broad range of media, including Partch instruments, children's chorus, and video.
Please send whatever you consider to be your best work. If your music has been programmed by MATA, or you have received a commission, you must wait three years before re-applying. Only 1 commission will be awarded to any 1 composer in his or her lifetime. To submit or for more information, contact:
Music At The Anthology (MATA)
Thank you for your interest in MATA.
(((call for works/sound is art)))
Chisel, cut, mix, set in spaceŠSound has the power of the cinema and is lighter
Among the prizes awarded for acoustic creation, the Phonurgia Nova competition has, since 1986, occupied a special place by virtue of its recognition of artists whose work exploits sound as a medium for expressing the real and the imaginary. In 2003, 150 productions from 19 different countries were entered in the prize.
This year's competition will distinguish authors whose work manifests a keen sense of sound and listening as means of expression, on two areas :
RADIO ARTS will privilige all forms of inventive radiophonic creation: documentary,
fiction, essays, interviews, radio mix, Hrspiel, experimental forms etc.
NEW MEDIAS awards will go to sound installations or sonic works which have been specially created for "new media" to bring new experiences in sound art to listeners - mobile phone, audioblog, site exploring the acoustic dimensions of the net.
In each category the jury will deliberate on two types of work:
(") Prizes
() Deadline
(*) Sound archives
(!) More info and application form available on www.phonurgia.org
(/)Questions concours@phonurgia.org
Are you interested in performing on the Meridian Music series?
We welcome your interest and want you to have a sense of what we're seeking for this series. The space is a wonderful, intimate venue, a rectangular gallery space, deeply windowed at one end, hardwood floored, 14 1/2 feet by 30 feet with a 10 1/2 foot ceiling. We can seat a maximum of 50 people. We're on the second floor of a building in downtown San Francisco, generally quiet, but with some street sounds audible. There is not a piano in the space. The audience usually sits on comfortable folding chairs. Because it is an active, vibrant art gallery, the music always occurs in relation to the current exhibition. So, we are interested in music that works well in this resonant space.
Each concert is professionally recorded by Michael Zelner of Zoka Productions. With this opportunity, those selected will also share their unique musical perspective with a group of about 15 low-income, high school aged, interns in a one-hour workshop.
We invite proposals from composer/performers for solo or very small ensemble performances that take into account the size of the room. Quiet, "lower case" music works well here, so do sonically saturating pieces. It's a small space, and we respect the ears of our audiences and we want performers who understand that. We host a wide range of styles and approaches, including free improv, structured improv, minimalism, new (and old) complexity, as well as streams from jazz, "concert" music, art music from all world cultures, experimental music, and performance art. We hope to present a wide variety of these sorts of art music, and we need your proposals to help us to do that.
Your proposal needs to let us know what you wish to perform and how you sense your work fitting into the Meridian Music series. Just a few lines of text are fine; we're not after pages of information. You're also very welcome to enter a conversation with us about what you'd like to do. We're working artists and musicians and educators and we always enjoy talking with others in these fields. We want your experience with us to benefit you as well as us and that is why we look thoughtfully for good matches of performer and space.
We look forward to hearing from you!
Sincerely, Tom
to be released by UBUIBI
the 'women take back the noise' compilation project will be
a compendium of projects by women who experiment with
various difficult sound mediums such as noise, machine-noise,
laptop, glitch, cut-up and other related genres.
ARTIST TRACK LENGTH and DUE DATE
maximum total time per artist piece - 8 minutes
format for submissions: CD, cassette, mini-disc
we are asking all artists to submit exclusive pieces ONLY.
upon release, each artist will receive copies of finished CD
curator: ninah pixie (aka 'weirdpixie') ninah@ubuibi.org
::: this project is a not-for-profit compilation :::
----/ Contact Info /----------------------------------------------------
ninah pixie
There is a new improvising space in the web at www.auracle.org
It's a webspace where everyone can improvise together, the only thing
you'd need to participate is internet access, a microphone (the
built-in mic of your computer is fully sufficient) and just your
voice or anything else that makes a sound. The idea is to provide an
easily accessable worldwide improvising space that anyone, musician
or non-musician, can easily handle and make music with it.
We over here in Stutgart are promoting this project from Saturday
25.9. until Friday, 1.10. every day from 10 a.m. to 7 p.m. central
eurpoean time, and it would be great if as many people as possible
would join us in this time and improvise together.
the project was initiated by Max Neuhaus, realised by Shekar
Ramakrishnan, Kristjan Varnik, Jason Freeman and others, and you can
find more information on the website www.auracle.org
Hope to meet all of you there
i am a co-founder and co-director of collective: unconscious, an artist-run multi media art space and production facility that has just moved into nyc/usa/tribeca, to hopefully engage in the heretofore rather obscure task of the de-gentrification of a neighborhood in new york city.
at this point, the best way that many of the prolific members of the experimental art/media/theater community can help us is through doing a show/event at collective: unconscious. our carrying expenses are 7000 dollars a month, and we need to have a full schedule of weird, strange, shocking, experimental, original stuff going on in our space to keep us from economically crashing and burning in short order
we have karen finley www.karenfinley.org doing a run of shows in september and october, which means sizable audiences to glean for a whole slew of open 10pm slots.
a partial and by no means exhaustive pitch for our new facility:
the only space of its kind left in lower manhattan, in a sea of starbucked duane readed name branded cultural garbage, a barnacle of freakdom that you can help keep alive in the trying months ahead
come by any of our bookings meetings any sunday at 6pm at 279 church st., nyc, usa, and/or email scheduling@weird.org. speak to gecko or myself. we are inviting both local artists and international artists seeking to do shows/events in new york city at low cost. we want engaging original work that may not be as established as the work presented by other experimental art spaces in nyc such as the kitchen or ps122. if you don't know about our space and you are interested in booking an event with us, check out our website www.weird.org
to find out about work we've produced and presented, goto:
Deadline for submission: October 25th, 2004
Open topic -- No entry fee
Please visit Mediatopia for submission guidelines and entry form mediatopia.net
Mediatopia is a recurring networked culture space for art, technology and writing.
We still believe in networked culture. Mediatopia.
"Mediatopia's projects may lure you into their spectaclesor drive you to the streets in protest!" -Valerie Lamontagne for Rhizome
"Make sure you set aside plenty of time for browsing this site as it's likely to send you off on a trajectory of your own." -Helen Varley Jamieson for Rhizome
"Tensions are exposed and desires embellish theories of cyberspace. Ideologically charged electrons paint a flesh filled world of vanguard reflections." -Ludmil Trenkov for NetArtReview
Produced by Adhocarts.org, Curated by Lara Bank and Andrew Bucksbarg
Call for submissions
Introducing SONUS.ca, a free online listening library
featuring all forms of experimental electronic music.
With over 1200 works from artists around the world,
SONUS.ca is the world's most extensive audio
web-resource dedicated to technology-based sound
exploration. Best of all, it's free to listen and
free to submit your work.
Sonus is built around a Flash interface, which makes
the site simple to use and navigate. It's easy to
create and modify playlists, or find music in the
library with the powerful search engine. Curated
galleries will be a regular feature, showcasing work
from different labels and festivals, or presenting
work chosen by a curator around a particular theme or
style.
With these features, Sonus is a great way to promote
your work. You can include biographical information,
track notes and links to personal webpages. So why not
send in your audio? The CEC will encode it as high
quality mp3 and include it in the Sonus library.
If you run a weblabel or have a personal webpage, you
can use Sonus to house your audio with a link directly
from your page. Contact us for more information.
Sonus.ca is supported by the membership of the CEC and
the Canada Council for the Arts. Sonus.ca is dedicated
to presenting experimental electronic music of all
kinds, and has attracted over a quarter of a million
listeners since its inception. Check it out:
For submissions: sonus.ca/call.html
RAM-Radioartemobile and Nomads & Residents
A collection and a traveling archive of audio-artworks, a database on the Internet, and a center for different ways of listening
Proposal open to all artists who work with sound
Radioartemobile (RAM) and Nomads & Residents (N&R) kickoff an audio-artwork database.
All artists who have worked or are working with sound are invited to send an artwork on audio CD, DVD, or on a vinyl record. The RAM headquarters in Rome, via Conte Verde 15, will function as a gathering and a listening point and as an archive for all materials received. It will be open to public. Artworks will be gradually post
- Jim McAuley
- Open Gate Theater: Will Salmon, Alex Cline, Vinny Golia,
Sara Schoenbeck, William Roper
310-391-3777, www.centerartseaglerock.org/
- Mark Menzies, et al. (Takemitsu, Corigliano, Barry Schrader,
Martin Loyato)
661-255-2894, 661-253-7816
calarts.edu/news/20042005/oct2005.html
- Ros Dunlop (Martin Wesley Smith, Jane Brockman)
323-343-4084, More info and map.
- Vicky Ray, Liam Viney, Shaun Naidoo (Stockhausen)
www.pianospheres.org
- Dottie Grossman / Michael Vlatkovich with special guest Jeff Kaiser
www.venturaartistsunion.org
- The Choir Boys with Strings and Lights: Jeff Kaiser, Andrew Pask,
GE Stinson, Steuart Liebig, Roger Meyer
www.pfmentum.com/events.html"
- in gowan ring
- Anna Homler, Kalle Laar
- English: joe foster, bonnie jones
- Nick Castro
- the swinging chandeliers: sayo mitsuishi, joseph hammer
www.halfnormal.com/ilcorral/
Gallery preview 4:00-7:00 pm
Create:Fixate - Optical Lounge and Audio Lab
- Audio Lab: Nate Pagel/Bernie Krause, Joshua Collins,
Helios Jive, Rich Alick/Paul Newman, Reed Rothschild,
DJs: Liza Richardson, Wiseacre, Jubal, AquaVee, DJ CeeKay,
Konstanin, Jeremy Sole, DJ Blair
www.createfixate.com/october05.html
NewTown/SCREAM: Sounding Images 2005
- Kristine Burns, Richard Carbonell I Sauri / Blas Payri,
Elsa Justel, Dennis Miller, Joran Rudi, Diana Simpson / Dan Marti,
Mario Verandi, Daniel Zajicek / Hsiao-Lan Wang
www.newtownart.org/upcoming.html
- Many Axes: Susan Rawcliffe, Scott Wilkinson, Brad Dutz
www.alvas.com/performance_gallery.htm
www.artawakening.com/manyaxes/calendar.html
LITTLE TOKYO BRANCH PUBLIC LIBRARY
203 S. LOS ANGELES ST.
DOWNTOWN L.A.
SEPTEMBER 2005
20 foot wide installation in lobby of twenty transparent color photo images on marble
6 ft x 4 ft canvas banner in Community Room
Will Salmon/Alex Cline
Eagle Rock Center for the Arts
2225 Colorado Blvd.
Eagle Rock
info: (310)391-3777
Serial Underground
at The Cornelia Street Cafe (29 Cornelia Street)
$10 cover + $5 food/drink ticket available through SEP 11
and
for the incredibly well off...
$15 cover + $5 food/drink ticket available AFTER SEP 11
Sep 12
Oct 10
Nov 14
Dec 12
brought to you by Composers Collaborative inc.
on the 2nd Monday of the month at Cornelia Street Caf
When: the second Monday of every month at 8:30 pm
How: By subway 1, 9 train to Sheridan Square or A, C, E, F, V train to West 4th Street
Admission at the door: $15 cover + $5 food/drink minimum
Online tickets at www.TicketWeb.com
Author Christopher Stickney, nominee for both the National Book Award and Pulitzer Prize in 2005, reads from his War Reports &Selected Pomes.
Pianist Jenny Lin performs music of the Eastern European avant-garde and Ukrainian composer Valentin Silvestrov from herupcoming release on Hanssler Classics.
Frederic Rzewski's powerful piano work with Oscar Wilde's eponymous text, De Profundis, gets a compellinginterpretation by David Hanlon.
Filmmaker and theater director Arnold Barkus has directed two feature films and numerous theater pieces. His most recent feature, funded by Canal Plus, Tempte Dans Un Verre d'Eau was theatrically released in France, and in festivals worldwide. The DeMarco Foundation opened the door for his first theater work, for which, he directed an original piece at the Edinburgh Fringe Festival. He has been based in New York for the past 3 years, where he has directed two Theater Ten Thousand productions: The Gndiges Frulein by Tennessee Williams at the Ohio Theater -- In Theater Magazine "pick of the week" and Honey and Boyd, at Present Company Theatorium.
Cal State L.A.
a one-night special premiere presentation of a new modern, surreal opera performed by the artist and cast.
"The Spirit Girls, Songs that Never Die"
5151 State University Drive, Los Angeles, CA 90032
Please visit or call the Luckman Box Office: (323) 343-6600
Contamination
September 4th October 16th
Open to the public Thursdays-Sundays from 2:30 7pm
and other times by special request
Tel: 33 5 63 81 59 29
Email: chateau.linardie@wanadoo.fr
New York City NY 10012
212-925-9787
peter@peterreginato.com
www.peterreginato.com
2005 Single Tickets & Subscriptions Beginning July 5th.
Interpretations | 17th season
Box Office (212) 501-3330 Concert info (212) 627-0990
$10 / $7 or TDF/V
November 10 - Earl Howard & soNu
December 1 - Wadada Leo Smith & Alan Kushan
February 2 - Wandelweiser Composers Ensemble / Gamelan Son of Lion
February 23 - Anti-Social Music / sfSound Group
March 30 - Brian Schober / Steve Swell
April 27 - Thomas Buckner
May 11 - Jennifer Hymer / Anne LeBaron
545 Sutter (between Mason and Powell)
San Francisco
www.meridiangallery.org
September 2005 update:
In and Around New York City
Saturday, September 10, 8pm
Tenri Cultural Institute, 43A West 13th Street
www.emfproductions.org/year0506/rite1.html
Thursday, September 8 and Saturday, September 10, 8pm
Michael Schimmel Center for the Arts, Pace University, 3 Spruce Street
www.diamandagalas.com/defixiones/defixiones.htm
www.ticketcentral.com
Through September 16th
Cooper Union, 8th Street and Astor Place
mailto:nbaldrich@earthlink.net
Saturday, September 17, 12 noon - 6pm
West 19th Street between 10th & 11th Avenues, Rain or Shine, FREE
www.thekitchen.org
www.pamelaz.com
Friday, September 9
The sanctuary of St. George's Anglican Church, Guelph, Ontario, Canada
www.guelphjazzfestival.com
www.arts-electric.org/cgi-bin/aecal_search.pl?keywords=worldevent
Information about becoming an EMF Subscriber or EMF10 Partner or Patron is available online ...
- Keith Rowe (Oct 1)
- Jessica Rylan (Oct 22)
- Stephan Mathieu (Nov 19)
- Alessandro Bosetti (Dec 10)
9 p.m. Admission open to all ages.
Info at www.lampo.org
Sept 10 9 pm 6ODUM
Oct 1 9 pm 6ODUM
Oct 22 9pm 6ODUM
Nov 19 9pm 6ODUM
Dec 10 9pm 6ODUM
Support experimental music. There are three membership levels with benefits
for you, including free admissions, a limited edition T-shirt and early
program announcements.
8641 W. Washington Blvd.
Culver City CA 90232
$5 entry
For more information: www.sensoundmusic.com/jazzonamondayvibe.html
Contact: 310-287-1918
8PM Thursday nights
All Ages - $10 for adults, $5 for students
please visit www.tonicnyc.com for details and schedule updates.
107 Norfolk Street
(Between Delancey & Rivington)
212-358-7501 / www.tonicnyc.com
ONLINE ART & MUSIC
www.kiasma.fi/transsiberia
trans-siberianradio.org
Associate Dean, Instructor of Harp & Improvisation CalArts School of Music
shoko.calarts.edu/~susie
www.summerharpcourse.com
Carlos Katastrofsky
Michael Takeo Magruder
Jillian Mcdonald
Mike Mike
Carrie Paterson
Christina Ray and Dave Mandl
Geoffrey Thomas
Lara Bank
Aerostatic and Andrew Bucksbarg
August 10th, 2005
Andrew Bucksbarg
Assistant Professor of Telecommunications
Indiana University
1229 East Seventh Street
Bloomington, Indiana 47405-5501 USA
812-219-5310
Abucksba@indiana.edu
a real soundtrack for an imaginary spy film
by Arthur Jarvinen
Just click, listen, read, and enjoy.
Bookmark the site and visit regularly.
And please, share this info with anyone you know and think will appreciate hearing about it.
You don't need an iPod to hear the Memory Theater! Here's how:
We recommend iPodder: http://ipodder.sourceforge.net/index.php
2] subscribe to our RSS feed: http://cathedral.monroestreet.com/rss.xml.
Copy this address to your clipboard and paste it into the subscribe field in your receiver. The software will let you automatically download any new podcasts since last check to your computer's music library.
3] listen through your iPod or computer's mp3 player.
Bookmark this link:
http://cathedral.monroestreet.com/netjuke/search.php?do=list.tracks&col=al_id&val=45&sort=al
Check back every two weeks to hear the next program.
http://cathedral.monroestreet.com/faqs.php?context=View+Document&parent=31&helpContext=Podcasting
P.O. Box 23434, Edinburgh EH7 5SZ
Tel. +44 131 477 3774
info@mediascot.org
www.mediascot.org
http://somewhere.org/NAR/NAR_home.htm
: a community version of sleepbot where listeners can add music
to the playlist as well as listen to it
myndlistamaur/kennari
artist/teacher
Fjlbrautasklanum vi rmla (www.fa.is)
and Friday, Sept. 28 from 6:30 - 8 PM with a gallery talk at 7:15 PM.
Cory Arcangel, Betty Beaumont, Carlos Casado, Andy Deck,
Jody Elff, Angie Eng, Fakeshop, Katrin Grotepass, Yael Kanarek,
Willy Le Maitre & Eric Rosenveig, Golan Levin, Michael Mandiberg,
Kevin & Jennifer McCoy, Yucef Merhi, Sally Minker, Joseph Nechvatal,
Michael Rees, Carlos Zanni, screaMachine and net.ephemera (Mark Tribe).
Design: Ray Canapini
Dialogue: By Claire Barliant
Intern: Seraphina Tisch
Media Sponsor: NY ARTS MAGAZINE
http://www.nyartsmagazine.com
Web Design: FIRST PULSE PROJECTS
http://www.firstpulseprojects.org
SUBMISSIONS
Assistant Professor of Cello and Music Theory
Southern Illinois University School of Music
Mailcode 4302
Carbondale, IL 62901
lenz@siu.edu
Victoria Independent Film and Video Festival - http://www.vifvf.com/
Co-sponsored by Open Space Artist-Run Centre - http://www.openspace.ca/
Parallel event Digital Art Weeks, Summer 2006, Swiss Federal Institute
of Technology http://www.jg.inf.ethz.ch/Group/Front
Conference hotel - Laurel Point Inn - http://www.laurelpoint.com/
Victoria, British Columbia, Canada, Thurs Jan. 26 - Sun. Jan. 29, 2006.
Parallel gallery (opens onto the street)
Bathrooms (2)
Back Stairs (opens onto the back alley)
Main gallery (low volume or headphones only)
Data/Video Projector.
VHS Player.
Sound system with amp and two speakers.
Wireless high-speed internet access.
VHS Player.
DVD Player.
3-4 Macintosh computers.
Sound system with amp, 16-channel mixing board, mics, and four speakers.
Cable modem internet connection.
Kathy Kay director@vifvf.com
Julie Andreyev lic@telus.net
Randy Adams runran@runran.net
Tina Pearson newmusic@openspace.ca
Mailing Address - PO Box 8419, Victoria, BC, V8W3S1, Canada.
Office Address - 808 View Street, Victoria, BC, V8W1K2, Canada.
Tel: (250)389.0444. Fax: (250)389.0406. E mail: festival@vifvf.com
Announces
2006 Spark Festival of Electronic Music and Art
Douglas Geers, Director
West Bank Arts Quarter, University of Minnesota Twin Cities Campus
February 22-26
Submission Deadline: September 30, 2005 (postmark)
Music submissions will be accepted in four categories:
1. Concert works: Electroacoustic works with and without performers. Performance venues will accommodate 2-8 channel works and works with video. Although there is no strict limit of duration, pieces of fifteen minutes or less are encouraged. Note that Spark 2006 will feature guest performers Maja Cerar (violin) and Brian Sacawa (saxophone). Works written for solo violin and solo saxophone with digital music and/or images are especially welcome. Other instruments will be available, and details on available performing forces will be posted on the Spark website with the submission forms.
Submissions will be accepted in three categories:
1. Installations and gallery works: A number of installation and gallery exhibitions will be mounted in various spaces on the UMN campus, including the Weisman Art Museum. Please include technical and space requirements with submission. Installations may be physical objects, video and/or sound projections, or combinations thereof. Artists may be required to provide some or all of necessary technology to mount installations.
Technical papers, lecture/demonstration, and workshop submissions that deal with topics relating to creating arts and music with new technology are encouraged, including intermedia composition, performance, human-computer interaction, software/hardware development, aesthetics, and history.
Paper and lecture/demonstration submissions will be accepted in two categories:
Standard length: Twenty-minute presentation, allowing for five minutes of Q/A.
Short length: A feature unique to the Spark festival is Symposium Fast Forward, a presentation of five to ten-minute presentations followed by five to ten minutes of Q/A. The idea of Symposium Fast Forward is to create a venue where ideas and projects may be presented succinctly with time following for discussion and brainstorming. Both students and professionals are encouraged to submit presentations of this type.
Applicants are invited to submit one work per category in up to three categories for consideration. All applicants must complete an online submission form on the Spark Festival website and include their submission number(s) with any physical media sent via postal mail. The submissions website will be at spark.cla.umn.edu/ submissions.html and will be activated in late July. More details about the submission process will be available on the Spark 2006 website when the online submission procedure has been activated.
Selected works will be announced by November 1, and travel and accommodations information will be posted on a href="http://spark.cla.umn.edu/">spark.cla.umn.edu/
Assistant Professor, Music Composition
Director, Electronic Music Studios
University of Minnesota, Twin Cities, USA
www.dgeers.com
March 30 April 1, 2006
Proposals for new, original, interdisciplinary works will be accepted
for a "Commissioned" category. Works must be created by a team
consisting of two or more members, and must combine two or more areas
of creative expression and contain a major technology component.
Proposals will be accepted for performances, concerts, showings or
installations; completed works will be presented during the symposium.
Proposals must include detailed technical and production requirements,
and a proposed budget. Limit of one proposal per team. The piece must
not have been previously published, performed or exhibited. Awards
will be granted at the discretion of the Center. Submissions not
accepted for the commissioned category will also be reviewed for the
general submissions category. Accepted commissions will be awarded a
stipend of $3000 and a residency at Connecticut College between March
27 and April 1 that includes:
- performance or installation of the accepted work
- workshops with students
- attendance at the symposium
- presentation at the symposium
A two-page extended abstract or complete paper, including technical
requirements, must be submitted by email or mail. Upon acceptance,
revised papers must be submitted electronically by January 31, 2006 as
a PDF. Complete technical requirements for presentation must be
included. Papers will be published by the Center in the symposium
proceedings. All rights will remain with the author. Papers will be
selected for twenty-minute presentations as part of the daily schedule
of speakers. Papers may be grouped by the Center in a panel discussion
format.
Proposals for panel discussions are encouraged. Proposals should
include names of prospective panelists and topic, which should address
the general areas of the symposium. Papers may be grouped by the
Center in a panel discussion format.
In addition to academic and theoretical papers, submissions of
technology-based or technology-oriented creative works are encouraged.
Maximum one proposal per person or team, and we reserve the right not
to review multiple pieces in a single submission. All submissions must
be accompanied by a one-page description/abstract for presentation at
the symposium about the work, a list of complete technical needs,
biography and contact information. See specific categories for
additional requirements. All presenters and artists are encouraged to
speak about their work at the symposium. Symposium registration will be
required for all symposium attendees.
MUSIC COMPOSITIONS
Music submissions (composition, performance, theory, interactivity,
signal processing and music understanding) are encouraged. Works for
instruments, digital media, CD or interactive compositions are also
being solicited for "tape only" concerts or live performance. Works
should not exceed 15 minutes in length and should be submitted with
accompanying score, where appropriate. Music must be submitted on CD
for review, with accompanying scores as required. Musicians, dancers
and actors may be available for live performance pieces. All
submissions must be accompanied by a one page description/abstract for
presentation at the symposium about the work. Complete technical and
performance requirements must be included.
Computer-generated or computer-aided dance compositions and theater
works are being solicited for live demonstrations or for videotaped
presentations. Specially produced dance or theater videos are of
particular interest as opposed to concert tapes or other archival uses
of video. Also of interest are proposals for workshops, demonstrations
of software for dance or theater notation, choreographic analysis,
interactive studies and/or multi-media studies of performance in dance
and theater. Performances may be accepted, but will be limited by
technical needs and financial considerations. All submissions should be
accompanied by a web site, CD, DVD or VHS, and one page
description/abstract for presentation at the symposium about the work,
biography, contact details, and complete technical needs and spatial
requirements.
(must be postmarked or emailed by date)
November 1, 2005: Commissioned Works Deadline
December 1, 2005: Commissioned Works Notification
December 1, 2005: General Submission Deadline
December 22, 2005: General Acceptance Notification
January 31, 2006: Final papers must be received as a PDF
March 27 April 1, 2006: Residencies for Commissioned Works
March 30 April 1, 2006: Symposium
Submissions, art works, slides, CDs, DVDs, VHS, tapes or scores will
only be returned if a self-addressed stamped envelope or packaging is
provided.
Ammerman Center for Arts and Technology
Connecticut College
270 Mohegan Avenue BOX 5365
New London, CT USA 06320-4196
phone: [860] 439-2001
email: cat@conncoll.edu
cat.conncoll.edu
r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r
@ AlterSpace iin CHI IL .US
DEADLINE == 2005.08.25
r4wb1t5 AT gmail.com
r4wb1t5.org
www.cayetanoferrer.com/alterspace/
662 n. heliotrope dr
los angeles, ca 90004
2 recordings of samples of recent work (MIDI tapes will not be accepted);
scores to accompany the above recordings (unless scores are not pertinent);
biography or resume;
list of works;
SASE if you wish to have your materials returned.
412 West 42nd Street, Suite 4
New York, NY 10036
Tel/Fax: (212) 563-5124
Email: info@matafestival.org
Deadline: ???
www.phonurgia.org
1)completed productions
2)projects
One Radio Arts prize and one New Media prize each of 1 500 euros and 3 artist's residencies at GRM-INA (Paris), IMEB (Bourges) and GMVL (Lyon), 3 major studios for electronic music and sound art internationaly known. Ten works will be selected for presentation at the third Festival de l'Ecoute, Arles, 2006. Additional prizes could be given at this time. Certain works will be broadcast by the organisations and radio stations associated with the Festival.
The closing date for registration of entries: September 1, 2005. Results will be announced on Saturday, October 1, 2005, in Paris at la Maison du Geste et de l'Image.
All the materials received will constitue a permanent archive of audio works. This archive will be opened to the public.
Tom Bickley, Curator, Meridian Music tbickley@metatronpress.com
www.meridiangallery.org/MGMusic.htm
ubuibi.org/wtbtn/
ninah@ubuibi.org
ubuibi.org/wtbtn/
Hi !
very best
Nikola Lutz
colleagues:
air conditioning that actually works
a dsl line useful for webcasting, along with possible access to a t-1
a no smoking space that doesn't leave you smelling smoky on your way out
much more noise insulation from the street than our old space
a collective of artist administrators that have busted their asses without pay for many months to keep our ongoing institutional experiment alive -- we need help
www.weird.org/what_we_have_done/
sonus.ca
A forum for visitors in the arts: making connections, supporting networks, setting up meetings