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Eva Ljosvoll shows her new video work En Odyssé at the joint exhibition Naturescape at Nordnorsk kunstnersenter, Svolvær. Naturescape is a study of nature’s potential as an opinion carrier in the Arts, and opens Saturday 29th October at 13:00. En Odyssé has been edited at BEKs video studio. The exhibition has previously been shown at Gallery Boa in Oslo and Lørenskog kunstforening.

The video lasts six and a half minutes. During this time, plants sprouts, grows and blooms in  flower pots in a window still. We hear the sound of industrial work from the container port outside the window and a person who hums a small circular melody. What is happening outside the window, takes place in real time.
The plants unpredictable growth are combined with the movement in the work of container shipping. Because this takes place in different time scales and have different characteristics, they contrasts each other. The plants growth shows how life can unfold, albeit under very restrictive conditions.

Other participating artists at the exhibition are Tulle Ruth Koefoed-Jespersen, Camilla Malmquist, Ulla Schildt and Siv Bugge Vatne. All six work with the constructed nature of medias and materials such as motorized drawings, engineered, but realistic video collages, photographs, digital prints with drawing and Chinese woodcuts, and installations with false, but natural, stones.

En Odyssé has been supported by Billedkunstnernes vederlagsfond.

Time and place:

• Lørenskog kunstforening - 29/10/2011 to 19/11/2011
• Galleri Boa, Oslo - 23/11/2011 to 11/12/2011
• Nordnorsk kunstnersenter, Svolvær - 08/02/2012 to 26/02/2012

On 1 March 2012, Henkjan Honing will be appointed professor of Cognitive and Computational Musicology at both the Faculty of Humanities and the Faculty of Science of the University of Amsterdam.

Start: 2012-02-13 20:00 End: 2012-02-13 22:00

Start: 2012-02-24 20:00 End: 2012-02-24 22:00

Ecouter l'émission (10'09) - novembre 2011

Interview : Alexandre Bazin

En bonus l'extrait vidéo du concert :

 

Lionel MARCHETTI + Jérôme NOETINGER RETRO-ACTIF... par inagrm

Ecouter l'émission (08'59) - novembre 2011

Interview : Alexandre Bazin

En bonus la vidéo du concert :

Franck Vigroux RETRO ACTIF la Gaîté lyrique... par inagrm

Découvrez cette première collection de plugins pour Max for Live.

Création de Branenwelten 6 pour piano et électronique de Robert H.P. Platz. 12 février, Stuttgart.

Stage logiciel. 18-19 février

venerdì 3 febbraio 2012 ore 18.00


S a M P L   S H O W S   O F F
tre anni di Sound and Music Processing Lab

Improvvisazione musicale coadiuvata da motion capture

Improvvisazione grafico-pittorica con tablet grafica

Spazializzazione del suono e proiezione animata di partiture

Musiche di György Ligeti e Mauricio Kagel

Video di Valentina Confuorto e Valentina Valente

Video action painting Michele Sambin

Regia del suono Alberto Vedovato Francesco Grani Daniele Padovan

Spazializzazione gestuale del suono Debora Petrina
Pianoforte / metronomo Anna D'Errico
Sax contralto Mattia Soloperto

venerdì 3 febbraio 2012 ore 18.00
ingresso libero
Auditorium Cesare Pollini
Via Eremitani, 18 Padova


Il progetto è stato realizzato grazie al sostegno della
Fondazione Cassa di Risparmio di Padova e Rovigo

info: 049 8750648
info@sampl-lab.org
http://www.sampl-lab.org

Con il patrocinio di

Provincia di Padova                  Comune di Padova

In collaborazione con

Dipartimento di Ingegneria dell'Informazione dell'Università di Padova
Centro di Sonologia Computazionale dell'Università di Padova

BEK offers a one-week introductory workshop to the software Max. Max is an intuitive graphical environment for real-time processing of all kinds of media (sound, video, MIDI, light, sensors and robotics), and can be used for music, sound art, video, installations, works for stage and in interaction design. Instructor is Trond Lossius.

Sign up!

Participation in the workshop is free. Sign up by sending a mail to bek@bek.no with a brief motivation. If you have specific projects or interests that you want to use Max for, please let us know, so that we can plan the workshop accordingly.

Practical details

The workshop will run February 13-17 1000-1530, and consist of a mix of teaching, excersises and creative work on your own projects.

Participants are expected to bring their own Mac or Win laptop/PC. A 30-day fully functioning demo version of Max 6 can be downloaded from Cycling’74. If you don’t have access to a laptop of your own, please let us know.

About Max

Max gives you the parts to create unique sounds, stunning visuals, and engaging interactive media. These parts are called ‘objects’ – visual boxes that contain tiny programs to do something specific. Each object does something different. Some make noises, some make video effects, others just do simple calculations or make decisions. In Max you add objects to a visual canvas and connect them together with patchcords. You can use as many as you like. By combining objects, you create interactive and unique software without ever writing any code (you can do that too if you really want to). Just connect.

With native support for a wide variety of controllers and devices, Max lets you connect anything together.

• Add live camera or audio input to create an immersive and interactive experience.
• Attach sensors to your Max using Arduino, Eobody or other devices.
• Plug in MIDI devices and USB gaming controllers to control things exactly the way you want to.
• Combine a variety of devices and software together using MIDI, serial communication, or network protocols like OpenSoundControl to create hybrid systems.
• Collaborate using OpenSoundControl across a local network with other computers or OSC-enabled mobile apps.

The diverse tools and accessible interface has made Max an indispensible tool in a variety of disciplines where realtime media and interactivity are needed. Here are things people near you are doing with Max.

• Electronic Musicians use Max to develop unique sound-making tools, unusual instruments, and custom performance systems.
• Live Visualists use Jitter and Vizzie tools to create images that respond to sound and other inputs.
  E* xhibition Designers develop rich, educational exhibits that engage museum visitors.
• Interactive Media Artists combine technologies that sense the environment with responsive Max patches to entertain and challenge the viewer.
• Scientists and Researchers use the quick prototyping and compatibility of Max to develop experiments and record data.
• Public Artists and Architects use Max to develop enhanced public spaces.
• Video Game Developers and Sound Designers use Max to prototype game sound, develop custom toolchains, and test new controller prototypes.

Time and place:

• BEK - 13/02/2012 to 17/02/2012

Start: 2012-02-04 20:00 End: 2012-02-04 22:00

The Second International Conference on Transdisciplinary Imaging at the Intersections between Art, Science and Culture.

Takes place on 22 – 23, June at Victorian College of the Arts, Federation Hall, Grant Street, Southbank, Melbourne 3006
Call for papers: Interference strategies for art
Deadline for Abstracts: March 30, 2012

The Transdisciplinary Imaging Conference seeks papers that explore the theme of ‘Interference’ within practices of contemporary image making. Today we’re saturated with images from all disciplines, whether it’s the creation of ‘beautiful visualisations’ for science, the torrent of images uploaded to social media services like Flickr, or the billions of queries made to vast visual data archives such as Google Images. These machinic interpretations of the visual and sensorial experience of the world are producing a new spectacle of media pollution. Machines are in many ways the new artists.

The notion of ‘Interference’ is posed here as an antagonism between production and seduction, as a redirection of affect, or as an untapped potential for repositioning artistic critique. Maybe art doesn’t have to work as a wave that displaces or reinforces the standardized protocols of data/messages, but can instead function as a kind of signal that disrupts and challenges perceptions. ‘Interference’ can stand as a mediating incantation that might create a layer between the constructed image of the ‘everyday’ given to us by science, technological social networks and the means of its construction.

The Transdisciplinary Imaging Conference wants papers that ask:

• Can art interfere with the chaotic storms of data visualization and information processing, or is it merely eulogizing contemporary media?
• Can we think of ‘interference’ as a key tactic for the contemporary image in disrupting and critiquing the continual flood of constructed imagery?
• Are contemporary forms and strategies of interference the same as historical ones? What kinds of similarities and differences exist?

The conference will explore areasrelated to: Painting, Drawing, Film, Video, Photography, Computer visualization, Real-time imaging, Intelligent systems,Image Science.

Participants are asked to address at least one the following areas in their abstract:

• Expanded image
• Remediated image
• Hypermediacy
• Expanded film
• Imaging science
• Computer Vision
• Networked Image
• Immersion

Proposals

You are invited to submit an abstract for an individual paper relevant to the conference theme as described above. The deadline for abstracts is March, 2012. Abstracts for individual papers should be no longer than 250 words. Please provide full contact details with your abstract. Refereeing of papers will be processed by members of an expert review panel (to Australian DEST refereed conference paper standards). All selected peer reviewed papers will be published in the online conference proceedings.

Please submit by email to conference organizer Andrew Varano transimageconf@gmail.com<mailto:transimageconf@gmail.com>

Conference chairs:

Professor Su BAKER Associate Professor Paul THOMAS

Conference Committee

Brad BUCKLEY :: Brogan BUNT :: Ted COLLESS :: Vince DZIEKAN :: Donal FITZPATRICK :: Petra GEMEINBOECK:: JulianGODDARD :: Ross HARLEY :: Martyn JOLLY :: Leon MARVELL :: Anna MUNSTER :: Daniel MAFE :: Darren TOFTS ::

Timeline

March 30th deadline call for abstracts; April 30th peer reviewed
abstracts notified; June 22- 23 Final papers for conference 3000 words.

Conference Partners

National Institute of Experimental Art, College of Fine Art, University
of New South Wales; Victorian College of Art, University of
Melbourne,.

Conference Sponsors

Australian National University, CurtinUniversity, Deakin University; Monash University; Queensland College of Art, Gold Coast Griffith University; Queensland University of Technology, RMIT University, Swinburne University; University of Sydney, Sydney College of the Arts, University of Technology Sydney, University of Wollongong.

http://blogs.unsw.edu.au/tiic/

CALL FOR PAPERS:

We are pleased to announce the Third International Symposium on Music and Sonic Art: Practices and Theories (MuSA), an interdisciplinary two-day event to be held in Karlsruhe, Germany. The dates of the Symposium are 7-8 July 2012.

Proposals for sessions and individual papers for the Third International Symposium on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include both academic research papers (including research in progress) and reports on practice-based work or educational programmes. The symposium also encourages workshops and presentations in which performance forms an integral part. All papers will be ‘blind’ peer-reviewed. The symposium language will be English.

THEME and TOPICS:

The principal aim of MuSA 2012 is to advance interdisciplinary investigations between music, sonic arts and other disciplines such as dance, theatre, digital media, visual arts and architecture. As in MuSA 2010 and MuSA 2011 we believe that an interdisciplinary approach to musicology (defined broadly) is of benefit to the research community. Music embraces many theoretical positions as well as cultural, social practices and contemporary musicology reflects this diversity. There will be three distinct (though related) themes to MuSA 2012:

First, we welcome presentations in ‘traditional’ subject areas such as historical/critical musicology, performance studies, aesthetics, analysis and ethnomusicology. What, for example, are the qualitative differences for performers in a rehearsal and the final concert? Can a composition or a performance be regarded as ‘research’ properly speaking, or is a form of textual commentary necessary? What metaphors (if any) do performers use to explain their processes? What strategies are appropriate to an analysis of ‘open’ forms? How can the concept of the ‘formless’ be applied to music/sonic art?

Second, as the symposium’s title suggests, we hope to encourage the submission of papers investigating relationships (and possible tensions) between music and sonic/sound art. For example, to what extent can the practices and theories of music inform sonic art (and vice versa) or is it more beneficial for sonic art to draw on the aesthetics of gallery-based fine art practice? How does the role of technology manifest itself in both music and/or sonic art? Can a sound installation located within a gallery space form part of a musicological discourse? The role of the performer, expression, embodiment, the nature of the instrument, the status of the score… these are vitally important shared concerns and would benefit from interdisciplinary discussions.

Third, presentations are also invited from scholars who are researching the connections between music/sonic art and disciplines such as architecture, painting, theatre and literature. Are the blank canvases of Rauschenberg comparable to Cage’s ‘4:33’? Do the constraints employed by literary groups such as OuLiPo relate to algorithmic composition? Finally, are proportions evident in architecture – Baroque, Classical, Modern – consciously applied in contemporaneous music?

These are, therefore, the three themes of the symposium. However, a paper dealing with any subject area that is within the broad remit of the symposium will be welcomed.

ABSTRACT FORMAT:

Please submit an abstract of approximately 300 words as an e-mail attachment to Prof. Dr. Mine Doğantan-Dack (m.dack@mdx.ac.uk). As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from this abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 150 words). Deadline for receipt of abstracts is 15 April. Notification of acceptance will be sent by 30 April.

REGISTRATION:

The symposium fees are: €100 for delegates, €80 for presenters and €50 for students and others who qualify for concessions. Details for payment can be found on the symposium web site: http://web.me.com/johngeorgedack/MuSA_2012

If additional information is required please do not hesitate to contact Prof. Dr. Doğantan-Dack or any member of the symposium committee:

Prof. Dr. Mine Doğantan-Dack (Music Department, Middlesex University) – m.dack@mdx.ac.uk

Prof. Dr. Thomas A. Troge (Institut für Musikwissenschaft und Musikinformatik, Karlsruhe) – troge@hfm.eu

Dr. John Dack (Lansdown Centre for Electronic Art, Middlesex University) – j.dack@mdx.ac.uk

Christoph Seibert (Institut für Musikwissenschaft und Musikinformatik, Karlsruhe) –
seibert@hfm.eu

Prof. Wolfram Bourgard from University of Freiburg will give a talk on Probabilistic Techniques for Mobile Robot Navigation on Tuesday, 31th of January 2012 at 15h in P4.

You are cordially invited!

The Music Technology Group of the Universitat Pompeu Fabra, Barcelona, has open research positions at the PhD and post-doc levels to work on the CompMusic project.

More Information:  CompMusic

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Start: 2012-02-25 20:00 End: 2012-02-25 23:00

30 Mars, 2012 - 1 Avril, 2012

30+31 mars & 1 avril 2012 en coproduction avec RadioFrance et le CENTQUATRE

CENTQUATRE 104, rue d’Aubervilliers/ 5, rue Curial Paris 75019

En savoir plus...

L' Agenda du GRM

Date:  Wed, 02/29/2012 - 5:15pm - 7:00pm Location:  CCRMA Classroom Event Type:  Colloquium Open-Endedness and Code Generation in Creative Software Wesley Smith and Graham Wakefield, authors of Gen from Cycling 74

Traditional real-time media processing limits results according to a pre-defined program or palette of modules, in order to balance the trade-off of flexibility and performance. This trade-off can be significantly relaxed using run-time code generation and dynamic compilation, opening up a potentially vast space of evolving program structures.

FREE Open to the Public

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