Sound and music computing
We invite you to the presentation of masters study programmes at the Faculty of Computer and Information Science, on 26 March 2015, at 5 PM in English and at 2 PM in Slovene in Lecture hall P1.
El Departamento de Tecnologías de la Información y las Comunicaciones de la Universitat Pompeu Fabra convoca el I Premio al mejor Trabajo Final de Grado
Wednesday March 18 20:00
Det Akademiske Kvarter
Olav Kyrresgate 49, 5015 Bergen, Hordaland
Samklangfunnet explores the fusion between technology and music.
The technological evolution of the twentieth century has had an enormous impact on what it means to be a performing musician. Musicians from The Grieg Academy, The Bergen Philharmonic Orchestra and The BIT20 Ensemble will explore some of the possibilities modern technology has provided musicians of our time.
Acoustic instruments have roots that extend back into prehistoric times, and are mentioned in ancient sources, such as Egyptian inscriptions and the Bible. The oldest known human instrument is a bear bone flute made 45 000 – 50 000 years ago. Since then, technology has come a long way. The twentieth century advancements have given performing musicians new opportunities to create their own sound.
Gather all your friends at Kvarteret and open your ears to an exceptional technological evening!
BIT20 Ensemble’s Gisle Martens Meyer will give us an insight into his work with the commission piece Bow Corpse, which will be performed by the BIT20 Ensemble at Nattjazz in June. For this piece Gisle is developing a new software, inspired by both social media and big data.
The BIT20 Ensemble is known for its exploration of contemporary music. Throughout its lifetime it has ordered and premiered over 100 works by both Norwegian and international composers.
Gisle Martens Meyer’s formal education is in computer science, but in 2002 he had a breakthrough with his electronica project Ugress.
The event will take place at Teglverket, Det Akademiske Kvarter.
CC: 50,- for membership of Studentersamfunnet. Free entrance for members.
International conference EuroCG 2015 is taking place this week, 15-18 March 2015, at the Faculty of Computer and Information Science, University of Ljubljana.
Symposium Title: A totally subjective knowledge dump about sound, performance, reverb, the beauty of repetition and the never ending battle against technology and a lack of inspiration.FREE For CCRMA Users Only
A software as complex as Ableton Live offers many ways to manipulate sound. Some are obvious and some are hidden. Robert Henke shows some examples of creative work with the software, and provides insight into more complex and iterative processes involved in his work flow. The workshop will also deal with questions of sound quality, the idea of 'good sound' and how to achieve this in a real world situation during a performance. In the second part of the workshop Robert Henke will dive into some of his Max4Live devices and will discuss the reasoning for developing own patches or tools. When does it help the creative process and when does it become a distraction?
Robert Henke, born 1969 in Munich, Germany, builds and operates machines that create sounds, shapes and structures. FREE Open to the Public
S'initier à la vidéo live dans l'environnement Max. Du lundi 13 au samedi 18 avril, 10h-17h30
We invite you to the presentation of masters study programmes at the Faculty of Computer and Information Science, on 26 March 2015, at 5 PM in English and at 2 PM in Slovene in Lecture hall P1.
freethought invites.... Infrastructures of Resistance : Detroit and the underground desire for utopia
A Bergen Assembly event with freethought hosted at Hordaland Kunstsenter.
Thursday 19 March 2015
19:30 Doors open
21:00 A talk by Louis Moreno of freethought
If the notion of Infrastructure is synonymous with the economic, cultural and political integration of a society, its failure has become symptomatic of a kind of pathological decay. So widespread is this infrastructural mentality that cities are today graded against the overall quality of their ‘human resource complex’. Here the city of Detroit exists not so much as a city, but a disaster scenario. Detroit has become a collage of images reflecting an ongoing crisis requiring ‘emergency measures’ to correct some deep deficiency.
In this talk, freethought member Louis Moreno will consider how the political mentality of infrastructure emerged in response to both the destruction of an economic base and the ‘curation’ of the urban cultures of post-fordism. Against this, using clips from documentaries, excerpts from vinyl 12” records and other evidence, Moreno will show how Detroit opens up a different way of envisioning ‘infrastructure’.
Contained in the cartography of Bill Bunge, the documentaries of the League of Revolutionary Black Workers, and the vinyl records of Underground Resistance, we uncover a different kind of cultural infrastructure: an ‘infrastructure of feeling’ able to
articulate and sustain a peculiarly infectious desire for social and spatial liberation.
A simple dinner will be provided and drinks will be available to buy from the Bob’s Your Uncle Sports Bar.
freethought invites….is a series of open and free public events organised by freethought in the lead up to the Bergen Assembly to pursue their research into ‘Infrastructure’. These events are open to all, and will include dinner, drinks and a guest lecture.
Alongside these open and public events, members of freethought will lead a focused day seminar programme around key themes and terms relating to infrastructure with the intention of developing a collective body of research and insights. These seminars are available to anyone who can commit to following the programme in its entirety up until September 2016. For the seminars, specific texts will be circulated in digital form to allow participants to take part in the discussions. If you would like to join, please email email@example.com
Bob’s Your Uncle Sports Bar is a temporary artist’s bar that exists as part of Carl Johan Högberg’s exhibition Shuttlecock, feat. Bob’s Your Uncle Sports Bar, at Hordaland Kunstsenter until 22 March 2015. Bob’s Your Uncle Sports Bar is envisaged as a replica of the original Bob’s Your Uncle bar at the Amsterdam Kunstverein, designed by Robet Wilhite. Both Bob’s Your Uncle bars host events that foreground the intersection of artistic and social activity.
Artistic Directors of Bergen Assembly 2016. freethought is a collective of six persons (Stefano Harney, Adrian Heathfield, Massimiliano (Mao) Mollona, Louis Moreno, Irit Rogoff and Nora Sternfeld) and came together in 2011 as a platform for research, pedagogy, and production.
Follow at @ft-collective and facebook.com/freethought-collective
Bergen Assembly: http://www.bergenassembly.no/ and
For any questions please contact: firstname.lastname@example.org
With thanks to Hordaland Kunstsenter for kindly hosting this event.
Image credit: Flyer for Underground Resistance – Detroit circa 1990s.
Bli med på VDMX Workshop – sanntidsprossesering av video! 6. til 8. mai holder billedkunstner Piotr Pajchel en VDMX workshop på BEK.
VDMX er et svært fleksibelt VJ-program hvor du kan skreddersy en digital videomixer som passer ditt prosjekt, uansett størrelse og kompleksitet. Det er en rekke ting som gjør VDMX til en fantastisk verktøyskasse for alle som ønsker å jobbe med sanntidsvideo:
- VDMX er et ‘åpent-lag-system’, som er et kjent konsept fra for eksempel Photoshop, og er egnet for komplekse visningskonfigurasjoner.
- Du bygger din egen GUI for å styre hvordan VDMX oppsettet ditt skal se ut og fungere.
- Alle parametre i VDMX kan styres via OSC, MIDI, art-net DMX. Dette er ideelt for musikere og lysdesignere som vil jobbe med video.
- VDMX har innebyget BPM-clock og Audio-analyse.
- Ved hjelp av Syphon kan VDMX strømme video mellom ulike programmer, som f. eks: MAX/Jitter, MadMapper, Unity3D.
- Støtte for Quartz composser og ISF.
Kursholder er billedkunstner Piotr Pajchel, (f. 1979) og utdannet ved Statens Kunstakademi i Oslo (2001-2005). Han har siden 2003 vært kunstnerisk ansvarlig for videoarbeidet i Verdensteatret og er i dag fast medlem av styret.
Verdensteaterets produksjoner har markert seg kraftig nasjonalt og internasjonalt, og er i dag et av norges viktigste scenekunstensambler med et uttrykk som er like dypt forankret i musikk og billedkunst som i teater. Produksjoner som “Konsert for Grønland” (2004), “Fortellerorkesteret” (2006), “Louder” (2007), “And All the Questionmarks Started to Sing” (2010) og “Broen over Gjørme” (2014). ‘’Broen over Gjørme’’ ble vist på Henie Onstad kunstsenter høsten 2014. Verdensteateret mottok Heddas Ærespris i 2014.
Piotr Pajchel vil begynne med å lære deg det grunnleggende i VDMX, for deretter å fokusere på dine spesielle interesser eller prosjekt.
Det undervises i demoversjonen som er gratis, men deltagerne har mulighet for å kjøpe personlig lisens om de ønsker det.
For å delta sender du en mail til email@example.com merket med VDMX sammen med en kort bio om deg selv.
Kurset koster kr 250, og inkluderer lunsj alle dagene. Påmeldingen er bindende.
Workshopen forutsetter grunnleggende kunnskap om videoredigering samt at du tar med en Mac med følgende minimumsspesifikasjoner:
OS X 10.6 eller nyere, 4 GB RAM minne
Deltakerene oppfordres til å ta med egne prosjekter eller prosjektidéer.
Det vil bli mulighet for å presentere prosjekter og/eller få hjelp til planlegging og forslag til tekniske løsninger. Kommer du utenbys fra kan BEK være behjelplig med å finne et rimelig hotel, eventuelt AirBnB.
Workshopen er støttet av Norsk kulturråd.
- BEK - 06/05/2015 to 08/05/2015
KENZIE SLOTTOW - FLUTE AND ELECTRONICS
21.03.15 - 20.30h
Lizamander Russell Pinkston
Secuencia VIII Andres Lewin-Richter
Fractus III: Aerophoneme Eli Fieldsteel
Soundscape I: Shades of Green Kenzie Slottow
The Rifleman Kenzie Slottow
Atlas Crown Kenzie Slottow
With the support of:Blueproject Foundation Generalitat de Catalunya: Departament de Cultura
Ajuntament de Barcelona: Barcelona Cultura
Universitat Pompeu Fabra
Throughout March, BEK is organising a series of seminars exploring the ambiguity of the notion of media from an aesthetic and technological perspective.
The themes range from sonic art and theory of rhythm, through the emergence of narratives about multimedia systems in the amalgam of library science and peace activism, to a relation between early video art and ecological crisis. The speakers include Ina Blom, Florian Cramer, Knut Ove Eliassen, Olga Goriunova, Aud Sissel Hoel, Eleni Ikoniadou, and Femke Snelting. The series is programmed by Dusan Barok, founding editor of Monoskop.org currently based in Bergen, in collaboration with BEK, and held at Hordaland kunstsenter. Events are open to general audience and will take place on March 4, 18, and 25.
The Extensions of Many: Seminars on Media Aesthetics
Media-theoretical discussions on aesthetics in recent years gave way to miscellaneous contributions such as those on post-digital aesthetics (Cramer 2013), post-media (Post-Media Lab 2013), ‘anti-media’ (Cramer 2013), ‘evil media’ (Fuller and Goffey 2012), or ‘no media’ (Dworkin 2013). They share one common denominator: the persisting effort for a new theorisation of media and mediality. The humanities’ modernist understanding of media as a means of artistic expression (painting, sculpture, photography..) got complicated by importing elements from mathematical theory of communication, and particularly the interpretation of information channel as medium. This semantic ambiguity was embraced notably in the 1960s in the circuits of conceptual and computer art and from the 1990s on in the domain of new media art, which, despite the former postmodern turn, implied a new artistic genre in terms of the exploration of and work with the latest technology as its means of expression. New media artists in turn refuted the criticism of their modernist nostalgia claiming that the relevance of their work resides in artistic research of media as contemporary information, communication channels.
The issue of medium-specifity had been raised in aesthetics on several notable occasions: in connection with dismantling Horace’s maxim ‘ut pictura poesis’ (Lessing 1766), arguing for the primacy of material ‘faktura’ over stylistic ‘manera’ in the Russian savant-garde of the 1910s (Markov 1914), or formulating the imperative for the arts to submit to the purity of their respective media (Greenberg 1940). However, the introduction of information theory (Shannon 1948) and the unavoidable inclusion of digital (communication) media in the arts thrown the artistic medium into a paradoxical situation between its agency, on the one hand, as the formal/materiological determinant of a work of art, and on the other, as a sole transmission channel of mimesis.
For this series of three seminars, seven scholars working in Norway and internationally were invited to give 45-60-minute talks, each followed by moderated discussion.
///// PROGRAM /////
Wednesday, 18 March 2015, 18:30, HKS
Ina Blom – Video, Water and Social Ontology
The emergence of analog video, a real-time apparatus whose sophisticated microtemporal operations indicated the existence of memory-frameworks independent of (and largely inaccessible to) human perception, opened the field of art to extensive social inventiveness. This inventiveness involved close interactions between human and non-human time loops, technical as well as biological. In my account of this history, video emerges as an autobiographical “subject” or agent that deploys the contexts, personnel and materials of “art” for an exploration of its own temporalizing capacities and – in extension of this – the very tenets of social memory. This activity can be traced through a number of different phenomena marking early video art; in this context I will focus on the video’s peculiar alliance with water in the context of the ecocrisis of the early 1970s, resulting in new conceptions of nature as well as of social ontology.
Ina Blom is an art historian (professor at the University of Oslo) and art critic, contributing to Artforum, Afterall, Parkett, and Texte zur Kunst. Her latest book is On the Style Site. Art, Sociality and Television Culture (Sternberg Press, 2007, 2009). A new book, The Autobiography of Video. The Life and Times of a Memory Technology, is forthcoming from Sternberg Press in late 2015.
Femke Snelting – The Internet on Paper
In 1934, documentalist Paul Otlet wrote: “Humanity is at a turning point in its history. The mass of available information is formidable. New instruments are necessary for simplifying and condensing it, or the intellect will never know how to overcome the difficulties which overwhelm it, nor realise the progress that it glimpses and to which it aspires.” Otlet considered radio, cinema, micro-fiche, phonograph and television all worthy substitutes for the book as information carrier. He envisaged them interconnected into a ‘radiated library’, an intellectual multi-media machine that would support the publication, consultation and creation of knowledge.
Since 1993, the remains of Otlet’s extensive collection of documents are being cared for by The Mundaneum archive center in Mons. Located in a former mining region in the south of Belgium, Mons is also right next to Google’s largest datacenter in Europe. Due to the recent re-branding of Otlet as ‘founding father of the Internet’, and ‘visionary inventor of Google on paper’, The Mundaneum has called international attention to his oeuvre. The Internet giant thankfully accepted the gift of posthumous roots, and adopted The Mundaneum in return.
‘The Internet on Paper’ traces various narrations of media in and around the work of Paul Otlet. It is a contribution in the context of Mondothèque, a platform for experiments by artists, archivists and activists concerned about the way knowledge is produced and distributed today. http://www.mondotheque.be
Femke Snelting is an artist/designer developing projects at the intersection of design, feminism and Free Software. She is a core member of the Brussels based association for arts and media, Constant, co-initiated the design/research team Open Source Publishing (OSP) and the Libre Graphics Research Unit. With delegates Jara Rocha, Seda Gürses and Miriyam Aouragh she takes part in the Darmstadt Delegation, assigned to explore techno-political and socio-emotional relationships between activist practice and tools.
Photos from the event: Thorir Vidar / http://thorirvidar.com
- HKS - 18/03/2015 18:30
Standardisation par l'AES d'un format de sauvegarde et d'échange pour les données spatiales relatives au domaine acoustique.
Le projet BiLi ("Binaural Listening" FUI- AAP14, soutenu par Cap Digital) ambitionne de promouvoir l'accès à la diffusion en mode binaural individualisé. Cette perspective nécessite la définition d'un format d'échange des données HRTFs (fonctions de transfert de la tête) reconnu par les instances de normalisation internationales.
Cette ambition rejoignait les préoccupations de la communauté des chercheurs s'intéressant aux technologies binaurales et qui désiraient pouvoir échanger facilement les données existantes dans différentes bases accessibles publiquement (e.g. ARI, CIPIC, IRCAM Listen, Marl-NYU). Cette communauté avait lancé récemment une initiative pour la définition d'un format de sauvegarde et d'échange pour les données spatiales relatives au domaine acoustique : le projet SOFA (Spatially Oriented Format for Acoustics). En 2013, le projet SOFA a reçu le prix pour la recherche reproductible de l'Engineering and Physical Sciences Research Council (EPSRC) dans la catégorie article publié : soundsoftware.ac.uk/rr-prize-winner-announcement
Le format SOFA s'applique non seulement aux HRTFs mais également à d'autres données directionnelles issues de mesures par microphones sphériques (e.g. réponses impulsionnelles spatialisées) ou des fonctions de directivités de sources acoustiques ou électroacoustiques.
Dans le cadre du projet BiLi, l'équipe Espaces acoustiques et cognitifs de l'Ircam a dirigé le sous-projet de standardisation par l'Audio Engineering Society (AES) du format SOFA. Les auteurs principaux du standard AES69-2015 sont Piotr Majdak de l'Acoustics Research Institute (ARI) de l'Académie des Science à Vienne (Autriche) et Markus Noisternig (Ircam). Le document AES69-2015, Spatial acoustic data file format, est accessible sur le site web de l'AES.
Dans la foulée de la publication du standard AES69-2015 la semaine dernière, les équipes Espaces acoustiques et cognitifs de l'Ircam et ARI proposent des bibliothèques libres et open source de lecture/écriture (C++, Matlab, Octave) du format SOFA/AES69-2015. Ces bibliothèques sont disponibles sur : sourceforge.net/projects/sofacoustics/
If you are a first or second year you should recently all have received information about the Course Level Feedback (CLF) in your email.
This is an annual internal survey which gives you the opportunity to give DMU feedback on your teaching and learning experience. You can tell us about aspects of your course your are happy with as well as provide comments and suggestions on any areas you feel could be improved.
Please do take the time to complete this. It should only take a few minutes but will help us to ensure the continued high quality of the course for you and fellow students.
You'll find it here: https://www.surveymonkey.com/s/CLF2015_TECH
Concert d’oeuvres acousmatiques le jeudi 26 mars à 19H30L' Agenda du GRM
The choral work “for stadig å bli“ (again and again, to become) deals with listening and distance. The general layout is created by Knut Vaage, based on an initiative from Sissel Lillebostad. Gneis, with conductor Tore Kloster, shapes the piece on site.
Stykket utforskar grensene for sansing og samhandling. Tidsaspektet i partituret er opent, og det inneheld stor grad av improvisatorisk fridom.
Publikum er invitert til å røre seg fritt mellom songarane.
Verket er støtta av Bergen Kommune og Norsk Kulturråd. BEK bidrar med prosjektkonsultasjon, og teknisk support og avvikling frå Thorolf Thuestad.Time and place:
- Bergen offentlige bibliotek - 17/03/2015 20:30
Gitar improviser, Stephan Meidell, uses video footage and animations created by the Turkish artist Tolga Balci, when performing materials from his solo album “Cascades”. This has now been documented at Bergen Kjøtt, and BEK has helped with equipment.
Stephan Meidell – kanskje best kjent som gitarist i den improviserende kraut/støy/rocktrioen Cakewalk – gav i fjor ut soloplaten “Cascades” på selskapet Hubro til strålende kritikker i inn – og utland.
Soloplaten er basert rundt improvisasjoner mellom gitaren og store, industrielle rom i Bergen.
I konsertformat filtreres improvisert gitar og perkusjon gjennom
elektronikk og settes opp mot suggererende, hypnoritualistiske rytmer. Resultatet er et unikt klanglig univers i skjæringspunktet
mellom elektronika, doom og avant-jazz.
På konsertene bruker Meidell videomateriale og animasjoner laget av den tyrkiske kunstneren Tolga Balci, og dette har nå blitt dokumentert på Bergen Kjøtt.
- Bergen Kjøtt - 04/02/2015 00:00