Sound and music computing
The upcoming version 0.6 of Jamoma enables model-view-controller separation in Max. The novel features that Jamoma 0.6 enables will be presented in a paper at the joint ICMC|SMC|2014 Conference in Athens, Greece. A demo session will further exemplify the many benefits of MVC separation in Max using Jamoma 0.6.
T. Lossius, T. de la Hogue, P. Baltazar, T. Place, N. Wolek & J. Rabin (2014): Model-View-Controller separation in Max using Jamoma. Proceedings of the joint 40th International Computer Music Conference & 11th Sound and Music Computing Conference, Athens.
T. Lossius, N. Wolek, T. de la Hogue & P. Baltazar (2014): Demo: Using Jamama’s MVC features to design an audio effect interface. Proceedings of the joint 40th International Computer Music Conference & 11th Sound and Music Computing Conference, Athens.
Alpha versions of Jamoma 0.6 are currently available.
Paper: Model-View-Controller separation in Max using Jamoma
by Trond Lossius (BEK), Theo de la Hogue (GMEA), Pascal Baltazar (L’Arboretum), Tim Place (74objects LLC), Nathan Wolek (Stetson University) and Julien Rabin (GMEA)Absctract
The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, as well as views that can be dynamically loaded, bound to a model, and then disposed. Jamoma 0.6 enables MVC separation in Cycling’74 Max through custom externals and patching guidelines for developers. Models and views can then be nested for a hierarchal structuring of services. A local preset system is available in all models, along with namespace and services that can be inspected and queried application-wide. This system can be used to manage cues with modular, stringent and transparent handling of priorities. It can also be expanded for inter-application exchange, enabling the distribution of models and views over a network using OSC and Minuit. While this paper demonstrates key principles via simple patchers, a more elaborate demonstration of MVC separation in Max is provided in 1.Demo: Using Jamama’s MVC features to design an audio effect interface
by Trond Lossius (BEK), Nathan Wolek (Stetson University), Theo de la Hogue (GMEA) and Pascal Baltazar (L’Arboretum)Absctract
The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, and views that can be dynamically loaded, repurposed, and disposed.
The use of MVC is widespread in web applications, but is far less common in interactive computer music programming environments. Jamoma 0.6 enables MVC separation in Cycling’74 Max, as presented in 1. This demonstration will examine the development of a multi-band equaliser using these recent additions to Jamoma. This review of the design process will serve to highlight many of the benefits of MVC separation.Time and place:
- The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014
FREE Open to the Public
Le chercheur MuTant Arshia Cont donne un TEDx sur "Human-Computer Musicianship" le 10 octobre à Montpellier.
2. 138th Convention, Call for Papers
3. 139th Convention, Save the Date!
4. The Future of Audio Entertainment Technology: Cinema, Television and the Internet, 57th Conference
5. Job Board Update
6. AES Journal September Issue
PNEK, in collaboration with FAV – Festival de Artes Valparaiso, Chile, hereby invites one Norway-based media artist to submit a project idea for the next edition of FAV – taking place January 17 – 25, 2015.
FAV is dedicated to art in public space combining sound, projections, mapping and a film tribute to Valparaiso specially produced for the occasion by renowned national and international artists. The upcoming edition of FAV – goes under the title of Post Tenebras Lux will present multiple activities during nine days, with the aim to actively invite the participation of citizens. To achieve that we have prepared different facilities: Arts Pavilion, Gimme a Hand Weaving Community, Adopt a tree, among others, in addition to workshops and exhibitions.
In the neighbourhood area of the port a curse resides, hidden in the shadows, hypnotizing its inhabitants, sometimes cruelly playing with their minds. Interventions have the mission to chase away this curse, or at least chase her away for a few days. We invite artists to submit works and ideas that reflects and intervene with this, and that can be presented in the portal area of Valparaiso.
Artists may submit a short description of an artwork and/or project, in accordance with the terms of the calls for entries
Artworks and projects within the following techniques: sound, video and mapping
Works produced after 2012
All information should be in English
One project (artist) will be selected by the curatorial committee.
Deadline: October 10th to the following email: firstname.lastname@example.org
The artist will receive the following:
Return air ticket to Santiago de Chile / Valparaiso
Accomodation (incl.preproduction) for 15 days
Technical equipment and assistance
Artist Fee: 5000 NOK
More information about Valparaiso (from wikipedia):
Valparaíso played a very important geopolitical role in the second half of the 19th century, when the city served as a major stopover for ships traveling between the Atlantic and Pacific oceans by crossing the Straits of Magellan. Always a magnet for European immigrants, Valparaíso mushroomed during its golden age, when the city was known by international sailors as “Little San Francisco” and “The Jewel of the Pacific”. In 2003, the historic quarter of Valparaíso was declared a UNESCO World Heritage Site and a new national law named the city “Chile’s Cultural Capital”. Today Valparaiso is still a major city, seaport, and educational centre commune in Chile. The industrial port – and the area around – is perceived as the shadow of the city, troubled with high crime rates and other social realities, as often applied to city ports.
For more information, please contact PNEK curator Daniela Arriado, who will also join the trip in January: email@example.com
Nous avons appris la disparition, à l’âge de 94 ans, de Jacques Poullin.
Personnage peu connu des mélomanes, son rôle fut pourtant essentiel dans la belle aventure de la musique concrète. Il fut en effet l’inventeur dans les années 50 des premières machines-instruments qui ont permis aux musiciens d’explorer et d’expérimenter avec enthousiasme la voie des sons. On lui doit notamment le phonogène, le morphophone ou encore le spatialisateur.
L' Agenda du GRM
Appel à œuvres/performances dans le cadre des ateliers du Forum. Date limite de candidature : 30 septembre
À l'occasion des prochains Ateliers du Forum (19-21 novembre 2014), rendez-vous international des professionnels et artistes avec les technologies pour la musique et le son, le Forum Ircam programme "Ircam Live", une soirée de performances suivies par un concert d'un artiste phare de la scène électro dans l'Espace de projection de l'Ircam le 20 novembre 2014. Cet événement a pour but de promouvoir l'utilisation de nouvelles technologies dans la composition et les performances musicales.
Dans ce cadre, le Forum Ircam lance un appel à œuvres / performances, ouvert à tous les artistes.
Les lauréats seront choisis selon un processus de sélection en ligne. Un jury composé de membres du Forum, de la Gaîté lyrique, d'artistes tels Robert Henke, des représentants des majeurs labels électro dont le label Warp, de l'Ircam et d'autres professionnels du son (ingénieurs, designers, artistes) sera chargé de retenir les œuvres qui seront jouées par les artistes eux-mêmes lors de la soirée du 20 novembre à l'Ircam. Chaque candidature sera évaluée sur les critères de la qualité artistique et du caractère innovant de la pièce.
Les œuvres proposées doivent présenter un projet déjà réalisé, produit ou dans un état avancé de production. Les lauréats seront encadrés par l'administration du Forum Ircam en vue d'une nouvelle production des œuvres lors de la soirée du 20 novembre à l'Ircam.
Date limite de candidature : 30 septembreCandidature en ligne : plateforme Ulysses
eContact! 16.2 — Sound Art and Interactivity in Singapore: SI13 and More / Art sonore et interactivité à Singapour: SI13 et autres évènements
Guest Editor / Rédacteur invité : PerMagnus Lindborg.
The SI13 NTU/ADM Symposium on Sound and Interactivity in Singapore provided a meeting point for local researchers, artists, scholars and students working creatively with sound and interactivity, as well as the foundation for an issue exploring sound and interactivity in the Southeast Asian country. (August 2014)
Les chercheurs, artistes, enseignants et étudiants de la région de Singapour intéressés aux pratiques de création avec le son et l’interactivité s’étaient donné rendez-vous au Symposium sur le son et l’interactivité ou SI13. Par la même occasion, le symposium a permis de préparer un numéro sur ces pratiques dans les pays de l’Asie du Sud-Est. (août 2014)
15th edition of the CEC’s annual Jeu de temps / Times Play project, which promotes the work of young and emerging Canadian sound artists. (September 2014)
15e édition du projet annuel de la CEC, Jeu de temps / Times Play, qui soutient le travail de jeunes artistes canadien(ne)s. (septembre 2014)
14th edition of the CEC’s annual Jeu de temps / Times Play project, which promotes the work of young and emerging Canadian sound artists. (September 2013)
14e édition du projet annuel de la CEC, Jeu de temps / Times Play, qui soutient le travail de jeunes artistes canadien(ne)s. (septembre 2013)
We are glad to announce the release of a dataset for Instrument Recognition in Musical Audio Signals (IRMAS dataset).More Information: IRMAS dataset website
The two 'Studio Induction Refresher' sessions for second year students are taking place on:
- Friday, 03.10.2014 at 11am, starting in front of Courtyard studio (CL 0.45)
- Tuesday, 07.10.2014 at 11.45am, starting in front of Clephan 3.01
For comments or special wishes/needs please get in touch with the technicians. sg
SPOR festival for contemporary music and sound art invites composers and sound artists to submit a proposal for a new work to be realized at SPOR 2015, Aarhus, DK.
FEE FOR REALIZING THE PROPOSAL: € 1.000
DEADLINE FOR SUBMITTING: November 1st 2014.
THEME OF THE CALL AND FESTIVAL:
The proposal may describe a wide range of projects, from works for ensemble and music theatre pieces to sound art installations.
In 2015 the festival will focus on practices within music theatre and opera, how we create and present works keeping the history and tradition present but updated to the world of today. Opera and music theatre has a very strong tradition for retaining an authentic and historically based performance practice when speaking of the music – it is allowed to interfere with some elements (like updating scenography, characters, the history etc.), but the music itself and the score is often understood as sacred.
SPOR festival 2015 will bring this fact to discussion and shows the exuberant development that happens in music theatre and opera these years. We therefore ask for spectacular proposals that reflect or question these tendencies.
The proposal should reflect the theme of the festival, handle it either concrete or more abstract.
CONDITIONS AND JURY:
The call for proposals is open to all types of composers and sound artists, from all over the world. You may only submit in one proposal. An international jury will judge the proposals and choose five proposals to be realized at SPOR 2015. Each selected composer/artist/group of artists will receive a fee of € 1.000 for realizing the work. SPOR will cover travel expenses of up to € 200 and provide two night’s accommodation in Aarhus, Denmark.
The jury members for Call for Proposals 2015 are:
Francois Sarhan (FR, composer)
Line Tjørnhøj (DK, composer)
Rainer Nonnenmann (DE, writer, editor and musicologist)
Yannis Kyriakides (CY, composer and sound artist)
Erik Dæhlin (NO , performer Call ensemble)
Anna Berit Asp Christensen & Anne Marqvardsen (festival directors, SPOR).
The jury’s decision is final and cannot be legally challenged.
• Type of works: Acoustic, electronic, electro-acoustic; ensemble piece, solo performance, music theatre or sound installation.
• Duration: For ensemble pieces and performances max. 15 min. Sound installations will run through the whole festival.
• Ensemble/performers/instruments available:
NING ensemble: Erik Dæhlin (percussion) & Amund Sjølie Sveen (percussion) with Silje Aker Johnsen (vocal, contemporary dance).
NING ensemble works with the physical, theatrical and visual aspects of musical performance. Both percussionists work as musicians, performers, composers, stage managers and installation artists. The ensemble wish to create up-to-date contemporary art at the intersection of musi c and performance; musical, physical and conceptual moments in the gap between the poetic and the discursive, both within and outside of the stage. A central theme in the work of the ensemble is how music and the role of the musician exist in an interdisciplinary work. In this process NING has collaborated with a number of other artists among these are vocalist Silje Aker Johnsen. Silje Johnsen has a strong focus on contemporary vocal music, as well as the baroque and classical coloratura repertory. She feels equally at home in extended vocal techniques as in classical singing. Her scenic experience is versatile, ranging from opera roles and concerts, to theatre, performance, improvisation as well as contemporary dance.
Examples of their performances and more info can be found here.
Contact: Erik Dæhlin, daehlin (a) gmail (.) com
More info: www.ningensemble.com; www.siljeakerjohnsen.no
The ensemble can be used in its existing form as well as soloists.
• Technical provision: 1 projector + screen; 1 stereo sound-system (with a small mixer); 4 microphones.
• Further instrumentalists, performers or technical equipment must be provided by the artist/composer.
• Non-technical items such as costumes, scenery and materials for installations must be provided by the artist/composer.
• Concert and staged works will be presented at one of the main venues of the festival.
• Installations can be presented at various venues in Aarhus (indoor/outdoor), agreed with the festival.
WHAT TO SEND:
• Fill out the PDF-form with your personal info, a short description of your proposal and links to 2-3 sound or video files t hat represent your work from the last 5 years.
DOWNLOAD THE FORM HERE.
• Maximum 2 pages of text as PDF describing one work that you wish to create and realize at the SPOR festival 2015 + link to streaming of video and/or sound file sketches (optional).
Please name the file “Proposal_text”.
• CV. Please name the file “CV”.
• Accompanying scores in PDF format are also welcome but optional.
1. Nov. 2014: Deadline for sending in proposals.
Primo January 2015: The 5 chosen proposals will be announced in the SPOR newsletter and via social media platforms.
1. March 2015: Deadline for delivering scores, parts and technical riders
7.-10. May 2015: Performance/presentation at SPOR 2015 in Aarhus, Denmark
WHERE TO SEND THE PROPOSAL:
• call (a) sporfestival (.) dk
Download the Call for Proposals as pfd.
Søren Andreasen will hold an Arduino workshop at BEK. The workshop fee is 500,- NOK, for this you get an Arduino Uno Kit to work on. New dates for the workshop is 24. NOV – 28. NOV. Beginners from Monday 24. and more experienced from Wednesday 26.
Beginners and those who need to brush up on the very basics, get a brief introduction to hardware KITs and the Arduino software Monday 24. and Tuesday 25. November between 16.00 – 21.00
Wednesday 26. – Friday 28. we follow up those who have a little experience with Arduino before and those who have their own projects they need help to get on with. Søren will also bring a proposal for a project for those who need some startspray. For this he use some solenoids, servo motors and a bunch of nobs and lights for you to work on. Wednesday and Thursday we also start at 16.00 and keep it going until we’re eighter finished or excausted, or both. Friday we sum up between 16.00 – 19.00.
This workshop costs 500,- NOK. For this you get a starting KIT and some things to work on (worth the workshop fee). If you need to use servos and solenoids, you pay the actual costs if you want to take them with you after the cource. You need to bring your own laptop. And it would be nice if you bring some power supplys (5 – 36 V) or some toy instruments or other electronic toys.
Workshop holder is Søren Andreasen, http://sorenandreasen.com
He did a similar workshop at BEK last year.
Join by mailing us at bekatbekdotno
Spread this information happily on to those you think might be interested.Time and place:
- BEK - 24/11/2014 to 28/11/2014
The first session will be Thursday, 16 October. Participation is open to all. If you have any questions email John Richards: firstname.lastname@example.org Read about Dirty Electronics in the Wire. More info at: www.dirtyelectronics.org
September 28. Line Hvoslef opens her new solo show. Hvoslef’s distinctive non-figurative and fabulating imagery is combined with sound and mechanics in this large scale installation. Søren Andreasen has develod the technical solutions. Trond Lossius will open the exhibition.
I prosjektet ”Lydlandskap” går jeg ett skritt videre og utforsker mulighetene for å behandle lyden fra enkle instrumenter og la denne komme til uttrykk i ulike høyttalere og lyskilder montert i en vegg. Instrumenter, høyttalere, brytere, knotter og lyskilder integreres i et visuelt uttrykk slik at lyd og bilde skal fungere sammen. Konkrete ting som for eksempel en spilledåse eller en dreieskive fra en gammel telefon blir visuelt bundet sammen av abstrakte former og figurer og skal sammen danne et ”landskap”. Videre ønsker jeg at tilskuer/tilhører aktivt skal delta ved å sveive, skru og ”spille” på de forskjellige elementene i veggen.
Hensikten er ikke å lage en bevegelig vegg der publikums handling kommer til uttrykk i en eller annen mekanisk reaksjon, men heller at publikums Aksjon skal være mekanisk, og at Reaksjonen skal være digitalisert lyd.
I ”Lydlandskap” skal publikum oppleve en direkte sammenheng mellom handling og reaksjon.
Lydlandskap is supported by Bergen kommune, and BEK has contributed with project room, exchange, know-how, equipment and funding.Time and place:
- Visningsrommet USF - 28/09/2014 18:00
- Visningsrommet USF - 29/09/2014 to 12/10/2014