BERLIN – TOMORROW: Kiezsalon with Ellen Arkbro, Aki Onda & Natalia Escobar / Wednesday, 28.06.2017

Von: Digital in Berlin | News
Datum: Tue, 27 Jun 2017
Betreff: TOMORROW: Kiezsalon with Ellen Arkbro, Aki Onda & Natalia Escobar / Wednesday, 28.06.2017

Just a little reminder! We warmly invite you to the last Kiezsalon before our summer break tomorrow evening. This time with Swedish composer Ellen Arkbro, who wrote her new album using a specific historical tuning which she achieved with the Sherer-Orgel organ in St. Stephen’s Church in Germany, an instrument dating back to 1624. Alongside Arkbro we will hear Japanese performer and artist Aki Onda’s hauntological tape works.

Wednesday, 28.06.2017
Ellen Arkbro (Sweden) LIVE
Aki Onda (USA/Japan) LIVE
Natalia Escobar (Colombia/Berlin) DJ

Read and listen: http://bit.ly/kiezsalon28062017
Facebook event: http://bit.ly/fbkiezsalon28062017
About the Kiezsalon: http://kiezsalon.de

Our salon wines of the evening:
Frühburgunder by Weingut Zimmer-Mengel (2015/Rheinhessen)
Grauburgunder by Weingut Sinß (2016/Nahe)
+ SETTEE (Installation | Wood sculptures/Performing chairs | 2014-17) by Mirko Mielke (Berlin).

Musikbrauerei Prenzlauer Berg | Greifswalder Straße 23a in 10407 Berlin
Doors 20:00 | Shows 21:00 | Admission 8 €

There is limited capacity to the salon and tickets are only available at the door. Hope to see you!

Kind regards,
Your Digital in Berlin Team

Digital in Berlin

Langhansstraße 127 | 13086 Berlin/Germany
news@digitalinberlin.de | +49 (0) 151 56 00 00 56
www.kiezsalon.de | www.digitalinberlin.de

* The Kiezsalon is funded by Musicboard Berlin and presented by taz. die tageszeitung, ZITTY, Exberliner & Musikbrauerei.

AUSSCHREIBUNG – Mission de Service Civique/Voluntary mission

Von: Paul Clouvel via cec conference
Datum: Mon, 26 Jun 2017
Betreff: [cec-c] Mission de Service Civique/Voluntary mission

Elektramusic Strasbourg propose une offre de mission de Service Civique en médiation culturelle et accompagnement de projets culturels pour une durée de 8 mois à partir de Septembre 2017 (horaire de 24h / semaine).

Les détails de l’offre sont disponibles à l’adresse : http://www.elektramusic.fr/actualites/offre-de-service-civique/

Cordialement,

Paul Clouvel / Elektramusic

BERLIN – Konzert in memoriam Michael Hirsch

Von: Annesley Black
Datum: Thu, 22 Jun 2017
Betreff: BERLIN – Konzert in memoriam Michael Hirsch

Konzert in memoriam Michael Hirsch

Einladung zum Gedenkkonzert für Michael Hirsch

am 5. Juli 2017

„Ein schöner Hase ist meistens der Einzellne“
Konzert in memoriam Michael Hirsch

Tischlerei der Deutschen Oper Berlin
Mi 05.07.2017, 20:00 Uhr (Eintritt frei)

/Mitwirkende: Maulwerker, Sonar Quartett, Ensemblesolisten der Deutschen
Oper, Anna Clementi, Renata Kemp, Chico Mello, Matthias Badczong, Klaus
Schöpp, Christine Paté u.a/.

Am 6. Februar 2017 verstarb völlig überraschend der Berliner Komponist
Michael Hirsch – nur wenige Tage nach der Premiere seiner Oper „DIDO“ in
der Tischlerei der Deutschen Oper Berlin.Das Gedenkkonzert für Michael
Hirsch gestalten Musiker, die mit ihm zum Teil viele Jahre lang
zusammengearbeitet haben. Sie spielen Vokal- und Kammermusikwerke aus
den letzten zwanzig Jahren, darunter auch die Uraufführung des
Klavierstücks „Bastard 2 (La Didone)“. „Ein schöner Hase ist meistens
der Einzellne“ heißt der Abend nach einem Zitat von Ernst Herbeck aus
Michael Hirschs Oper „Das stille Zimmer“.

Konzertankündigung auf Deutsche Oper Berlin

AUSSCHREIBUNG – JOB OFFER: matralab hires AnArchivist in Music

From: Sandeep Bhagwati via Kevin Austin via cec conference
Datum: Thu, 22 Jun 2017
Betreff: [cec-c] JOB OFFER: matralab hires AnArchivist in Music

About matralab
. .
(Concordia University Montréal)

For a new 3-year grant project in artistic research in music called“ ECSTASIES OF INFLUENCE (short: EoI – more on this below), matralab intends to hire an

ANARCHIVIST in MUSIC
(starting Sep 1, 2017 for a maximum of 36 months)
Research Associate Position for Masters or Ph.D. Students or recent graduates

For those unfamiliar with the term „anarchive“: it is a relatively recent practice that sees ongoing responsive documentation as an essential factor within a creative research process, by making documentation and reflection instantly accessible, by offering avenues of critical and analytic (self-)comprehension,and thus providing a constant feedback loop for all participants in a project (also: see this definition on the website of another Concordia research project). As anarchival needs and affordances may vary greatly from project to project, you will also help define and structure what the anarchive for EoI could look like – and devise a protocol for all participants on how to provide you with useful documentation.

JOB
The job will involve coordinating and overseeing the documentation of all research-creation activities related to the grant, which may include writing and editing project texts, archiving relevant correspondence, archiving music notation (e.g. tracking several evolving versions of a score), audiovisual recordings and their valorization and activation (editing, cross-referencing, hyperlinking, contextualizing) within the grant team, as well as the continuous publication on a structurally evolving website. Some of the tasks may include: developing a project glossary, interviewing participants, co-developing theoretical descriptions of our research-creation processes, co-designing and maintaining the EoI website, helping researchers prepare papers and publications arising from the project, or publishing research papers on the project yourself.

DESIDERATA
You should be an elegant and fast writer and a competent, sharp-eyed editor of English-language texts, have a good understanding of how to edit video and audio for research purposes, as well as have a keen interest in experimental art and music traditions since WWII.

You should be well-organized and reliable, meticulous and conscientious. You should also be able to plan ahead, event-coordinating the actual documentation teams in three locations around the globe (Montréal, Berlin, Pune).

As this is a music-heavy project, you must be able to read and understand contemporary music notation well enough to contextualize its contents. You would want to quickly pick up on the terms and concepts musicians and other artists use to describe their work. You should also have a good grasp of audio and video editing tools. Ease and skill in using music, website and admin softwares would be a plus, as would be a working knowledge of French or German or Hindi/Marathi.

WORKFLOW & PAY
You would work closely with the grant coordinators, the documentation teams, the guest artists and the researchers on this team. Your workflow would be event-driven and thus uneven: Preparing and debriefing documentation teams during workshops, a fast turnaround phase after each workshop to publish edited and annotated documentation within 2-3 weeks of the event, collecting/cross-referencing/archiving ongoing information during conceptual working phases in between workshops. The expected average number of weekly hours will lie somewhere between 5-10hrs, but it should be clearly understood that this may mean both intense periods with up to 10h workdays and more tranquil periods with only one or two hours per week. We pay according to Concordia’s TRAC union rates.

LOCATION
The job is not site-specific, and can in principle be done from anywhere – but it will always require closely working with the matralab team in Montréal. We also cannot at this stage promise to provide an office infrastructure elsewhere than in Montréal, nor pay for frequent trips to any of the three project locations.

Please send your motivation letter, CV, portfolio and skype contact to sandeep.bhagwati@gmail.com

Primary Deadline: July 9, 2017. Skype interviews will be conducted between July 10 and 15, but applications will continue to be accepted until the position is filled.

About ECSTASIES OF INFLUENCE

EoI is a three year research creation grant financed by the Fonds Quebecois de Recherche – Société et Culture. Three experimental music ensembles (in Montréal, Berlin and Pune) will collaborate with leading artists (architects, poets, choreographers, film makers, storytellers etc) to create new musical works that realize creative strategies from the collaborator’s artistic discipline. EoI is led by composer, conductor, music researcher and matralab director Sandeep Bhagwati, and comprises a team of artist-researchers from various Montréal universities as well as from universities in India, USA, Australia, and Germany.

KARLSRUHE/FRANKFURT/M – Hinweis – Upcoming [24./25 Juni]

Von: orm.finnendahl
Datum: Fri, 23 Jun 2017
Betreff: Hinweis – Upcoming

Konzerte in Karlsruhe (24.6.)
und Frankfurt (25.6.)

Samstag
24. Juni 2017
19.00 Uhr
ZKM Kubus
Lorenzstraße 19
76135 Karlsruhe

Soundspaces & special guest Paul Frick

Werke von Rohloff, Zimmerlin, Dragicevic,
und Orm Finnendahl

Hören und Sehen
für Saxophon, Fagott, Quadratanimationen
und Live-Elektronik (2011)

Sascha Armbruster, Saxofon
Johannes Schwarz, Fagott
special guest: Paul Frick

Sonntag
25. Juni 2017
20.00 Uhr
Frankfurt LAB, Halle 1
Schmidtstraße 12
60326 Frankfurt am Main

Ensemble Modern

IMPRO//FIGURA

Im Rahmen des Frankfurt LAB Festival
for Performing Arts 2017

Werke von Adams, Burger, Pintscher,
B.A.Zimmermann und

Orm Finnendahl
Madrigalbuch IV/2 (2010)
für Bassflöte und 8-Kanal Live-Elektronik

Dietmar Wiesner, Bassflöte
Mitglieder des Ensemble Modern

siehe hierzu auch: http://zkm.de/event/2017/06/soundspaces-special-guest-paul-frick
siehe hierzu auch: https://www.ensemble-modern.com/en/calendar/2017-06-25/1594#k-1594

ESSEN – Park Sounds 2017

Von: Thomas Neuhaus
Datum: Wed, 21 Jun 2017
Betreff: Park Sounds 2017

Wie in jedem Sommer seit 2011 gibt es auch in diesem Sommer Elektronische Musik im Stadtgarten Essen

Vom 26.-30.6.. jeweils von 20:00 – 22:00 präsentiert jeden Abend eine andere Gruppe von Lehrenden und Studierenden des ICEM (Institut für Computermusik und elektronische Medien der Folkwang Universität der Künste) eigens zusammengestellte elektronische Musik auf 14 im Park verteilten Lautsprechersystemen.

Der Eintritt ist frei, Liegestühle und FatBoy Sitzsäcke sind vorhanden, Picknickkörbe und Federballspiele dürfen gerne mitgebracht werden.
Der Stadtgarten Essen wird von Philharmonie (Huyssenallee), Brunnenstrasse und Hohenzollernstrasse eingerahmt und ist vom Hauptbahnhof (Südausgang) fußläufig einfach zu erreichen.

Eine Veranstaltung der Philharmonie Essen in Zusammenarbeit mit dem ICEM der Folkwang Universität der Künste
gefördert von Innogy

Details: http://philharmonie-essen.de/konzerte/event/74381.htm

NEW YORK: Clemens von Reusner – Definierte Lastbedingung

Von: Clemens von Reusner
Datum: Tue, 20 Jun 2017
Betreff: NEW YORK: Clemens von Reusner – Definierte Lastbedingung

Definierte Lastbedingung (2016), 11:40, 8-ch, 3rd-order ambisonic

New York City Electroacoustic Music Festival 2017

Saturday, June 24, 2017, 4-6 PM
Abrons Arts Center

http://nycemf.org
www.abronsartscenter.org

Clemens von Reusner
http://www.cvr-net.de

NEWS – Javier Garavaglia: NEWSLETTER, June 2017 – NYCEMF – CMJ

Von: Javier Garavaglia
Datum: Mon, 19 Jun 2017
Betreff: Javier Garavaglia: NEWSLETTER, June 2017 – NYCEMF – CMJ

Two announcements:

(1) June 23rd, NYC: my piece INTERSECTIONS (memories) for Clarinet in B and live electronics in surround sound (5.1.) will be interpreted by argentinean clarinetist Jorge Variego (www.jorgevariego.com) during the NYCEMF 2017. Although I am not going to be there this time, it would be nice if you are in the NY are, if you could attend.

2017 New York City Electroacoustic Music Festival
Concert 14
4:00-6:00 PM – PLAYHOUSE

Abrons Arts Center
NYC466 Grand St, New York, NY 10002, USA

http://www.nycemf.net/2017-festival/

(2) Publication:

For those of you interested in diffusion of sound in high density loudspeakers arrays, the newest volume (40:4) of the Computer Music Journal has several articles, including one of mine:

“Creating Multiple Spatial Settings with “Granular Spatialisation” in the High-Density Loudspeaker Array of the Cube Concert Hall”

COMPUTER MUSIC JOURNAL, Winter 2016, Vol. 40, No. 4, ‘High-Density Loudspeaker Arrays, Part 1: Institutions’, pp. 79-90; (2017) Massachusetts Institute of Technology (MIT).
Author: Javier A. Garavaglia
ISSN: 0148-9267
E-ISSN: 1531-5169
doi:10.1162/COMJ_a_00384
Available at: http://www.mitpressjournals.org/doi/abs/10.1162/COMJ_a_00384

Javier Garavaglia

http://icem.folkwang-uni.de/~gara/Latest.html

NEW YORK – Begegnung 8 – New York City

Von: Christian Banasik
Datum: Mon, 19 Jun 2017
Betreff: Begegnung 8 – New York City


June 25 / 8 pm

New York City
Abrons Arts Center
Playhouse
466 Grand Street

NYCEMF 2017

Christian Banasik – Begegnung 8 (WP)
for piano and electronics (8 channel surround)
(extendet version II – 2017)

with Jocelyn Ho, piano (LA/NYC)

based on original recording of Chopin’s C-sharp minor Nocturne (No. 20),
performed by Karlrobert Kreiten in Dusseldorf in 1934.
A musical dialogue – a memory as a reflection,
directly derived from an example of the artistic legacy.
On the occasion of his 100th birthday.

best regards
christian banasik
www.christian-banasik.de

NEWS – ISMIR 2017 Call for Music

Von: Simon Lui via Kevin Austin via cec conference
Datum: Mon, 19 Jun 2017
Betreff: [cec-c] ISMIR 2017 Call for Music

ISMIR 2017 will host a community performance night. The program will be made of a selection of submitted and invited pieces. Please find below the call for music.

For more info, please refer to https://ismir2017.smcnus.org/call-for-music/

All the best,

Gus Xia, Kitty Shi and Simon Lui
ISMIR 2017 Music Program Co-chairs
ismir2017-music@ismir.net


Call for ISMIR Community Performance Night

Deadline: 2017.07.28

ISMIR 2017 welcomes submissions of proposals for the community performance night on Thursday, Oct.26, 2017. We are accepting proposals of performances in any of the following categories:

Musical instrument or vocal performance
Original work that intersects musical information technology
Other types of “Got Talent” performances

The performance should be between 4 and 10 minutes. We encourage performances that incorporate Chinese and classical music elements. Individual and group submissions are welcome.

Music submissions should include 3 elements:

Compressed recording of the tape part or audiovisual: a complete MP3 file, or MP4 in case of audiovisual. Please limit to 100 MB. We prefer an url link to the media file.

Performance instructions (if applicable): a music score with complete description of the performance and technical needs (if necessary, include a technical diagrams and stage layouts.) documents should be submitted as a single PDF file.

Program notes: in a separate PDF file, short biographies of the composer(s) & performer(s) and a description of the work (each with a maximum of 100 words). Part of these texts will be included in the concert’s program.

Please submit your performance proposal to the submission website: http://ismir2017-music.smcnus.org/. The music submission is due on July.28, 2017.

Evaluation
All submissions will be subject to review by a committee composed by the music chairs and concert curator, with access to all submitted materials online.

AUSSCHREIBUNG – Surry, England: Job opportunity: Lecturer A/B in Audio

Von: Enzo De Sena via Kevin Austin via cec conference
Datum: Mon, 19 Jun 2017
Betreff: [cec-c] Surry, England: Job opportunity: Lecturer A/B in Audio

Salary: £39,324 to £46,924 per annum
Post Type: Full Time
Advert Placed: Thursday 08 June 2017
Closing Date: Tuesday 11 July 2017
Interview Date: Thursday 27 July 2017
Reference: 043817

We are seeking applications for the post of Lecturer in Audio, to be based in the Department of Music and Media’s Institute of Sound Recording (IoSR). We are looking for an enthusiastic academic to teach and support the delivery of the undergraduate BMus/BSc Tonmeister® programme in Music and Sound Recording, and to conduct world-leading research.

The successful applicantwill teach on the prestigious Tonmeister undergraduate programme, covering two or more of the following areas: audio programming, computer audio systems, electronics, loudspeaker design theory, and research methods. You will be joining a supportive and varied team of lecturers drawn from both academic and respected industry backgrounds. The programme has a small cohort of high quality students, enabling a highly collegiate environment between staff and students. Our students are highly motivated and have a strong background in music, maths and physics.

You will have a strong research profile and/or the potential to develop and sustain research activities, with a clear vision for how your research will progress and an idea of how it might feed into or complement the IoSR’s goals of engineering perceptually-motivated audio signal analysis, processing and control systems. You will be encouraged to develop your own research profile and to produce high-quality research outputs, including books, academic journal articles or other appropriate forms of research output.

BACKGROUND

Running since 1970, the Tonmeister programme is unique in the way that it combines study of audio engineering, music, and practical sound recording. It has produced a stream of successful alumni, including winners of Oscars, Grammys and the Mercury Prize. Our graduates work across a wide cross-section of the audio industry, from product design to film music composition, and this alumnus network enables us to call upon current industry expertise in many areas. Alumni are very keen to give something back to the programme, and our biennial reunion is an excellent networking opportunity. The programme includes a Professional Training Year, and we have regular placements with many high-profile companies including Abbey Road Studios, Focusrite/Novation and Sky Post-Production.

Research in the IoSR focuses on human perception of audio quality and uses this focus to engineer perceptually-motivated signal analysis, processing and control systems. We have projects funded by EPSRC, the European Commission and industrial collaborators, involving human listening tests, acoustic measurement, statistical modelling and digital signal processing. Current work is, for example, developing systems for spatial enhancement of object-based audio reproduction, perceptually-optimised sound source separation and timbral perception modelling.

There is opportunity to collaborate with many groups across the University; previous and current projects involved the Department of Psychology, the Centre for Vision, Speech and Signal Processing (CVSSP), and colleagues in Music.

Recent development of programmes in Digital Media Arts, and Film and Video Production Technology, have resulted in a significant hub of research and teaching at Surrey in the area of media-related engineering, technology and production.

The Department of Music and Media hosts a wide range of concerts, regular research conferences and colloquia (including hosting the Audio Engineering Society international conference on Sound Field Control in July 2016 and the 14thInternational Conference on Latent Variable Analysis and Signal Separation in July 2018), as well as a thriving community of postgraduate research students.

The facilities available in the IoSR for teaching and research include: 3 recording studios containing industry standard equipment including consoles from AMS-Neve and SSL; over 100 microphones for recording and technical measurement; an ITU-R BS 1116 standard listening room containing a 22.2 reproduction system; and a range of test and measurement hardware and software. The Department is home to the Moog Sound Lab UK, and benefits from many links with the audio, video and computer games industries.

For an informal discussion you may wish to contact Dr Russell Mason (Tonmeister Programme Director) at r.mason@surrey.ac.uk , or Professor Tony Myatt (Head of Music and Media) at t.myatt@surrey.ac.uk .

More information available from https://jobs.surrey.ac.uk/vacancy.aspx?ref=043817


Enzo De Sena, PhD
Lecturer (Assistant Professor) in Audio
Institute of Sound Recording
Department of Music & Media
University of Surrey
Guildford, Surrey, GU2 7XH
United Kingdom

Office: 07 BC 03
E-mail: e.desena@surrey.ac.uk
Telephone: +44 (0) 1483 68 6505
URL: desena.org

NEW YORK – New York City Electroacoustic Music Festival (NYCEMF) 2017

Von: Jorge García del Valle Méndez
Datum: Sun, 18 Jun 2017
Betreff: New York City Electroacoustic Music Festival (NYCEMF) 2017

New York City Electroacoustic Music Festival (NYCEMF) 2017
Abrons Arts Center
466 Grand St, New York, NY 10002, USA

Concert 18, Playhouse
June 24, 2017, 8:00 – 10:30 PM

Jorge García del Valle Méndez – Visions of the Void II for piano and electronic (Stereo Fixed media)
Keith Kirchoff, piano

www.nycemf.net/2017-festival/
www.abronsartcenter.org

Home

BERLIN – Award and invitation to Timo Kahlen: KATHARSIS . Sound Sculptures and Moving Images @ Ruine der Künste Berlin, June 25, 2017

Von: Timo Kahlen
Datum: Sun, 18 Jun 2017
Betreff: Award and invitation to Timo Kahlen: KATHARSIS . Sound Sculptures and Moving Images @ Ruine der Künste Berlin, June 25, 2017

Invitation to see and hear:

1) The award-winning net art work
/ source / (postfactual), 2017
at http://www.staubrauschen.de/source/

Synopsis: In Timo Kahlen¹s new interactive net art work / source /
(postfactual) , 2017 – just awarded an Honorary Mention at the Junge
Akademie¹s and ZKM¹s prize question ³What¹s the Net Listening To ?² (Was
hört das Netz ?) – the viewer is invited to search for reliable sources, for
valid Œfacts¹ , nodes and information on the internet.

A seemingly void, monochrome white surface is all it shows; and frustrates
the viewer with a mouse cursor, which is difficult to locate, to control and
direct, as isolated potential Œfacts¹ pop up in interaction with the cursor
: appearing but distorted, head-over and uncomfortably remote, as if
projected onto the reverse side of the computer screen. Accumulating
alternative facts are accompanied by outbursts of sound and bustle, only to
be quenched and extinguished shortly afterwards.

The work ­ which will need approximately one minute to load – is composed of
multiple embedded layers of sound woven into a touch-sensitive visual
projection. It is generated by the viewer ­ always different and always live
-, depending on the relative position, movement, and speed, on eventual
pauses or changes in direction of the mouse cursor moving across the
touch-sensitive projection. Search, roll over, pause or click at the Œempty¹
white surface of the computer display with the mouse cursor to discover and
discard potential facts in real-time.

Please turn on your speakers or headphones and enable Flash Player in your
browser or on your laptop. The work is not visible on Android and iOS (both
without Flash compatability).

2) The exhibition in Berlin
Timo Kahlen : Katharsis
Sound scultures and moving images
June 25 to Juli 30, 2017
every Sunday 12 ­18 h
Free entry

Invitation to the opening of the exhibition
on Sunday, June 25, 2017
from 12 ­ 18 h

Ruine der Künste Berlin
Hittorfstr. 5, 14195 Berlin-Dahlem
U3 Thielplatz / Freie Universität
www.wolf-kahlen.net

Timo Kahlen: Money I¹ve Burnt for Art, 2009 ­ 2016. Series of photographs of
burnt invoices and receipts, glass jars with conserved ashes. Copyright Timo
Kahlen / VG Bild-Kunst 2017

3) Timo Kahlen¹s most recent interactive net art work / unstable /, 2017,
released online in conjunction with the above exhibition at the Ruine der
Kuenste Berlin
at http://www.staubrauschen.de/unstable/

/ unstable /, 2017 is an intuitive ‚game‘ without rules. Again, it confronts
the viewer with nothing more than an Œempty¹, white display; and with a
cursor that is uncomfortably vague, inconsistent and difficult to locate.

Search, roll over, pause or click at the monochrome white display with the
mouse cursor to generate the work from multiple embedded layers of sound,
woven into a touch-sensitive visual projection. The work develops
individually and is
generated – always different and new – with various and chance-generated
outcomes, depending upon the position, movement and speed of the cursor, on
eventual pauses and changes in direction, on the pace and timing of the
viewer.

Both the embedded fragments of sound as well as the minimal visual notations
seem to react to the viewer’s input in real time; yet arise, shift,
reorganize, dissolve and fade in the next instant, as the viewer loses
control of the cursor and the game.

For speakers or headphones. Requires Flash Player. Please enable Flash in
your browser or on your laptop. The work will need approximately a minute to
load. Be patient. Not visible for Android and iOS (both without Flash
compatibility).
_

News: Timo Kahlen

Nomination / Finalist ³Jon Schueler Scholarship² at Sabhal Mòr Ostaig, Isle
of Skye / Scotland 2017
in cooperation with the Royal Scottish Academy, and the Jon Schueler Trust,
New York
³Was hört das Netz ? / What¹s the Net Listening To ?², presentation of prize
winners at
Jungen Akademie, Berlin and ZKM, Karlsruhe 2017
³/ source / (postfactual)² at www.staubrauschen.de/source/, 2017
³Poetics of Light², National Media Museum, Bradford / UK 2017
„YesNo“ at Web Biennial, Turkey 2017 (in preparation)
³Experiments in Cinema², Albuquerque, New Mexico / USA 2017
³Timo Kahlen: Katharsis“, Ruine der Kuenste Berlin, Berlin 2017 (upcoming
private view: June 25, 2017)
³/ unstable /² at www.staubrauschen.de/unstable/, 2017
³Ulaanbaatar International Media Art Festival², Ulan Bator / Mongolia 2017
³Bewegung im Bild ­ Die informelle Malerei trifft auf die Geste in der
Fotografie²,
Maerkisches Museum Witten 2017 and DZ BANK Kunstsammlung, Frankfurt am Main
2017
³Failing!² – catalog of rejected proposals -, Friday Island, Luxembourg 2017
³Short Waves / Long Distance², Wave Farm: Transmission Art Archive, Acra,
New York 2017
³Bits & Pieces² at radioarte.it, Siena / Italy 2017
„Sound Thought“, Centre of Contemporary Arts, Glasgow / Scotland 2017
³Heimat ?“, Deutscher Kuenstlerbund, Berlin 2017
³migrtaion² at www.staubrauschen.de/migrtaion (and interview in Digital
America, issue 9, 2017)
„Zurueck in die Zukunft der Fotografie“, DZ BANK Kunstsammlung, Frankfurt am
Main 2016

Website

www.timo-kahlen.de

MINDEN – Uraufführung: Compositum für Sopran, Santur und Zuspiel

Von: Arsalan Abedian
Datum: Sat, 17 Jun 2017
Betreff: Minden – Uraufführung: Compositum für Sopran, Santur und Zuspiel

Sonntag, 25.06.2017: 18:30 Uhr
St. Martinikirche, Martinikirchhof, 32423 Minden

Arsalan Abedian: Compositum für Sopran, Santur und Zuspiel
Sopran, Laura Pohl
Santur und Elektronik, Arsalan Abedian

zusammen mit Werken u.a. von Manuel Rösler, Kurt Weil, George Gershwin, Richard Strauss, Johann Sebastian Bach und Barbara Strozzi.

„Zeiten im Wandel“, eine Zeitreise mit musikalischen Antworten
Die Sopranistin Laura Pohl singt im Rahmen des Projekts „Geschichte neu erleben“ in drei Mindener Kirchen:
Mindener Dom (16 Uhr), St. Marienkirche (17.15 Uhr), St. Martinikirche (18:30 Uhr)

Mehr Info: http://www.minden.de/stadt_minden/Aktuelles/Pressemitteilungen/2017/Juni/Musikalische%20Zeitreise%20in%20drei%20Mindener%20Kirchen/FlyerMusikalischeZeitreise2017.pdf

Eintritt: frei

LEEDS – Sonic Arts Forum Event, Leeds, UK Saturday 15th of July 2017

Von: Coryn Smethurst via cec conference
Datum: Thu, 15 Jun 2017
Betreff: [cec-c] Sonic Arts Forum Event, Leeds, UK Saturday 15th of July 2017

The Sonic Arts Forum will be holding an event in Leeds (UK) on Saturday 15th of July, 2017 – 10am to 5.40pm.

This is an opportunity for creative people, working with sound as a significant element in their practice, to introduce their work and receive feedback in a friendly, and supportive, environment.

All are welcome to attend to take part in discussions regardless of background or level of experience.

As part of this event we will have an ensemble of up to 16 synthesizers available to perform a text score, by Julian Brooks. Any one in attendance is welcome to join in this performance on one of the synthesizers.

Schedule for the day.

Tea and coffee 10.00am-10.20am

Lisa Whistlecroft – Site Specific Dance Collaboration
Ian Gibson – Installation
James Wyness – Live algorithmic electronics

Free lunch – (donations towards costs welcome)

Julian Brooks – Text score performed by synth ensemble (all welcome to participate)
Damian Lintell-Smith – Live audio visual work using hacked video/audio devices
Richard Wentk – Generative algorithms and music theories
Coryn Smethurst – Tropical field recording – courtship, sex and electrocution

Tea and Coffee break

Seth Rozanoff – Work for laptop sound design
Liz Brown – Acousmatic perception
Stuart Russell and Chrissie Caulfield – Live generative electronics

Venue –
School of Music
University of Leeds
Leeds
LS2 9JT

a map can be found at this link – https://www.leeds.ac.uk/download/8/campus_map

BERLIN – Next Kiezsalon with Ellen Arkbro, Aki Onda & Natalia Escobar / Wednesday, 28.06.2017

Von: Digital in Berlin | News
Datum: Wed, 14 Jun 2017
Betreff: Next Kiezsalon with Ellen Arkbro, Aki Onda & Natalia Escobar / Wednesday, 28.06.2017

Our next Kiezsalon will happen on June, 28th 2017. For this edition, Ellen Arkbro’s drone compositions will side with Aki Onda’s hauntological tape works.

Wednesday, 28.06.2017
Ellen Arkbro (Sweden) LIVE
Aki Onda (USA/Japan) LIVE
Natalia Escobar (Colombia/Berlin) DJ

Read and listen: http://bit.ly/kiezsalon28062017
Facebook event: http://bit.ly/fbkiezsalon28062017
About the Kiezsalon: http://kiezsalon.de

Ellen Arkbro is a Swedish sound artist who in the tradition of drone luminaries such as La Monte Young and Marian Zazeela – both of whom she studied with in New York – composes pieces of clear and tactile beauty. Most recently, she released an album of her just intonation works for renaissance organ, horn, trombone and microtonal tuba on Subtext.
Aki Onda is a Japanese visual artist and composer based in New York. He is known for his „Cassette Memories“ — ghostly works compiled from a sound diary of field-recordings collected by using the cassette Walkman over a span of the last quarter-century. Next to his extensive solo work, recent releases have seen Onda collaborate with jazz trumpeter Jac Berrocal as well as the minimal guitarist Loren Connors.

Musikbrauerei Prenzlauer Berg | Greifswalder Straße 23a in 10407 Berlin
Doors 20:00 | Shows 21:00 | Admission 8 €

There is limited capacity to the salon and tickets are only available at the door. We look forward to welcoming you for the last tasteful and intimate salon evening before our summer break.

Kind regards,
Your Digital in Berlin Team


Digital in Berlin

Langhansstraße 127 | 13086 Berlin/Germany
news@digitalinberlin.de | +49 (0) 151 56 00 00 56
www.kiezsalon.de | www.digitalinberlin.de

* The Kiezsalon is funded by Musicboard Berlin and presented by taz. die tageszeitung, ZITTY, Exberliner & Musikbrauerei.

FOLKWANG – Trevor Wishart am ICEM

Von: Thomas Neuhaus
Datum: Wed, 14 Jun 2017
Betreff: Trevor Wishart am ICEM

Der englische Komponist, Programmierer und Erfinder ungewöhnlicher Klangverarbeitungsmethoden, Trevor Wishart, wird im Rahmen der
Ex Machine Reihe über das „Composers Desktop Project“ sprechen!

Donnerstag, 22.6., Kammermusiksaal der Folkwang Universität, Klemensborn 39 Essen. Eintritt ist frei.

Am darauffolgenden Freitag, 23.6. um 10:00 gibt Trevor Wishart noch einen Workshop, bei dem tiefer in die Materie eingedrungen werden kann.
Dieser ist in erster Linie für Studierende der Folkwang UdK gedacht, es gibt jedoch ein begrenztes Kontingent an Plätzen für externe Interessierte.

Hierzu bitten wir um formlose Anmeldung per Mail bei Thomas Neuhaus (neuhaus@folkwang-uni.de)

NEWS – Kompositionswettbewerb {Raum::Klang} im Labor für interaktive immersive Audiosysteme im Department Informatik der HAW Hamburg

Von: Wolfgang Fohl
Datum: Tue, 13 Jun 2017
Betreff: Kompositionswettbewerb {Raum::Klang} im Labor für interaktive immersive Audiosysteme im Department Informatik der HAW Hamburg

{Raum::Klang}
Ausschreibung eines Kompositionswettbewerbs
Interaktive Klänge
in der Wellenfeldsynthese-Anlage des Departments Informatik

Gesucht werden Kompositionen oder Klanginstallationen für die
Wellenfeldsynthese-Anlage des Labors, die die interaktiven Möglichkeiten
dieser Anlage in künstlerisch anspruchsvoller Weise ausschöpfen.

Anforderungen:

Spieldauer etwa 10 Minuten.
Wiedergabe ohne ausführende Musiker (akusmatisch).
Interaktionsmöglichkeiten für das Publikum.

Details zum Wettbewerb auf der Website des Labors:
https://i2audiolab.de/ausschreibung-wettbewerb-raumklang/ (deutsch)
https://i2audiolab.de/composition-contest-raumklang/ (englisch)

Workshops zum Kennenlernen der Anlage:
am 27.6. und am 29.6. 2017.

Ort I²AudioLab: Raum 1080, Berliner Tor 7, 20099 Hamburg

Kontakt:

Prof. Dr. Wolfgang Fohl

Fakultät TI, Dept. Informatik
kompositionswettbewerb@i2audiolab.de