BERLIN – Klang Farbe 05: Kirsten Reese | Messages

Von: Martin Supper
Datum: Mon, 20 Feb 2017
Betreff: Klang Farbe 05: Kirsten Reese | Messages

Klang Farbe 05: Kirsten Reese | Messages
Klang Farbe 05:

Kirsten Reese | Messages
Donnertag, 23. Februar 2017 – 19:00 Uhr
Galerie Pankow

“found sound“, Medienmaterial, auditives Archivmaterial, ortsspezifische field recordings, Musik aus Musik – anhand eigener Arbeiten spricht Kirsten Reese über dokumentarisches Arbeiten mit Klang, Verwandlung und Transformation im auditiven Medium, in Performances, Installationen und Kompositionen. Dazu führt sie “Messages“ (2008/2016) für Diaprojektion, Kassetten, Objekte und Zuspiele auf.

Kirsten Reese (1968 in Kiel geboren) kreiert als Komponistin und Klangkünstlerin Werke für elektronische Medien und Instrumente sowie intermediale Installationen. Eine hervorgehobene Rolle in ihren Arbeiten spielen raum- und wahrnehmungsbezogene sowie performative und narrative Aspekte.
www.kirstenreese.de

Mit Klang Farbe 05 setzt die Galerie Pankow eine Vortragsreihe fort, die sich dem Musikalischen als ursprünglichste Geste der Kommunikation widmet und aus verschiedenen Perspektiven annähert. Ein Projekt der Galerie Pankow. Mit freundlicher Unterstützung durch den Freundeskreis der Galerie Pankow.

Galerie Pankow, Breite Straße 8, 13187 Berlin
Verkehrsverbindung: Pankow U-Bahn U2, S-Bahn S2, S8, S9
Pankow Kirche Bus 107, 155, 250, 255, Tram M1, 50, X54

Vortragsreihe: Klang Farbe

NEWS – „Biomes“ published online

Von: ‚Josh Goldman‘ via CEC-Conference
Datum: Sun, 19 Feb 2017
Betreff: [cec-c] „Biomes“ published online

Some of you may appreciate the following:

https://joshgoldman.bandcamp.com/

(Music comprised of field recording / electric guitar.)

I’m especially pleased with my recorded guitar performance (if you are a fellow guitarist / if you appreciate music featuring the guitar).

Thank you for listening!

Josh Goldman

BERLIN – Einladung – Invitation „Haut-Parleurs“ – Lettrétage Berlin 22./23./24.2.2017 20:00

Von: Harald Muenz
Datum: Sat, 18 Feb 2017
Betreff: Einladung – Invitation „Haut-Parleurs“ – Lettrétage Berlin 22./23./24.2.2017 20:00

Liebe Freunde und Kollegen,

wir laden herzlich ein zu

„Haut–Parleurs“
Im Klang von Orchester hört man die einzelnen Körper, die mit ihren
Instrumenten hantieren. Dass bestimmte Bücher, die in einem Rucksack
transportiert sind und sich darin berühren und zwischen den Menschen,
die dieses Buch gelesen haben, eine Verbindung entsteht. In 2 Räumen
versuchen Traxler und Muenz 1 Gedicht zu sagen.

Mittwoch, 22.2, Donnerstag, 23.2, Freitag, 24.2.2017 – jeweils 20:00
@ Lettrétage, Mehringdamm 61, Berlin.

22., 23., 24.02. | CON_TEXT | Mathias Traxler & Harald Muenz

Es freuen sich auf dein/euer Kommen,

Mathias Traxler & Harald Muenz

***

Dear friends and colleagues,

We are cordially inviting to

„Haut-Parleurs“
In the sound of orchestra one hears the individual bodies handling their
instruments. That certain books, which are transported in a backpack
touching inside and between people having read the book, a connection
emerges. In 2 spaces, Traxler and Muenz are trying to say 1 poem.

Wednesday 22.2., Thursday 23.2., Friday 24.2.2017, – always 8pm
@ Lettrétage, Mehringdamm 61, Berlin.

22., 23., 24.02. | CON_TEXT | Mathias Traxler & Harald Muenz

Looking forward to seeing you there,

Mathias Traxler & Harald Muenz

Mathias Traxler
Greifenhagener Str.43A
D-10437 Berlin
Tel. +49/30/447 33 021
Mobil: +49/151/12 11 98 05

www.traxlerm.net

Harald Muenz, PhD composer

Venloer Str. 233A 50823 Köln (Cologne) Germany
phon +49 151 59058070 phax +49 221 9525484
www.haraldmuenz.eu info@haraldmuenz.eu

https://vimeo.com/user59886382
Portrait-CD Ensemble Mosaik auf covielloclassics.de

www.sprechbohrer.de CDs Schwitters & Helms @Wergo
Vierteljahrespreis der deutschen Schallplattenkritik 3/11

„The national state is the prison of the mind.“
William Haddad, Arab Christian philosopher

CALL – listening test on voice transformation

Von: Kevin Austin via cec conference
Datum: Fri, 17 Feb 2017
Betreff: [cec-c] Fwd: listening test on voice transformation

If you have a few minutes for helping my research, here are 2 short listening tests about a voice timbre transformation to create a mouth opening/closing effect.
Each test should take you about 5 minutes, and there should preferably be done in the given order.
Here are the links :
– http://recherche.ircam.fr/anasyn/ardaillon/test_OM_transform_2017/OM_transform_quality_MOS_test-en.php
– http://recherche.ircam.fr/anasyn/ardaillon/test_OM_transform_2017/OM_transform_CMOS_test-en.php

Don’t hesitate to give me some feedback in the comment field.
Thank you very much for your help!

——

Luc Ardaillon
PhD student – analysis/synthesis team, IRCAM

SANTA BARBARA – Lecture – Concert UCSB

Von: Wilfried Jentzsch
Datum: Fri, 17 Feb 2017
Betreff: Lecture – Concert UCSB

Hiermit möchte ich über meine Aktivitäten in der UC SANTA BARBARA California informieren.

The February 22 – 2017, 6:00pm
Lecture at the Studio Xenakis (Room 2215 Music Building)
The theme : From sound analyses and syntheses to composition relating to Indonesian Gamelan music

Hereby the Link for more informations.

http://www.music.ucsb.edu/news/event/1204

The February 23 – 2017, 7:30pm
Concert in the Corvin Series
(see Calendar of Events)

The program with multi-channel acousmatic compositions:
Wilfried Jentzsch :
– Paysages G
– Trance or Lamento di Bali
– Dream of B
– Ritual (World Premiere)

NEWS – REMINDER: ICAD 2017 Rough Draft Submission Date Approaching

Von: Mark Ballora via cec conference
Datum: Wed, 15 Feb 2017
Betreff: [cec-c] REMINDER: ICAD 2017 Rough Draft Submission Date Approaching

ICAD 2017
The 23rd International Conference on Auditory Display (ICAD 2017)
The Pennsylvania State University, University Park Campus, June 20-23, 2017

CALL FOR:
Papers/Posters
Installations/Demonstrations
Concert Works
Workshops
Student ThinkTank

Please check the conference website for updates and detailed submission information: http://icad.org/icad2017/
To submit proposals online via EasyChair, go to https://easychair.org/conferences/?conf=icad17

Key Dates
February 20, 2017 – Deadline for rough draft submissions
March 6, 2017 – Deadline for final submissions (anonymized)
March 13, 2017 – Deadline for workshop submissions
April 10, 2017 – Acceptance of notification sent to authors, Deadline for ThinkTank proposal submissions
June 19, 2017 – Student ThinkTank
June 20-23, 2017 – ICAD 2017 conference

Co-chairs: Mark Ballora, School of Music/School of Theatre • Jeff Rimland, College of Information Sciences and Technology
Paper chair: Margaret Schedel
Music chair: Rob Hamilton
Worshops chair: Derek Brock
ThinkTank chair: Hiroko Terasawa

Theme: Sound in Learning
Scientific literacy is typically gained through the study of graphs and various types of visualizations. Many of these have been in existence since the late 18th century, and are part of the standard research vocabulary.

The twentieth and twenty-first century have made dynamic, multi-modal displays feasible. Visualization is essential for many applications — it draws on the strength of the eyes for assessing static qualities such as size, color, or texture. But many applications could greatly benefit from displays the address the ears, with their particular sensitivity to dynamic changes and capability for following multiple simultaneous streams.

Auditory information is also received faster than visual information. Hearing sets the stage for what we see. Sound is quickly transmitted to areas of the brain that carry out basic functions at an emotional, survival level. The legacy of our ancestors’ quick “fight or flight” response is the human creature’s unique appreciation of music.

Because of all this, sound should be a part of learning science and other topics. Young students being introduced to information through sound will likely have a more holistic and engaging experience than is possible with visual materials alone. If a generation of students were raised to learn about science by listening as well as looking, what implications would this have for the scientific climate twenty or thirty years in the future?

As this conference takes place 25 years after the first ICAD, it also offers an opportunity to reflect on the progress that has been made since that first gathering in Santa Fe in 1992.

ICAD is a highly interdisciplinary academic conference with relevance to researchers, practitioners, musicians, and students interested in the design of sounds to support tasks, improve performance, guide decisions, augment awareness, and enhance experiences. It is unique in its singular focus on auditory displays and the array of perception, technology, and application areas that this encompasses. Like its predecessors, ICAD 2016 will be a single-track conference, open to all, with no membership or affiliation requirements.

ICAD 2017, the 22nd International Conference on Auditory Display, will be held at the University Park campus of the Pennsylvania State University June 20 to 23, 2017. The conference venues are the Colleges of Arts and Architecture and Information Sciences and Technology. The graduate student ThinkTank (doctoral consortium) will be on Monday, June 19, before the main conference.
Note that ICAD dovetails with Acoustics ’17 Boston, enabling participation in both as a “double header.”

Paper/Poster Topics
Topics for ICAD 2017 include new and emerging themes, as well as more traditional ICAD ones.
There will be two special calls for themed paper tracks:

– Games
– Philosophy/Aesthetics

In addition, themes include (but are not limited to):

– Sonic Information Design
– Stream-based Sonification and Auditory Scene Design
– Acoustic Sonification
– Small Data (personal, intimate) sonification and the quantised self
– Sonification, soundscape and screensound
– Sonification in Health and Environmental Data (soniHED)
– Musification – sonifications and music
– Sonification, personal fabrication and maker culture
– Sonification in the Internet of Things
– Auditory Data Mining and Big Data sonification
– 3D and Spatial Audio
– Aesthetics, Philosophy, and Culture of Auditory Displays
– Accessibility
– Applications
– Design Theory and Methods
– Evaluation and Usability
– Human Factors and Interaction
– Mappings from Data to Sound
– Psychology, Cognition, Perception, and Psychoacoustics
– Sonification and Exploration of Data through Sound
– Sound as Art
– Technologies and Tools

Workshops/Tutorials
ICAD workshops and tutorials provide in-depth opportunities for conference attendees to discuss and explore important aspects of the field of auditory display with like-minded researchers and practitioners. Sessions can range from applications and programming methodologies to interdisciplinary research skills, emerging research areas, and challenge problems.

Concert Works
This submission category is intended to provide a framework for the presentation of artistic works involving sonification. The peer review is of the combination of the written and media submission.

Installations/Demonstrations
Installations and demonstrations will be in place throughout the conference.

Student ThinkTank (Doctoral Consortium)
The Student ThinkTank will take place Monday June 19, the day before the main conference begins. Graduate students working in research relevant to the conference and its themes are encouraged to apply to participate.

NEWS – International Scholarship

Von: Monty Adkins via cec conference
Datum: Wed, 15 Feb 2017
Betreff: [cec-c] International Scholarship

The School of Music, Humanities and Media at the University of Huddersfield invites proposals from international researchers seeking to apply for a Marie Skłodowska-Curie Individual Fellowship 2017 based at the University. Fellowships are of 12-36 months duration depending on the scheme. Deadline for submitting an Expression of Interest to the University is Monday 27th March.

Please find attached further details

Monty
University of Huddersfield inspiring tomorrow’s professionals.

Copy of PDF attachment
The School of Music, Humanities and Media at the University of Huddersfield invites proposals from researchers seeking to apply for a Marie Skłodowska-Curie Individual Fellowship 2017 based at the University. Fellowships are of 12-36 months duration depending on the scheme. Deadline for submitting an Expression of Interest to the University is Monday 27th March.
Marie Skłodowska-Curie Individual Fellowships aim to enhance the creative and innovative potential of experienced researchers, wishing to diversify their individual competence through advanced training, international mobility and intersectoral mobility. Individual Fellowships provide opportunities to acquire and transfer new knowledge and to work on research and innovation in a European context or outside Europe. They develop the careers of individual researchers who show great potential and include a specific opportunity for those returning to the profession. The proposal is built around a concrete plan of training-through-research at the host organisation. In addition to research objectives, this plan comprises the researcher’s training and career needs, including training on transferable skills, planning for publications, and participation in conferences. The scheme offers a highly competitive salary, family allowance, and travel allowance, as well as research and training expenses.
The School will support up to 10 outstanding applications for Marie Skłodowska-Curie Individual Fellowships for research projects in any field within any area of the School including:
English
Creative writing
History
Drama
Journalism and Media
Linguistics,
Modern languages
Music (including popular music, performance, musicology, analysis) Music technology
Two schemes are available under this call:
The European Fellowships – held in EU Member States or Associated Countries and open to researchers either coming to Europe from any country in the world or moving within Europe. Applicants cannot have resided or carried out the main activity (work, studies, etc.) in the host country for more than 12 months in the last 36 months before the call deadline. Fellowships last for a duration of 12-24 months. An optional secondment period of up to 3 or 6 months in another organisation in Europe is eligible where this would boost the impact of the fellowship.
A Career Restart option and Reintegration to Europe option is available within the European Fellowships scheme. The fellowship structure is the same, though eligibility requirements for these routes differ. Please see the below link for more information on these routes.
The Global Fellowships – composed of an outgoing phase during which the researcher first undertakes mobility to a partner organisation in a Third Country (not an EU Member State or Associated Country) for an uninterrupted period of between 12 and 24 months, followed by a mandatory 12-month return period to the single beneficiary located in a Member State or Associated Country, in this case the University of Huddersfield. Applicants must be a national or long-term resident of a Member State or Associated Country (i.e. undertaken a period of full-time research activity in a MS/AC of at least 5 consecutive years). The applicants must not have resided or carried out the main activity (work, studies,
etc.) in the Third Country where the initial outgoing phase takes place for more than 12 months in the last 36 months immediately before the call deadline. An optional secondment period of up to 3 or 6 months in another organisation in Europe is eligible where this would boost the impact of the fellowship.
For both the European and Global Fellowships the below salary and expenses details apply:
Salary
Family Allowance where applicable
Mobility Allowance
Research, training and networking activities €800 a month
The funder’s deadline for the full application is 14 September 2017. In order to allow time for mentoring and development of full applications, expressions of interest should be sent to Professor Monty Adkins (m.adkins@hud.ac.uk) by 5pm on Monday 27th March, consisting of two PDF documents:
1) a two-page CV including education, publications, any awards, exhibitions;
2) a two-page draft statement of the research project to be undertaken and intended training/networking requirements.
A selection process internal to the School of Music, Humanities and Media will determine which proposals will go forward to a full application. A programme of mentoring and development will be offered to applicants deemed successful in this internal process.
For further information on the scheme, including eligibility, see the European Commission Research and Innovation website: http://ec.europa.eu/research/participants/portal/desktop/en/opportunities/h2020/topics/msca-if- 2017.html
€5,593.95 a month €500 a month €600 a month


NEWS – Sonic Arts PhD

Von: Monty Adkin via cec conference
Datum: Wed, 15 Feb 2017
Betreff: [cec-c] Sonic Arts PhD

Just a reminder that the deadline for the Smalley Scholarship in Electronic Music is coming up at the University of Huddersfield on 1st March.

Monty
University of Huddersfield inspiring tomorrow’s professionals.

NEWS -Concert of electronic music in Leeds

Von: James Mooney via cec conderence
Datum: Wed, 15 Feb 2017
Betreff: [cec-c] Concert of electronic music in Leeds

There will be a concert of electronic/electroacoustic music in Leeds next Weds, 22 Feb, 6pm, Clothworkers Centenary Concert Hall. Details here:

3×3 Electronic Music

Please circulate, and I hope to see some of you there.

Best wishes,

James
3×3 Electronic Music » University of Leeds International …
concerts.leeds.ac.uk
Electronic/electroacoustic music reflecting current creative practice and research at University of Leeds, presented via a multiple loudspeakers surrounding the audience.

Dr James Mooney
School of Music
University of Leeds
Leeds LS2 9JT
United Kingdom
+44 (0) 113 343 32532

NEWS – Einladung zum OPENHAUS im ZK/U am 23.02.2017 /// Invitation to the OPENHAUS at ZK/U on 23.02.2017

Von: Frederik Unruh
Datum: Tue, 14 Feb 2017
Betreff: Einladung zum OPENHAUS im ZK/U am 23.02.2017 /// Invitation to the OPENHAUS at ZK/U on 23.02.2017

OPENHAUS 23/02/2017

*English version below*

Sehr geehrte Damen und Herren,

wir freuen uns, Sie am 23. Februar 2017 zum ZK/U OPENHAUS einladen zu dürfen. Wir bitten Sie diese Information auf Ihrer Webseite und in Ihren Publikationen zu veröffentlichen, oder über Ihren Verteiler weiterzuleiten.

OPENHAUS – Offene Studios, Installationen, Performances, Videos und Resident*innengespräche

Das OPENHAUS ist ein regelmäßig stattfindendes, öffentliches Format des ZK/U. Das Publikum ist eingeladen das Residenz Programm kennenzulernen und mit ihnen über ihre Projekte und Prozesse zu diskutieren.

Das OPENHAUS erkundet mit Perfomances und Installationen körperliche Bewegungen in Zeiten der Hypermobilität. Besucher*innen werden eingeladen mit alternativen Ansätzen die Grenzen und Grauzonen zwischen privatem oder persönlichem und öffentlichem oder kommerziellem Raum zu erforschen. Das Publikum begibt sich in kreativen Erkundungen rund um Erinnerungen und Objekte auf alternative Wege des Storytelling.

An diesem Tag findet auch die öffentliche deutsch-sprachige Veranstaltung ‚Stadt gestalten‘ statt, organisiert vom ZK/U in Zusammenarbeit mit dem polnischen Institut Berlin als Prolog für das Forschungs- und Praxisprojekt Hacking Urban Furniture.
-> https://www.facebook.com/events/1316663238372660/

Verpasst nicht die Gelegenheit die Künstler*innen kennenzulernen, die Umgebung und Räume des ZK/U’s zu entdecken, Fragen zu stellen und Ideen über laufende Projekte und künstlerische Praxen auszutauschen.

Teilnehmende Resident*innen: Bora Baboci, Bite Back Movement, Jan van Esch, FASSY, Et cetera, Seokkyung Han, Yutsen Liu, Valentina Martinez, Hannah Quinlivan, Enrique Tomás, Linda Zhang & Tyler Fox

23. Februar 2017 19:00 – 22:30

Programm:
19:00 – 22:30 Offene Studios, Installationen & Essen
20:00 Geführte Tour

Freier Eintritt

ZK/U – Zentrum für Kunst und Urbanistik

Siemensstraße 27

10551 Berlin

Webseite: http://www.zku-berlin.org/de/event/openhaus-23022017-1/

Facebook: https://www.facebook.com/events/172035879957446/

Für weitere Fragen stehe ich Ihnen sehr gerne zur Verfügung.

Mit freundlichen Grüßen,

Lotta Schäfer

Dear Sir, Madam,

You are cordially invited to the ZK/U OPENHAUS on the 23rd of February 2017. We would be happy and grateful if you could share this information on your website, your public formats, and in your network.

OPENHAUS – open studios, installations, performances, videos and resident talks

The OPENHAUS is a regular public format that takes place every month in ZK/U, inviting audiences to connect with the hosted projects and to explore the process of its residency program.

This OPENHAUS explores physical movement in times of hypermobility with performances and installations. Visitors are invited to investigate the borders and grey areas between private or personal and public or commercial space through experimental approaches. In creative encounters with memories and objects, the audience explores alternative ways of storytelling.

On the same day ZK/U is hosting a public conference in cooperation with the Polish Institute in Berlin titled ‚Stadt gestalten‘ in German language, as a prologue to the research and practice project Hacking Urban Furniture.
-> https://www.facebook.com/events/1316663238372660/

Don’t miss the opportunity to meet the artists and researchers in residence and explore ZK/U’s space and surroundings, to ask questions, to discuss and to exchange ideas about ongoing projects and artistic practices.

Participating residents: Bora Baboci, Bite Back Movement, Jan van Esch, FASSY, Seokkyung Han, Yutsen Liu, Valentina Martinez, Hannah Quinlivan, Enrique Tomás, Linda Zhang & Tyler Fox

23rd of February 19.00 – 22.30

Programme:
19.00-22.30 Open studios, installations & food
20.00 Guided tour

Free entry

ZK/U – Center for Art and Urbanistics

Siemensstraße 27

10551 Berlin

Website: http://www.zku-berlin.org/event/openhaus-23022017/

Facebook: https://www.facebook.com/events/172035879957446/

With kind regards,

Lotta Schäfer

NEWS – Call for sound proposals. INTER- #9: negative space

Von: Iain Findlay-Walsh via cec conference
Datum: Tue, 14 Feb 2017
Betreff: [cec-c] Call for sound proposals. INTER- #9: negative space

CALL FOR SOUND PROPOSALS. INTER- #9: negative space (surround, stereo, other).

INTER- is an quarterly event series presenting sound art and experimental studio production. We support 5.1, quad, stereo and are open to other ways and means.

For the next INTER- event we are looking for responses to notions of *negative space*.

If the dominant politics can be understood in terms of the deterritorialisation and reterritorialisation of space – physical, social, psychic, personal, economic, public, virtual, digital – what could it mean to pursue negative spaces in/through sound?

Proposals of all kinds are welcome – across aesthetic, conceptual and technical boundaries.

The closing date for proposals is *Monday 6th March 2017*
INTER- #9 takes place on *Wednesday 12th April 2017* at Stereo in Glasgow.

http://bit.ly/2lfrCn6
https://www.facebook.com/events/1715122418728412/

ABOUT INTER-:

INTER- : sonic spaces in between (surround, stereo, other)

INTER- is an quarterly event series presenting sound art and experimental studio production. We support 5.1, quad, stereo and are open to other ways and means.

These nights are about creating a focused, public listening context for experiments in recorded sound. We are particularly fascinated by the *in-between* spaces of contemporary sound and listening – between sound production and reception, between real and virtual aural environments.

We aim to support work and practices which might not fit easily into other performance contexts. We hope these events can help to draw together practices across electroacoustic composition, studio production and field-recording (amongst others) and be part of the exchange between sound and music methods taking place across Glasgow and further afield…

For each event we prioritise submissions for artists working in the Glasgow area, but frequently programme work from around the world.

Previous participants include – Bethan Parkes, HMBKR, Mark Vernon, Matthew Shoen, Nikki Kane, Felipe Otondo, Jamie Cooper, Slavek Kwi and Linda O Keeffe, Nathan Quirk, Luca Nasciuti, Angus McIntyre & Nicola Reade, Robert Stokowy, Roberto Zanata, Nicola Scrutton, Isobel Anderson, Tullis Rennie, Paul Nataraj, Angus Carlyle + Rupert Cox, Rory Comerford, Seth Rozanoff, Jox Oiz, Lauren Sarah Hayes, Anna Terzaroli, Lina Tobler, Paolo Pastorino, Tim Cooper, Aisling Quinn, Adam Stanović, Symeon Yovev, Robert McLeod, Xavier Madore, Zoë Irvine & Pippa Murphy, Brian Connolly, Nikos Stavropoulos, J Simon van der Walt, Liam Slevin, Thiago Ruiz, Paul Johnston, Laurence Chan, Michele Del Prete, Tony Morris, David Philp, Matthew Grouse, Patrick Shand, Gordon Delap, Damon Lee, Nicolas Marty, Oliver Carman, Jamie Ferguson, Zubuntu, James Andean, Czech Vodus, Coryn Smethurst, Daphne Potamiti, Konstantinos Karathanasis, Paul Jamieson, Adriana Minu, Alexander Bauer and Luis Valdivia.

HOW TO SUBMIT A PROPOSAL:

Please send proposals to monostereomutations@gmail.com
with the email title ‘INTER- 9 proposal’
by the closing date of *Monday 6th March 2017*

including the following:
– proposal info – 500 words max
– any relevant links to work examples (streamable audio preferred i.e. we prefer to avoid downloading complete works at the selection stage)
– detailed tech requirements including file format and whether playback (laptop etc.) can be provided for your work
– brief artist bio

Due to the nature of the event (high tech requirements and limited audiences) we can’t pay artists for showing their work at this stage. Free tea/coffee/soft drinks and a discount on our vegan menu is provided for people presenting work.

https://glasgow.academia.edu/IainFindlayWalsh

NEWS – Visiting Australia

Von: Michael Gogins via cec conference
Datum: Sun, 12 Feb 2017
Betreff: [cec-c] Visiting Australia

I am a composer of algorithmically generated electroacoustic music,
and a developer of music software, including various features of
Csound such as the Csound for Android app, HTML5 integration with
Csound, other APIs, the signal flow graph opcodes, the Silencio
algorithmic composition system in C++, Lua, and JavaScript, etc. For
more information about my activities see my Tumblr blog at
http://michaelgogins.tumblr.com.

I and my wife Heidi will be in Melbourne from 15 February through 15
April 2017. I would be happy to meet with anyone who wants to meet
with me, to discuss electroacoustic music or computer music or Csound,
to perform music, to present a talk or workshop, etc.

If you have any such interest in meeting, please reply to my personal
email: michael dot gogins at gmail dot com.

Regards,
Michael Gogins

Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com

NEWS – Call for Papers: Algorithmic Electronic Dance Music

Von: ‚Nikolai Collinsky‘ via CEC-Conference
Datum: Sat, 11 Feb 2017
Betreff: [cec-c] Call for Papers: Algorithmic Electronic Dance Music

CFP: Algorithmic Electronic Dance Music

Special edition of Dancecult: Journal of Electronic Dance Music Culture

Guest Editors: Shelly Knotts and Nick Collins

http://dj.dancecult.net/

Algorithms are at the heart of the virtual studio software applications underwriting so much contemporary dance music, but are normally the prior preserve of music engineering teams rather than musicians. This special issue, however, engages with algorithms as musical material, and especially with music which is inherently founded on computer programming technique. A recent manifestation of this is the algorave, an explicit site of live algorithmic electronic dance music (EDM), produced through such means as on stage computer programming (algorave.com). Creators of EDM have vast amounts of software at their disposal, including specific musical programming languages; modern digital audio workstations now often include the capacity to utilise a programming language, such as Python and Max/MSP embedded within Ableton Live, or Logic’s MIDI Scripter.

The history of algorithmic techniques within mainstream and experimental fringe dance music predates the coining of the term algorave (Collins and McLean 2014). Powerful computer music coding environments have been co-opted for use in club contexts, by such well known figures as Autechre (Max/MSP), BT (Csound, Composer’s Desktop Project), Cylob, Aphex Twin (SuperCollider), and Holly Herndon (Chuck), amongst many others. Some artists have written their own software from scratch, such as the generative gabba-techno artists slub, or commissioned others to supply it, as with Coldcut and the VJamm and Coldcutter programs.

Research in this area extends from the introduction of new algorithmic techniques for the production of dance music, to the computational analysis of existing EDM, via critical appraisal of algorithms in the wild. Live realtime systems, as well as offline studio software, have been developed. An increasingly algorithmically literate culture will see increasingly algorithmically literate music, and the rise of music-oriented computer programming has great implications for future directions within EDM.

(2014) Nick Collins and Alex McLean “Algorave: live performance of algorithmic electronic dance music”. Proceedings of NIME 2014, London

SUGGESTED THEMES
Potential themes for articles include (but are not limited to):

– Analysis of the work of algorithmic EDM artists
– Computational analysis procedures for EDM
– Surveying algorithmic techniques in EDM production
– Algorithmic composition projects based on EDM styles
– Live coding and EDM
– Web browser based dance music systems (e.g., via Flash, HTML5, Web Audio API et al.)
– Music Information Retrieval (MIR) systems and EDM content creation
– The programming of interactive systems for EDM creation
– Music pedagogy through coding of EDM (e.g., Sonic Pi, EarSketch et al.)
– Gender, ethnicity and social trends at the crossover of computer music and club culture
– Collaborating with and through algorithms; EDM groups of musical programmers
– Algorithmic audiovisuals for club performance
– Performance and audience reception of Algorithmic EDM

SUBMISSIONS

Feature Articles:
Feature Articles will be peer-reviewed and are 6000–9000 words in length (including endnotes, captions and bibliography). For policies, see:
https://dj.dancecult.net/index.php/dancecult/about/editorialPolicies#sectionPolicies

“From the Floor” Articles:
This special edition will also include articles in From the Floor format (750–2500 words), which are very suitable for an artist to critically evaluate their own practice, or an academic to discuss new experiments. This format will be of particular interest to scholars and practitioners who wish to share some of the insights of their work, but are unable to devote the time necessary for a feature-length article. See guidelines at the Section Policies link above.

Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide (DSG). Download it here: https://dj.dancecult.net/public/journals/24/dancecult_styleguide.pdf

Multimedia Submissions:
Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements.

DATES AND DEADLINES

This special edition is proposed for publication in Dancecult on 1 November 2018.
If interested, send a 250-word abstract (along with a one hundred word maximum author biography) to Shelly Knotts (knotts.shelly@gmail.com) by 23rd March 2017.

If your abstract is accepted, the deadline for submission of a full article draft to the guest editors for their comments is 1 October 2017. Beyond that, the deadline for online submission to Dancecult (for blind peer-review) is 1 February 2018.

Please send enquiries and expressions of interest to Shelly Knotts: knotts.shelly@gmail.com

A PDF version of this call, with live links and editor biographies, is available from:
http://composerprogrammer.com/algoraveCFP.pdf

STELLENAUSSCHREIBUNG – Ausschreibung HfMT Köln

Von: Michael Beil via Folkmar Hein
Datum: Tue, 14 Feb 2017
Betreff: Fwd: Ausschreibung HfMT Köln

Die Hochschule für Musik und Tanz Köln gehört zu den weltweit führenden künstlerischen Ausbildungsein- richtungen und zählt mit ihren drei Standorten in Köln, Wuppertal und Aachen zu den größten Musikhoch- schulen Europas. Geprägt wird die Hochschule durch über 450 Lehrende, darunter eine Vielzahl renommier- ter Persönlichkeiten des internationalen Musiklebens, der Wissenschaft, der Pädagogik und des Tanzes.
Sie betreuen die rund 1550 Studierenden aus über 60 Ländern. Mit vielschichtigen Beziehungen zu Partner- hochschulen in aller Welt, der Europäischen Akademie für Musik und Darstellende Kunst Montepulciano und der Durchführung des Internationalen Musikwettbewerbs Köln hat sich die Hochschule als internationaler Kooperations- und Dialogpartner eine anerkannte Position geschaffen. Die Hochschule führt jährlich über 400 Veranstaltungen durch und zählt damit zu den größten Kulturanbietern in der Region.
Rund 90 Mitarbeiterinnen und Mitarbeiter in Technik und Verwaltung sorgen für breite Serviceleistungen für den Lehr- und Veranstaltungsbetrieb.
Werden Sie jetzt Teil unseres Teams in Vollzeit und unbefristet als
Ihre Aufgaben
Mitarbeiter/in im Studio für elektronische Musik
am Hochschulstandort Köln
Technische Betreuung des Studios für Elektronische Musik, d.h. Anschaffung, Aufbau und Instand- haltung der technischen Geräte, des internen Netzwerks samt Anbindung und der Archivierungslo- gistik
Technische Vorbereitung, Realisierung und Dokumentation der Veranstaltungen und Proben des Studio für Elektronische Musik
Einführung der Studierenden in die Nutzung der Studiotechnik und Unterstützung bei der Realisie- rung ihrer Projekte, sowie bei der Vorbereitung und Durchführung von Präsentationen
Administration des Inventars, der Räume und des Archivs
Technische Vorbereitung und Durchführung von Seminaren
Unsere Anforderungen
Abgeschlossener Master- oder Diplomstudiengang in einem relevanten Fachbereich (Musikinforma- tik, Tonmeister, Elektronische Komposition, Medientechnik) oder eine vergleichbare Qualifikation
Praktische Erfahrung im Bereich der Veranstaltungs- und Beschallungstechnik
Sehr gute Kenntnisse der Studio- und Veranstaltungstechnik sowie ihrer kreativen Anwendung
Grundkenntnisse in möglichst vielen für die zeitgenössische Musik relevanten Software-Applikatio-
nen oder Programmierumgebungen, insbesondere DAWs, MaxMSP oder SuperCollider
Gute Englischkenntnisse

Sie heben sich besonders hervor, wenn Sie zusätzlich folgende Kriterien erfüllen:
Erfahrung im Umgang mit weiteren Medien wie Video, Licht- oder Netzkunst bzw. mit speziellen Kunstformen wie Klangkunst, Installation oder Performance
Umfassende Programmiererfahrung und IT-Kenntnisse, insbesondere im Musik-Bereich
Erfahrung im Design und im Bau von Controllern und Interfaces
Erfahrung im Bereich der Neuen Musik und in der Zusammenarbeit mit Komponisten
Es handelt sich um die Stelle einer/s künstlerischen Mitarbeiterin/ Mitarbeiters. Die Vergütung erfolgt nach Entgeltgruppe 13 TV-L. Die HfMT Köln liegt als internationale und weltoffene Einrichtung direkt im Herzen von Köln. Neben der Fortbildung ihrer Beschäftigten ist die Vereinbarkeit von Beruf und Familie für die HfMT Köln ein wichtiges Anliegen. Daher profitieren die Beschäftigten nicht nur von gleitenden Arbeitszeiten, einer

Wir freuen uns auf Ihre Bewerbung!

Kindertagesstätte und den im öffentlichen Dienst üblichen Sozialleistungen (Zusatzversorgung, Großkunden- ticket usw.), sondern auch von internen betrieblichen Sportangeboten sowie einer Kooperation mit dem Hochschulsport Köln.
Bewerbungen von Frauen sind ausdrücklich erwünscht und werden nach Maßgabe des Landesgleichstel- lungsgesetzes NRW bei gleicher Eignung, Befähigung und fachlicher Leistung bevorzugt berücksichtigt, so- fern nicht in der Person einer Mitbewerberin/eines Mitbewerbers liegende Gründe überwiegen. Bewerbun- gen geeigneter Schwerbehinderter und Gleichgestellter im Sinne des § 2 Abs. 3 Teil I SGB IX sind ebenfalls erwünscht.
Bitte richten Sie Ihre Bewerbung unter Angabe der Bewerbungskennziffer 03/2017 bis zum 12.03.2017 per E-Mail an: bewerbungen@hfmt-koeln.de
Für Rückfragen wenden Sie sich bitte an Herrn Professor Beil (Tel. 0179/55986082; E-Mail: michael.beil@hfmt-koeln.de).

Wir freuen uns auf Ihre Bewerbung!

NEWS – Call for Papers: Algorithmic Electronic Dance Music

Von: ‚Nikolai Collinsky‘ via CEC-Conference
Datum: Sat, 11 Feb 2017
Betreff: [cec-c] Call for Papers: Algorithmic Electronic Dance Music

CFP: Algorithmic Electronic Dance Music

Special edition of Dancecult: Journal of Electronic Dance Music Culture

Guest Editors: Shelly Knotts and Nick Collins

http://dj.dancecult.net/

Algorithms are at the heart of the virtual studio software applications underwriting so much contemporary dance music, but are normally the prior preserve of music engineering teams rather than musicians. This special issue, however, engages with algorithms as musical material, and especially with music which is inherently founded on computer programming technique. A recent manifestation of this is the algorave, an explicit site of live algorithmic electronic dance music (EDM), produced through such means as on stage computer programming (algorave.com). Creators of EDM have vast amounts of software at their disposal, including specific musical programming languages; modern digital audio workstations now often include the capacity to utilise a programming language, such as Python and Max/MSP embedded within Ableton Live, or Logic’s MIDI Scripter.

The history of algorithmic techniques within mainstream and experimental fringe dance music predates the coining of the term algorave (Collins and McLean 2014). Powerful computer music coding environments have been co-opted for use in club contexts, by such well known figures as Autechre (Max/MSP), BT (Csound, Composer’s Desktop Project), Cylob, Aphex Twin (SuperCollider), and Holly Herndon (Chuck), amongst many others. Some artists have written their own software from scratch, such as the generative gabba-techno artists slub, or commissioned others to supply it, as with Coldcut and the VJamm and Coldcutter programs.

Research in this area extends from the introduction of new algorithmic techniques for the production of dance music, to the computational analysis of existing EDM, via critical appraisal of algorithms in the wild. Live realtime systems, as well as offline studio software, have been developed. An increasingly algorithmically literate culture will see increasingly algorithmically literate music, and the rise of music-oriented computer programming has great implications for future directions within EDM.

(2014) Nick Collins and Alex McLean “Algorave: live performance of algorithmic electronic dance music”. Proceedings of NIME 2014, London

SUGGESTED THEMES
Potential themes for articles include (but are not limited to):

– Analysis of the work of algorithmic EDM artists
– Computational analysis procedures for EDM
– Surveying algorithmic techniques in EDM production
– Algorithmic composition projects based on EDM styles
– Live coding and EDM
– Web browser based dance music systems (e.g., via Flash, HTML5, Web Audio API et al.)
– Music Information Retrieval (MIR) systems and EDM content creation
– The programming of interactive systems for EDM creation
– Music pedagogy through coding of EDM (e.g., Sonic Pi, EarSketch et al.)
– Gender, ethnicity and social trends at the crossover of computer music and club culture
– Collaborating with and through algorithms; EDM groups of musical programmers
– Algorithmic audiovisuals for club performance
– Performance and audience reception of Algorithmic EDM

SUBMISSIONS

Feature Articles:
Feature Articles will be peer-reviewed and are 6000–9000 words in length (including endnotes, captions and bibliography). For policies, see:
https://dj.dancecult.net/index.php/dancecult/about/editorialPolicies#sectionPolicies

“From the Floor” Articles:
This special edition will also include articles in From the Floor format (750–2500 words), which are very suitable for an artist to critically evaluate their own practice, or an academic to discuss new experiments. This format will be of particular interest to scholars and practitioners who wish to share some of the insights of their work, but are unable to devote the time necessary for a feature-length article. See guidelines at the Section Policies link above.

Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide (DSG). Download it here: https://dj.dancecult.net/public/journals/24/dancecult_styleguide.pdf

Multimedia Submissions:
Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements.

DATES AND DEADLINES

This special edition is proposed for publication in Dancecult on 1 November 2018.
If interested, send a 250-word abstract (along with a one hundred word maximum author biography) to Shelly Knotts (knotts.shelly@gmail.com) by 23rd March 2017.

If your abstract is accepted, the deadline for submission of a full article draft to the guest editors for their comments is 1 October 2017. Beyond that, the deadline for online submission to Dancecult (for blind peer-review) is 1 February 2018.

Please send enquiries and expressions of interest to Shelly Knotts: knotts.shelly@gmail.com

A PDF version of this call, with live links and editor biographies, is available from:
http://composerprogrammer.com/algoraveCFP.pdf

NEWS – 16.2.2017 Simultankonzert Toronto-Berlin

Von: Thomas Gerwin
Datum: Fri, 10 Feb 2017
Betreff: 16.2.2017 Simultankonzert Toronto-Berlin

Donnerstag, 16. Februar 2017 um 20:00 Uhr > Exploratorium Berlin, Mehringdamm 55, 10961 Berlin-Kreuzberg/
Thursday, Februar 16, 2017 at 4 pm >DisPerSion Lab, Goldfarb Centre for Fine Arts, York University, Toronto

S i m u l t a n k o n z e r t i n T o r o n t o u n d B e r l i n
„Deep Listening“ im Rahmen des „Trans-X“-Symposiums Toronto, Canada

TELE-CONDUCTION
By Doug Van Nort, Thomas Gerwin, Sarah Weaver and Glen Hall

This is two performances in two countries that overlap through telematic connections. The performance begins at the Exploratorium Berlin with an improvised set by Thomas Gerwin and guests. That performance will conclude with a transcontinental collaboration that uses the telepresence performance environment available at the DisPersion Lab at York University in Toronto. /In that performance at 4pm/22:00 Uhr Thomas Gerwin will conduct from the Exploratorium Berlin a structured improvisation by the Electro-Acoustic Orchestra (EAO), who will be performing at the DisPerSion Lab in Toronto together with the Berlin musicians./ He composed his new piece “EAOIU” especially for this occasion. It is dedicated to Doug van Nort and EAO. Following that performance the EAO will continue performing other networked pieces in Toronto by guest artist Sarah Weaver, EAO director Doug Van Nort, as well as EAO member and active Toronto improviser Glen Hall. Note the early start time of this performance for Toronto listeners.

Performer in Berlin: Ivo Berg (Blockflöten), Jenny Doell (Tanz), Reinhard Gagel (Akkordeon, Piano, Mini-Moog), Thomas Gerwin (Banjo, Objekte, Elektronik, Ltg.), Dietrich Petzold (Violine, Viola)

FREE /Freier Eintritt (Spende nach eigenem Ermessen)

Broadcast on naisa radio – http://www.naisa.ca/naisa-radio

Eine Veranstaltung von inter art project und NAISA Sound Travel Toronto, Canada in Kooperation mit dem Exploratorium Berlin und dem DisPersionLab Toronto.

More information: http://naisa.ca/festivals/deep-wireless/performances + www.thomasgerwin.de

inter art project
KlangWelten ad hoc
Internationales Klangkunstfest Berlin
::
www.thomasgerwin.de

NEWS – Prix PRESQUE RIEN Prize

Von: Brunhild Ferrari
Datum: Fri, 10 Feb 2017
Betreff: Prix PRESQUE RIEN Prize

Luc FERRARI, « Musiques dans les spasmes Ecrits (1951-2005)“

Publié par Les Presses du Réel, France

Luc Ferrari : Musiques dans les spasmes – Les presses du réel (extrait en PDF)

Luc FERRARI, „Musiques dans les spasmes Ecrits (1951-2005)“

Les presses du réel, domaine Arts de la scène & arts sonores, collection Arts sonores Hors série. Edité par Brunhild Ferrari et Jérôme Hansen.
Préface de Jim O’Rourke. Introduction de Brunhild Ferrari. Comprend également des entretiens avec Luc Ferrari par : François-Bernard Mâche; Catherine Millet; Christian Zanési; Pierre-Yves Macé et David Sanson …

Paru en février 2017 édition française 17 x 24 cm (broché)

236 pages (ill. coul. et n&b)

lespressesdureel.com

Les Presses du Réel, France

Luc Ferrari : Musiques dans les spasmes – Les presses du réel (PDF excerpt)

http://www.lespressesdureel.com/pdf.php?id=5157&menu

Book Release

Luc FERRARI, „Musiques dans les spasmes – Ecrits (1951-2005)“

Les presses du réel, Field of Performing Arts & Sound Arts, collection Sound arts Hors série. Edited by Brunhild Ferrari and Jérôme Hansen. Preface by Jim O’Rourke.
Introduction by Brunhild Ferrari. Contains also interviews with Luc Ferrari by François-Bernard Mâche; Catherine Millet; Christian Zanési; Pierre-Yves Macé et David Sanson …

17 x 24 cm (paperback), 236 pages (color and b & w)….

lespressesdureel.com

NEWS – upcoming in February – herzliche Einladung! (Kirsten Reese)

Von: Kirsten Reese
Datum: Fri, 10 Feb 2017
Betreff: upcoming Februar

upcoming in February – herzliche Einladung!

15.2. 19:00 Errant Sound
Kirsten Reese
r.d.l. – automatic creation

As part of Transmediale/Vorspiel please join me for 3 hours 44 minutes (19 – 22.44), at Errant Sound, Kollwitzstr. 97, 10435 Berlin.

A 3 hours and 44 minutes long installation-performance with sounds made in a process of ‚automatic creation‘,
daily sketch-like work with sound processes and sound transformation, following up and re-working micro-results
by manipulating software in extreme parameters. Interspersed are sound objects, also processed live.
The piece is projected through small speakers with different acoustic characteristics spread throughout
the performance space. What originates from the artists mind, what from the depth of the digital software,
what from the physicality of the speaker?

https://errantsound.wordpress.com/
https://vorspiel.berlin/#overlay=node/38026/modal

16.2. 20:00
Eröffnung VIDEONALE.16 Kunstmuseum Bonn
Stefan Panhans „Freeroam À Rebours, Mod#I.1“
with music by Kirsten Reese

VIDEONALE.16 Festival for Video and Time-Based Arts.

startseite


17.2.-2.4.2017

Kunstmuseum Bonn
Friedrich-Ebert-Allee 2, 53113 Bonn

http://www.kirstenreese/freeroame.html

23.2. 19:00
Galerie Pankow Breite Str. 8, 13187 Berlin
Messages
Talk and performance

„found sound“, Medienmaterial, auditives Archivmaterial, ortsspezifische
field recordings, Musik aus Musik – anhand eigener
Arbeiten spricht Kirsten Reese über dokumentarisches Arbeiten
mit Klang, Verwandlung und Transformation im auditiven
Medium, in Performances, Installationen und Kompositionen.
Dazu führt sie „Messages“ (2008/2016) für Diaprojektion,
Kassetten, Objekte und Zuspiele auf.

Übersicht

kirsten reese / torstr. 179 / 10115 berlin
493025700157 / mob 015114452768
www.kirstenreese.de