Einladung zur ZK/U Zentrum für Kunst und Urbanistik’s Veranstaltung OPENHAUS am 23.03.2017 /// Invitation to ZK/U Center for Art and Urbanistics‘ event OPENHAUS on 23/03/2017

von: lm@zku-berlin.org
Tue, 14 Mar 2017
Betr: Einladung zur ZK/U Zentrum für Kunst und Urbanistik’s Veranstaltung OPENHAUS am 23.03.2017 /// Invitation to ZK/U Center for Art and Urbanistics‘ event OPENHAUS on 23/03/2017

OPENHAUS 23/03/2017

*English version below*

Sehr geehrte Damen und Herren,

wir freuen uns, Sie am 23. März 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, Workshops, Videos und Resident*innengespräche

Das OPENHAUS ist ein regelmäßig stattfindendes, öffentliches Format des ZK/U. Das Publikum ist eingeladen die Resident*innen kennenzulernen und mit ihnen über ihre Projekte und Prozesse zu diskutieren.

Diesen Monat kreist das OPENHAUS um persönliche sowie kollektive Erinnerungen in interaktiven Installationen. Alle Besucher*innen werden dazu eingeladen einen Blick hinter die Kulissen der abgeschlossenen und laufenden Projekte der Resident*innen zu werfen und die Geschichte des ZK/U kennenzulernen. Das Programm reicht von Performances, Videos und Installationen bis zu aktiven Künstler*innen-Gesprächen und ermöglicht dem Publikum in die Praxen des künstlerischen Schaffens und Wissensproduktion im urbanen Kontext einzutauchen.

Während dieser Ausgabe des OPENHAUS wird im Gemeinraum zeitgleich die Ausstellung ‚Juxtaposing Narratives’ zu sehen sein. 10 internationale Künstler*innen präsentieren ihre Arbeiten, die zwischen 2015 und 2016 im Zuge des Simulizi Mijini / Urban Narratives Residency Programme entstanden sind.
http://www.zku-berlin.org/de/event/exhibition-of-simulizi-urban-narratives-from-dar-es-salam-and-berlin/

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

23. März 2017 19:00-22:30

Programm:
19:00 – 22:30 Offene Studios und Essen von REFUEAT (http://refueat.de/)
20:00 Führung
21:00 Performance-Vortrag von Tori Abernathy

Freier Eintritt

Teilnehmende Resident*innen: Tori Abernathy, Indu Anthony, Bite Back Movement, Juan Conesa, Maj Horn, Julieta Morano, NomadicArt, Byungseo Yoo, Linda Zhang & Tyler Fox

Webseite: http://www.zku-berlin.org/de/event/openhaus-23032017-2/
Facebook: https://www.facebook.com/events/1614962441864200/

Mit freundlichen Grüßen,

Lotta Schäfer & das ZK/U Team
_________________________

Dear Sir, Madam,

You are cordially invited to the ZK/U OPENHAUS on the 23rd of March 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, workshops, 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 programme.

This month, the OPENHAUS investigates both personal and collective memories through participative installations. Visitors are welcomed to discover the processes behind past and current projects by the residents, and dive into the ZK/U’s history. In active encounters with performances, videos, installations, and artist talks, the audience explores practices of artistic creation and knowledge production in an urban context.

During this OPENHAUS edition, the exhibition ‘Juxtaposing Narratives’ by Simulizi Mijini will be on display in the main hall at the same time. 10 international artists present their works that have been created between 2015 and 2016 in the context of the Simulizi Mijini / Urban Narratives Residency Programme.
http://www.zku-berlin.org/event/exhibition-of-simulizi-urban-narratives-from-dar-es-salam-and-berlin-2/

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.

23rd of March 2017 19.00-22.30

Programme:
19.00-22.30 Open studios & food by REFUEAT (http://refueat.de/)
20.00 Guided tour
21.00 Performance lecture by Tori Abernathy

Free entry

Participating residents: Tori Abernathy, Indu Anthony, Bite Back Movement, Juan Conesa, Maj Horn, Julieta Morano, NomadicArt, Byungseo Yoo, Linda Zhang & Tyler Fox

Website: http://www.zku-berlin.org/event/openhaus-23032017/
Facebook: https://www.facebook.com/events/1614962441864200/

With kind regards,

Lotta Schäfer & the ZK/U Team

NEWS – Andrey Smirnov talk, London, 23 March

Von: James Mooney via cec conference
Datum: Wed, 15 Mar 2017
Betreff: [cec-c] Andrey Smirnov talk, London, 23 March

Those of you in/around London may be interested in this upcoming talk by Andrey Smirnov about “Russian avant-garde and the convergence of music, science, technology and politics of the 1910-50s”.

https://www.eventbrite.co.uk/e/andrey-smirnovthe-forgotten-history-of-russian-sound-pioneers-of-the-20s-tickets-32782843367

Best wishes,


Dr James Mooney

Lecturer in Music Technology

Director of Impact and Innovation

School of Music, University of Leeds

Dr James Mooney

About

EDMONTON – concert in edmonton with LUX:NM

Von: jef chippewa via cec conference
Datum: Tue, 14 Mar 2017
Betreff: [cec-c] concert in edmonton with LUX:NM

is that garlic and basil i smell?

come out and join us for an eclectic evening of works performed by berlin’s LUX:NM contemporary music ensemble. the group is playing works by composers from / living in germany, including my „cabinet de curiosités“, commissioned by LUX in 2015.
http://facebook.com/jef.chippewa/posts/1439776322708217

the festival opened this evening and runs through sunday.

SUNDAY 19 MAR (@19h00) PROGRAMME

Holy Trinity Anglican Church
10037 84 Ave | Edmonton AB
TIX: https://www.eventbrite.ca/e/now-hear-this-festival-of-new-music-tickets-31957267046

Hector Moro — Lichtzwang, ein wütendes Spielzeug (2002, rev. 2008)
for trombone, accordion and saxophone

Marcus Antonius Wesselmann — QUARTETT 4 — contemplation (2014)
for soprano saxophone, trombone, violin und accordion

Brigitta Muntendorf — Yes Master (2011)
performance for three female performers, one male performer and tape

Ole Hübner — music for j.t. #5b: secret snares (2016)
for alto saxophone, trombone, accordion and audio playback

Maximilian Marcoll — Compound No. 1a: CAR SEX VOICE HONKER (2009)
for solo accordion and electronics

jef chippewa — cabinet de curiosités (2015)
concert-theatre-fluxus work in 9 parts for saxophone, accordion, violin, trombone and sound objects
cabinet de curiosités was commissioned by LUX:NM

LUX:NM’s performance in Now Hear This is made possible through the kind support of the Goethe-Institut.
http://luxnewmusic.de | http://facebook.com/LUXNMberlin


Épater la bourgeoisie… whatever. On the obsolescence of subversion
http://cec.sonus.ca/econtact/16_4/chippewa_subversion.html

http://newmusicnotation.com/chippewa
http://www.facebook.com/neueweise

NEWS – New Release | AmHwErM by René Muñoz Córdova

Von: renE
Datum: Wed, 15 Mar 2017
Betreff: New Release | AmHwErM by René Muñoz Córdova

I am so happy to share you my last and most recent release of electroacoustic music.

AmHwErM by René Muñoz Córdova: https://archive.org/details/amhwerm

​The Album AmHwErM is divided into four pieces woven into a dense musical tapestry of electronic sounds and concrete element of sounds. This album explores the relationships between random structures, tone clusters, and how musical structures alternate in sequence according to their relative intensities, disruptive force and spectralism.The work shows us how disparate sound elements can be fused together into a complete and captivating musical work.

The composer makes a large distinction between: voices, digital manipulation of the sound spectrum, composites of multi-layered sound of the metallic vibraphones and extreme dynamics are also used to accompany and accentuate the composition. For the listener, this work is fiercely difficult to assimilate, presenting densely layered random, drone, extreme dynamics and intricate patterns that require enormous concentration.

AmHwErM proceeds from homogeneity towards heterogeneity and shows how disparate sound elements sound may be fused together into a captivating and harmonic musical work.

I hope you enjoy it.

Cheers,
renE.

FRANKFURT/M – Technik-Messe MAKE – Präsentation meiner elektronisch gesteuerten Bassquerflöten

Von: Peter Wiessenthaner
Datum: Wed, 15 Mar 2017
Betreff: Technik-Messe MAKE – Präsentation meiner elektronisch gesteuerten Bassquerflöten

…am kommenden Wochenende – Freitag bis Sonntag – findet die diesjährige Technik-Messe „MAKE“ statt. Bei dieser Veranstaltung bin ich mit einem zweiteiligen Projekt vertreten, mit zwei elektronisch gesteuerten Bassquerflöten.

Einer großen Bassquerflöte – sie wird über eine Programmierung gesteuert, bewegt sich sehr langsam.
und einer
kleinen Bassquerflöte – sie wird ebenfalls über eine Programmierung gesteuert und zudem liefert ein Mikrophon Steuerdaten. Diese Flöte bewegt sich sehr schnell.

Idee, Konstruktion, Herstellung und Programmierung wurden von mir entwickelt. Die große Bassquerflöte wurde erstmalig im Dezember im Konzert bespielt, die kleine Bassquerflöte wurde in den letzten Tagen fertiggestellt und wird demnächst in Basel, Freiburg und Österreich bespielt werden.

Ich würde mich sehr freuen, wenn Ihr mich auf der MAKE an meinem Stand besucht. Die räumlich weit Entfernten möchte ich nur über dieses Projekt informieren. Weitere Infos und Videos findet Ihr auf meinen verschiedenen Internet-Auftritten.

Mehr infos zur Messe:

5. MAKE Rhein-Main in Frankfurt am 18. und 19. März 2016 / Was euch erwartet

Besten Gruß von

Peter Wießenthaner
Rohmerstraße 6
60486 Frankfurt
Telefon: ++49 (0) 69 / 77 66 36
Mobil: ++49 (0) 177 / 7 384 324
E-Mail: peter@wiessenthaner.de
Internet: www.wiessenthaner.de
Facebook: www.facebook.com/peter.wiessenthaner
YouTube: www.youtube.com/results?search_query=peter+wiessenthaner
Vimeo: www.vimeo.com/wiessenthaner

NEWS – EMM 2017 Call for Submissions

Von: Mike McFerron
Datum: Mon, 13 Mar 2017
Betreff: [cec-c] EMM 2017 Call for Submissions

In our 17th year, Electronic Music Midwest has presented over 1000 new electroacoustic works. I hope you consider joining us in 2017:

Call for Submissions:

Lewis University and Kansas City Kansas Community College are pleased to announce an international call for submissions for the 17th Annual Electronic Music Midwest Festival, featuring SPLICE Ensemble, to be held September 21-23, 2017 at Kansas City Kansas Community College.

Each concert will feature an 8.1 speaker diffusion system. The acclaimed SPLICE Ensemble is the 2017 featured ensemble and composers are encouraged to submit works for their consideration. Any composer regardless of region, age or nationality may submit. Composers whose works are selected must attend and will be required to submit a $60 registration fee at the festival.

Composers are invited to submit one work for consideration. EMM accepts all electroacoustic works, but we especially seek music that falls within one of the following categories:

– Compositions for SPLICE Ensemble (piano, trumpet, and percussion) and fixed media and/or live electronics. Any subset of the ensemble will be considered, but preference will be given to works that include all three perfomers.
– Two channel works for fixed media
– Up to eight channel works for fixed media
– Instrument(s)/Voice(s) and fixed media or live electronics (composer to provide performers) – Works that include video
– Sound Installations and Interactive Media (composer to provide all non-standard equipment) – Live Laptop works
– Live Interactive works

Deadline: June 1, 2017 Entry Fee: none

Submission Guidelines:

1) For consideration, applicants must register and complete an online submission form available at http://www.emmfestival.org.

2) For adjudication purposes, multi-channel works (up to 8 channels) must be submitted as a stereo mix and uploaded at http://www.emmfestival.org. The EMM 8-channel speaker array uses a front and rear center.

Composers whose works are selected for this festival are required to submit a $60 registration fee at the festival and must agree to attend the festival. Regrettably, EMM is not able to offer travel stipends or honorariums to festival participants at this time.

EMM is unable to consider works that do not conform to the guidelines outlined above.

For further information, contact

Mike McFerron, festival director mike@emmfestival.org

Best Wishes,

Mike McFerron
Professor of Music
Lewis University

www.bigcomposer.com
www.redearthpublishing.com
www.emmfestival.org

NEWS – MUME 2017 – EXTENDED DEADLINE: MARCH 19, 2017

Von: Kıvanç Tatar via cec conference
Datum: Sat, 11 Mar 2017
Betreff: [cec-c] MUME 2017 – EXTENDED DEADLINE: MARCH 19, 2017

MUME 2017 – EXTENDED DEADLINE: MARCH 19, 2017

5th International Workshop on Musical Metacreation

MUME 2017

June 19-20, 2017, Georgia Tech, Atlanta, USA.

MUME 2017 is to be held at Georgia Institute of Technology in conjunction with the Eighth International Conference on Computational Creativity, ICCC 2017.

http://computationalcreativity.net/iccc2017/

=== Important Dates ===

Workshop submission deadline: March 10, 2017 EXTENDED DEADLINE MARCH 19, 2017

Notification date: April 20th, 2017

Camera-ready version: April 28th, 2017

Workshop dates: June 19-20, 2017

Topics

We encourage paper and demo submissions on MUME-related topics, including the following:

— Models, Representation and Algorithms for MUME

— Systems and Applications of MUME

— Evaluation of MUME

Submission Format and Requirements

Please make submissions via the EasyChair system at:

https://easychair.org/conferences/?conf=mume2017

Workshop Organizers

Pr. Philippe Pasquier (Workshop Chair)

School of Interactive Arts and Technology (SIAT)

Simon Fraser University, Canada

Home

https://www.kadenze.com/programs/generative-art-and-computational-creativity

Pr. Arne Eigenfeldt

School for the Contemporary Arts

Simon Fraser University, Canada

Dr. Oliver Bown

Design Lab, Faculty of Architecture, Design and Planning

The University of Sydney, Australia

Kıvanç Tatar

School of Interactive Arts and Technology,

Simon Fraser University, Vancouver, Canada.

MUME 2017

Kıvanç Tatar

PhD Student
Interactive Arts and Technology
Simon Fraser University, Vancouver, Canada
Email: kivanctatar@gmail.com
Website: https://kivanctatar.wordpress.com/

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NEWS – Ausschreibung Giga-Hertz-Preis 2017

Von: Dorte Becker
Datum: Fri, 10 Mar 2017
Betreff: Ausschreibung Giga-Hertz-Preis 2017

Ausschreibung Giga-Hertz-Preis 2017
06.03.2017 – 26.05.2017

Seit dem Jahr 2007 verleiht das ZKM | Institut für Musik und Akustik zusammen mit dem SWR Experimentalstudio alljährlich den Giga-Hertz-Preis für elektronische und akusmatische Musik. 2017 ist der Giga-Hertz-Preis insgesamt mit 20.000 € Preisgeld dotiert. Die beiden mit 5.000 € dotierten, international ausgerichteten Giga-Hertz-Produktionspreise dienen der Initiierung und Förderung neuer Projekte und richten sich an KomponistInnen elektronischer und akusmatischer Musik.

Weitere Informationen zur Bewerbung: http://zkm.de/giga-hertz-preis

NEWS – D-5 for KLANG! international acousmatic composition competition 2017

Von: julien guillamat via cec conference
Datum: Fri, 10 Mar 2017
Betreff: [cec-c] D-5 for KLANG! international acousmatic composition competition 2017

J-5/D-5

[English follows French]

Attention! Plus que 5 jours avant la clôture des inscriptions pour le concours de composition KLANG!

N’hésitez pas à diffuser largement. Merci de ne pas répondre à cet email (adresse non-utilisée, utiliser arts.sonres@gmail.com pour info).

Le concours international de composition acousmatique KLANG! revient.

Les inscriptions en ligne sont ouvertes:

Règlement – Incription

Attention! Only 5 days left to apply to the KLANG! composition competition!

Do not hesitate to forward broadly. Thanks to not respond to this email (address not in use, use arts.sonores@gmail.com to get info).

The KLANG! international acousmatic composition competition is back.

Online applications are open:

Guidelines – Application form

Julien Guillamat

Compositeur & Enseignant-Chercheur en résidence à l’Opéra-Orchestre National Montpellier.

Directeur artistique de maison des arts sonores, Montpellier, France.

Fondateur de KLANG! acousmonium

tel: +33 (0)6 95 69 38 09

julienguillamat@gmail.com

www.klangacousmonium.fr

www.julienguillamat.com

maison des arts sonores est une structure de création musicale, recherche et transmission dans le domaine de la musique contemporaine et plus particulièrement la musique électroacoustique.

L’acousmonium KLANG! est un ensemble de plus de 60 haut-parleurs dédié à la diffusion, à la transmission et à la promotion de la musique acousmatique et électroacoustique.

Organisation du festival de musique électroacoustique KLANG! (début Juin).

Informez-vous et suivez-nous:

https://www.facebook.com/acousmonium

BERLIN – Einladung zur Ausstellungseröffnung / Invitation to the Exhibition Opening »GOOD VIBRATIONS«

Von: „Hardjowirogo, Sarah-Indriyati“ via Michael Harenberg
Datum: 10. März 2017
Betreff: Einladung zur Ausstellungseröffnung / Invitation to the Exhibition Opening »GOOD VIBRATIONS«

Liebe Freunde und Kollegen, 

hiermit möchte ich euch herzlich zur 

Vernissage der Sonderausstellung 
»GOOD VIBRATIONS. Eine Geschichte der elektronischen Musikinstrumente« 
am 24. März um 18 Uhr 
ins Musikinstrumenten-Museum Berlin
Tiergartenstraße 1
10785 Berlin 

einladen, an der ich als Kuratorin beteiligt bin. 
Die Ausstellung wird durch ein Konzert von Peter Pichler am Mixturtrautonium eröffnet. 
Weitere Informationen findet ihr hier. 

Ich würde mich freuen, euch dort zu sehen, und sende herzliche Grüße –
Sarah

Dear friends and colleagues, 

I would like to cordially invite you to attend the 

public Vernissage of the special exhibition 
»GOOD VIBRATIONS. A History of Electronic Musical Instruments«
on 24th March at 6 pm
at the Berlin Musical Instruments Museum
Tiergartenstraße 1
10785 Berlin

in which I am involved as a curator. 
The exhibition will be opened with a concert by Peter Pichler on the Mixturtrautonium. 
Additional information can be found here.

I would be glad to see you there and send my warmest regards –
Sarah 

Sarah-Indriyati Hardjowirogo, M.A.

Wissenschaftliche Mitarbeiterin
Research Associate

Einstein-Forschungsprojekt 3DMIN
Design, Development and Dissemination of New Musical Instruments

Technische Universität Berlin

Fachgebiet Audiokommunikation
Institut für Sprache und Kommunikation

Audio Communication Group
Institute for Language and Communication

Sekr. EN-8
Einsteinufer 17c, 10587 Berlin
GERMANY

Tel: +49 (0)30 314-75773
hardjowirogo@tu-berlin.de

www.ak.tu-berlin.de
www.3dmin.org

NEWS – KONZERT BERLIN

Von: Michael Harenberg
Datum: Thu, 9 Mar 2017
Betreff: KONZERT BERLIN

http://www.sim.spk-berlin.de/veranstaltungen_detail.php?detail=748&PAGE_ID=378

Freitag, 24. März: GOOD VIBRATIONS – Ausstellungseröffnung
18 Uhr, Musikinstrumenten-Museum
mit Peter Pichler am Mixturtrautonium
Sonderausstellung zur Geschichte der elektronischen Musikinstrumente

Kirsten Reese / Michael Harenberg

Wann: Sa 25.03.2017, 18:00 Uhr
Wo: Folkloresaal

Den Fairlight CMI (Computer Musical Instrument), 1979 einer der ersten digitalen Synthesizer und Sampler, umgibt die Aura der fernen Frühzeit des Digitalen. Trotz der im Vergleich zu heutiger Klangsynthese und Sampling extrem geringen Datengröße und Auflösung sind die Klänge des Instruments faszinierend schön. Die Komposition the lightest words had the weight of oracles von Kirsten Reese basiert auf der spezifischen Klanglichkeit und der digitalen Funktionsweise des Fairlight. Die Klangsynthese mit Obertönen wurde nicht zur Gestaltung homogener Klangfarben eingesetzt, sondern um kurze geloopte Floskeln zu generieren, die als langsam mäandernde Töne in der Tiefe über quasi-melodische Einheiten in der Mitte bis zu kurzen gesprazzelten Sounds in der Höhe erklingen und die Struktur der 13 kurzen Stücke der Komposition prägen.

Sebastian Berweck – Fairlight CMI
Seth Josel – E-Gitarre

In einem zweiten, gerade entstandenen Stück, performt von Kirsten Reese, wird mit weiteren Klanglichkeiten und digital/algorithmischen Manipulationsmöglichkeiten experimentiert.

Michael Harenberg Professor für Musikalische Gestaltung und Medientheorie in Bern und derzeit Edgar Varèse-Gastprofessor an der TU Berlin, spielt mit dem Yamaha CX5M einen der ersten auf dem Prinzip der Frequenzmodulation basierenden digitalen Synthesizer aus den 1980er-Jahren, an deren Anfang der berühmte DX7 steht. Der brachial klingende CX5M-Synthesizer ist in einen frühen MSX-Spielecomputer eingebaut, was einen algorithmischen Zugriff auf die Klangsynthese wie auch auf die Musik selbst ermöglicht. Harenberg spielt mit den Möglichkeiten dieses frühen digitalen Instruments, das auch am Beginn seiner eigenen Laufbahn als Computermusiker stand.

Eintritt 14, ermäßigt 8 Euro
Kartenvorbestellung unter: 030/254 811 78 oder kasse@mimpk.de

Die Veranstaltung wird ermöglicht durch Unterstützung des Hauptstadt Kulturfonds.

Prof. Dr. Michael Harenberg
Edgard-Varèse-Gastprofessur
Institut für Sprache und Kommunikation
Fachgebiet Audiokommunikation
Sekr. EN 8

Technische Universität Berlin
Einsteinufer EN 17c
10587 Berlin

E-Mail: m.harenberg@campus.tu-berlin.de
Raum: EN 323
Telefon: +49 30 – 314 22327
Sprechzeiten: nach Vereinbarung

privat:
Michael Harenberg
co. Max Glauner
Leonhardtstraße 8-9
D-14057 Berlin

NEWS – MUME 2017 Concert – 2nd Call for Works

Von: Kıvanç Tatar via cec conference
Datum: Thu, 09 Mar 2017
Betreff: [cec-c] MUME 2017 Concert – 2nd Call for Works

Call for Works: The Musical Metacreation Concert at the Eighth International Conference on Computational Creativity, Atlanta, Georgia, June 2017

Key Dates

April 20th – submission deadline.

May 10th – notification.

June 18th – concert rehearsals.

June 19th – MuMe concert. http://musicalmetacreation.org/mume-2017-concert/

June 19th-20th – MuMe Workshop http://musicalmetacreation.org/mume-2017

June 19th-23rd – International Conference on Computational Creativity.
Overview

Creators of musically metacreative systems are invited to submit works for a concert of musical metacreation, as part of the Eighth International Conference on Computational Creativity, at the Georgia Institute of Technology, Atlanta. Submitted works can be of any musical style but must involve a performative element and must involve the use of computational creativity techniques in the creation of the work. Examples from previous MuMe concerts include, but are not limited to: reproduction of musical style using machine learning; the evolution of musical structures using interactive genetic algorithms; rule-based systems; systems based on emergence or self-organisation; systems that perform music data mining to create remixes, and so on.

Information on the link for submission, selection committee, musicians, concert venue and available equipment will be made available in a follow-up call for works and all up-to-date information can be found here.
Types of Work

Any work related to MuMe that can be presented in a performance context will be considered. This includes:

Improvising agents that perform alongside live musicians.

Automated composition systems that generate music in realtime or pre-compose music for performers, as well as automated DJ systems.

Systems that use AI methods for other creative objectives, such as harmonising, intelligent looping, or finding suitable matches for a target phrase.

Systems that generate lyrics.

Music that uses evolution, emergence or ecosystemic concepts.

We are also interested in submissions of musebots and other types of interactive installation works relevant to MuMe.
Submission Process

Please submit a one page A4-portrait PDF describing your work before the submission deadline. Your submission should:

Describe the work.

Explain how the work relates to the MuMe theme.

Give a relatively detailed technical description of the system*.

Give detailed performance requirements. As necessary, this may include a stage plan, equipment needs, technical support needs, and performing musicians (you can use additional PDF pages for any supporting items).

A link to any additional documentary material such as audio or video recordings, or online software (highly recommended).

Credits and biography (name, affiliation, short biography up to 150 words).

* It is common to receive submissions that are highly ambiguous about what the proposed system actually does. Works will be rejected if this is the case. The description does not need to be highly technically detailed but it should remove any fundamental ambiguity.
Selection Process

Submissions should not be anonymised.

All submissions will be reviewed by three independent members of the selection committee. Once these reviews have been completed the reviewers and the chairs will discuss these works and reviews. The chairs will provide a meta-review, the three original reviews, and a final decision. Reviewers will be anonymous to the authors, but not to each other. The final decision lies with the chairs, in consultation with the committee.
Selection Committee,

Andrew Brown, Griffith University
Michael Casey, Dartmouth College
Nick Collins, Durham University
Roger Dannenberg, Carnegie Mellon University
Alice Eldridge, University of Sussex
Jason Freeman, Georgia Institute of Technology
Caleb Herron, Artistic Director, Chamber Cartel
Cat Hope, Sir Zelman Cowen School of Music
Anna Jordanous, University of Kent
Alex McLean, University of Leeds
James Maxwell, independent artist
Robert Rowe, NYU Steinhardt School of Culture, Education, and Human Development
Margaret Schedel, Stony Brook University
Gil Weinberg, Georgia Tech Center for Music Technology

Venue

The Mammal Gallery

91 Broad St SW, Atlanta, GA 30303

14 minutes by metro from Georgia Tech; 40 minutes on foot.

Mammal has a two channel club sound system, with limited microphones.

The Mammal Gallery – A Space for Creative Minds


Musicians
Members of Chamber Cartel
Upon Acceptance

Artists are required to be in attendance and set up their own equipment. At least one artist must register for the ICCC conference and MuMe workshop.

A schedule for performances, rehearsals and soundchecks will be made available in the week before the concert. Rehearsals will be on the Sunday 18th June unless otherwise arranged. Soundchecks will be prior to the concert on the afternoon of Monday 19th June.
Workshop Organizers

Pr. Arne Eigenfeldt
School for the Contemporary Arts
Simon Fraser University, Canada

Dr. Oliver Bown
Design Lab, Faculty of Architecture, Design and Planning
The University of Sydney, Australia

Pr. Philippe Pasquier
School of Interactive Arts and Technology (SIAT)
Simon Fraser University, Canada
http://metacreation.net/
https://www.kadenze.com/programs/generative-art-and-computational-creativity

Kıvanç Tatar
School of Interactive Arts and Technology,
Simon Fraser University, Vancouver, Canada.


MUME 2017 Workshop

In parallel with the MUME 2017 Concert, we also organise the MUME 2017 Workshop. Details are available at: http://musicalmetacreation.org/mume-2017/


Kıvanç Tatar
———————————-
PhD Student
Interactive Arts and Technology
Simon Fraser University, Vancouver, Canada
Email: kivanctatar@gmail.com
Website: https://kivanctatar.wordpress.com/

NEWS – Call for applications for MSc. in Sound and Music Computing, Aalborg University in Copenhagen

Von: Kevin Austin via cec conference
Datum: Wed, 8 Mar 2017
Betreff: [cec-c] Call for applications for MSc. in Sound and Music Computing, Aalborg University in Copenhagen

Please help us to spread the word about our SMC education in Copenhagen:

Aalborg University Copenhagen offers a Master education in Sound and Music Computing.
A limited number of spaces are available. Tuition is free for EU/EEA citizens, deadline for international applicants March 15.
http://www.en.aau.dk/education/master/sound-and-music-computing/

The two-year master’s education provides proficiency in the foundations of audio and music technologies, such that graduates can actively contribute to advancing the current generation.

Coursework includes: sound analysis, synthesis and processing; music perception and cognition; physics based sound synthesis and control; novel interfaces for musical expression; augmented performance; sound for multimodal environments; sonic interaction design; and music informatics and intelligence. A perspective from one of our current students: http://www.en.aau.dk/education/master/sound-and-music-computing/academic-content/testimonials/music-technology-is-the-future.cid239042

Aalborg University Copenhagen works with „problem based learning“ (PBL), in which each semester combines classwork with project work to increase the extent and depth to which students interact with the subject matter, as well as the faculty. With this unique approach to learning, students gain considerable experience solving real problems individually and in groups, and with collaboration by members of the faculty.

Furthermore, there are many resources available for projects at Aalborg University Copenhagen, including high-end facilities and equipment, such as: anechoic chambers for acoustics work and recording; virtual reality labs including motion capture with a system of 64+ speakers set up as a wavefield array / ambisonics, etc.; an augmented cognition lab with equipment for measurement biophysiological signals such as electroencephalography (EEG), skin conductance and eye-movements; an augmented performance lab with equipment for advanced explorations in musical expressivity and gestural interaction; and an electronic and prototyping Fab Lab with 3D printing and laser cutting facilities.

More information about the faculty and program online here: http://media.aau.dk/smc/
Feel free to contact Professor Stefania Serafin (sts@create.aau.dk) or myself (sof@create.aau.dk) with any questions you may have.

Best regards,
Sofia Dahl

NEWS – open call – Performances/Kompositionen zum Thema „Sonifikaton – Klingende Datenströme“ – Deadline 1.4.17

Von: Marc Voigt
Datum: Wed, 8 Mar 2017
Betreff: [ak-events] Fwd: open call – Performances/Kompositionen zum Thema „Sonifikaton – Klingende Datenströme“ – Deadline 1.4.17

Open call for performances, compositions in the context of Sonification (extendet)

For the Festival “Sonification – Audible Data Streams” 27 – 29th October 2017 by the Berlin Society of New Music.

Selected works will be premiered at the festival in Berlin (Villa Elizabeth).

•For percussion/objects, with or without live electronics.
•Live electronic equipment with maximum of 8 loudspeakers.
•For the implementation of the concept, in terms of the sonification of data, an early support is offered through the Kairos Quartet.
•No age limitations
•Duration: cross-genre formats between concert and installation allowed (max. 30 min).
•A total of 3.600,– € is available for the selected pieces, for selected pieces/concepts as follows:
A)Preexisting and premiered pieces will be supported with a subsidy for composer’s travel and hotel costs.
B)In addition, available scores which are left to be premiered are supported with a smaller amount.
C)Commissioned works, based on selected concepts, will be rewarded with a larger amount, depending on effort involved.

Required Documents
•Not only scores, but also concepts may be submitted. Concepts should be informative with regard to how the data will be handled and sonified, as well as the technical realization. handling of the data to be sonicated and the technical realization. They can include a patch in MAX / MSP, PD or Supercollider, for example, to provide sonification in real-time with visualizations for musicians or a computer-generated playback. They may not exceed a reasonable technical effort for realization.
•In the case of scores which are not yet available, further work plans should be provided, which allow conclusions to be drawn about the process and expected result
•Scores and concepts must be based in a recognizable way on the interpretation of data sets and their representation in musical parameters.
•Artist biography

Final Submission is April 1, 2017.
•Please submit all documents 3 times. A submission by email is possible.
•Address:
bgnm-Sonifikationsfestival
c/o Markus Bongartz
Treskowstr. 47
13156 Berlin
Please direct inquiries by email to mb47[at]gmx.net

The Festival is sponsored by funds from the Capital City Culture Fund of Berlin

Festival “Sonification – Audible Data Streams”

27-29th October, 2017 at Villa Elisabeth, Invalidenstr. 4a, 10115 Berlin

In cooperation with Academy of the Arts’ „Contacts“ series; electronic studio, TU Berlin; website www.Sonifyer.org and German Radio Culture – program series Sonarisations

Sonification is a topic at that intersects science and art. The word sonification derives from lat. „sonus“ meaning „sound“, and „-fication“, lat.“facere“ meaning „to make“: in other words, „to make into sound“. It refers to procedures of making data audible. Historically, its roots go back to the pre-Socratic period. Pythagoras, who used acoustic experiments on the monochord to demonstrate mathematical relationships, is part of a tradition of researching by ear.

These days, it’s technically easy to sonify non-musical processes, such as ocean currents or stock market activity, as a means of artistically using scientific data. For this, it’s often necessary to have artists and scientists working cooperatively in a team. What can music do with the new potentials offered by science? What distinguishes sonification concepts which harken back to traditional means of sonifying, in the sense of instrumental, vocal and object based music? How can one measure aesthetic content. and what makes a work an artefact?
The creative use of data by composers, sound artists and performers – their codes and diverse mapping parameters for deciphering data on the way to the ear (codes and mappings which are often kept hidden from listeners) raise many new questions.: questions of production and reception aesthetics, media politics, cultural history and even philosophy.

The festival aims to present a diverse array of contemporary strategies of sonification. A radio program with presentations from the program series Sonarisations by German Radio, the premier of commissioned compositions, concerts, lecture-performances, symposium and interactive sound installation, as well as a soundbar, offer visitors a wide, genre-crossing spectrum of concrete examples from the current sonification-scene.

The festival program will be published here soon.

supported by Hauptstadtkulturfonds

NEWS – REMINDER – ICAD 2017 – Workshop proposal deadline is March 13

Von: Mark Ballora via cec conference
Datum: Tue, 7 Mar 2017
Betreff: [cec-c] REMINDER – ICAD 2017 – Workshop proposal deadline is March 13

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

March 13 – deadline for workshop proposal submissions
Workshops chair: Derek Brock (derekbrock@verizon.net)

Please check the conference website for updates: http://icad.org/icad2017/

Submission Dates
March 13, 2017 – Deadline for workshop submissions
May 1, 2017 – Acceptance of notification sent to authors
June 20-23, 2017 – ICAD 2017 conference

Conference 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.”

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.

Workshop Proposals
This submission category is for a three-hour hands-on workshop with a small number of attendees. Proposals should be about one page in length and should include the following:

Title, brief abstract, outline of objectives (e.g., tutorial syllabus, organized discussion, presentations, submissions, etc.), relevance for ICAD attendees.

Proposed duration.
Invited speakers (if any)

Extended abstracts may be archived in a separate supplement to the conference proceedings, so as to clearly indicating that they have not been peer reviewed. Extended abstracts will not be attributed DOI references.

List of organizers, a designated contact person, and contact information for all organizers (address, email, and ‚phone).

Technical and space requirements.

Workshop and tutorial proposals should be submitted via email to the Workshop Chair, Derek Brock (derekbrock _at_ verizon dot net)

Space, facilities, technical support, and the number of sessions that can be accepted are limited, so early submission of proposals is encouraged. Workshop and tutorial organizers are expected to collaborate with the conference committee, issue calls for participation, gather and review contributed materials (if appropriate), and decide upon the final program for their session.

NEWS – Call for Applications for Music Psychology Programme in York, UK 2017-18

Von: Kevin Austin
Datum: Tue, 7 Mar 2017
Betreff: [cec-c] Call for Applications for Music Psychology Programme in York, UK 2017-18

Director of York Music Psychology Group (YMPG)
www.ympg.uk

Music, Science and Technology Research Cluster (mstrc)

Home page

Course title: MA in Music (taught): Music Psychology

The newly-established York Music Psychology Group (YMPG) invites for applications to its postgraduate Music Psychology programme at the Department of Music, University of York, in the academic year 2017-18.

The 1-year course comprises four modules (together 180 credits):
-Research Topics in Music Performance,
-Research Topics in Music Perception and Cognition,
-Research Skills,
-Master thesis,
-and a research colloquium.

Please find more course information here:

www.york.ac.uk/music/postgraduate/programmes/ma-taught/mainmusictaughtmastersmusicpsychology

Applications are welcome at any time.

If you have any further questions, please contact Dr. Hauke Egermann (pathway director).
hauke.egermann@york.ac.uk

Dr. Hauke Egermann

****please have a look at my TEDx talk: http://youtu.be/kzFgoaZ9-VQ *****

York Music Psychology Group (Director)
Music Science and Technology Research Cluster
Department of Music
University of York
Heslington, York
YO10 5DD, UK

Phone: +44 – 1904 – 324303

Room: MRC / 003

hauke.egermann@york.ac.uk
www.ympg.uk
facebook.com/ympgsite

hauke@egermann.net
www.egermann.net

NEWS – Berlin 28.04: NURSE WITH WOUND – Only Show in Germany

Von: Manuela Benetton
Datum: Mon, 6 Mar 2017
Betreff: Berlin 28.04: NURSE WITH WOUND – Only Show in Germany

NURSE WITH WOUND – Only Show in Germany
28.04.17 Doors 19h00 – Concerts 20h00

Event: goo.gl/zd94jF
Tickets: goo.gl/1kkaMz

On April 28th, avant-garde music legends Nurse With Wound – Steven Stapleton, Colin Potter, and Andrew Liles, with James Hill as special guest – will play their first Berlin show since 2007 in the magnificent Sophienkirche.

Nurse With Wound have worked at the cutting-edge of meditative drone and ambient music for forty years. Their unique vision, in fluenced as much by Dada and Surrealism as by krautrock, cabaret and pop, has been fervently carried through a vast catalogue of releases, and they continue to break visual and sonic horizons. Nurse with Wound’s live performances consolidate all aspects of their practice into an ever-evolving experience, which is kept in flux by featuring an array of different guest musicians. Each live performance acts as a rehearsal for the next: no two shows are ever the same.

Presented in collaboration with Thirty Three Thirty Three.
Media partners: Spex, The Wire and Groove.

NEWS – Celebrating Delia – advance notice

Von: Tony Seaton via cec conference
Datum: Sat, 04 Mar 2017
Betreff: [cec-c] Celebrating Delia – advance notice

Delia Derbyshire (British pioneer or electroacoustic music) would have been 80 on 5 May this year.

In celebration, Coventry Music Museum is hosting a weekend of events, with additional events hosted by others around the city over the same time period.

Delia@80 sponsored Big Lottery #Big Celebration

Three Days Of Events

„Delia@80“ is a three day event, at Coventry’s Music Museum, celebrating what would have been the 80th Birthday of this Coventry-born electronic music pioneer.

It all begins on 5th May (Delia’s actual Birthday) at 10.00am with the children of Grangehurst Primary School, who will create their own electronic piece as a tribute to Delia, using synthesiser and Theremin. They will also design a cover to go with it.

The afternoon 1.00pm to 3.00pm, is taken up with a Sounding Off interview with the legendary Dick Mills, a man who worked with Delia at The BBC Radiophonic Workshop.

On Saturday 6th May at 11.00am, we welcome Rugby’s very own Pete „Sonic Boom“ Kember, famed as a member of the bands Spacemen 3 and Spectrum. He was fortunate to work with Delia towards the end of her career.

Pete is followed at 12.30 to 1.30, by UK-based producer and musician, Morocco Dave creating his tribute to Delia with his brand of Electronica, Dance and Ambient sounds. From 2.30 to 3.30, we introduce, musician Andi Wolf, who will talk about his experience of living at Delia Derbyshire’s Coventry home, and how it felt to find a mysterious box in the attic.

Pete Chambers BEM along with Councillors Linda Bigham and Gary Ridley and The Coventry Music Museum recently campaigned to get a road named after Delia in the city, on Sunday 7th a low-key road naming ceremony will take place. At the same time a free pamphlet that ties in with the „City Of Culture Bid 2021“, that highlights Coventry’s most important Delia Derbyshire landmarks is launched, entitled „The Delian Way“.

Event organizer Pete Chambers BEM said, „This is a true celebration, and we are proud to be sponsored by The Big Lottery #Big Celebration, as a Music Museum in Coventry, it was a no brainer that we would do something special to celebrate a lady we affectionately call Dame Delia. We have had a permanent display dedicated to her for over a year at the museum. So it feels perfectly natural to put on these great events that include the legendary Dick Mills and rock’s own Sonic Boom. As we head for The City of Culture bid it’s time to declare „Delia Belongs to Coventry“.“

Entry to the museum for one event is £3 adults, £1 Children and £2 concession (NUS, Senior Citizens and Passport to Leisure.) Or for a full day of events a special price of £5 adults, £1 children and £3 concession. www.cov.co.uk

Anthony M. Seaton, BSc (Hons), MA