Von: Andrew Hill

Datum: Wed, 27 Jul 2016

Betreff: Sound / Image 2016

Sound / Image: exploring sonic and audio-visual practice.

Event dates – Saturday 12^th November and Sunday 13^th November 2016

University of Greenwich- Stockwell Street Building, Greenwich.

The Sound / Image colloquium is interested in exploring the

relationships between sounds and images, and the images which sounds

can construct by themselves.

Through a series of complementary strands – talks, screenings,

loudspeaker orchestra concerts – we will bring together artists and

experts to investigate sound and sound-image phenomena.

This year we are delighted to invite both Cornelia Lund and Tim

Howle to join us as special guests.

www.gre.ac.uk/ach/events/soundimage

www.gre.ac.uk/ach/events/soundimage

SPECIAL GUESTS

Cornelia Lund is an art and media theorist and curator living in

Berlin. Since 2004, she has been co-director of fluctuating images

(www.fluctuating-images.de)

a platform for media art and design with a focus on audiovisual

artistic production.

Cornelia Lund is co-editor of /Audio.Visual: On Visual Music and

Related Media/ (Arnoldsche, 2009), /Design der Zukunft/ (AV Edition,

2014), /The Audiovisual /Breakthrough (2015;

www.ephemeral-expanded.net/audiovisualbreakthrough/) and the

online platform /Post-Digital

Culture/(post-digital-culture.org/

Tim Howle is Professor of Contemporary music at the University of

Kent. He is fascinated by the relationship between acoustic and

electroacoustic forces and how these can be augmented with the

inclusion of video. “Acousmatic music is a function of the recording

process, however, video can be thought of in a similar way. Adding

acousmatic music to experimental video offers an opportunity to

re-evaluate the position of both art forms where ideas and technical

means are hybridised.”

Sound / Image 2016 – Open Call

We are delighted to present the following call for works to seek

submissions to explore the area of sound / image practice:

www.gre.ac.uk/ach/events/soundimage

Call for Papers

We invite submissions on the following topics including, but not

limited to:

Audio-visual composition

Visual Music

Interactive visual performance

Acousmatic composition

Sound and image relationships

Cognition and Perception of Sound / Image Correlates

Sonic image

Perception of sound.

Please submit 500 word abstract.

Call for audio-visual works

We invite composers and filmmakers to submit their audio-visual

compositions for performance.

Works should be no longer than 15 minutes in duration.

Fixed media works will be presented in our ‘Cinema’ space with 16:9

HD projection and 7.1 surround sound.

Live Performances will be presented in our Television Studio space.

Online links to the work should be submitted (soundcloud / dropbox etc.).

Call for acousmatic works

We invite composers to submit acousmatic compositions for performance.

Works should be no longer than 15 minutes in duration.

Works will be presented via loudspeaker orchestra.

Online link to the composition should be submitted.

DEADLINE for submission August 29th.

All submissions will be considered by the conference panel. We aim to

provide a response within 14 days of the deadline.

N.B. This event seeks to encourage and enable the sharing of ideas,

therefore priority will be given to those attending the conference.

Conference registration is compulsory for all delegates.

Registration opens 29^th August and tickets will be processed online

via Eventbrite – link will follow and also be available on our website.

Please check out the website for updates and more information

www.gre.ac.uk/ach/events/soundimage

www.gre.ac.uk/ach/events/soundimage

If you should need any further information or have any queries please

do not hesitate to contact us

We look forward to seeing you at the Colloquium

Kindest regards

Sound/ Image Colloquium 2016 events team

University of Greenwich

Park Row

Greenwich

London SE10 9LS

Tel: 020 8331 7688

Greenwich-…@greenwich.ac.uk

Dr. Andrew Hill

Lecturer in Sound Design and Music Technology,

Creative Professions and Digital Arts,

University of Greenwich,

London, SE10 9LS.

www.ahillav.co.uk

University of Greenwich, a charity and company limited by guarantee,

registered in England (reg. no. 986729). Registered office: Old Royal

Naval College, Park Row, Greenwich, London SE10 9LS.

Von: Digital in Berlin

Datum: Mon, 25 Jul 2016

Betreff: This week: A L’arme! Festival Vol. IV | Inner Landscapes &

Unknown Chambers / 27-30.07.2016

This week, Digital in Berlin presents the exciting A L’arme! Festival

Vol. IV – Inner Landscapes & Unknown Chambers. Four days of powerful

performances & metaphysical journeys in contemporary experimental music

for transforming experiences.

A L’arme! Festival Vol. IV | 27-30.07.2016

Berghain & Radialsystem in 10243 Berlin/Friedrichshain

Facebook: www.fb.com/events/255211414846133/

Program: www.alarmefestival.de/festival2016/

Tickets: www.alarmefestival.de/tickets_info/

With Sarah Neufeld (CA), Laniakea (IT/GB), FIRE & Oren Ambarchi

(SE/AT/AU), mohammad (GR), Luft (SE/AT/FR), Peter Brötzmann/Heather

Leigh (DE/US), Seval (US/SE), Trondheim Jazz Orchestra (NO/DK), Mieko

Suzuki (JP/DE), Anna Högberg Attack (SE), Davide Luciani (IT/DE) and

many more.

…

Digital in Berlin

Josef-Orlopp-Straße 89 | 10365 Berlin/Germany

news@digitalinberlin.de | www.digitalinberlin.de

facebook.com/digitalberlin | twitter.com/digitalinberlin

Von: Ogborn, David

Datum: Fri, 22 Jul 2016

Betreff: [cec-c] ICLC 2016 registration and late-breaking call

Free registration for the International Conference on Live Coding 2016

(McMaster University, Hamilton, Ontario, Canada – 12-15 October 2016) is

now open. Registration is required if you’ll be attending the conference

so please take a moment to register now! The deadline for registration

is 29th August 2016.

The conference has also opened a late-breaking call for additional

submissions in two formats: posters/demos and art crawl performances.

The deadline for “late-breaking submissions” is also 29th August 2016.

More details about the above, and about the conference in general,

including travel information is available at the conference website.

Details for all accepted performances, workshops, papers and keynotes

will appear in the next little while – it’s an exciting line up! – so

stay tuned:

iclc.livecodenetwork.org/2016/

…

Von: Martin Supper

Datum: Tue, 19 Jul 2016

Betreff: save the date: Alvin Lucier 85th Birthday Festival

save the date: Alvin Lucier 85th Birthday Festival

Das Institut für Theorie lädt ein zum:

Alvin Lucier 85th Birthday Festival

10.-14. Oktober 2016

Zürcher Hochschule der Künste (ZHdK)

www.zhdk.ch/lucier

Konzerte, Installationen und Workshops

mit Alvin Lucier, Joan LaBarbara, Charles Curtis, Hildegard Kleeb,

Roland Dahinden, Stephen O’Malley (Sunno))), Oren Ambarchi, Trio

Retro-Disco sowie Felix Profos und Studenten der ZHdK

Symposium

mit Dieter Mersch, Helga de la Motte-Haber, Martin Supper, Sabine Sanio,

Volker Straebel, Charles Curtis, Hauke Harder u.v.m.

Weiteres Programm:

Installationen 10.-14. Oktober:

Music on a Long Thin Wire, Directions of Sounds from the Bridge, Empty

Vessels, Music for Pure Waves, Bass Drums and Acoustic Pendulums

Kollaboration: Sol LeWitt, Walldrawing 730, Alvin Lucier,Panorama

Konzerte 12.-14.10.2016:

Wednesday/Mittwoch 12.10.2016:

6 p.m /18 Uhr Opener: Konzertsaal 1

Small Waves (A. Lucier) for string quartet, trombone, piano, and 2

dancers with 6 partially filled water containers mit Roland Dahinden,

Hildegard Kleeb und Studenten der ZHdK

8 p.m./20 Uhr Hauptkonzert: grosser Konzertsaal

Two Circles (A. Lucier) for flute, Bb clarinet, violin, cello, and

piano, Felix Profos und Studenten

Charles Curtis (A. Lucier) for cello with slow sweep pure wave

oscillators, Charles Curtis

Uraufführung:/Step, Slide and Sustain (A. Lucier) for horn in f, cello,

and piano, Trio Retro Disco

I am Sitting in a Room (A. Lucier) Alvin Lucier

Music for Piano and one or more Snare Drums (A. Lucier) Hildegard Kleeb

10.30 p.m. 22.30 Uhr Late Night: grosser Konzertsaal

Homage-Kompositionen: Short Pieces von Markus Trunk, Daniel Wolf, Roland

Dahinden und Hauke Harder

Thursday/Donnerstag13.10.2016:

7 p.m. /19 Uhr Opener: MIZ, Ebene 5

Palimpsest (A. Lucier) Joan LaBarbara

8.30 p.m. /20.30 Uhr Hauptkonzert:

grosser Konzertsaal

Criss-Cross (A. Lucier) for two electric guitars, Stephen O’Malley und

Oren Ambarchi

Hanover (A. Lucier) for violin, alto saxophone, tenor saxophone, 3

banjos, piano, and bowed vibraphone, Lars Mlekusch und Studenten

Slices (A. Lucier) Charles Curtis

Only (Morton Feldman) Joan LaBarbara

Bird and Person Dyning (A. Lucier) Alvin Lucier for performer with

microphones, amplifiers, loudspeakers and electronic birdcall

Braid (A. Lucier) Felix Profos und Studenten for alto flute, clarinet,

english horn, and string quartet

11 p.m. /23 Uhr Late Night: grosser Konzertsaal

Duo (Christian Wolff) Charles Curtis

Nothing is Real (A. Lucier) for piano, amplified teapot, tape recorder

and miniature sound system, ZHdk Student

UA:Two Voices and Sonorous Vessels (vorläufiger Titel) (A. Lucier) für

Hildegard Kleeb und Roland Dahinden

On the Carpet of Leaves illuminated by the Moon (A. Lucier) for solo

koto, cello,or acoustic guitar and pure wave oscillator, Oren Ambarchi

Freitag/Friday 14.10.2016:

–

6 p.m./18 Uhr Opener: grosser Konzertsaal

One Arm Bandits (A. Lucier) Charles Curtis Cello Quartett

8 p.m./ 20 Uhr Hauptkonzert: grosser Konzertsaal

Panorama (A. Lucier) for trombone and piano, Hildegard Kleeb und Roland

Dahinden

80 plus for Alvin Lucier (Christian Wolff) for any players, Studenten

der ZHdK

Ever Present (A. Lucier) for flute, saxophone, and piano with slow sweep

pure wave oscillators, Lars Mlekusch und Studenten

Opera with Objects (A. Lucier) for performer with resonant objects,

Alvin Lucier

Music for Solo Performer (A. Lucier) for enormously amplified brain

waves and percussion, Alvin Lucier

10.30 p.m. /22.30 Uhr Late Night: Walcheturm

Stephen O’Malley Solo-Konzert

Kino Toni, 09.10.2016

8p.m./20 Uhr: No Ideas but in Things – the Composer Alvin Lucier

(Dokumentarfilm)

Workshops:

Tuesday/ Dienstag 11. Oktober

–

Kammermusikworkshop mit Alvin Lucier (Atelier Felix Profos)

Wednesday/Mittwoch, 12. Oktober

–

Workshop (vormittags 10-13 Uhr) mit Alvin Lucier und den Theorie- und

Kompositionsstudierenden unter Einbezug von Kammermusik (s.o.): Aspekte

von Luciers Stücken diskutieren

Gesangsworkshop mit Joan La Barbara

Symposium: 10-16.30 Uhr, Raum 5K.03

Thursday/Donnerstag 13.10.2016

–

Dieter Mersch, Charles Curtis, Jörn Peter Hiekel, Volker Straebel plus

Gespräch mit Joan LaBarbara und Hauke Harder

Friday/Freitag 14.10.2016

–

Helga de la Motte, Sabine Sanio, Martin Supper, Bernhard Rietbrock plus

Gespräch mit Anthony Burr und Charles Curtis sowie evtl. auch Oren

Ambarchi und Stephen O’Malley

Zürcher Hochschule der Künste

Zurich University of the Arts

–

Katrin Stowasser-Rohrer M.A.

Wiss. Mitarbeiterin Institut für Theorie

Institutskoordination

–

Toni-Areal, Pfingstweidstr. 96, Postfach, 8031 Zürich

Telefon +41 43 446 6504, Fax +41 43 446 4539

Mobile +41 798705413

katrin.stowasser@zhdk.ch

–

www.zhdk.ch>www.zhdk.ch,

Von: Raylene Campbell

Datum: Sun, 10 Jul 2016

Betreff: [cec-c] Audio Postcards Canada

The Audio Postcards Canada**online exhibition will launch on July 18th,

2016, in celebration of World Listening Day and R. Murray Schafer’s

birthday.

Audio Postcards Canada is a project of the Canadian Association for

Sound Ecology. It is a curated online exhibition showcasing the diverse

acoustic features of Canada. The online exhibition consists of 16

compelling 1-2 minute “audio postcards” from across Canada that range

from field recordings, soundscape and electroacoustic compositions,

radio art, and various combinations of these areas. For more

information and the live link to the exhibition, follow us at

facebook.com/CanadianAssociationForSoundEcology/

or

soundecology.ca

For information about the Vancouver, Yellowknife, and Edmonton events,

please see the poster below and kindly distribute this news through your

networks to interested listeners!

And get ready to listen online on July 18th when the website goes live!

rayshotspringsproject.com

raylenecampbell.tumblr.com/

Von: Musiques & Recherches via cec conference

Datum: Mon, 18 Jul 2016

Betreff: [cec-c] 23->28/08 stage „Vous avez dit acousmatique ?“ par

Annette Vande Gorne

Quand? du mardi 23 au dimanche 28 août 2016 de 10 à 17h

Par qui ? Annette Vande Gorne, Compositeur et professeur au

Conservatoire Royal de Mons (BE) avdg@musiques-recherches.be

www.electrocd.com/fr/bio/vandegorne_an/

Info ?Info@musiques-recherches.be

– +32(0)354.43.68

Ou? Musiques & Reherches -Place de Ransbeck 3 – B 1380 Ohain

Tarifs ?

350 €

Date limite d’inscription ? 25 juillet 2016

1. You said acousmatic ?

Introduction: personal experience of acousmatic music

3 images categories

Another listening and understanding of sound: energy-movements

Writing and composition: categories of works

2. Write with the editing:

9 cases

3. Write with the mixture:

3 results, cross-fade, mixed musics

“Ce qu’a vu le Vent d’Est” , an example of temporal order

New polyphonies

4. Transformations:

5 areas, 4 operations

each subject is illustrated by audio examples from the repertory

Von: SUK-JUN KIM via cec-conference

Datum: Sun, 17 Jul 2016

Betreff: [cec-c] Fw: OPEN CALL FOR SONIC ARTISTS AND PERFORMANCE ARTISTS!

OPEN CALL FOR SONIC ARTISTS — sonADA 2016: Reverse-Play-Forward

View this email in your browser

us9.campaign-archive2.com/?u=60c9f11cc46c67900589e3077&id=4d7118a1e2&e=0afdbbd880

OPEN CALL FOR SONIC ARTISTS

sonADA 2016: Reverse-Play-Forward

OVERVIEW

sonADA (Sonic Arts Days in Aberdeen), a sonic arts and experimental

performance organisation in Aberdeen, invites sound/sonic artists and

musicians to perform at sonADA 2016, sonADA’s annual experimental

music and performance festival, which is to be held from 29 September

to 1 October 2016.

The theme for sonADA 2016 is *Reverse-Play-Forward*, which challenges

both artists and

audiences to think about how our time has been contextualised by the

heritage of our past and dreams and desires of our future. We will

invite six to eight sound/sonic artists from this open call who will

be performing together with six featured UK and international artists

and another six sonADA sound artists.

DETAILS

Deadline: 31 July 2016

Submission materials:

– Artist’s contact details

– Performance plan for up to 15 minutes – up to 500 words, use

drawings or diagrams if necessary

– A portfolio of up to 3 previous works – if possible, please

send us links to the works, such as Vimeo, Youtube,

SoundCloud, etc. You can also send your portfolio via

WeTransfer or Dropbox, etc.

– Your availability between 29 September to 1 October – you are

strongly encouraged to attend all three days during the

festival if possible.

– There is no submission fee

– Submit all the required materials to

sonadamusic@gmail.com

Notification of the Result: 5 August 2016, 5PM.

Artist fee for the performance: £100

WHO SHOULD APPLY?

The call is open to all artists whose performance is strongly related

to sound. We are particularly looking for artists who can respond to

the theme through their artistic and performance practice.

Furthermore, we are interested in receiving applications from artists

who work with unusual instruments, and/or create sounds through

different and unique approaches to performance.

While the call is open to anyone, potential artists should consider

that sonADA cannot cover travel/accommodation expenses.

CONTACT DETAILS

For more information about the call, please contact

sonadamusic@gmail.com

FURTHER INFORMATION

For more information about sonADA, please visit our website at

www.sonada.org

sonADA.us9.list-manage.com/track/click?u=60c9f11cc46c67900589e3077&id=faa35471bc&e=0afdbbd880

For our festival, please visit sonADA 2015’s website:

sonada.org/sonADA2015/

sonADA.us9.list-manage1.com/track/click?u=60c9f11cc46c67900589e3077&id=2247dfb63a&e=0afdbbd880

sonADA.us9.list-manage.com/track/click?u=60c9f11cc46c67900589e3077&id=2ddfb8b745&e=0afdbbd880

sonADA.us9.list-manage.com/track/click?u=60c9f11cc46c67900589e3077&id=2ce8237a11&e=0afdbbd880

sonADA.us9.list-manage.com/track/click?u=60c9f11cc46c67900589e3077&id=71816f9995&e=0afdbbd880

Copyright © 2016 sonADA, All rights reserved.

Von: Unerhörte Musik

Datum: Sun, 17 Jul 2016

Betreff: Unerhörte Musik | Newsletter | 2016 | Nr. 14 Club Konzert 22.7.

Unerhörte Musik | Newsletter | 2016 | Nr. 14 Club Konzert 22.7.

www.unerhoerte-musik.de

NEWSLETTER 2016 | Nr. 14

22.7. BKA Club-Konzert

die Komponistin und Singer/Songwriter Stepha Schweiger

und die Sängerin und Schauspielerin Anna Clementi

Inhalt

Freitag, 22. Juli | Großstadtsirenen

Stepha – New Project

– Stepha, vocals, keyboards and more

– Anna Clementi Ohlin, Stimme

– Rupert Huber Stimme, Keyboard, Elektronik

Zwei Frauen mit unterschiedlichen musikalischen und geografischen

Hintergründen.

Durch Ihre Stimmen filtrieren und reflektieren sie das Großstadtleben.

Stepha Schweiger ist sowohl in der neuen Musik als auch im

Experimental-Pop zu Hause, wo sie neben der Band „Girl on Catfish“ ihr

Solo-Projekt verfolgt. Gerade erscheint ihre aktuelle Vinyl-EP „Dissolve

into“, produziert von Robert Pepe Pöschl, der unter anderen mit der

Legende Kim Fowley und Robert Forster (Go-Betweens) kollaborierte.

Der Fokus des Abends liegt auf neuen Balladen und Songs. Betörende bis

wilde Klänge entlockt sie Piano, Orgel und Stimme. Dabei werden mitunter

unberechenbare Klangwelten kreiert. Stepha bringt einen besonderen Gast mit.

Anna Clementi und Rupert Huber mixen italienischen Swing, britischen

Punk, europäische New Wave und experimentelle Klänge zu verträumten

Cocktails in denen Stimmen, Elektronik und Klavier in nostalgische

Klänge der Nacht verschmelzen.

Wir freuen uns auf Ihren Besuch!

Mit herzlichen Sommergrüßen

Ihre Rainer Rubbert und Martin Daske

Gefördert durch die Kulturverwaltung des Landes Berlin und die

Musicboard Berlin GmbH

Die BKA-Club-Konzerte werden von Natalia Pschenitschikova kuratiert.

Alle Veranstaltungen finden im

BKA-Theater, Mehringdamm 34, 10961 Berlin, statt.

Telefon: 030 – 20 22 007

Eintritt: 13,- / 9,- €

Zehnerkarte: 80,- / 60,- € (übertragbar)

www.facebook.com/pages/Unerhörte-Musik/1511897739097798?ref=hl

Von: Nicolas Fells via cec-conderence

Datum: Fri, 15 Jul 2016

Betreff: [cec-c] Creative Sound, Image and Technology Summer School –

Glasgow

Apologies for cross-postings: please pass on to anyone that might be

interested:

Creative Sound, Image and Technology Summer School

University of Glasgow, Scotland, 5-9 September 2016

The Creative Sound, Image and Technology summer school is aimed at

anyone wishing to increase their knowledge and experience of working

with sound, image and technology in creative ways.

Open to absolute beginners, as well as those with some digital media

experience, the course is suitable for composers, performers, visual

artists, sound artists, producers, teachers and students, or anyone

wanting to experiment, explore and expand their skills. You don’t need

any particular musical, visual, technical or artistic background, so if

you’ve never used any of these technologies before don’t be put off; the

course starts with the basics and progresses from there.

The course is centred on MAX, a highly flexible software tool for sound,

graphics, music and interactivity, produced by Cycling74

(cycling74.com). Participants will develop their technical

understanding and explore the creative potential of MAX in supervised

hands-on sessions.

Course fee: £250 standard price; £130 concession; £350 institutional/CPD

price

Course tutor: Dr Sebastian Lexer (sebastianlexer.eu)

Further information: tinyurl.com/glasgowsummerschool

Booking: gucreativesummerschool.eventbrite.co.uk/

Enquiries: nick.fells@glasgow.ac.uk

Dr Nick Fells

Senior Lecturer

Postgraduate Convenor, School of Culture & Creative Arts

nickfells.net

nick.fells@glasgow.ac.uk

+ 44 (0)141 330 4096

Music,

School of Culture and Creative Arts,

University of Glasgow,

14 University Gardens,

Glasgow, UK, G12 8QH

www.glasgow.ac.uk/music

www.glasgow.ac.uk/cca

The University of Glasgow, charity number SC004401

Von: jef chippewa via cec conference

Datum: Fri, 15 Jul 2016

Betreff: [cec-c] [CALL] eContact! 18.3 – DIY, Hacking…

CALL FOR CONTRIBUTIONS / APPEL DE PROPOSITIONS

eContact! 18.3

DIY, Hacking, Repurposing / DIY, hacking, recyclage

DEADLINE / DATE LIMITE: 15 September 2016

econtact.ca

We are pleased to now invite submissions for an upcoming issue

of/eContact!/ on the topic of „DIY, Hacking, Repurposing“ with a special

concern for performance-oriented practices.

The DIY scene is a rich and diverse area with more and more intriguing

and engaging projects and practices emerging each year. Offering an

alternative to pre-fab commercial products, DIY practices celebrate the

unique visions and needs of the individual artist.

In this issue of/eContact!/ we would like to present some of these

original voices through pieces about the people making up the community,

about their instruments and artistic practice, about the philosophical

intentions and ramifications of DIY practices and about the larger

community of DIY practitioners in the sound/audio domain.

10th Toronto International Electroacoustic Symposium (10-13 Aug)

cec.sonus.ca/events/TIES/2016

(CEC) Canadian Electroacoustic Community

HOME cec.sonus.ca | JOURNAL econtact.ca

FACEBOOK.com/cec.sonus | TWITTER.com/cec_ca

Von: Peter Wiessenthaner

Datum: Thu, 14 Jul 2016

Betreff: Six pieces of music of hitmachine with ACOUSTIC FRONTIERS in

Ottawa, Canada

Hitmachine with ACOUSTIC FRONTIERS

A broadcasting of 6 variations of HITMACHINE was agreed with Ralph

Hopper of the radio transmission ACOUSTIC FRAONTIERS in Ottawa, Kananda.

They are sent during the next 6 months. Every variation is from to the

single sounds and sound combinations, as well as from the form

differently. Every piece is generated from hitmachine without external

intervention, only the varied pre-settings lead to the different

results. hitmachine works independently and with a high variability.

Every piece is approx. 20 minutes long.

First broadcasting: 25th of July, 2016 – 45north band.

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

Von: Daisuke Ishida

Datum: Wed, 13 Jul 2016

Betreff: Einladung: Heptahedral – An Exhibition, Raumkomposition

Heptahedral – An Exhibition

Dear Friends of Sound Studies, we kindly invite you to „Heptahedral“,

an exhibition of our class Raumkomposition led by Daisuke Ishida with

the participating students Matthias Alraum-Spreng, Tobias Deschamps,

Katharina Bévand, Ho-Ming Hsieh and Georgi Tomov Georgiev. Place:

Crematorium Lilienthalstraße 7, 10965 Berlin Opening event: Friday,

July 15, 7 pm Exhibition opening hours: Saturday, July 16, 2 – 8:30 pm

Sunday, July 17, 2 – 7:30 pm Finnisage concert: Sunday, July 17, 8 pm

Works by Matthias Alraum-Spreng, Katharina Bévand, Alejandra Cardenas,

Tobias Deschamps, Georgi Tomov Georgiev, Ho-Ming Hsieh

Facebook event:

www.facebook.com/events/1236477559695701/ Info on UdK website:

www.udk-berlin.de/newsletter/newsletter-sound-studies/einladung-heptahedral-an-exhibition-raumkomposition-sound-studies-udk-berlin/

Exhibition statement: The exhibition at the Crematorium Lilienthalstraße

7 showcases all artists’ works around the theme “The Peculiarities of

Khôra”. Khôra is an ancient Greek word coined by Plato as a term for

space, receptacle or site. He proposed that Khôra is a space that holds

no characteristics in itself, it cannot permanently contain anything but

bodiless, ephemeral, time based media and simply reflects the character

of the medium passing through. It is interpretable as a darkened room

unknown to a spectator, into which he/she is brought, deprived of

sensory input. To sensibly and intelligibly explore this space from

within, an observer can interpret the reflections of sounds, light and

shadow to grasp the room, its size and architectural geometry. The topic

was approached individually by each project member. The developed

strategies and methods aim to deliberately articulate the room and

emphasize its peculiarities in an individual artistic manner. The

exhibited works explore the cuboid space on several levels of perceptual

reality.

I am looking forward to seeing you.

All the best,

Prof. Volker Straebel

Head of Department

Von: Gregor Glogowski

Datum: Wed, 13 Jul 2016

Betreff: Tonlagen Festival 2016 – Lichtmusik

Tonlagen Festival 2016

Hellerau, Dresden

20.10. 2016 ab 20Uhr

HELLERAU – Lichtmusik www.hellerau.org/the_enlightenment

LICHTMUSIK Licht und Ton, raumdefinierende Theaterelemente, die

normalerweise den Plot und die Darsteller wirkungsvoll in Szene setzen,

werden zu Protagonisten der Bühne.

Auf www.hellerau.org anzeigen www.hellerau.org/the_enlightenment

Lichtmusik

Gregor Glogowski / Alisa M. Hecke / Benjamin Hoesch // Flimmerskotom &

Quiet Ensemble // The Enlightenment

LICHTMUSIK

Licht und Ton, raumdefinierende Theaterelemente, die normalerweise

den Plot und die Darsteller wirkungsvoll in Szene setzen, werden zu

Protagonisten der Bühne. Aus dem Spiel mit unseren

Wahrnehmungsgewohnheiten entstehen zwei ganz unterschiedliche,

gleichermaßen spannende und überraschende Performances:

Gregor Glogowski, Alisa Hecke und Benjamin Hoesch

FLIMMERSKOTOM

In der Raumpolitik des Theaters tritt die Technik normalerweise

zurück, um dem Menschen zu einem imposanten Auftritt zu verhelfen. Was

passiert wenn sich dieses Verhältnis umkehrt? FLIMMERSKOTOM macht die

Dinge zum Hauptakteur, die Sehen und Hören im Theater überhaupt

erst ermöglichen: Scheinwerfer werden von der Decke geholt, Geräusche

der Bühne verstärkt und Elektrosignale vertont. Apparate und Technik des

Theaters werden hörbar, scheinen zu atmen und lassen einen düsteren,

geheimnisvollen und inspirierenden Imaginationsraum entstehen.

FLIMMERSKOTOM spielt mit Bedingungen und Grenzen der

Wahrnehmung, kippt den Theaterraum auf die Seite und kartografiert ihn

neu, macht Licht hörbar, Klang spürbar, blendet mit Dunkelheit und

verbirgt im Hellen.

Gregor Glogowski, Alisa M. Hecke und Benjamin Hoesch sind Absolventen

des Instituts für Angewandte Theaterwissenschaft in Gießen. Ihre Arbeit

FLIMMERSKOTOM wurde zum Körber Studio Junge Regie Hamburg 2015, zum

Radikal Jung-Festival München 2016 und an den Mousonturm Frankfurt

eingeladen.

Quiet Ensemble

The Enlightenment (Deutsche Erstaufführung)

Die Sounddesigner Fabio Di Salvo und Bernardo Vercelli, gemeinsam als

Quiet Ensemble unterwegs, machen Theaterscheinwerfer zum Klangkörper.

Das klassische Orchester wird durch ein elektronisches Setup ersetzt:

Neonlichter streichen die Violine, das Stroboskop spielt die Trommel,

Theaterscheinwerfer ersetzen die Klarinetten und strahlen das Publikum

an. Ein Stromkreislauf mit Kupferkabeln vernetzt das Lichtorchester und

dirigiert das Summen und Singen der Materialien. Jedes Licht des aus 96

Elementen bestehenden Orchesters schenkt uns seinen individuellen Klang,

den das Quiet Ensemble in seine Lichtsymphonie einfließen lässt. Ein

Konzert aus purem Licht.

Von: Kevin Austin via cec conference

From: Vincent Meelberg

Subject: CfP: Journal of Sonic Studies – General issue

Date: 2016 July 10 at 10:39:00 AM GMT-4

Journal of Sonic Studies 13 – Call for Papers

After special issues on listening, sound and television, sonic

epistemologies and methodologies, sound design, sounds of/in space, a

pervasive sound narrative, urban sound art, and South-East Asian

soundscapes, it is time for an open CfP.

For the thirteenth issue of the Journal of Sonic Studies we invite

theorists and artists to submit complete articles on any aspect of

auditory culture. Possible topics may include, but are not limited to,

the history of auditory culture, the ontology of sound, the epistemology

of sonic studies, the possible (interdisciplinary) approaches to

productively study auditory culture, and the specificity of sonic studies.

We are searching for scholarly and artistic contributions that deal with

the relation between the production, distribution or reception of

sounds, noises or silence and history, culture, society, ethics,

technology, religion, art, new media or politics. The broader aim is to

establish “sound” as an analytical category that provides us with

challenging perspectives on and a new understanding of contemporary culture.

Deadline

Potential contributors are invited to submit completed essays by

August 31, 2016.

For more information, or to submit an essay, please contact

noise@sonicstudies.org

The Journal of Sonic Studies is a peer-reviewed, online, open access

journal providing a platform for theorists and artist-researchers who

would like to present relevant work regarding auditory cultures, to

further our collective understanding of the impact and importance of

sound for our cultures.

The editors welcome scholarly as well as artistic research and also

expect all contributions to have a firm theoretical grounding. Priority

is given to contributions that explicitly use the Internet as a medium,

e.g. by inserting A/V materials, hyperlinks, and the use of

non-conventional structures.

JSS invites potential contributors to use the Research Catalogue as the

platform in which the submission is presented (see

www.researchcatalogue.net/). Other submission guidelines can be

found at sonicstudies.org/guidelines

Von: Kevin Austin via cec-conference

Datum: Tue, 12 Jul 2016

Betreff: [cec-c] Songbirds use spectral shape, not pitch, for sound

pattern recognition

www.pnas.org/content/113/6/1666.short

PNAS vol. 113 no. 6> Micah R. Bregman, 1666–1671, doi:

10.1073/pnas.1515380113

Songbirds use spectral shape, not pitch, for sound pattern recognition

1. Micah R. Bregman

www.pnas.org/search?author1=Micah+R.+Bregman&sortspec=date&submit=Submit

2. Aniruddh D. Patel

www.pnas.org/search?author1=Aniruddh+D.+Patel&sortspec=date&submit=Submit

and

3. Timothy Q. Gentner

www.pnas.org/search?author1=Timothy+Q.+Gentner&sortspec=date&submit=Submit

Abstract

Significance

Past work characterizes songbirds as having a strong bias to rely on

absolute pitch for the recognition of tone sequences. In a series of

behavioral experiments, we find that the human percepts of both pitch

and timbre are poor descriptions of the perceptual cues used by birds

for melody recognition. We suggest instead that auditory sequence

recognition in some species reflects more direct perception of acoustic

spectral shape. Signals that preserve this shape, even in the absence of

pitch, allow for generalization of learned patterns.

Abstract

Humans easily recognize “transposed” musical melodies shifted up or down

in log frequency. Surprisingly, songbirds seem to lack this capacity,

although they can learn to recognize human melodies and use complex

acoustic sequences for communication. Decades of research have led to

the widespread belief that songbirds, unlike humans, are strongly biased

to use absolute pitch (AP) in melody recognition. This work relies

almost exclusively on acoustically simple stimuli that may belie

sensitivities to more complex spectral features. Here, we investigate

melody recognition in a species of songbird, the European Starling

(/Sturnus vulgaris/), using tone sequences that vary in both pitch and

timbre. We find that small manipulations altering either pitch or timbre

independently can drive melody recognition to chance, suggesting that

both percepts are poor descriptors of the perceptual cues used by birds

for this task. Instead we show that melody recognition can generalize

even in the absence of pitch, as long as the spectral shapes of the

constituent tones are preserved. These results challenge conventional

views regarding the use of pitch cues in nonhuman auditory sequence

recognition.

Von: Thomas Gerwin

Datum: Tue, 12 Jul 2016

Betreff: Fwd: KlangWelten ad hoc 15.7.2016

Freitag, 15. Juli 2016 – Bibliothek am Luisenbad Puttensaal – 20:00h

K l a n g . W e l t e n . a d . h o c . 2 0 1 6

>Das handelnde Subjekt< Improvisation+Instant Composition mit Ivo Berg (Blockflöten), Thorsten Bloedhorn (E-Gitarre), Thomas Gerwin (Banjo, Objekte, Elektronik), Britta Pudelko (Tanz), Ruth Pulgram (Live-Zeichnung), Ingo Reulecke (Tanz), Claudia Risch (Flöte, Baßklarinette) - Eintritt frei - Spende erbeten Bibliothek am Luisenbad, Travemünder Str.2, 13357 Berlin, U-Pankstraße, Bus 245 Eine Veranstaltung von inter art project in Kooperation mit der Bibliothek am Luisenbad und dem Institut für multisensoriale Kunst inter art project KlangWelten ad hoc Internationales Klangkunstfest Berlin www.thomasgerwin.de

Von: Kevin Austin via cec-conference

Datum: Tue, 12 Jul 2016

Betreff: [cec-c] ANNOUNCEMENT: Journal of Sonic Studies – New issue

available

sonicstudies.org/post/147243578245/journal-of-sonic-studies-issue-12-online

We are proud to announce that the 12th issue of the Journal of Sonic

Studies is online, entitled “Encounters With South Asia Through Sound.”

The papers collected in this volume of the Journal of Sonic Studies can

be considered multi-media reports on South Asian soundscapes, both

coming from (local) residents or people who have spent a considerable

amount of time there.

With contributions from Vietnam, Singapore, Indonesia, Taiwan, India,

Hong Kong, Thailand and several other countries, this twelfth issue

offers a rich compilation of aural, visual, and textual samples of many

soundscapes from parts of the world which are usually quite

underrepresented in current Sound Studies.

Journal contents:

– Editorial – Encounters With South Asia Through Sound – Marcel Cobussen

– What do the urban soundscapes of a city represent? Case studies in

Bangkok and Hong Kong – Kaho Cheung

– Soundmemories of Asia – Max Haberl

– Being There: Evocation of the Site in Contemporary Indian Cinema –

Budhaditya Chattopadhyay

– A Brief Proposition Toward a Sonic Geo-Politics: Rajarhat New Town –

Anja Kanngieser

– The Sounds of Hanoi and the After-Image of the Homeland – Stefan

Östersjö and Nguyễn Thanh Thủy

– Domesticated Noise: The Musical Reformation of Identity in Urban

Vietnam – Lonán Ó Briain

– Taiwanese Bush Warblers Imitating Garbage Trucks: A Mutual Affair? –

Mark van Tongeren

– Experimental Music in Singapore – Darren Moore

– Football Soundscapes of Java – Andy Fuller

Von: Cathy Van Eck

Datum: Fri, 8 Jul 2016

Betreff: Fwd: Gastprofessorship for one or two Semester(s), Detmold

Residence for Sound, Image and Space design, Detmold, Germany

As you perhaps know, the Superior Conservatory for Music in Detmold

(Hochschule für Musik Detmold) and the Applied University OWL

(Fachhochschule OWL) are inviting each Semester a *Guestprofessor***in

the frame of its *Detmold Residence for Sound, Image and Space design.*

The Program is sponsored by the DAAD and is four semesters long. The

present guests are Gilbert Nouno (Winter Semester 2015-2016); Orjan

Sandred (Summersemester 2016), Andrea Valle (Wintersemester 2016-2017)

and again Gilbert Nouno (Sommersemester 2017).

We will reapply for the program for the following four semesters. We

are therefore looking for *4 new* *Guestprofessors *for

multi-/trans-/inter-medial art -visual art, performance, design,

opera, theater, scenography, electroacoustic music, technology for

art, robotics, etc.-, 1 guestprofessorship for each Semester: [Oct

2017-mid Febr. 2018] ; [April 2018-mid July 2018] ; [Oct 2018-mid

Febr. 2019] ; [April 2019-mid July 2019] ;

Details below.

If you are interested, don’t hesitate to contact me.

Don’t hesitate to forward this email to people who could be interested.

…

Fabien Lévy

Prof. Dr. Fabien Lévy

Professor für Komposition

Leitung, Earquake Detmold

www.fabienlevy.net

Earquake, Epizentrum für experimentelle Musik

der Hochschule für Musik Detmold

Neustadt 22, 32756 Detmold, Germany

www.hfm-detmold.de/earquake

(English:_www.hfm-detmold.de/en/earquake/

Details of the residency:

Duration of the residency: one German academic Semester (possibly

two), inside a frametime from October 2017 to July 2019: [Oct 2017-mid

Febr. 2018] ; [April 2018-mid July 2018] ; [Oct 2018-mid Febr. 2019] ;

[April 2019-mid July 2019] ;

Institutions and department involved:

Applied University OWL / School for architecture and interior

design: _http://www.hs-owl.de/fb1/_

Applied University OWL / Media production dept:

www.hs-owl.de/fb2/

Hochschule für Musik Detmold / Earquake, Epicenter for experimental

music, Dept. for composition: www.hfm-detmold.de/en/earquake/

Hochschule für Musik Detmold / Erich Thienhaus Institue für

Tonmeister: www.eti.hfm-detmold.de/

ZeMFI, Center for Music and Film Computing: www.zemfi.de

(joint research center between both schools)

Other dept. and students could be involved, depending of the profile

of the guest professor (Opera school, etc.)

Status of the Guestprofessor:

Guestprofessor, income equivalent to a full time W2 professorship

Workload of 12 SWS (eq. 12 hours) teaching / Week + participation to

research and art projects.

A stay in Detmold is highly recommended.

Exact Role of the Gastprofessor:

she/he will work with interdisciplinary teams of different

students from both schools (designers, media production students,

composers, sound engineers, possibly musicians and singers) in

order to concretize a multimedia project (for instance:

installation, music theater, artwork with technology, etc.). The

tutoring will be a mix of regular individual and collective

lessons, and coaching (8 SWS)

– she/he will give some complementary courses depending of her/his

speciality and some needs of the schools, such as design, live

electronics, music computing, theater, acoustics, video

processing, for instance. (4SWS)

– she/he will interact with different instructors, researchers and

students from both institutions and from ZeMFI.

– she/he can contribute to some research programs, use labors and

studio, and realize a piece in interaction with our researchers

and instructors (for instance a electroacoustic piece for

wave-field synthesis, a project using research from ZeMFI, etc..).

– Eligibility: *Being a professor in an academic institution outside

Germany, or an renowned artist with teaching experiences living and

teaching outside Germany.

– If you are interested, please send until September 30, 2016:

– A CV, including the academic activities and a list of artistic

realizations

– The Semester(s) you would like to apply

– A list of possible courses you could teach (to be discussed then

considering the needs of the institutions).

– Applications are accepted until September 30, 2016.

This residency program is related to the acceptation by the DAAD of a

renewal for two further years of the program. Result in

January/February 2017.

More information here:

www.hfm-detmold.de/en/programs/komposition-earquake/-/-/portrait/gastlehrstuhl-detmold-residence-for-sound-image-space-design/

For further questions, please contact:

Prof Jörg Oliver Kiefel joerg.kiefel@hs-owl.de

Prof. for Scenography/interior

design at the Fachhochschule OWL

or

Prof. Fabien Lévy <levy@hfm-detmold.de levy@hfm-detmold.de>>,

Professor for Composition at the Hochschule für Musik Detmold.

Von: Laurent POTTIER via cec-conference

Datum: Thu, 7 Jul 2016

Betreff: [cec-c] Master PRO Computer Music Producer

…

Hello,

The Music and Musicology Department of Jean Monnet University

(Lyon-Saint-Etienne FRANCE) is pleased to announce a new Professional

Master II program in Computer Music and Arts.

Thank you for helping us to display this information to your students or

staff.

This Master aims at preparing to positions in relation with Computer

Music Production.

The Computer Music Producer is a direct actor in musical productions

using technologies.

He is situated at the interface between researchers in computer music,

software developers and composers (or artists) who need to use advanced

technology in music and sound production.

This Master provides a rigorous training in both musical and technical

areas with focus on composition, sound engineering and computer music

specialized languages.

What kind of openings are there after this course?

– Computer Music Producer

– Engineer Musician

– Sound engineer focused on technology

– Composer, Sound Designer specialized in electroacoustic

– Musicologist (research, creation, composition)

– Professor in Music Assisted by Computers

In partnership with CNSMD Lyon – GRAME – SMAC FIL St-Etienne

Information/Registration forms available at:

musinf.univ-st-etienne.fr/rim.html

Regards,

Laurent Pottier

Maître de conférence HDR en musicologie

Responsable du Master PRO „RIM – Réalisateur en Informatique Musicale“

Université Jean Monnet

35, rue du 11 novembre

42023 Saint-Etienne Cedex 02

port. : 06 21 66 28 76

tel. : 04 77 42 16 61

fax : 04 77 42 16 84

laurent.pottier@univ-st-etienne.fr

Von: Musiques & Recherches via cec conference

Datum: Wed, 6 Jul 20

Betreff: [cec-c] Max workshop (advanced topics) this summer in Belgium

Advanced Topics in Max will be dedicated to spectral processing. We will

examine how FFT analysis is implemented in Max and the format of the

data it produces. We will then explore techniques for using this data to

perform such operations as filtering, pitch shifting, frequency

shifting, filtering by amplitude (noise reduction, amplitude

equalization), spectral compression/expansion, time smearing, frequency

blurring, bin shifting, spectral delay, phase distortion, cross

synthesis (various methods) and phase vocoding (for time stretching and

freezing). We will concentrate on fully understanding these techniques

and on implementing them in such a way as to render them musically

compelling and practically useful. The course is open to all experienced

Max users.

Method. The sessions will combine lecture-demonsration-explanation with

collective, hands-on, practical instrument building. We will spend a lot

of time making patches together, so you should come away with a fair

amount of concrete practical experience.

You will need to bring a computer with Max7 installed, a set of

headphones, and a portable Midi controller (if you have one). (There

will be some headphones and controllers available for those who need them.)

Courses will probably be taught in English, but might alternatively be

taught in French (or Italian!), depending on the students‘ preferences.

9-14 August 2016 (10 a.m. to 5 p.m.)

Deadline for enrollment: 11 July 2016

Maximum number of students: 10

Fee: 350€

Full information here:

www.musiques-recherches.be/fr/agenda/concert-acousmatique/item/5540-stage-max-level-ii

Location : Grenier d’Orphée, Ohain, Belgium (close to Brussels)

“Max is the way to make your computer do things that reflect your

individual ideas and dreams.”