STETTIN – Einladung

Subject: Einladung

From: Dorota Jasinska

Nachrichtentext:

Sehr geehrte Damen und Herren,

Das Nationalmuseum in Stettin lädt Sie herzlich in das

elektro-akustische Konzert ein.

Das Konzert findet am 8. November 2015 (Sonntag) um 16:00 Uhr in dem

Hauptgebäude des Nationalmuseums in Stettin statt, ul. Waly Chrobrego 3.

Eintritt frei.

Konzertprogramm: Luigi Nono La lontananza nostalgica utopica futura.

Ausführende: Dorota Jasinska – Violine, Ivan Penov – live electronics.

Sie werden von uns herzlich eingeladen,

Das Nationalmuseum in Stettin

Musikberatung – Dorota Jasinska

DETMOLD – Gilbert Nouno, DAAD Gastprofessor für multimediale Kunst im Wintersemester 2015-16

Subject: DETMOLD – Gilbert Nouno, DAAD Gastprofessor für multimediale

Kunst im Wintersemester 2015-16

From: Andre Bartetzki

Von: Earquake, Epizentrum für experimentelle Musik der Hochschule für

Musik Detmold

Datum: 25. Oktober 2015 20:44:15 MEZ

Gilbert Nouno, DAAD Gastprofessor

für multimediale Kunst im Wintersemester 2015-16

Wir freuen uns, Dr. Gilbert Nouno als ersten DAAD-Gastprofessor für

multimediale Kunst im Rahmen der „Detmold Residence for Sound, Image &

Space Designs“ zum Wintersemester willkommen heißen zu dürfen.

Gilbert Nouno ist einer der wichtigsten musikalischen Assistenten am

französischen Musikforschungsinstitut Ircam und Professor für Klangkunst

am Royal College of Music London, Großbritannien. Er hat mit vielen

namhaften Komponisten und Musikern, u.a. Sir Simon Rattle, Pierre

Boulez, Jonathan Harvey, Daniel Barenboim, Kaija Saariaho, Olga Neuwirth

und George Benjamin, gearbeitet. Er selbst ist ebenfalls Komponist und

als bildender Künstler unter dem Künstlernamen „Til Berg“ bekannt, zudem

war er Stipendiat der Villa Medicis (Rom Preis) und der Villa Kujoyama

in Tokyo.

Der vom DAAD geförderte Gastlehrstuhl „Detmold Residence for Sound,

Image & Space Design“ ist ein gemeinsames Programm der Hochschule für

Musik Detmold sowie der Fachbereiche Medienproduktion, Architektur und

Innenarchitektur der Hochschule OWL. Die Gast-Professoren werden jeweils

für ein oder zwei Semester in den Studiengängen Komposition, Klangregie

und Music Acoustics an der Hochschule für Musik Detmold und in den

Studiengängen Innenarchitektur-Raumkunst und Medienproduktion der

Hochschule OWL unterrichten und gemeinsame künstlerische Projekte leiten.

Earquake, Epizentrum für experimentelle Musik der Hochschule für Musik

Detmold

Neustadt 22, 32756 Detmold, Germany

www.hfm-detmold.de/earquake

S-HERTOGENBOSCH – De Toonzaal Studio for Electronic Music

Subject: S-HERTOGENBOSCH – De Toonzaal Studio for Electronic Music

From: Andre Bartetzki

Von: Telesoniek atelier

Gesendet: Donnerstag, 15. Oktober 2015 19:28

Dear friends and colleagues abroad,

The southern part of The Netherlands has been influential during the

founding years of Electronic Music in the Low Countries;

Eindhoven with the Philips Natlab (Raaijmakers, Disselveld), and the

special studio for Edgard Varese (Poeme Electronique, world expo 1958

Brussels),

but also the studio at the Tilburg Conservatoire (Tony van Campen and

others). In ’s-Hertogenbosch the international flourished at the V2.

Now, after many years of relative silence, the electronic music

community in the south part of this country initiates a new impulse:

An Open Analog Electronic Music Studio for Experiment, Education, and

Production.

http://www.detoonzaal.nl/toonzaal-studio

It features wide-band precision sound synthesis equipment, analog

computation, and both analog and digital recording, production.

It is focussed on specialized techniques for both manual (or classic)

and voltage controlled analog synthesis and sound design.

The studio will be wired with its‘ concert hall to enable unique

combinations of live stage performance with pre-recorded performances.

The studios‘ artistic goal is to be open to any style and branch of

current music, and as such seeks to aid and raise quality in

improvisation, and composition.

In terms of education and research this studio will also serve as a

centre to gather, maintain, and propagate the body of synthesis.

The studio is carried by a team of dedicated studio technicians,

teachers, and composers with decades of experience in this field.

The first productions have started already.

We do invite you for a visit or work at the studio, to become our

partner for possible projects and/or student exchange programs, specific

information if needed.

We hope to welcome you in our music centre De Toonzaal in the city of

’s-Hertogenbosch

http://www.detoonzaal.nl/agenda/programma

And finally, we do hope you will spread the word! Do share and post

it! Thank you 🙂

Hope to see you soon,

Kind regards,

Hans Kulk

De Toonzaal Studio for Electronic Music

studio(at)detoonzaal(dot)nl

MELBOURNE – SYDNEY – Stone alone | liftoffwehavealiftoff | New York sur_

Subject: MELBOURNE | SYDNEY Stone alone | liftoffwehavealiftoff | New

York sur_

From: Johannes S. Sistermanns

2 4 . O k t o b e r – 7 . N o v e m b e r 2 0 1 5

24.10.15

~tone al◊ne [lies: stone alone

]

Mobile

KlangPlastik

UA

TarraWarra Museum of Art

Liquid Architecture Festival

Melbourne Festival 2015

25.10.15

liftoffwehavealiftoff

KlangPlastik

Ausstellung

/ Performance

UA

MPavilion

Queen

Victoria Garden Melbourne

Liquid Architecture Festival

Melbourne

29.10.15

Sound : Space : inTransition

Sound Lecture @ RMIT University

Melbourne

07.11.15

NEW YORK sur_

Performance

[Transducer / Stimme / Video / Folie / Raumton]

CONNY DIETZSCHOLD GALLERY Sydney

… zur Projektseite>

Gefördert durch die

Botschaft der Bundesrepublik Deutschland Canberra, Australien

BERLIN – Unerhörte Musik | Newsletter | 2015 | Nr. 17

Subject: Unerhörte Musik | Newsletter | 2015 | Nr. 17

From: Unerhörte Musik

Unerhörte Musik | Newsletter | 2015 | Nr. 17

NEWSLETTER 2015 | Nr. 17

27. Oktober und 3. November

„Eine vollkommene Ordnung wäre der Ruin allen Fortschritts und

Vergnügens.“

(Robert Musil)

sauberer geht’s nicht:

ein Blechbläser- und ein Streichquartett bestreiten die beiden nächsten

Konzerte in der „Unerhörten Musik“.

Am kommenden Dienstag, 27. Oktober performt das junge Ensemble

Apparat mit Nathan Plante und Matthew Conley Trompete, Samuel

Stoll, Horn und Fabian Schmidt, Posaune Werke von Arne Sanders und

Gerhard Stäbler – teils simultan – unter dem enigmatischen Titel

HYACINTH.

Per – for – mance

Substantiv (die)

von einem Künstler dargebotene künstlerische Aktion.

Mu – sik

Substantiv (die)

1. die Kunst, Töne zu Musik zu gestalten.

2. ein komponiertes Werk aus Tönen.

Performance – Musik

1. Die Kunst, Musik in einem physikalisch dargebotenen Werk zu

gestalten.

2. Eine komponierte Aktion aus Tönen und Getue

3. ( )

Nach 10-jähriger Pause gastiert am Dienstag, 3. November das Kairos

Quartett (Wolfgang Bender und Stefan Häussler, Violine, Simone

Heilgendorff, Viola und Claudius von Wrochem, Violoncello) mit

Shimmering wieder in unserer Reihe. Der Titel spielt auf die

Internationalität des Programms und den gemeinsamen Aspekt der

Verwendung des Obertonspektrums als Ausgangspunkt für Material und

Struktur der Stücke an.

Die Werke von Larisa Vrhunc UA, Sampo Haapamäki, Julio Estrada,

Sergej Newski und Marina Khorkova sind im Programm derart

angeordnet, dass sich ein schimmerndes Gesamt-Kontinuum ergibt.

Inhalt

Dienstag, 27. Oktober | 20:30 Uhr | Hyazinth

Ensemble Apparat

Nathan Plante, Trompete

Matthew Conley, Trompete

Samuel Stoll, Horn

Fabian Schmidt, Posaune

Einführung: 19:45 Uhr!

Gerhard Stäbler

Change! (2013) für einen Sprecher

Arne Sanders

anfar (2013)

für zwei Trompeten und Posaune

Gerhard Stäbler

Scheibenformen (2013) für Horn

Gerhard Stäbler/Kunsu Shim

Kokkola III (2013) für drei Sprecher und Toy Piano

Arne Sanders

šēru (2015) für Solo-Instrument

Simultanaufführung mit:

Gerhard Stäbler

hyacinth – liquids.scents (1997) für drei Performer

ensembleapparat.com

/////

Dienstag, 3. November | 20:30 Uhr | Shimmering

Kairos Quartett

Wolfgang Bender, Violine

Stefan Häussler, Violine

Simone Heilgendorff, Viola

Claudius von Wrochem, Violoncello

Larisa Vrhunc

Vertical (2015)

for String Quartet UA

Sampo Haapamäki

Connection (2007)

für Streichquartett

Julio Estrada

Yuunohui’ensemble (1983-90)

für Streichquartett

Sergej Newski

Fotografie und Berührung Streichquartett Nr. 2 (2000)

Marina Khorkova

string quartet (2010)

www.kairosquartett.de

Auf Ihren Besuch freuen sich und grüßen herzlich,

Ihre Rainer Rubbert und Martin Daske

Die Unerhörte Musik wird im Jahr 2015 gefördert aus Mitteln der

Stiftung Deutsche Klassenlotterie Berlin

Alle Veranstaltungen finden im BKA-Theater, Mehringdamm 34, 10961

Berlin, statt. Telefon: 030 – 20 22 007

Eintritt: 12,- / 8,- €

Zehnerkarte: 70,- / 50,- € (übertragbar)

BERLIN – 60′ dance and sound improvisation 24.10.2015

Subject: 60′ dance and sound improvisation 24.10.2015

From: Thomas Gerwin

24 October 2015 | Studio 2, Mime Centrum Berlin | Mariannenstr. 2, 10997

Berlin – 20:00h

impro.per.arts | improvisation & arts in action

60’ – d a n c e . a n d . s o u n d . i m p r o v i s a t i o n

britta pudelko – dance

ingo reulecke – dance

thomas gerwin – objects, prepared banjo, electronics

Britta Pudelko, Ingo Reulecke and Thomas Gerwin are BIT.

BIT is more than just an anagram formed from the first names of the

performers. The actual meaning of BIT – the smallest digital unit of

information, which can be the basis for generating the most complex

portrayals – also serves as a source of inspiration for the group.

BIT treats dance, performance and music as equal, mutually interacting

essences that go beyond simple portrayals to allow what takes place on

stage to be directly experienced spatio-temporally.

BIT aims to achieve the finest possible resolution and the maximum

concentration of information in the free flow of artistic communication.

These intentions, contrapuntally layered, permit a space of shared

utilization, in which the focus is to be found between the physical and

the musical-tonal presence and activity – gently fluctuating, with

occasional spontaneous shifts.

performance begins 20h sharp, discussion/ artist talk ca. 21:45

tickets 10 € (reduced 6 €)

reservation at team(at)impro-per-arts(dot)de

__.__:___._____ _ _ _ _ _ _ _ _

::

inter art project

KlangWelten ad hoc

Internationales Klangkunstfest Berlin

::

www.thomasgerwin.de

WEIMAR – 28, Tage Neuer Musik in Weimar

Subject: 28, Tage Neuer Musik in Weimar

From: Michael von Hintzenstern

28. Tage Neuer Musik in Weimar

Klangachsen: Schweiz – Deutschland

28. bis 31. Oktober 2015

28. 10., 19.30 Uhr, Jugend- und Kulturzentrum mon ami (Goetheplatz)

“ensemble zone expérimentale basel”

Werke von Michael Beil, Martin Jaggi, Abel Paúl und Jose Pablo Polo

28.10., 22.00 Uhr, Jugend- und Kulturzentrum mon ami (Goetheplatz)

Frank Gutschmidt (Berlin), Klavier

Werke von Beat Furrer, Heinz Holliger, Georg Katzer und Christfried Schmidt

29.10., 19.30 Uhr, Jugend- und Kulturzentrum mon ami (Goetheplatz)

Instand Composing

Pedro Pablo Cámara – Saxophon, Hannah Walter –Viola, Françoise Rivalland

– Schlagzeug, Hans Tutschku – Live-Elektronik, und Ensemble für

Intuitive Musik Weimar (EFIM)

30.10., 19.30 Uhr, Jugend- und Kulturzentrum „mon ami“:

Musikalisches Theater

Werke von Georges Aperghis, Samuel Beckett, John Cage u. a.

Françoise Rivalland (Bern/Paris) – Stimme, Zarb, Esperou, Cimbal

30.10., 22.00 Uhr, Studio für elektroakustische Musik (Coudraystr. 13A)

Elektroakustisches Konzert*

ICST Zürich (Institute for Computer Music and Sound Technology):

Werke von Ursula Mayer-König, Ken Mouritzen, Ken Gubler

SeaM Weimar (Studio für elektroakustische Musik):

Werke von Paul Hauptmeier, Martin Recker, Mikhail Yarzhembovskiy und

Andreas Vorwerk

31.10., 19.30 Uhr, Jugend- und Kulturzentrum „mon ami“:

Solo-Instrumente & Live-Elektronik

Ensemble des ICST Zürich (Institute for Computer Music and Sound

Technology)

Werke von Florian Bogner, Carlos Hidalgo, Germán Toro Pérez, Hans

Tutschku und Karin Wetzel

Schirmherr: Prof. Dr. Benjamin-Emanuel Hoff, Minister für Kultur,

Bundes- und Europaangelegenheiten

Veranstalter: Klang Projekte Weimar e.V.

Künstlerischer Leiter: Michael von Hintzenstern

Medienpartner / Radio LOTTE Weimar / Sondersendungen am 21. Oktober und

11. November, jeweils 23 Uhr, auf 106,6 MHz, im Kabel 107,9 MHz,

Live-Stream im Internet: www.radio-lotte.de

Karten: Tourist Information (Markt 10) oder 30 Minuten vor Konzertbeginn

Kartenpreise: 8 Euro (Vorverkauf: 7 Euro), ermäßigt: 6 Euro (Vorverkauf

5 Euro)

Freier Eintritt

Gefördert von:

Thüringer Staatskanzlei; Kulturstiftung des Freistaates Thüringen; Pro

Helvetia, Schweizer Kulturstiftung; Weimar – Kulturstadt Europas,

Sparkasse Mittelthüringen und Sparkassenstiftung Weimar und Weimarer Land

KÖLN – 21. – 24. Okt > 4 Konzert_Einladungen

Subject: 21. – 24. Okt > 4 Konzert_Einladungen

From: georg dietzler

21. – 24. Okt > 4 Konzert_Einladungen EINTRITT FREI – Spenden immer

willkommen…….

21. Okt, 20 Uhr – Mittwoch

ON-Büro, Alte Feuerwache | Gebäude Branddirektion 1. Stock | Melchiorstr

3 | 50670 Köln

bits of a sound salon party

an evening of short pieces

ANNA HOMLER and Guests

Anna Homler, voice and toy instruments | Matthias Kaiser, Violine &

Elektronik | Joker Nies, circuit bending |

Bernd Wendt, Saitenschneider–Strings & Elektronik | Georg Wissel,

präpariertes Saxofon

>>>>

22.Okt – 20:00h /TIEFGARAGE/, Ebertplatz Passage, 50668 Köln

Gordoa – Schick – Hein

Emilio Gordoa – vibraphone

Ignaz Schick – turntables

Nicola L. Hein – guitar

Erweiterung traditioneller Spieltechniken zwischen Geräuschmusik und

Improvisierter Musik.

An evening powered by tiefgarage /Maria Wildeis und gerngesehen.de /

Georg Dietzler

>>>>

nur noch am 23. & 24. Okt – Freitag & Samstag

Fr 23. 10. | 17:00 & 19:00 h | Einlasszeiten in das Gebäude

|Nacheinlass ausgeschlossen

Sa 24.10. | 17:00 & 19:00 h | Einlasszeiten in das Gebäude

|Nacheinlass ausgeschlossen

ehemaliges RWGV-Gebäude, Severinstr. 214-218, 50676 Köln

the final four to visit and listen to

/{kA}: keine Ahnung von Schwerkraft – Gebäudekomposition Leerstand

/Kanzlei für Raumbefragungen |Gerriet K. Sharma & Nico Bergmann

Teil der Veranstaltungsreihe /Raumklänge – Ortsbezogene Musik

/Veranstalter: freies rheinland e.V. und Kulturabteilung der Stadt

Pulheim | Kurator: Georg Dietzler

VORSCHAU >>>>6. November, 19:00 Uhr |Freitag

Kunststation St Peter | Jabachstr. 1 | 50676 Köln

/the eternal chord

/Claire M. Singer & Mike Harding /London

Orgel und Elektronik in der Reihe /Raumklänge – Ortsbezogene Musik, /

eine Plattform für raumerforschende Musik, Hörstudien und erweiterte

Aufführungspraxis.

Veranstalter: freies rheinland e.V. und Kulturabteilung der Stadt

Pulheim | Kurator: Georg Dietzler

/Raumklänge – Ortsbezogene Musik/ wird gefördert im Rahmen der

regionalen Kulturpolitik NRW,

vom Ministerium für Familie, Kinder, Jugend, Kultur und Sport des Landes

Nordrhein-Westfalen,

Kunststiftung NRW, Konzert des Deutschen Musikrates.

freies rheinland eV c/o georg dietzler

50668 Köln

50668 Cologne/Germany

www.gerngesehen.de

_http://www.facebook.com/pages/gerngesehen-whats-up/280414075312269

_

BERLIN – KlangWelten ad hoc 23.10.2015

Subject: KlangWelten ad hoc 23.10.2015

From: Thomas Gerwin

Fr 23.Oktober 2015 – 20:00h

Bibliothek am Luisenbad, Travemünder Str.2, 13357 Berlin-Wedding

K l a n g W e l t e n . a d . h o c

Korhan Erel / electronics

Thomas Gerwin / banjo, objects, electronics

Katia Guedes / soprano, voice

Rainer Stolz / sound poetry, voice

Biliana Voutchkova

Free entrance – donation welcome

Gefördert vom Bezirkskulturfonds Berlin-Mitte

::

inter art project

KlangWelten ad hoc

Internationales Klangkunstfest Berlin

::

www.thomasgerwin.de

GRAZ – Performing Gender

Subject: Performing Gender

From: Ana Maria Rodriguez

Performing Gender

Performing Gender

View this email in your browser

Performing Gender:how does a man pronounce „a“ ?

Performing Gender:how does a man pronounce „a“ ?

a lecture-performance by Eliav Brand and Ana Maria Rodriguez (Berlin)

Sind weibliche Stimmen einfach höher als männliche oder haben sie

unterschiedliche Charakeristika? Lassen sich Klänge und musikalische

Gesten als männlich oder weiblich interpretieren? Und worauf beruhen

diese Unterscheidung? Mit Fragen wie diesen beschäftigen sich Ana

Maria Rodriguez und Eliav Brand in ihrer Performance-Lecture, in der sie

Klänge, Texte und Videos verknüpfen.

„Performing Gender:how does a male pronounce „a“? ist die erste

Zusammenarbeit von Ana Maria Rodriguez und Eliav Brand. Mit

verschiedenen Ästhetiken und Beziehungen zum Klang bearbeiten die sie

das Thema, um einen Dialog anzustoßen. -To be continued-

22. Oktober 2015, 19:00 Uhr IEM CUBE Graz (A)

Ana Maria Rodriguez – Music, Video, Voice

Eliav Brand – Music, Video, Voice

Eliav Brand, Theo Nabicht, Cathrin Romeis – Stimmaufnahmen

Ana Maria Rodriguez · Berlin 10243 · Germany

BRAUNSCHWEIG – loose control – Denise Ritter

Subject: BRAUNSCHWEIG – loose control – Denise Ritter

From: Denise Ritter

loose control

Abschlusspräsentation der Stipendiaten 2014 / 2015

des Künstlerförderprogramms Braunschweig PROJECTS

des Landes Niedersachsen

Eröffnung:

27. Oktober 2015

19 Uhr | HBK Braunschweig, Aula

Ausstellung:

28.10. – 12.11.15

HBK Braunschweig, Montagehalle

Künstlergespräch:

3. November 2015

19 Uhr | HBK Braunschweig, Aula

Mehr Info:

http://www.hbk-bs.de/imperia/md/content/hbk/hbk/aktuell/veranstaltungen/2015/bs_projects_loose_control.pdf

small world wide

Im Rahmen der Abschlusspräsentation gibt es einen Überblick über den

aktuellen Stand des Projektes und bisher gewonnene Erkenntnisse.

Eine erste Klanginstallation zu small world wide wird im Januar 2016

im Allgemeinen Konsumverein in Braunschweig im Rahmen einer

Einzelausstellung realisiert.

Denise Ritter | Sound Artist

www.gegenort.com

CALL – OS Issue 21.2 Call – Extended deadline

Subject: OS Issue 21.2 Call – Extended deadline

From: Leigh Landy

Organised Sound: An International Journal of Music and Technology

Call for submissions

Volume 21, Number 2

Issue thematic title –Situating the Avant-Garde: conformity and

oppositional culture.

Date of publication: August 2016

Extended submission deadline: 22 January 2016

Issue co-ordinators: Monty Adkins

)

and Ambrose Field

Independent artistic practitioners, empowered by technology, have

radically changed the digital arts climate in western societies over the

last twenty years. In this issue we tackle some of the more awkward

questions that have resulted from a changing dynamic where the aesthetic

remits of independent commercial work and scholarship have intermingled.

Creating music which inhabits a space between intellectually informed

artwork and public media product is a contemporary challenge. We are

calling for articles and case-studies on how composers have chosen to

meet the challenge of changing markets for electroacoustic music and

sound art, with reference to their own practice and the work of others

in contemporary digital culture. What are the distinctions between

creating art music for the concert hall and the imperatives of running a

small business? For self-employed musicians, or those running small

businesses, can financial stability be found within carefully made

aesthetic choices? What are the impacts for institutional music research

and for the contemporary music public of changes in accessible technologies?

In this issue, we ask vital broad questions. We seek to assess what

happens when oppositional cultures, often initially positioned directly

against academic scholarship, become commonplace and adopted within

institutions? We seek to review the role of the institution. How can

institutions drive radically new cultural development, rather than

offering reactionary responses to independent commercial experimental

artwork, or falling back on past models and aesthetics?

This issue actively seeks discussion of these questions and themes, with

a focus on contemporary practice within the digital arts both within,

and outside, the institution.

Subjects might included, but are not restricted to:

the bedroom avant-garde

post-laptop music and the resurgence of modular synth

the role of the institution in the contemporary avant-garde

redefining the institution in digital music education – facilitator,

educator or reactionary

new composition in digital music practice

aesthetics of post-acousmatic music

listening, performing and the user – our changing role with technology

and the sonic arts

experimental digital music aesthetics in the 21st century

oppositional culture in contemporary electronic music

the rise and fall of the digital super-group

As always, submissions related to the theme are encouraged; however,

those that fall/outside/the scope of this theme are/always/welcome.

SUBMISSION DEADLINE: 22 January2016

SUBMISSION FORMAT:

Notes for Contributors and further details can be obtained from the

inside back cover of published issues of/Organised Sound/or at the

following url:

http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc

(and

download the pdf)

Properly formatted email submissions and general queries should be sent

to:os(at)dmu(dot)ac(dot)uk

,

not to the guest editors.

Hard copy of articles and images (only when requested) and other

material (e.g., sound and audio-visual files, etc. –normally max.

15’sound files or 8’movie files) should be submitted to:

Prof. Leigh Landy

Organised Sound

Clephan Building

De Montfort University

Leicester LE1 9BH,_UK_.

Editor: Leigh Landy

Associate Editors: Ross Kirk and Richard Orton†

Regional Editors: Ricardo Dal Farra, Jøran Rudi, Margaret Schedel, Barry

Truax, Ian Whalley, David Worrall, Lonce Wyse

International Editorial Board: Marc Battier, Manuella Blackburn, Joel

Chadabe, Alessandro Cipriani, Simon Emmerson, Kenneth Fields, Rajmil

Fischman, Eduardo Miranda, Rosemary Mountain, Tony Myatt, Jean-Claude

Risset, Mary Simoni, Martin Supper, Daniel Teruggi

CALL – BALANCE-UNBALANCE conference 2016 @ Colombia – deadline for submissions: OCT. 31 – theme: data science + eco action

Subject:BALANCE-UNBALANCE conference 2016 @ Colombia –

deadline for submissions: OCT. 31 – theme: data science + eco action

From: Ricardo Dal Farra

University of Caldas – Manizales, Colombia

http://www.balance-unbalance2016.org

CALL FOR PARTICIPATION

Balance-Unbalance (BunB) is an International Conference designed to use

ART as a catalyst to explore intersections between NATURE, SCIENCE,

TECHNOLOGY and SOCIETY as we move into an era of both unprecedented

ecological threats and transdisciplinary possibilities.

The Balance-Unbalance conference will bring artists together with

scientists, economists, philosophers, politicians, management and policy

experts, sociologists and engineers from across the world with the

intent of engendering a deeper awareness and creating lasting

intellectual working partnerships in solving our global environmental

crisis.

“We are living in a world reaching a critical point where the

equilibrium between a healthy environment, the energy our society needs

to maintain or improve this lifestyle and the interconnected economies

could pass more quickly than expected from the current complex balance

to a complete new reality where unbalance would be the rule and human

beings would need to be as creative as never before to survive.

Environmental problems, economic uncertainty and political complexity

have been around for a long time. What was different before was the

speed and depth of transformations compared with today’s sudden changes.

The frequent occurrence and severity that certain weather and

climate-related events are having around us is increasing, and the

ability of human beings on modifying adjacent surroundings as well as

distant places have turn into a power capable of altering the planet

[…] The arts could play a major part in helping the global society to

understand the magnitude of the crisis we are facing, and in promoting

the awareness around environmental matters. it could also be a very good

vehicle to disseminate proposals able produce changes in our behavior

and decisions, influencing our chances for the future. Artists could

promote inter and transdisciplinary actions focusing on our

responsibility regarding the turning point we are living in defining the

future of -human- life on Earth.” (Dr. Ricardo Dal Farra,

/Balance-Unbalance/ founder).

The theme for BunB 2016 is „/Data Science + Eco Action/”.

How can we extract knowledge from large volumes of environmental and

related data? How that can be used in benefit of the human society? What

should we change in our thinking and in our behaviour? Individual vs

community vs global: What matters? Why big or complex data is so

relevant to our daily life? How the capture, analysis, curation,

sharing, storage… and control of large data could rapidly change our

world? What positive sides does it have? What not so positive, and even

risks does it have? What data science has to do with humanitarian

organizations? And with electronic art?

We want to inspire explorations of how artists can participate in this

major challenge of our ecological crisis. We need to use creative tools

and transdisciplinary action to create perceptual, intellectual and

pragmatic changes. We want to discuss our proposals for the future from

a diversity of cultural perspectives and socio-economic situations with

open minds.

The 5th edition of the BunB conference will be held from May 9 to 11 of

2016 in Manizales, Colombia. It will be produced by the Department of

Visual Design of the University of Caldas, with support of the

International Image Festival.

Balance-Unbalance is seeking for papers, transdisciplinary workshops,

artistic activities and exhibitions, posters and panels considering to

propose, analyze and discuss specific projects and actions that could

help us to face the serious environmental crisis. BunB 2016 is also open

to host a diversity of virtual components allowing global accessibility

and significantly reducing the carbon footprint of a major international

conference.

The official language of the event will be English but Spanish

submissions are accepted. Keynotes and paper (oral) presentations in

Spanish will be -simultaneously- translated to English. Workshops won’t

be translated.

Deadline for submissions: October 31, 2015 (midnight, Colombia’s time)

Submission categories (there is only one template for all categories;

you should adapt it as indicated) :

Papers (4-8 pages)

Posters (2-3 pages)

Panels (2-3 pages)

Artistic works (2-3 pages). Be sure to indicate the title of your

project; if you are proposing a live performance, a presentation

using fixed-media support or a work to be exhibited; duration, if it

applies; a full detailed description of your technical needs,

including what will you be providing and what are you expecting the

organisation to provide; links to your online CV and your web site;

and 3 links to online samples of your previously created artistic

work, hosted in a non-expiring URL – please, DO NOT send your

material using wetransfer or any similar application, and DO NOT

send your reference material by email – only submit the links with

your submission.

Transdisciplinary workshops (2-3 pages). This is an open format

area of the conference to propose any kind of transdisciplinary

activities up to a maximum duration of 90 minutes.

Virtual projects (2-3 pages). Virtual projects such as websites,

interactive installations and transdisciplinary documentation

related to the theme of the conference will be considered for

inclusion in our virtual program and onsite virtual showcase.

Successful artists may be required to participate in a Skype forum

(or interaction using another online platform) during the virtual

projects showcase.

In addition, a selection from accepted papers will be invited to publish

in the /Leonardo/journal under a special section devoted to

Balance-Unbalance.

Submissions will be only accepted via EasyChair

(https://easychair.org/conferences/?conf=bunb2016). Templatesfor

submissions are available for downloading here

.

Please, make sure you select the correct submission category (paper,

poster, panel, artistic work, transdisciplinary workshop or virtual

project). Submissions will be peer-reviewed. All submissions in Spanish

must also include an abstract in English.

The proposals must be oriented to the goal of this conference. Only

submissions clearly focused to that end will be considered.Please note

that Balance-Unbalance is not able to provide funding support for travel

or lodging, or fees for the presentations.

Previous Balance-Unbalance editions:

BunB 2010 – Buenos Aires, Argentina:

http://www.ceiarteuntref.edu.ar/eq-deseq

BunB 2011 – Montreal, Canada: http://balance-unbalance2011.hexagram.ca

BunB 2013 – Noosa, Australia: http://www.balance-unbalance2013.org

BunB 2015 – Arizona, United States:

http://www.balance-unbalance2015.org

Please direct any questions about submissions to:

submissions(dot)bunb2016(at)gmail.com

Balance-Unbalance 2016 website – Manizales, Colombia:

http://www.balance-unbalance2016.org

Balance-Unbalance 2016 Facebook:

https://www.facebook.com/balanceunbalance

Balance-Unbalance 2016 organizing team_:

Dr. Ricardo Dal Farra. Director, Balance-Unbalance Conference

Dr. Felipe C. Londoño. Director, International Image Festival

Dr. Adriana Gómez. Academic program co-chair

Dr. G. Mauricio Mejía. Academic program co-chair

Dr. Walter Castañeda. Artistic works program chair

Dr. Leah Barclay. Virtual projects chair

Liliana Villescas. Transdisciplinary workshops chair

Carlos A. Escobar. Keynotes program chair

Artistic / Academic Review Committee_:

Dr. Pau Alsina/(philosopher; director Artnodes Journal; professor, Open
University of Catalonia – Spain)/

Pat Badani/(artist, writer; editor-in-chief, Media-N journal –

Canada/Argentina)/

Dr. Leah Barclay/(composer, sound artist, producer; Biosphere

Soundscapes – Australia)/

Mónica Bello/ (curator; Head of Arts@CERN – Spain/Switzerland)/

CEIArtE-UNTREF/(Natalia Pajariño and Bernardo Piñero, artists; National

U. of Tres de Febrero – Argentina)/

Joel Chadabe/(composer, author, educator; founder of Ear to the Earth –

USA)/

Ian Clothier/(artist; professor, Western Institute of Technology;

director of Intercreate – New Zealand)/

Nina Czegledy/(curator, artist; co-founder SCANZ – Canada/Hungary)/

Dr. Ricardo Dal Farra/(composer, artist; professor at Concordia

University – Canada/Argentina)/

Peter d’Agostino/(artist, World-Wide-Walks; professor, Temple

University, Philadelphia – USA )/

Dr. Frank Ekeberg/(sound artist; curator Meta.Morf/Trondheim Electronic

Art Centre – Norway/USA)/

Dr. Tony Fry/(philosopher, cultural theorist; professor of Design

Futures at Griffith University – Australia)/

Dr. Diego Golombek/(biologist, science communicator; National Univ. of

Quilmes / CONICET – Argentina)/

Dr. Ramón Guardans/(Scientific advisor, UN’s Global Monitoring Plan on

Organic Pollutants – Spain)/

Land Art Generator Initiative/(architect Robert Ferry & artist Elizabeth

Monoian, co-founders LAGI – USA)/

Eric Leonardson/(composer, artist; president of the World Forum for

Acoustic Ecology – USA)/

Dr. Felipe César Londoño/(architect, author, curator; President,

University of Caldas – Colombia)/

Dr. Rob Mackay/(composer, sound artist, flutist; University of Hull – UK)/

Dr. Roger Malina/(astrophysicist; professor, University of Texas at

Dallas; executive editor, Leonardo – USA)/

Olga Mink/(artist, curator; managing director of Baltan Laboratories –

The Netherlands)/

Dr. Anne Nigten/(founder, The Patching Zone; prof. Rotterdam Univ. of

Applied Sciences – The Netherlands)/

Dr. Raúl Niño Bernal/(aesthetics, political science; professor,

Pontificia Universidad Javeriana – Colombia)/

Santiago Ortiz/(mathematician, data scientist; director of Moebio Labs

– Colombia/USA)/

Mike Phillips/(director of i-DAT; principal supervisor, Planetary

Collegium; prof. Plymouth University – UK)/

Dr. David Rothenberg/(musician, composer, author, philosopher-naturalist

– USA)/

Dr. Peter Stoett/(global ecopolitics; Loyola Sustainability Research

Centre, Concordia Univ. – Canada)/

Eugenio Tiselli/(digital artist, systems engineer, researcher; Golden

Nica, Ars Electronica. – Mexico)/

Michel van Dartel/(curator; Hanze Univ. of Applied Science; CODARTS

Univ. for the Arts – The Netherlands)/

Wim van der Plas/(formerly, Utrecht Univ. of Applied Sciences;

co-founder ISEA – The Netherlands)/

… this list will be updated in the following weeks.

RUNDFUNK – Radiosendung mit Christina Kubisch im ORF

Subject: Heute Abend: Radiosendung mit Christina Kubisch im ORF

From: christina kubisch <kubisch@snafu.de>

ORF Ö1 Zeit-Ton extended

am 16./17. Oktober 2015 von 23 Uhr bis 2 Uhr

Elektromagnetische Topographien

Gemeinsam mit Christina Kubisch dem Unhörbaren auf der Spur

Gestaltung: Susanna Niedermayr und Christina Kubisch

Teil 1 – Freitag 23:03 Uhr: http://oe1.orf.at/programm/417728

Teil 2 – Samstag 00:08 Uhr: http://oe1.orf.at/programm/417768

Nach der Ausstrahlung kann die Sendung 7 Tage lang auf der Website

nachgehört werden.

http://oe1.orf.at/download/

ESSEN – Ensemble und Elektronik im Gasometer Oberhausen

Subject: Ensemble und Elektronik im Gasometer Oberhausen

From: Thomas Neuhaus

Im Rahmen des NOW! Festivals in Essen (siehe

http://www.philharmonie-essen.de/themen-reihen/now-prismen.htm) spielt

das Ensemble folkwang modern zwei Uraufführungen für Ensemble und

Elektronik von Lukas Tobiassen und Thomas Neuhaus im spektakulären

Gasometer in Oberhausen.

Dazu kommen noch zwei ältere Werke von Jonty Harrisson und Dennis

Smalley für „Tape“

Datum: 24.10.2015

Uhrzeit: 21:00

Ort: Gasometer Oberhausen, Arenastrasse 11, 4647 Oberhausen

Programm:

Thomas Neuhaus: „Tubes“ für Ensemble und Elektronik (UA)

Jonty Harrisson: „Klang“ für fixed Media (formerly knows as „Tape“)

Dennis Smalley: „Base Metals“ für fixed Media (formerly knows as „Tape“)

Lukas Tobiassen: „Hier“ für Ensemble und Elektronik (UA)

Preise (€): 10,- / 5,- (ermäßigt) inkl. Systemgebühr. Kartenvorverkauf

über die zentrale Kartenhotline der Folkwang Universität T 02 01 49

03-231 oder als Bestellung per Mail unter karten@folkwang-uni.de

karten@folkwang-uni.de>

Festivalpass (begrenztes Kontingent) für alle (20!) NOW!-Veranstaltungen

Einheitspreis (€): 45,- zzgl. 10% Systemgebühr.

CANTERBURY – NORWICH – Feldman / Vincent +: Konzerthinweis: 15./17.Oktober, England

Subject: Feldman / Vincent +: Konzerthinweis: 15./17.Oktober, England

From: Simon Vincent

Liebe Degem Liste,

es freut mich Sie über eine neue Konzertreihe zu

informieren: Feldman / Vincent +

In dieser Reihe interpretiere ich am Klavier Feldman’s

„Palais de Mari‘ (1986), und anschliessend leite elektro-

akustische Kollaborationen mit eingeladenen Gästen.

15.10.15: Free-Range, Canterbury, England

Simon Vincent (Klavier und Elektronik),

Gus Garside (Kontrabass)

17.10.15: Anteros Foundation, Norwich, England

Simon Vincent (Klavier und Elektronik),

Dave Pullin (Kontrabass)

Weitere Informationen finden Sie hier:

www.facebook.com/simon.vincent.composer.performer

Mit besten Grüßen,

Simon Vincent

10249, Berlin

Germany

www.simon-vincent.com

www.youtube.com/user/SimonVincentComposer

www.facebook.com/simon.vincent.composer.performer

www.soundcloud.com/visionofsound

www.twitter.com/_simon_vincent

CALL -INTER/actions call for proposals

Subject: INTER/actions call for proposals

From: xenia.pestova

INTER/actions: Symposium on Interactive Electronic Music

Sunday March 6, 2016

Bangor University School of Music

In collaboration with the Bangor Music Festival

INTER/actions is a symposium and mini-festival focusing on performance

and interaction in electronic music. We aim to provide an environment to

exchange ideas and instigate collaborations for composers, performers,

sound artists and music technologists interested in the role of the

performer in electronic music, whether in the traditional sense, or

audience-as-performer. We are looking for creative proposals for

performances, interactive installations and paper sessions.

Call for Proposals: Pieces

Deadline: December 18 2015

We invite composers and performers to submit works for instruments and

interactive electronics, instruments and fixed media or gestural

controllers for the festival concerts. Compositions must be fully

documented with technical performance specifications. A concert

recording, studio recording, simulation or video should be submitted,

sufficient to give a reasonable idea of the final form of the piece /

performance. Please send a link to an online audio excerpt or email an

mp3 file along with full technical requirements and a score, if

applicable, as well as a short biography (150 words) to

interactions2016(at)gmail(dot)com .

Performances will be able to make use of the following facilities:

8-channel loudspeaker playback (ATC)

Various microphones (including Schoeps Collette/MK4 and AKG414)

Soundcraft mixer with 16+16 inputs (switchable), 16 direct outputs, 8

groups, 2 mix, 4 AUX send, 2 FX send

Mac Pro computer with MOTU 24 i/o interface

3x MOTU 828 and 1 RME Fireface 800 FireWire/USB interfaces

Large-screen video projection

Steinway D Concert Grand Piano

Composers / performers who need additional equipment are requested to

bring their own. Composers / performers who make use of their own

software (for example, Max patches, SuperCollider) will be expected to

take responsibility for installing and operating the software, including

providing any libraries that may be required. We are not able to provide

performers for the pieces. Selected composers are expected to attend the

symposium to contribute to the sense of community.

Call for Proposals: Papers and Demos

Deadline: December 18 2015

We are open to proposals for 20-minute paper and demo presentations on

topics including, but not limited to:

Performance practice in electronic music

Gesture

New interface design

Compositional issues

Improvisation in interactive contexts

Analysis of interactive works

Please send a 250-word abstract, as well as a short biography (150

words) to interactions2016(at)gmail(dot)com

Unfortunately, we are not able to make contributions to composer or

performer expenses in this edition, but we will also waive the

registration fee, making the symposium free to attend.

AUSSCHREIBUNG – Assistant Professor position at American University, Washington, DC

Subject:Assistant Professor position at American University,

Washington, DC

From: Kevin Austin

Assistant Professor of Audio Technology

Department of Performing Arts

College of Arts and Sciences

American University

The Department of Performing Arts in the College of Arts and Sciences at

American University invites applications for a full-time, tenure-track

position in Audio Technology at the rank of Assistant Professor

beginning August 1, 2016. Applicants should hold a terminal degree in

an audio-related field or anticipate completion by August 2016.

Candidates should be effective teachers and must be strongly committed

to excellence in scholarly research. We welcome applications from

candidates engaged in high-quality scholarship in the broad field of

audio technology and are particularly interested in candidates with any

of the following areas of specialization: acoustics, psychoacoustics,

electronics, game audio, spatialized audio, and audio software/hardware

design. Teaching specialization in any of the above areas as well as

live sound or broadcast audio is preferred, though all instructional

areas will be considered. In addition to scholarship and teaching,

responsibilities will include participation in department, school and

university activities.

Salary and benefits are competitive. Review of applications will begin

on October 19, 2015 and will continue until the position is filled.

Please submit applications via:apply.interfolio.com/31531

. Include a letter of application,

curriculum vitae, and three letters of recommendation. Additional

materials will be requested at a later date. Please contact Richard

Streeks, Faculty Coordinator, streeks(at)american(dot)edu if you have

any questions.

American University is an equal opportunity, affirmative action

institution that operates in compliance with applicable laws and

regulations. The university does notdiscriminate on the basis of race,

color, national origin, religion, sex (including pregnancy), age, sexual

orientation, disability, marital status, personal appearance, gender

identity and expression, family responsibilities, political affiliation,

source of income, veteran status, an individual’s genetic information or

any other bases under federal or local laws (collectively “Protected

Bases”) in its programs and activities. American University is a tobacco

and smoke free campus.

WIEN – Ausstellung „transducing the city“ und Electrical Walks Wien

Subject: Ausstellung „transducing the city“ und Electrical Walks Wien

From: christina kubisch

transducing the city. elektromagnetische topografien

Ein Projekt von Christina Kubisch mit der Abteilung DIGITALE KUNST/Ruth

Schnell Universität für angewandte Kunst Wien

Ausstellungseröffnung: Fr, 16.10.2015, 19 h

Ausstellungsdauer: 17.10.2015 bis 30.10.2015

Öffnungszeiten: Mo – Fr, 13 bis 18 h

Ort: Ausstellungszentrum Heiligenkreuzer Hof, Sala Terrena,

Schönlaterngasse 5, 1010 Wien

TeilnehmerInnen:

Stefan Herbert, Alexander Kasses, Bianka Oravecz, David Osthoff,

Magdalena Salner, Bert Wagner, Anna Watzinger, Enrico Zago, Tobias Zarfl

und

Christina Kubisch: Electrical Walks Wien

Elektromagnetische Spaziergänge im Stadtraum

Der Ausstellung transducing the city. elektromagnetische

topografien ging im Studienjahr 2014/15 ein dreiteiliger Workshop mit

der Künstlerin Christina Kubisch an der Abteilung DIGITALE KUNST voraus.

Ausgehend von Christina Kubischs Werkserie Electrical Walks –

Stadtspaziergängen mit von der Künstlerin entwickelten

Induktionskopfhörern, die elektromagnetische Felder

akustisch wahrnehmbar machen – erforschten die Studierenden

elektromagnetische Topografien der Stadt Wien.

Die Nutzung der Induktionskopfhörer bildete – vor dem Hintergrund der

intensiven Auseinandersetzung mit Sound an der Abteilung DIGITALE KUNST

– die Grundlage für eine Verschränkung dieses spezifischen

ortsbezogenen Zugangs mit künstlerischen Konzepten der Studierenden. Es

entstanden Video-, Sound- und Fotoarbeiten sowie Installationen.

BRUSSELS – Festival L’Espace du Son

Subject: Festival L’Espace du Son

From: Elizabeth Anderson

La saison de M&R est rebaptisée ‚influx‘ / M&R’s season is now

renamed ‚influx‘

Dear Colleagues,

If any of you are in (or near) Brussels on October 22-25, 2015 we would

be delighted to see you at the L’Espace du Son Festival!

L’Espace du Son Festival

Dates: October 22-25, 2015

Venue:

Théâtre Marni

25 Rue de Vergnies

1050 Brussels

The festival will include:

– Portrait Concerts by Manuella Blackburn, Beatriz Ferreyra,

Christine Groult, Roxanne Turcotte, Elzbieta Sikora, Annette Vande Gorne

and Elizabeth Anderson

– Two concerts ‚Scène émergente I & II‘ with works by Sophie

Delafontaine, Cristina Dignart, Julie Mansion-Vaquié, Brona Martin,

Bérangère Maximin, Irene Pacini, Abril Padilla, Caroline Profanter,

Louise Rossiter, Donika Rudi and Virginie Viel.

– Round Table

Please find, here, more information about the festival:

http://www.musiques-recherches.be/fr/agenda/concert-acousmatique/item/5521-eds2015

Elizabeth Anderson, PhD

Avenue de Monte-Carlo, 11

1190 Brussels, Belgium

http://www.electrocd.com/en/bio/anderson_el/