Von: Festival BLAUES RAUSCHEN
Datum: Fri, 20 Dec 2024
Betreff: BLAUES RAUSCHEN: Ausblick 2025

Click for more info:
https://degemnewsplus.blogspot.com/2025/01/fwd-blaues-rauschen-ausblick-2025.html

Von: HELLERAU – Europäisches Zentrum der Künste
Datum: Tue, 17 Dec 2024
Betreff: Orientierungshilfe im kulturellen Weihnachts-Wirrwarr

Click for more info:
https://degemnewsplus.blogspot.com/2025/01/fwd-orientierungshilfe-im-kulturellen.html

Von: Lepa, Steffen via ak discourse
Datum: Tue, 17 Dec 2024
Betreff: [ak-discourse] WG: Tapeheads – Arbeitskreis für elektromagnetische Aufnahme und Wiedergabe

Liebe alle,

wir freuen uns, die Welt mit einem weiteren Arbeitskreis zu beglücken, der „Tapehead Society“, dem Arbeitskreis für elektromagnetische Aufnahme und Wiedergabe.

Momentan besteht der Arbeitskreis aus einem Verteiler https://www.listserv.dfn.de/sympa/info/tapeheadsociety.

Die Tapehead Society soll einen Raum bieten, in dem man sich über elektromagnetische Audiomedien und Aufnahme- und Wiedergabegeräte austauschen kann. Weitgehend unabhängig von Institutionen, Verbänden oder anderen Interessengruppen soll über alle Fragen in den Bereichen Tonband und Audiotechnik diskutiert werden. Wir verstehen uns einerseits als Selbsthilfegruppe und andererseits als informelle Interessenvertretung für Fragen der elektromagnetischen Aufnahme und Wiedergabe.

Der Arbeitskreis richtet sich an alle Forschende, Archivierende, Sammelnde, Reparierende, Musizierende und Geräteabspielende, die in ihrem Leben und in unterschiedlichsten Anwendungskontexten schon einmal mit Tonbändern und Tonbandmaschinen in Berührung gekommen sind und sich vielleicht damit sogar eingehender beschäftigt haben oder in Zukunft beschäftigen wollen.

Initiiert wurden die Tapeheads von Richard Limbert (Lippmann+Rau-Archiv Eisenach) und Knut Holtsträter (ZPKM Freiburg).

Wenn Euch das Thema interessiert, klickt bitte auf den Listserv-Link und lest bitte die Beschreibung durch. Falls Du Interesse hast, logge über Listserv ein oder schreibe einfach eine Mail an knut.holtstraeter@zpkm.uni-freiburg.de, dann bekommst Du eine nette Mail und landest im Verteiler.

Herzliche Grüße

Knut (Holtsträter) und Richard (Limbert)

—

PD Dr. Knut Holtsträter

Pronouns: He/Him

Albert-Ludwigs-Universität Freiburg
Zentrum für Populäre Kultur und Musik
Rosastraße 17-19
D-79098 Freiburg im Breisgau

Neue Telefonnummer!

Tel.: +49 (0) 761 203 95283

https://orcid.org/0000-0002-6388-6641

Von: David Pirrò
Datum: Mon, 16 Dec 2024
Betreff: Call for submissions: ECHO #7 – Speculative Sound Synthesis

Call for submissions: ECHO #7 – Speculative Sound Synthesis

Deadline: February 28 2025

The online journal ECHO invites submissions for its upcoming seventh issue on „Speculative Sound Synthesis,“ edited by David Pirrò, and Leonie Strecker. ECHO is the online publication of the Music, Thought and Technology research group at Orpheus Instituut, Ghent.

The artistic practice of sound synthesis has evolved in close relation to science and technology. This relationship has been fundamental, offering new means and methods for experimentation while simultaneously instilling a strong pull toward standardisation, closure, and control.

„Speculative Sound Synthesis“ destabilises and recomposes the multilayered relationship between technology and artistic practice, seeking to unleash aesthetic potentials that would remain unseen or hidden by technological habits. Speculation, in this context, denotes a questioning attitude that emphasises hypothetical thinking, curiosity, and exploration. As an artistic practice, speculation functions as a situated oscillation between experience and imagination, generating new forms of knowledge and opening pathways to novel aesthetic thinking.

This special issue welcomes contributions from practitioners who are committed to critical and speculative approaches at the intersection of art and technology. Within this hybrid space, synthesis is understood both as a means of producing new forms and, in a more abstract sense, the practice of bringing forth assemblages of materials and concepts. We seek contributors engaged in practices that question, challenge, criticise, deconstruct, recompose, reformulate, shift, dislocate, endanger, or reject established standards of sound synthesis, exploring aesthetic positions that offer alternative perspectives on thinking and creating sound.

For further details and submission instructions, please click:
https://echo.orpheusinstituut.be/current-call

This issue is edited by the Speculative Sound Synthesis research project team. The „Speculative Sound Synthesis“ project is funded by the Austrian Science Fund (FWF) within the Programme for Arts-based Research (PEEK) – PEEK AR 713-G and is hosted by the Institute of Electronic Music and Acoustics (IEM) at the University of Music and Performing Arts Graz.

https://speculative.iem.at/

—
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
David Pirrò MSc. MA. Ph.D.
Institute of Electronic Music and Acoustics
University of Music and Performing Arts
Graz, Austria
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Von: Lepa, Steffen via ak discourse
Datum: Wed, 4 Dec 2024
Betreff: [ak-discourse] WG: Organised Sound – Call for papers: Embedding Algorithms in Music and Sound Art (1st call)

Dear Community,

(apologies for cross-posting, please circulate)

I am excited to announce a thematic issue of Organised Sound on the topic of Embedding Algorithms in Music and Sound Art.
Please find the full call below and on the journal’s website:
https://www.cambridge.org/core/journals/organised-sound/announcements/call-for-papers/call-embedding-algorithms-in-music-and-sound-art
Feel free to share it with others who might be interested in contributing.

We look forward to receiving your submissions!

Best regards,

Federico Visi
Intelligent Instruments Lab – University of Iceland
GEMM))) Gesture Embodiment and Machines in Music – Luleå University of Technology
Wearable Computing – Universität der Künste Berlin
www.federicovisi.com

Call for Submissions – Volume 31, Number 2
Issue thematic title: Embedding Algorithms in Music and Sound Art
Date of Publication: August 2026
Publishers: Cambridge University Press
Issue co-ordinators: Federico Visi (mail@federicovisi.com), Thor Magnusson (thormagnusson@hi.is)
Deadline for submission: 15 September 2025

Embedding Algorithms in Music and Sound Art
Embedding algorithms into physical objects has long been part of sound art and electroacoustic music practice, with sound artists and researchers creating tools and instruments that incorporate some algorithmic process that is central to their function or behaviour. Such practice has evolved profoundly over the years, touching many aspects of sound generation, electroacoustic composition, and music performance.

Whilst closely linked to technology, the practice of embedding algorithms into tools for sound making also transcends it. Different forms and concepts emerge in domains that can be analogue, digital, pertaining to recent or ancient technologies, tailored around the practice of a single individual or encompassing the behaviours of multiple players, even non-human ones.

The processes and rules that can be inscribed into instruments may include assumptions about sound and music, influencing how these are understood, conceptualised, and created. Algorithms can encode complex behaviours that may make the instrument adapt to the way it is being played or give it a degree of autonomy and agency. These aspects can have profound effects on the aesthetics and creative processes of sound art and electroacoustic music, as artists are given the possibility of delegating some of the decisions to their tools.

In the practice of embedding algorithms, knowledge and technology from other disciplines are appropriated and repurposed by sound artists in many ways. Sensors and algorithms developed in other research fields are used for making instruments. Similarly, digital data describing various phenomena – from environmental processes to the global economy – have been harnessed by practitioners for defining the behaviour of their sound tools, resulting in data-driven sound practices such as sonification.

More recently, advances in artificial intelligence have made it possible to embed machine learning models into instruments, introducing new aesthetics and practices in which curating a dataset and training a model are part of the artistic process. These trends in music and sound art have sparked a broad discourse addressing notions of agency, autonomy, authenticity, authorship, creativity and originality. There are aesthetic, epistemological, and ethical implications arising from the practice of building sound-making instruments that incorporate algorithmic processes. How do intelligent instruments affect our musical practice?

This demands an interdisciplinary critical enquiry. For this special issue of Organised Sound we seek articles that address the aesthetic and cultural implications that designing and embedding algorithms has on electroacoustic music practice and sound art. We are interested in the role of this new technological context on musical practice.

Please note that we do not seek submissions that describe a project or a composition without a broad contextualisation and an underlying central question. We instead welcome submissions that aim at addressing one or more specific issues of relevance to the call and to the journal’s readership which may include works or projects as examples.

Topics of interest include:

Aesthetics in performance of instruments with embedded algorithms
Phenomenology of electroacoustic performance with algorithmic instruments
Agency, autonomy, intentionality, and “otherness” of algorithmic instruments
Co-creation and authorship in creative processes involving humans and algorithmic instruments
Dynamics of feedback, adaptivity, resistance, and entanglement in player-instrument-algorithm assemblages
Human-machine electroacoustic improvisation
Critical reflections on the role of algorithms in the creation of sound tools and instruments and their impact on electroacoustic music practice
Meaning making, symbolic representations, and assumptions on music and sound embedded within instruments and sound tools
Knowledge through instruments: epistemic and hermeneutic relations in algorithmic instruments
Appropriation, repurposing, and “de-scripting” of hardware, algorithms, and data by sound artists
Exploration of individual and collective memory through algorithmic instrumental sound practice
Roles and understandings of the machine learning model as a tool in instrumental music practice
Use of algorithmic instruments in contexts informed by historical and/or non-Western traditions
Ethics, sociopolitics, and ideology in the design of algorithmic tools for electroacoustic music
Legibility and negotiability of algorithmic processes in electroacoustic music practice
Non-digital approaches: embedding algorithms in non-digital instruments
Postdigital and speculative approaches in electroacoustic music practice with algorithmic instruments
Data as instrument in electroacoustic music practice: curating and embedding data into instruments
Aesthetics and idiosyncrasies of networked, site-specific, and distributed instruments and performance environments
Entanglement, inter-subjectivity, and relational posthumanist paradigms in designing and composing with algorithmic instruments
More-than-human, inter-species, and ecological approaches in algorithmic instrumental practice

Furthermore, as always, submissions unrelated to the theme but relevant to the journal’s areas of focus are always welcome.

SUBMISSION DEADLINE: 15 September 2025

SUBMISSION FORMAT:
Notes for Contributors including how to submit on Scholar One and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url: https://www.cambridge.org/core/journals/organised-sound/information/author-instructions/preparing-your-materials.

General queries should be sent to: os@dmu.ac.uk, not to the guest editors.

Accepted articles will be published online via FirstView after copy editing prior to the full issue’s publication.

Editor: Leigh Landy; Associate Editor: James Andean

Founding Editors: Ross Kirk, Tony Myatt and Richard Orton†

Regional Editors: Liu Yen-Ling (Annie), Dugal McKinnon, Raúl Minsburg, Jøran Rudi, Margaret Schedel, Barry Truax

International Editorial Board: Miriam Akkermann, Marc Battier, Manuella Blackburn, Brian Bridges, Alessandro Cipriani, Ricardo Dal Farra, Simon Emmerson, Kenneth Fields, Rajmil Fischman, Kerry Hagan, Eduardo Miranda, Garth Paine, Mary Simoni, Martin Supper, Daniel Teruggi, Ian Whalley, David Worrall, Lonce Wyse

Von: Brinkmann, Fabian via ak discourse
Datum: Wed, 4 Dec 2024
Betreff: [ak-discourse] Fwd: [Sursound] PhD position (Univ.Ass.) in Virtual Acoustics / Audio Engineering

Liebe Leute,

Von: Clemens von Reusner
Datum: Sun, 1 Dec 2024
Betreff: Clemens von Reusner | Elektroakustische Werke online

Sehr geehrte Damen und Herren, liebe Freundinnen und Freunde,

ich möchte Sie auf eine Auswahl einiger Werke hinweisen, die nun auch in einer Stereofassung online vorliegen.

Näheres dazu finden Sie hier:

https://clemensvonreusner.bandcamp.com/

Mit den besten Grüßen

Clemens von Reusner

—
Clemens von Reusner
www.cvr-net.de
info@cvr-net.de

Von: Daniel Mayer
Datum: Wed, 20 Nov 2024
Betreff: SMC 2025 Call

Dear Colleagues,

We want to inform you about the call for artistic and scientific contributions for the 22nd Sound and Music Conference (SMC) & Summer School. It will take place from July 7 to July 12, 2025, at the University of Music and Performing Arts, Graz, Austria:

https://smc25.iem.at/call/artistic
https://smc25.iem.at/call/scientific
https://smc25.iem.at/call

We kindly ask you to share and distribute this information to interested individuals and mailing lists – thank you!

Best Regards

Daniel Mayer
https://daniel-mayer.at

Von: Lepa, Steffen via ak discourse
Datum: Mon, 18 Nov 2024
Betreff: [ak-discourse] WG: U. Huddersfield – 12 Leverhulme funded Ph.D. scholarships

The Department of Media, Humanities and the Arts at the University of Huddersfield is pleased to invite applications for 12 full scholarships for PhD studies as part of the Amplification Project, for new UK, EU and International PhD students, starting in April 2025.

The scholarship is open to applicants from the UK or overseas who are engaged in research on any subject related to amplification and its contribution to music cultures. Projects may be analytical, theoretical, socio-cultural, empirical, historical, or ethnomusicological. Relevant topics might include but are not limited to:

The role of the amplifier and associated technologies in musical practice, listener experience, and social and cultural life;
Studies involving loudspeakers or microphones;
Musical instrument amplifiers;
Pedals and effects and their relationships with amplification;
History of science and technology focused on amplification technical design and engineering;
Music cultural studies analyzing broad cultural trends related to amplification
Ethnography or ethnomusicology projects focused on amplification related material;
Oral history research focused on amplification related stories
Music theory or analysis related to amplification;
The relation of DJ cultures and electronic music dance cultures to amplification;
Soundsystem cultures related to Jamaican or hip hop cultures;
Focus on the role of amplification in rock or metal;
Studies focused on amplification and music cognition;
Research that explores amplification related material in terms of environment and architectural acoustics in public and private space including music venues;
The role of amplification and related technologies in keyboards and synthesizers;

The successful candidate’s primary affiliation will be within the Popular Music Studies Research Group (PMSRG), which is part of the Centre for Research in Music and its Technologies (CRMT). The PMSRG is a hub for research around popular music. It has a track record of international research events such as: the Practice Based and Led Popular Music Studies Research Symposium in 2017; the Crosstown Traffic Conference, a joint event with academic societies specialised in the art of record production (ARP), popular music (IASPM), and electronic dance music (Dancecult) in 2018; the Ambient @ 40 symposium in 2018; the symposium Afro-Futurism, Arena Rap, The Self-Producer in 2021; the industry-focused day Creative Sampling, Sound Design, Artificial Intelligence in Mixing in 2022; the Dancecult Conference in 2023.

The successful candidate can expect:

Full payment of tuition fees.
An annual stipend of £19,237 per year for 4 years.
Full-time PhD study for four years beginning in April 2025.
Supervision from relevant staff, including, if appropriate to the subject of the research project, some support from Leverhulme Professor Steve Waksman.
Opportunities for contribution to the Amplification Project, collaborative projects, publication, and the possibility of gaining teaching experience.
Access to the Teaching Assistant Preparation Programme (TAPP), which can lead to the qualification of Associate Fellowship of the Higher Education Academy (AFHEA).
Access to additional financial support through the Postgraduate Support Fund of the School of Arts and Humanities.

The successful candidate will be required to be resident in or near Huddersfield during the period of registration.

With over 100 students representing numerous fields of study and more than 20 nationalities, our postgraduate community is a vital, diverse and vibrant part of the department. The University features a wide range of music, music technology, and production facilities. All studios are equipped with top-of-the-line hardware, software and plug-ins, and we offer an impressive collection of industry-leading microphones and recording equipment. The University of Huddersfield is ranked 20th in the world for Music in the QS World University Subject Rankings, and in the Times World University Rankings Arts and Humanities at the University of Huddersfield is ranked in the top 300. Huddersfield was ranked 5th for Music in the recent 2021 Research Excellence Framework results ranking UK Higher Education Research, one of only four departments to achieve a 4* ranking for its research environment.

Additional information: https://research.hud.ac.uk/music/

To apply: https://www.hud.ac.uk/postgraduate/how-to-apply/

Closing date: 21 January 2025.

Applications should be accompanied by a proposal outlining your proposed project, samples of written work, or examples of other materials relevant to the scope of the scholarship. Please indicate clearly on the online application form that you are applying for the Leverhulme Amplification Project PhD Scholarship.

Enquiries:

Prof. Rupert Till (Professor of Music); r.till@hud.ac.uk

Dr Jan Herbst (Music and Music Technology Research Coordinator); J.Herbst@hud.ac.uk

Von: Michael Hoeldke

Sehr geehrte DEGEM News-Leserschaft,

wegen eines Hardwareproblems muss der DEGEM Newsletter für kurze Zeit ausfallen.

Dear DEGEM News readers,

I have to pause DEGEM News for a little while because of a hardware issue.

Viele Grüße!
Best!

Michael Hoeldke
DEGEM News admin

Von: Mark Polscher
Datum: Wed, 11 Dec 2024
Betreff: Mark Polscher | Neues Album | SECOND LANDING JUMP

Von: Presse Monheim Triennale
Datum: Thu, 5 Dec 2024
Betreff: Early-Bird-Kartenvorverkauf für The Festival startet morgen

Click for more info:
https://degemnewsplus.blogspot.com/2024/12/fwd-early-bird-kartenvorverkauf-fur.html

Von: Mark Polscher
Datum: Tue, 26 Nov 2024
Betreff: MONOPASS – Neues Album | Release Konzert

Von: Digital in Berlin news
Datum: Thu, 14 Nov 2024
Betreff: Two more weeks until MADEIRADiG | Kiezsalon videos and Berlin shows

Click for more info:
https://degemnewsplus.blogspot.com/2024/11/berlin-two-more-weeks-until-madeiradig.html

Von: Akkermann, Miriam
Datum: Wed, 13 Nov 2024
Betreff: Symposium on Archiving and Re-Performing Electroacoustic Music AREM2024 – “Technologies” November 29-30, 2024

Click for more info:
https://degemnewsplus.blogspot.com/2024/11/berlin-symposium-on-archiving-and-re.html

Von: Gerhardt Mueller-Goldboom
Datum: Tue, 12 Nov 2024
Betreff: Herbst 2 / Autumn 2

Von: Timo Kahlen
Datum: Sat, 9 Nov 2024
Betreff: uǝʇʞɐℲ ǝʌᴉʇɐuɹǝʇlɐ : /source/ von Timo Kahlen

…

¿sǝnlɐʌ ɟo ǝƃuɐɥƆ
˙ʇɥƃᴉɹlɐ ǝq llᴉʍ ƃuᴉɥʇʎɹǝʌƎ

Die von mir am 20. Januar 2017 (am Tag der ersten Amtseinführung von Donald Trump) veröffentlichte Netzkunst-Arbeit /source/ (postfactual) entwickelt erneut Brisanz – weshalb ich sie noch einmal zur Diskussion stelle:

/source/ (postfactual), 2017
Interactive film and sound projection
at http://www.staubrauschen.de/re-play/source/
for Mac OSX or Windows

Change of values ? /source/ (postfactual), 2017 invites the viewer to search for reliable sources, for valid ‘facts’ and nodes of information on the Internet. A seemingly void, monochrome white surface is all it shows; and frustrates the viewer with a mouse cursor, which is difficult to locate, to control and to direct, as isolated potential ‘facts’ pop up in interaction with the cursor: appearing but distorted, head-over and uncomfortably remote, as if projected onto the reverse side of the computer screen. The alternating objects are accompanied by outbursts of sound and bustle, only to be quenched and extinguished shortly afterwards. The interactive work of net art is composed of multiple embedded layers of sound woven into a touch-sensitive visual projection. It is generated by the viewer – live, and always different -, depending on the relative position, movement and speed, on eventual pauses or on changes in direction of the mouse cursor, as the viewer‘s attention meanders across the touch-sensitive visual projection. Search, roll over, pause or click at the ‘empty’ white surface of the computer display with the mouse cursor, to discover and discard potential facts in real-time. Released on January 20, 2017 or later. According to rumors, however, the work was already visible and audible before. This is alternatively true.

Veröffentlicht auf Digital America. Lobende Erwähnung der Jungen Akademie der Berlin-Brandenburgischen Akademie der Wissenschaften, der Leopoldina Nationalen Akademie der Wissenschaften und des ZKM Karlsruhe im Rahmen der internationalen Preisfrage ‚Was hört das Netz?‘, 2017.

Weitere 20 Arbeiten siehe http://www.staubrauschen.de/re-play/
Alle 21 interaktiven Netzkunst-Werke basieren auf Flash und reagieren auf die Bewegungen des Mauszeigers. Ihre interaktive Oberfläche ist daher nur für Laptop und Computer konzipiert – und zu filigran, kaum noch sichtbar und hörbar für Smartphones oder Tablets, in denen der Finger das ephemere Geschehen verdeckt – oder die Oberfläche verlässt.

Mit besten Grüßen

Timo Kahlen
sound sculptor / media artist
mail@timo-kahlen.de
www.timo-kahlen.de

…
© Timo Kahlen / VG Bild-Kunst 2024

Von: Kiezsalon by Digital in Berlin
Datum: Fri, 08 Nov 2024
Betreff: Kiezsalon 2024 is complete! Forecast, retrospectives and recommendations.

Click for more info:
https://degemnewsplus.blogspot.com/2024/11/berlin-kiezsalon-2024-is-complete.html

Von: Institute of Sonology
Datum: Thu, 7 Nov 2024
Betreff: Performance of Konrad Boehmer’s „Rabioso“ in Utrecht on 21 November 2024

Click for more info:
https://degemnewsplus.blogspot.com/2024/11/den-haag-performance-of-konrad-boehmers.html

Von: Max Joy – UdK-Berlin
Datum: Thu, 7 Nov 2024
Betreff: Fotos of my concert in Poland

Dear Friends / Hallo liebe Freunde!

Info-Update

Nach meinem Konzert im TRAFO in Szczecin (Stettin)/Polen vom 4.11.24, läuft jetzt eine Woche lang die Klang-Installations-Fassung…

Es gibt ausserdem eine schöne Fotostrecke vom Konzert…
https://trafo.art/en/max-joytraffiction8-kanalowa-instalacja-dzwiekowa/

===

english version:

After my concert at TRAFO in Szczecin (Stettin)/Poland on Nov. 4th 2024, the sound installation version is now running for a week…

There is also a nice photo gallery of the concert…
https://trafo.art/en/max-joytraffiction8-kanalowa-instalacja-dzwiekowa/

===

Lieber Gruß / greetings,
Penko aka Max Joy.