The Art of Transformation (Symposium)

'Intimacy White' (2009), the first dress in the series, is made out of smart foil that becomes transparent when electrified. The distance of a spectator to the dress determines the level of transparency. This first dress received a lot of media attention and is considered highly successful. V2_Lab and Daan Roosegaarde now intend to make a series of 'Intimacy' dresses, each playing with a different material to create a sensual play of shared control.

'Intimacy Lotus' is a new heat-sensitive material by Studio Roosegaarde, responding and physically moving to the subtlest amount of warmth. We invite one designer to create a new interactive dress with the Lotus foil.

'Intimacy Black' is the dark sister of 'Intimacy White'.

We invite one designer to create accessories with the black foil that become
transparent when electrified.

Daan Roosegaarde says: ‘Technology is used here not merely functional but also as a tool to create intimacy as well as privacy on a direct, personal level ... which in our contemporary tech society is becoming increasingly important.’

In order to take this step from one dress to a series of fashion items, V2_Lab and Daan Roosegaarde are looking for:

• Recently graduated or senior year fashion designers (M/F);
• He or she must be able to participate in thought process along the lines set out by V2_Lab and Studio Roosegaarde in the preliminary stages and therefore must be a good team player;
• He or she must be ambitious and determined to achieve our request for success;
• The project starts on 1 May 2010. It is a full-time position for a period of 8 weeks.

• Access to functioning new technology, an existing prototype and an artist' Impression of the intended final product;
• A workplace at V2_Lab;
• The opportunity to collaborate with an experienced, interdisciplinary team;
• Technical support and backup;
• Exhibition of the end result;
• Name credit.

V2_Institute for the Unstable Media

Attn. Piem Wirtz

Eendrachtsstraat 10

3012 XL Rotterdam

Eligible designers will be invited for an interview end of April.

'Intimacy'

http://www.v2.nl/lab/projects/intimacy

'Intimacy Project Blends In Latest Technology With The Trendiest In Fashion Today'

http://elitechoice.org/tag/studio-roosegaarde-v2-lab/

'Intimacy: A Sensitive High-tech Garment'

http://ourfavoritegadgets.blogspot.com/2009/12/intimacy-sensitive-high-tech-garment.html

'Intimacy— A Sensual Haute-tech Wearable'

http://www.fashioningtech.com/profiles/blog/show?id=2095467%3ABlogPost%3A12563

THE TELEPRESENT SELF

WEEKS:

1. Who, what, why, where, when, how, how much are you? Gather images ofyour grandparents and parents. Doctor them in Photoshop and ‘cartoonize’ programs. Start collectiveblog. Get/expand face book, flicker,you tube, second life, twitter, sketchup warehouse, and other select socialmedia sites. Pose on some of theseas another gender, race, class, nationality, or ghost/spirit/vampire/etc. Start comic life or comic bookmaker. Start your graphic novel.Collective topic: Vitalism contra Materialism. Keep a sketchbook. Open source software to download and touse: comic life, cartoonize, comicbook creator, onyx, audacity, sketchup, blender, processing, open cobalt, openoffice, pure data, gimp, imovie, windows media maker, audacity, gamer, drammatica,and others.

2. Interaction in art and tech! Why? Start your rant! Assignments due online! Adialog with sentience at the beginning and the end of the world. Post it on you tube. Start to turn the rant into a storywith a storyboard. Continue with the social media sites. Storyboard a sci-fi narrative about abiosphere in trouble. Make music!yes""> Study sketchup.

3. Liquid boundaries! Describe that! Continue to rant! Discuss storyboard in class. Music of the spheres! The virtual performer! Chart a map of your telepresent (fictional or non-fictional!) on a map. Fall in love! Savethe world! Visit visual complexityand complexification. Continuesci-fi story of biosphere. Placeyour family within it.

4. Liminal space! What does it mean to exist between? Start a fictitiousromance! Weave all of this intoyour graphic novel. Place personalphotos within the spaces of sketchup as a museum within the biosphere. Do the same on second life. Go to the woods with your digitalcamera. Find textures andsilence. Record this.

5. Collaborating on interactive works. Design and immersivetelepresnet space. Explore patchesin Max/jitter and Processing. Project works on colleagues. Work on a larger piece. Continue the blog and you tube.

6. Avatars! Design a sexy one (male, female, or other) and design theurban transport vehicle for living and moving for the avatar in sketchup. Place results on the sketchup warehouseand second life. Continue novel.

7. Why? Memes and Genes…is the real game Genes? Fold proteins on ‘fold it’. Design a sustainable society for yourfailing biosphere. Engage otherson the social media sites. Midtermperformance! TBD.

8. Where: the big urban planet sinking.yes""> Continue a rant on how to fix the global economy. Engage in skype with a ‘skypepal’. Engage in a conferenceprogram and a possible skype meeting of enemies.yes""> Continue novel and blog and formulate in a story.

9. The big city. The noosphere, the big brain.yes""> You are a part of a large, global telematic city and it issinking! Where are you going for aliving and a job? Who are yougoing to love and where will your genes going?yes""> Picture it. Design it. Draw it. Continue the graphic novel. Blog and vlog your head off.

10. Design the zero-distance space! The university of the future. Add as many human-computer interface devices as possible. Find andcollect all the beginning materials for a brain wave reader. Your assignment is to design an ‘anti-university’to make the present expensive university obsolete!yes""> Treasure hunt.

11. All the world is a stage: use the onstage/offstage metaphor to design the new media performance venue and lifestyle enhancement zone! Prepare some physical computingprojections and VJ programs with dancers and try them out! Continue rants, vlogs, blogs, andgraphic novel.

12. When? What is a time-based performance? Design some artistic program in film,sound, or other media for your smart phone.yes""> Play with time/space.yes""> Study quantum mechanics and physics. Where is time? Maps?yes""> Layout a psycho geography of your past and future time. Where is spectacle in time? Is spectacle obsolete?

13. The body and the verb. To do. Make. Work witha movement performer or athlete. Thehive and the outsider: are you theape in the ant heap? Go to thewoods or beach again at sunset. Describe, record sound, film, and photograph it. Compose this in a sound and real-timepiece.

14. The vital and the material. Are numbers stupid? The will as object and energy. Collaborate on the interactive performance for the media-club performance in NYC.yes""> Hack up, trick up wii, wii fit, joysticks, gyro mouse, irwebcam, braincap, and any other human computer interface. Make ‘future archeology’ of objects,verbs, films, insertions, interventions, and other ‘witnessing’ you will leavein the physical environment.

15. Make a straight, linear storytelling from your graphic novel. Then cutthat up. Add game elements, Do thesame about your life in the past 15 sessions.yes"">

16. Do the big show in the media club in NYC. Invite face book lurkers andthe press. Archive.

http://www.dance-tech.net/forum/topics/on-innovation-in-dance-and

Dance Research Electronic

Dance Research is pleased to invite contributions to Dance Research Electronic, the new exclusively online complement to Dance Research. Dance Research Electronic will have a
dual function. First, it will enable speedy publication of Special Issues or articles containing topical material whose appearance would otherwise be less timely. Second, it will accommodate supplementary material relating to articles published in the print edition, such as lengthy appendices or media files.

For Special Issues and individual articles, abstracts of the relevant material (up to 800 words for Special Issues and up to 200 words for individual articles) will appear in the subsequent print edition. Material which supplements print edition articles will be referenced in the article with the appropriate website address.

Like Dance Research, Dance Research Electronic is required reading for anyone who seeks to keep abreast of developments in the contemporary understanding of dance practice and culture and will appeal to both to scholars and practitioners alike.

Submissions
Please submit your manuscript electronically by emailing it as an attachment to the Editor, Richard Ralph, at wea@nildram.co.uk. For Special Issue on Dance and Neuroscience, see below.

Dance Research Electronic welcomes use made by authors of illustrations,
film and music clips, providing the author has secured permission to reproduce
these materials from the copyright holder. While concision improves chances of
publication, serious consideration will be given to submissions to Dance Research Electronic where the nature and quality of the content justify greater length.

Articles submitted to Dance Research Electronic are subject to blind refereeing procedures.

Digital Images
Guidelines for submission of digital material can be found here:
Guidelines for Submission of Images in Digital Form

Discounts for Authors
Journal Authors are entitled to a 40% discount on the journal issue containing
their paper, a 20% discount on all EUP books and a 10% discount on any journal
subscription. Please contact marketing@eup.ed.ac.uk to order books at discount and journals@eup.ed.ac.uk for discounted journal subscriptions.

Dance Research Electronic: Call for Papers
Special Issue:
Dance and Neuroscience - New Partnerships

Guest Editors:
Corinne Jola, Frank Pollick, and Dee Reynolds

Introduction

‘You get a sense of when the moment is right for something – and for dance,
this is that moment’ (Duncan Gray, commissioning editor of entertainment for
Sky 1). Gray’s statement is a response to the explosion of interest in dance in
the UK.
The current fascination with dance is visible in manifold ways, such as a steep
rise in the number of boys applying to ballet school, increased audience
members for TV, screen and live dance, but also in the numbers participating in
dance, from clubs to community centres. At the same time, the moment is right
for dance-neuroscience partnerships. With current technological developments,
neuroscientists are extending the boundaries of our knowledge of the human
brain. In particular, results from research using brain imaging techniques have
caught the public imagination. Neuroscientists are drawn to study dance
because, as a highly complex form of movement, it offers a fertile field to
explore mind-body processes as well as the neural basis of aesthetics. In turn,
neuroscience offers dance scholars new insights on long-standing debates
concerning mind-body relations in choreographing, performing and watching
dance.

This field has garnered widespread interest, as evidenced by recent research
and public exposure. In ‘The Dancer’s Body: A Machine that Dances’ (BBC
2, September-October 2003), former Royal Ballet prima ballerina Deborah Bull
investigated the science of dance, featuring both choreographers and brain
scientists. Thinking in Four Dimensions: Creativity and Cognition in Contemporary
Dance, appeared in 2005 (Grove et al. 2005). Key studies, including Calvo-Merino et al, 2005 and 2006 and Cross 2008, drew on findings about the so-called mirror neuron system to investigate the relationship between expertise in performing dance and brain activity when watching it. Their conclusions about the influence of motor expertise on brain activity when watching dance have provided a powerful catalyst to debates about kinesthetic empathy in dance spectators (Foster, 2008). Tanz im Kopf / Dance and Cognition (Birringer & Fenger) appeared in 2005. Several interdisciplinary research projects are exploring related issues, and numerous recent symposia and workshops have addressed dance/neuroscience questions. These include The Dancing Brain (Dana Foundation, London, 2003), Dance and the Brain (Frankfurt, 2004), Dance, Movement in Time and Space (with Mark Morris; Society for Neuroscience,Washington DC, 2008), The Embodied Mind (Calouste Gulbenkian Foundation,2008); Research Workshop on Dance and Cognitive Neurosciences (Experimental Psychology Society, London, 2009). Research publications in this field continue to appear (e.g. Calvo-Merino et al, 2008, deLahunta et al, 2009), and Ivar Hagendoorn and Thomas Komendzinski are currently editing a special issue of Phenomenology and the Cognitive Sciences on Dance and Cognitive Science (forthcoming, Fall 2010). Clearly, the dance-neuroscience duet is in the spotlight.

Topics

New partnerships require flexibility and open-mindedness. With the Special
Issue on ‘Dance and Neuroscience – New Partnerships’ we aim to provide a
platform for original research that is relevant to both fields and is presented
in accessible terms We welcome contributions which report the results of
original empirical research and/or which review and assess existing
scholarship, on condition that they throw new light on key issues and
point to innovative directions for the future. As this is an online issue, we
welcome use made by authors of illustrations, film and music clips. Topics we
wish to explore include, but are not limited to, the following:
• What insights do we gain from neuroscientific research on cognitive,
emotional, and physical experiences related to dance and how? For example:
• the multimodal sensory processing used by dancers and dance spectators;
• the reasons why people enjoy performing and watching dance;
• how dancers respond to one another in the group dynamic;
• what neural processes come into play in the act of choreographing dance;
• how choreographers communicate with their dancers, and how dancers visualise
cues and embody them kinesthetically
• What claims made by neuroscience relate to existing debates in dance studies
and how;
• What other disciplines can/should be used to expand/critique knowledge gained
through neuroscience and how? For example:
• Existing or prospective collaborations of neuroscientists and other
disciplines (e.g. cultural studies, philosophy, anthropology, sociology,
qualitative audience research, critical theory) to research this field

Outlines

Prospective contributors are invited to
send a 500-word outline by email to
Katherine.Popperwell@manchester.ac.uk
by 1 May 2010. Abstract submissions will
be subject to blind refereeing procedures. Articles will be chosen for further
consideration by 1 June 2010 and must be submitted in draft by 1 October 2010,
and the definitive version by 30 January 2011. Texts should normally not exceed
7,000 words, including endnotes. However, while concision improves chances of
publication, serious consideration will be given to submissions where the
nature and quality of the content justify greater length. Submissions
must conform to the Dance Research Electronic
stylesheet, which is available upon request. Dance Research Electronic welcomes use made by authors of illustrations,
film and music clips, providing the author has secured permission to reproduce
these materials from the copyright holder. All necessary copyright permissions
must be arranged by individual authors in advance of publication.
Enquiries are most welcome, and should be addressed by email to Dee.Reynolds@manchester.ac.uk.

Publication: Spring 2011

Selected references
BIRRINGER, JOHANNES & FENGER, JOSEPHINE. Tanz im Kopf / Dance
and Cognition (Jahrbuch der Gesellschaft für Tanzforschung 15, Münster: LIT
Verlag, 2005)
BROWN, S., MARTINEZ, MICHAEL J. AND PARSONS, LAWRENCE M. 2006. 'The Neural Basis of Human Dance'. Cerebral Cortex,
16, 1157-1167.
CALVO-MERINO, B., JOLA,C., GLASER,D.E., HAGGARD,P. 2008. 'Towards a
sensorimotor aesthetics of performing art'. Consciousness and Cognition, 17,
911-922.
CALVO-MERINO, B., GRÈZES,J., GLASER,D.E., PASSINGHAM,R.E., HAGGARD,P. 2006.
'Seeing or doing? Influence of visual and motor familiarity in action
observation'. Current Biology, 16, 1905-1910.
CALVO-MERINO, B., GLASER,D.E., GREZES,J., PASSINGHAM,R.E., HAGGARD,P. 2005.
'Action Observation and Acquired Motor Skills: an fMRI Study with Expert
Dancers'. Cerebral Cortex, 15, 1243-1249.
CROSS, E. S., HAMILTON, A. F. D. C., & GRAFTON, S. T. 2006. 'Building a
motor simulation de novo: Observation of dance by dancers'. Neuroimage,
31, 1257-1267.FOSTER, S. 2008. 'Movement's Contagion: The Kinesthetic
Impact of Performance'. In: DAVIS, T. C. (ed.) The Cambridge Companion to Performance Studies. Cambridge: Cambridge
University Press.
DELAHUNTA, S., BARNARD, P.J. & McGREGOR, W. 2009 'Augmenting Choreography:
using insights from Cognitive Science', In BUTTERWORTH, J. AND WILDSCHUT, L.
(eds.) Contemporary Choreography: A Critical Reader.
GRAFTON, S. T., & CROSS, E. S. (2008). Dance and the brain. In C. Asbury
& B. Rich (Eds.), Learning, arts and the brain: The Dana Consortium Report
on arts and cognition (pp. 61-68). New
York: Dana Press.
McCARTHY, R., BLACKWELL, A., DELAHUNTA, S., WING, A., HOLLANDS, K, BARNARD, P, NIMMO-SMITH, I.
& MARCEL, A. (2006) Bodies Meet Minds: Choreography and Cognition,
Leonardo, 39(5), 475-477.

Nits Salvatges (Wild Nights) is a research project that invites different artists to visit residual or tangential environments that open up new lines of investigation within their own personal evolution.

8 new performances by: Esther Ferrer, Oscar Abril Ascaso, Abraham Hurtado, Colectivo 96º, Elena Córdoba - Cristóbal Pera, Amalia Fernández, Gérald Kurdian and Davis Freeman.

Friday April 23th

- Esther Ferrer
- Colectivo 96º
- AmaliaFernández
- OscarAbril Ascaso

Saturday April 24th
- Abraham Hurtado
- Elena Córdoba - Cristóbal Pera
- GéraldKurdian
- DavisFreeman

Where: CCCB - C/ Montalegre, 5 - 08001 Barcelona
When: at 9pm
Price: 5 euros / Reduced: 3 euros - Friends of the CCCB, students, retired, unemployed persons, identification cards of professional associations of scenic arts, identification card libraries, Carnet Jove. Sale anticipated at the ticket offices of the CCCB from the 23/04. Sale of tickets with discounts at ATRAPALO

For this year’s edition, dança em foco – Festival Internacional de Vídeo Dança is launching two grant programs for videodance creation/production. The initiative was made possible because of the new sponsorship of
Petrobras, the Brazilian oil company.

“Historically, dança em foco always supported diffusion and training. Even in our partnerships, we were always concerned with screening videodance and contextualize it through
workshops, debates with local artists etc. Since 2002 we had the idea of
a grant program, but we still couldn’t make it happen. In 2007 we had a
program that awarded videos created for cell phones. This year we
managed to make both happen!”, Paulo Caldas, one of the curators,
celebrates.

The festival will award in the Vídeo1′ program videodances recorder with cell-phone cameras. The videos must be sent until April 23 and they must last up to one minute. Each creator
will be allowed to submit one project and it must have been made from
January 2009 on. Those selected will receive an award of R$ 1.000 and
will be screened at dança em foco 2010.

In the Vídeo5′ program, screenplays for a videodance production of up to 5 minutes will be selected. The projects must be sent until April 30. Those selected will receive from R$ 3.000
to R$ 6.000, according to the project’s budgets.

Both programs seek to award projects that integrate dance and video as an autonomous composition. Besides the two, Rumos Itaú is another program aimed exclusively at the research and
production of videodance. It recently screened the result of its last
edition. Given the growing interest in the videodance language, many
questions arise about what fits into this form of expression.

For Caldas, this debate will go on for a while. “Any difficulty in thinking about videodance is an unfoldment of the issues that emerge with contemporary dance. They are potentiated in the
videodance context. All the tension of experimentation in dance also
appears in videodance. In the curatorship process, I try to look for
movement principles in that piece. It could be the body, editing or
camera. This makes a connection between cinema and dance.”

The regulation is available at the festival’s website. More information may be obtained at edital@dancaemfoco.com.br.

Via: idanca.net

Venues: CUNY Graduate Center (365 5th Ave), Galapagos Art Space (16 Main St., Brooklyn), Issue Project Room (232 3rd St., Brooklyn)

The second New York City Electroacoustic Music Festival presents composers, performers, and media artists from the US and abroad in three days of experimental sound art and multimedia. NYCEMF will showcase over 120 new works and installations, demonstrating the fascinating and wide range of artistic invention that occurs when musicians work with computers, electronics, and new media.

All events at the Graduate Center are free and open to the public. Shows at Galapagos and Issue Project Room are $10-15/person. We hope to see you there!

Festival Concert Schedule (http://www.nycemf.org/schedule/)
Galapagos Arts Space show - a marathon evening of works 3/25 7:15 - midnight! (http://www.galapagosartspace.com/)
Issue Project Room show (http://issueprojectroom.org/)

NYCEMF is sponsored by Meyer Sound. NYCEMF is supported in part by Harvestworks and the CUNY Doctoral Students' Council. Our special thanks go out to David Olan of the Graduate Center Music Department.

FULL SCHEDULE

-------------------------------------------
March 25th - Thursday
-------------------------------------------

Installations 9:00 AM–7:00 PM

* Heather Frasch / Afrooz Family, Post-Industrial Organisms - Room 5409
* Sam Salem, Pond Life II - Room 5489

Concert 1: 11:00 AM–12:00 PM, Segal Hall

* Akira Takaoka, Responsorium
* Jory Smith, X-Lands
* Kotoka Suzuki, Epiphyllum Oxypetalum
* Dan Tramte, Eight Gluons
* Steve Everett, Shiver

Concert 2: 2:15 PM–3:15 PM, Segal Hall

* Keith Hamel, Traces II
* Peter McKinnon, Pianosophagus
* Karen Lauke, Copper Vibrations
* Jorge Sosa, Ariel
* Yota Kobayashi, Kakusei
* Christopher Chandler, The Spark of Opposites

Concert 3: Curated by Robert Dow: 4:00 PM–5:00 PM, Segal Hall

* Pippa Murphy, Postcard from Paris
* Robert Dow, Uncertain Memory
* Diana Simpson, Cipher
* Alistair MacDonald, Equivalence
* Pete Stollery, Vox Magna

Meyer Sound Presentation: 5:00 PM–6:00 PM, Segal Hall
Peter Otto, presenter

* Auditory Illusions, Simulations and Hallucinations: A Spatial Audio Update

Concert 4: 7:15 PM–9:15 PM, Galapagos Art Space

* Ivica Ico Bukvic, derelicts of time
* Andrew Walters, Encroachment
* Christopher Hopkins, The Animus Winds
* Chelsea Leventhal, Breach
* Adam Scott Neal, For Tape
* Krzysztof Wolek, Arguro
* Joshua Fineberg, The Texture of Time
* Andrew S. Allen, Leaflet
* Joshua Clausen, There was a whole, there was beginning, begin there
* Eric Chasalow, Due (Cinta)mani

Concert 5: 9:30 PM–1:00 AM, Galapagos Art Space

* Michael James Olson, Waterstate
* Shield Your Eyes, Shield Your Eyes
* Dimitris Lambrianos, Tetraktys
* Paul Fraser, 8-bit Cycles
* Thomas Royal, Ruptures
* Paola Lopreiato, con forze che si svolgono sferiche
* Yuta Uozumi, biotope
* Ranjit Bhatnagar, Closing Doors
* David Hindman / Evan Drummond, Modal Kombat
* Paul J. Botelho / Russell J. Chartier, CONFINED-10-01-2
* Hannah R. Gilmour, Chill Before Dawn
* Nathan Bowen, Iron Rod
* Howard Kenty, Any Lucky Ten
* kinan azmeh, walls and towers

-------------------------------------------
March 26th - Friday
-------------------------------------------

Installations 9:00 AM–7:00 PM

* Gary DiBenedetto, Grinding Wheel & Scythe - Elebash Lobby
* Zachary Seldess, A Head of View - Elebash Lobby

Concert 6: 11:00 AM–12:00 PM, Segal Hall

* Christopher Burns, Sawtooth
* Burton Beerman, INVISIBLE IMAGES
* Michael Pounds, Recollection
* Felipe Otondo, Ciguri (2008)
* Ragnar Grippe, 8th Abstraction
* Rob Collins, pizz collide

Concert 7: 1:00 PM–2:00 PM, Elebash Hall

* Monique Buzzarté, Subtle Winds
* David Z. Durant, An Owl Drives in the Rain
* Jeff Stadelman, Song of Itself
* Jason H. Mitchell, Sk'elep
* Tom Williams, Can
* Franke Neumann Ruder Schmidt Weinheimer, Frühjahrszug (Spring Migration)

Concert 8: The Tornado Project: 2:15 PM–3:15 PM, Segal Hall
Performed by Esther Lamneck, Clarinet and Elizabeth McNutt, Flute

* Robert Rowe, Primary Colors
* Eric Lyon, Trio
* Paul Wilson, Beneath the Surface
* Andrew May, Still Angry
* Ricardo Climent, Russian Disco

Concert 9: 3:45 PM–4:45 PM, Elebash Hall

* Javier Alejandro Garavaglia, Pathétique
* Cort Lippe, Music for Snare Drum and Computer
* Miguel Chuaqui, Saturniana
* Ronald Keith Parks, Fractures

Concert 10: 5:00 PM–6:00 PM, Segal Hall

* Yen-Ting Cho, Kapsis
* Mark Zaki, Everything We Say is Deformed
* Chikashi Miyama, Thrum
* Claudia Robles, TRAVELOG#1 -Nuit Bleue-
* Christian Banasik, Ihr Fassen nach Wind
* Stephen Travis Pope, Jerusalem's Secrets -
Mass for the New Millennium, Pt. 1
* Young-Shin Choi, UJO IMU III

Concert 11: 7:15 PM–9:15 PM, Elebash Hall

* Anthony Cornicello, Spiral Jetty
* Judith Shatin, For the Birds
* Joo Won Park, Decrescendo
* David Taddie, Licorice Stick Groove
* monty adkins, veil (fabrications 2 : after Pip Dickens)
* Ted Coffey, Blue Cycle: Noise
* John Mallia, Vestibules
* Hans Tutschku, rojo
* Hubert Howe, Clusters
* Izzi Ramkissoon, Domesticated Animalia

-------------------------------------------
March 27th - Saturday
-------------------------------------------

Installations 9:00 AM–7:00 PM

* Jeff Thompson, Glistening Waves - Elebash Lobby

Concert 12: 10:00 AM–10:45 AM, Elebash Hall

* Konstantinos Karathanasis, Dionysus
* Andy Dolphin, ilinx
* Seung-Hye Kim, The Tightrope Dancer
* Michael Drews, Infrastructure

Concert 13: 11:00 AM–12:00 PM, Segal Hall

* Asha Srinivasan, Alone, Dancing
* Bruno Ruviaro, Fonepoemas
* Andrei Foca-Rodi, La Mienne
* Fred Szymanski, Arkose
* M. Anthony Reimer, untitledededede
* Samuel Pellman, M45
* Oliver Carman, Metamorphosis I
* Andrew Babcock, Anagoge

Concert 14: 1:00 PM–2:00 PM, Elebash Hall

* Philip Schuessler, Supercell
* Hila Tamir-Ostrover and Iddo Aharony, Kutra Begulma
* Paul Riker, Commuter
* Richard Zarou, Ad Vitam Aeternam
* Judy Klein, railcar
* Dan VanHassel, Lush Intrinsic

Concert 15: 2:15 PM–3:15 PM, Segal Hall
Performed by Arthur Campbell, Clarinet

* Elizabeth Hoffman, through ripple glass
* Colby Leider, Twin Prime Conjecture
* Maurice Wright, Soliloquies; echoes
* Benjamin Broening, Radiance

Concert 16: 3:45 PM–4:45 PM, Elebash Hall

* Chester Udell, Brass Alchemist
* Richard McCandless, Voyager
* Jason Bolte, Noises Everywhere
* John Gibson, Blue Traces
* Dan Hosken, Dancemad
* James Paul Sain, redbird express

Concert 17: 5:00 PM–6:00 PM, Segal Hall

* Philip White, Quote the Ocean
* Heather Frasch, métal re-sculpté
* Travis Garrison, Untitled 2003
* Bryan Jacobs, A Gentle Ruin
* Jen-Kuang Chang, Drishti III
* Douglas Geers, Inanna's Descent
* David Olan, Alborada for Oboe and Computer-generated Sounds
* Edgar Barroso, ACU

Concert 18: 7:15 PM–8:45 PM, Elebash Hall

* Juraj Kojs, Aiael's Gold
* Braxton Sherouse, splatter, articulate, recurse
* James Dashow, Soundings in Pure Duration N.2a
* Mark Engebretson, SaxMax
* Ryan Olivier, Metronomic Hommage
* Yury Spitsyn, Enertia
* Sebastian Lexer, Dazwischen - An improvisation between the electro - acoustic

Concert 19: 9:30 PM–11:30 PM, Issue Project Room

* Jeff Herriott, dissipation of a thought
* Erik DeLuca, In
* Paul Schuette, Everything Must Come From Something
* Steven Snowden, Fathoms
* Matt Malsky, Thirteen Ways of Listening to a Loudspeaker
* Andrew Greenwald, Block.flt - (for flute and supercollider) (2009)
* Paula Matthusen, rosenthaler
* James Borchers and John Hulsey, 26 Years:1 Week:72 Hours
* Jorge Variego, "Now that you are here"
* R. Luke DuBois, Synaesthetic Object
* Andrew Nemr and Sean Hagerty, Chasing the Train

On March 26, Parsons and MoMA with IFF, Seed, and Coty present Headspace: On Scent as
Design.