Workshop:Data Workshop 5.0: “Sound Dig”Location:This workshop will be hosted by IMOCA at Plane / Site Galleries on Lad Lane,Dublin 2, just off Baggot Street.Cost:30 EURO (for basic materials, etc..) - 25 EURO for StudentsWhen:30th of August from 10.30 to 17.30Instructors:Lead by Dave Lawrence (UK)Dave Lawrence sound artist/performer, and specialising in digital creativity at Middlesex University (London UK) - someone that ’meddles’ with objects and devices (analogue/electrical/electronic/digital) as part of the practice of exploring sound, its science & nature, composition aesthetics, and the technology & interaction issues involved. Dr Dave, aka Sponde, has created numerous collaborative installations and performances in the UK, and across Europe in Germany, Finland, Portugal, Poland, Greece, and Denmark, and soon to be in The Republic of Ireland.Workshop Description:If you are interested in sound itself and the prospect of prospecting for sound amongst relics of technology and in the physical structures that carry technology, then this workshop might be for you. Its going to be like an archaeological dig – but it’s a delicate search through the architecture and workings of whatever items of technology we can find – almost new, retro, and totally archaic – a search for sound.Bring some things with you to investigate (anything electronic, or something with a motor or some electrical components – any technology really … steam powered would be great.. or mechanical..) – preferably items that hardly ever get used or are gathering dust on the bottom shelf in the kitchen, or in the garage…. and lets explore the possibilities of finding and making interesting sounds. Also, if you have a device to collect and record sounds it might be helpful to bring that along too – but we will have some equipment to share.We will be using custom made contact mics, air mics, picups, an MI5 telephone surveillance device, a VLF receiver, and maybe special vibrating devices here and there too (pending airport security approval…). It will almost certainly involve a degree of surgery (intrusive and non intrusive) to make physical and non-tactile connections to draw out the sounds. Its about caring for the technology, and being respectful of its history, construction and design – being imaginative about sonic potential, and nurturing the new life (sonic and creative) that you can give to that archaic piece of technology.We will use the sounds made and captured to make composition recordings, and also design how our ‘sound dig’ interventions could be used in live performance. As we are working with real objects and technology, there is a sculptural element to what we will be doing too. We hope to make a live public performance on the evening of the workshop, and if you are interested you could take part. The emotional impact of sounds made or captured from physical and real objects/devices can be immense, and that will hopefully be experienced in the workshop. The sounds carry with them the history and nature of that object.To take part in the workshop, you don’t need to be a skilled musician or technician, or experienced in making music in any way (but its fine if you are!) – but you definitely do need to like sound itself, …. and have some time on Sun 30th August 2009,….. and be in Dublin.Registration hereRead more…
15 Variations based on Bach’s Golberg’s will be performed with a live string quartet under the direction of Jeremiah Bornfield at Galapagos on August 24th. The video will be projected during the performance. Due to the tight time constraint, time flexibility to meet and rehearse is crucial.I am looking for a dancer with a classical modern dance background. The video will be shot in one continuous master shot with choreographed camera dolly movements. The dancer will also perform the dance backwards as an in camera effect that will be manipulated in post-production. There will be plenty of room for artistic interpretation and collaboration is encouraged.Music Arrangement:http://www.plrcounterpoint.com/?p=182(playlist order: Aria, Variation 1, Variation 2, Canon at Unison, Variation 4, Variation 5, Canon at the Second, Variation 7, Variation 8, Canon at the Third, Fughetta, Variation 11, Canon at the Fourth, Variation 13, Variation 14, Canon at the Fifth, Aria again) total: 15 minutes 29 secondsInspiration Video:Walking on AirAnother video the collaborators really liked:Tentative Schedule:Initial Meeting: August 13th - August 15th (~2 hours, flexible with the date and time)Rehearsal: August 17th - August 20th (~4 hours, flexible with the date and time)Film Production: August 21st or August 22nd (~6 hours, location has yet to be secured)If your interested or have any questions, please call Robert Moon at 610-888-3498 or email at robertcmoon@gmail.comRead more…
HiIn the one and last post i wrote, i talked about Granular Synthesisand some way to use midi controllers to change an object parameters in Max/MspWell the following is a simple abstraction that will allow you to do thati will talk about granulation afterwardsMidiControler1/ open a patch you've already created let us say with the object munger~ (granular) one example below.2/ create an object typed in : "p" for patcher3/ an empty window will appear4/ built the following program in it
5/ save it as MidiControl #1, for example (thus you'll be saving an abstraction (sub-patch) within your main patch, it should be always in the same folder ).Afterwards all you have to do in your main patch is to create as many MidiControl objects as you needto connect to the parameters you want to change on the fly, in real time.what is important is the variable #1all you need to do is to replace the variable #1 with the number of your midi controler (use miditester in Max/Msp Extras to learn these numbers, or just take a look at the abstraction - double click on MidiControler #1 object and check the number box : the one on the right (second outlet) : controler number and you'll have the information)It will update the abstraction with that numberex:
in order to use my controler N° 17 :
automatically it will change in the abstraction
and in the main patch, connect it to control, for example, the pan spread parameter of the munger~ object :
explanation of the patch above and Granulation :What is important is the scale objectin order to match the input values of the parameters of your object (here the pan spread of the munger~)the scale object "scales" the output values of your midi controler (here a slider) which goes from 0 to 127 (midi norm)to that of the pan spread which goes from 0. (center of the stereo image) to 1. completley spread left and rightN.B. Each parameter has its own range of let's say variation
well the munger~ object is a very powerful granulator with plenty of parameters that will let you disarticulate any sound in a subtle wayit is free and you can find it here : http://www.music.columbia.edu/PeRColate/the package is full of surprise!!munger~ is more an effect treatment than a granular synthesis though it uses the same principleuse the munger~ help object it is well documented and you can already experiment with it(my patch won't work correctly as it is we need to give to munger~ more specific values: grain size, grain size duration etc.. check the munger~ help patch in the package you'll download, i think it is self-explanatory, otherwise ask questions !)you can even use a microphone and work on your voice in real time!
After finally getting through to Marlon -- "So you want the Max Msp discount eh" -- I got all the emailed instructions from Cycling 74 about how to start my mystical journey into the program that is spoken of in revered tones throughout the academic electronic music world.What will be interesting to readers of these posts is the fact that I actually have ADD which wasn't diagnosed until I was 45 - 11 years ago - and my mind constantly branches off. I just looked out my window and saw the first of many groups of 20-40 somethings that jog up and down my street each day -- all dressed in matching spandex -- while the city actually blocked off the street to work on a small bridge that they worked on last summer. I'm thinking that maybe I will someday be able to write a max msp patch that will actually fix the damn bridge or a patch that will change the colors on all the joggers matching spandex outfits. During the course of the last sentence the joggers took off then returned to the starting point for the first of many water breaks. Another thought bubble -- can I make a patch that moves the lot of them more than 40 feet at a time. Now they're back again.I know that in my mind Max Msp is the program that can data stream bits and bytes to do anything. Someone once told me you could run a factory with it. I was once on a concert bill with someone who wrote a Max Msp patch that triggered various hardware in a suitcase through a wireless feed from his Mac. The sounds that resulted were voices that said "Let me out of here" and various crashes and knocks. His portion of the academic computer music festival almost didn't happen cause his Mac crashed. I later heard he also got a gig teaching electronic music as this was his doctoral project. I used my old PC laptop...ran a bunch of Reaktor modules with customized samples/patches and played over an hour improvising with a keyboardist and midi wind controller guy. Folks told us they loved it cause it was fresh...So now onto my first foray into Max land which will hopefully help anyone who wants to go there. I installed it on a Dell Inspiron 9100 with 1 gig of Ram Pentium 4 CPU 3.00 GHZ 2.99 GHz -- than followed the directions. Rebooted my machine. Opened Max Msp ...authorized it via the internet...all the while in the back of my head was a post that I remember reading by Ernest Meyer about problems with Max and Win XP -- Ernest if I'm wrong sorry but somehow somewhere that is the jist of that thought bubble -- and after setting up my audio cards and midi I ran a patch. NO SOUND. Tried it again. Nothing. Got out of Max and tried Ableton Live...Nothing. However I'm watching the signals work so I know data's happening. All the while I'm going through all my connections...trying different cords...Nothing. Called Max Msp tech support and they said "We've never heard of this problem. It can't be Max, must be your computer." Now before I called I'd gone into the Control Panel and checked through the System, Sounds and Audio devices, and even the internal laptop sound card settings....everything said...this device is running fine. After getting off the phone -- I'd even unplugged and replugged in my power cords -- I decided to uninstall/reinstall the soundcards. So I hit the echo indigo spot...got the latest driver which was already installed...and went to Dell drivers and went to download the soundcard driver from there. Unfortunately at Dell now, instead of getting a specific driver, you get a download manager. So I ran it and got all drivers fine. Went back to the site to get the one driver as it said on the dl manager that if you needed a specific driver after running this app just dl it. Everything on the Dell site for the SigmaTel driver led me to their Download manager. I kept thinking about how far up the tech support chain I'd have to go to get that one driver. Uninstalled Max 5, echo indigo card, cleaned the registry which since I use audio I do on a daily basis, booted down. Booted up ...reinstalled the echo card...no Max5 anywhere on the computer...brought up a program and nothing. We are now hitting hour two. Then I thought the one thing I haven't done is tried headphones. Plugged them in ...ran a reaktor patch and had sound. Thought WTF. So I again test all the chords on my speakers and the power chord....everything looked fine. Tried to run the speakers....nothing. Again phones -- fine. Unplugged for the eighth time the speaker's power chord and at this point....looking carefully at the chord through my trifocals I finally noticed that after five years the wire from the unit had on that day finally come undone. And it had decided to break when I installed MaxMsp as earlier yesterday I worked making samples and patches with no problems. At this point I flashed that somehow someway the curse of the Ernest Meyer thought bubble had occurred.Plugged in my backup speakers, reinstalled Max5 and ran the example patches -- No problems. In future posts I'm going to write about my process of learning this program. I constantly troubleshoot systems for people so I have a mental checklist memorized but a microscopic fray in a chord eluded me.Steve
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SUPERFRONT goes to Hollywood - DANCE PARTY CELEBRATION ART RAFFLE!....celebrating the opening of SUPERFRONT LA at the Pacific Design Center in West HollywoodCome party with us in Brooklyn - but Hollywood style.FRIDAY AUGUST 7 9PM - 2AMDANCE PARTYat SUPERFRONT BK$10 pre-ordered ticket - ORDER NOW! http://superfrontdanceparty.eventbrite.com/$15 at the door- first 20 guests a free SUPERFRONT T-shirt!!- free wine! all night (until we drink it all)- performances by Kinetic Junglist Movement*- raffle of artwork by Sienna Shields Horton, color prints valued at $200- special guest DJ*Kinetic Jungle Movement was founded in 2004 by artistic director Amy Secada, a young and talented dance artist with a vision: enlighten and inspire through untamed musical scores, unprecedentedphysical expression, and innovative visual effects.www.superfront.org
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Hello all dance-tech colleagues!I am pleased to share with you the news on the most recent recipients of EMPAC's commissioning program for dance on screen works.This is the third group of works in our DANCE MOViES Commission - the first four works are currently touring, the next four works will premier in November 2009, and now these new FIVE works are slated for premiers in the fall of 2010!Congratulations to the artists!Best,Helene--Hélène Lesterlin (Curator, Dance, EMPAC)inquiries: 518.276.3918 / lesteh@rpi.edu (do not publish)THE EXPERIMENTAL MEDIA AND PERFORMING ARTS CENTER ANNOUNCES WINNERS OF THE DANCE MOViES COMMISSIONS 2009-2010Troy, NY—In one work, three street kids in the streets of Rio seem to juggle air; in another, a dancer and an incandescent hoop rotate in a black void; and in another, multiple video screens installed side by side layer film samples and a dancer’s gestures to create counterpoints of movement and image.EMPAC – the Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute - announces the 5 recipients of the EMPAC DANCE MOViES Commission 2009-2010. Chosen out of 69 project proposals by an international panel of dance-film practitioners, curators and producers, the projects range in format, style and emotional tone: from three-channel video installation to studio-based video shoots to urban interventions.The projects will receive awards ranging from $10,000 to $23,000 and will premiere in the fall of 2010 at EMPAC.The DANCE MOViES Commission is a program launched by EMPAC to support the creation of new works in which dance meets the technologies of the moving image. As the first major commissioning program for dance film established in the US in 2007, it is having a significant national and international impact, making the creation of new works possible. The first four DANCE MOViES Commissions were premiered at EMPAC’s opening celebration in October 2008 and are currently touring to international festivals. The next four projects are in production and will premiere this coming November.EMPAC DANCE MOViES Commission 2009-2010 Recipients(in alphabetical order of titles, with a brief description of the projects and panelists’ comments)Anatomy of Melancholy, Mexico, 10 minutesDirector: Nuria FragosoTwo contrasting spaces – one light and open, the other constrained and dark – form the built environment for dancers moving against expectation. Visual metaphors about spaces and intentions.“A collaborative group of young Mexican artists presents a very clear and concrete proposal, with an extremely strong aesthetic sense centered upon the body in space.”HOOP, Canada, 4 minutesDirector: Marites Carino, Choreographer/Performer: Rebecca Halls, Composer: Anthony Tan, D.O.P.: Donald RobitailleA woman floats in a black void, swinging through shafts of light, keeping in perpetual motion an incandescent and familiar circular childhood toy.“A compact, visually dynamic, playful, movement portrait, chosen for the clarity of its intent and the crispness of its imagery.”(This project was also awarded the BravoFACT! commission in Canada)MO-SO, USA, 12 minutes - looping video installationDirector: Kasumi, Composer: Fang Man, Dancer: Chan U HongA three-channel video installation for film samples and dancer. Fragmentary and symbolically charged images serve as a basis for improvisation by the dancer. The footage of the dancer is then fed back into the polyphonic narrative, musical and choreographic structure.“This three-channel video expands the definition of a dance screen project. The panel appreciated the way it captures a sense of the movement chaos that surrounds us in contemporary culture.”Q, USA, 12 minutesDirector/Choreographer: Rajendra SerberIn this exploration of urban isolation, three men trace their solitary paths through empty streets at night. When the strangers try to pass each other by, they become locked in anonymous antagonism.“A movement-based study, Q grows from improvisation and choreography in real time, drawing on the choreography of editing.”The closer one gets, the less one sees, Brazil, 12 minutesVideomaker: Valeria Valenzuela, Choreographer: Lilyen Vass, Production: Aura FilmsIntervention in the everyday lives of three jugglers/beggars, who get together at the traffic lights on a street crossing in the city of Rio de Janeiro, transforms the objective action of their juggling into the abstract vocabulary of contemporary dance.“Working with young street jugglers in Rio and transforming their utilitarian movement into contemporary dance, this team provides a transparent proposal, a track record with documentary style filmmaking, and an intriguing concept.”The selection panel comprised Magne Antonsen (Norway), Kelly Hargraves (USA), Nayse Lopez (Brazil), Elizabeth Zimmer (USA), and Hélène Lesterlin, Curator for Dance at EMPAC. Bios of the panelist available at http://www.empac.rpi.edu/commissions/DMC/2009/index.htmlThe Commission is supported by EMPAC’s Jaffe Fund for Experimental Media and the Performing Arts. It is open to artists based in North and South America who are making video, film and installation work.Statistics for DMC 2009-2010Selected from 69 applications, of which 28 were short-listed, the 5 funded projects represent the third round of awards given out through the EMPAC DANCE MOViES Commission. In this year’s pool, 51 of initial proposals came from the US, 7 from Canada, 4 from Argentina, 3 from Brazil, and 2 from Mexico.For more information on DANCE MOViES Commission, as well as the list of shortlisted projects visit: http://empac.rpi.edu/commissions/DMC/
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Wed–Sun 2009/09/02–06
Chris Ziegler: "forest 2 – another midsummer night’s dream"
Theater installation at the ZKM_Media Theater
during museum opening hours, free admission
Live interventions on Sat, Sept 05 and Sun, Sept 06
Chris Ziegler, an artist affiliated with the ZKM, presents his latest theater work “forest 2” as an interactive theater installation. “forest 2,” which is based on Shakespeare’s drama “A Midsummer Night‘s Dream” and Ovid’s “Metamorphoses”, plays with the complex elements of its literary origins. The text written by Michael Hewel weaves together the three motifs of love, art, and death and ties them to the theme of the forest. An extensive installation, which in conjunction with the music by Torsten Brandes and the Ensemble für Neue Musik Schloss Hamborn as well as a specific movement, light, and image architecture, creates an unusual association space in which the forest appears as a site of myths and fairytales, fears and dreams. The audience is invited to explore these different spaces with Puck (Friederike Plafki).
“forest 2” consists of two parts: an exhibition (Wed., Sept. 2nd, to Fri, Sept. 4th) and a performance part on the following weekend of September 05th and 6th.
more... http://on1.zkm.de/zkm/stories/storyReader$6713
Supported by the Landesverband Freier Theater Baden-Württemberg (LAFT), funded through the Ministry of Science, Research and Culture Baden-Württemberg.
Chris Ziegler
mobile +49172 89 56 328
http://www.movingimages.de
//||||| / |< ||| ZKM | Karlsruhe
Center for Art and Media Karlsruhe | Germany
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Take a peek into the processes involved in designing and performing an interactive hybrid artwork. Part installation, part performance and part lecture, A Slice of Light explores the performance and technology collaboration between internationally acclaimed artist Hellen Sky; interactive audio design composer Garth Paine (UWS); Paul Bourke Research Associate Professor for the Western Australian Supercomputer Program (WASP) at UWA; and interactive computer designer Brandon Hur (Melbourne).
The work is essentially a human computer system that was developed during the first stage of their hybrid work, The Darker Edge of Night. Listen as data from brain waves, muscle movement and breath are acoustically projected while real time camera feeds transform into virtual cartographies projected through the gallery as ever changing patterns of movement.
As part of their research process, the collaborators refined movement, images and sound to explore the influence that technology has on our experience of virtual and physical space.
Sky is an innovative contemporary artist whose work generates a conversation between humanity and technology. Awarded an Australia Council Fellowship in 2004, this research was supported by the Australia Council Inter Art Art Lab imitative, and with Culture Lab Art House partnership. PICA continues to support this stage of development through the sharing of research to their public. Sky poetically bridges the human and the technological.
Her projects are multidisciplinary, and merge human creativity with computer productivity to pioneer a language that is better suited to transcribing the experience of the 21st Century.
A Slice of Light :Saturday 8 August – 2 pm and 4 pm
Sunday 9 August – 2 pm
Duration: 40 minutes – no interval
Venue: PICA’s Central Gallery
Tickets: $8 full / $5 Art Addicts and Concession
Bookings: 9228 6300 or online at pica.org.au
For further information, interview opportunities with all of the participating artists and print quality images please contact:
Georgia Malone, Communications Manager, PICA
(08) 9228 6307 or communications@pica.org.au
see www. pica.org.au
About the Perth Institute of Contemporary Arts
Housed in a centrally located, iconic heritage building in Perth’s Cultural Centre, the Perth Institute of Contemporary Arts (PICA) is a place where visitors can experience the work of local, Australian and international artists working in the areas of visual, performing, new media and hybrid arts.
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