LoVid is the New York–based interdisciplinary artist duo Tali Hinkis and Kyle Lapidus. Their work includes live video installations, sculptures, digital prints, patchworks, media projects, performances, and video recordings. They combine many opposing elements, contrasting hard electronics and soft patchworks; handmade items and machine-produced objects; and analog and digital. This multidirectional approach is reflected in the content of their work, simultaneously romantic and aggressive, wireless and wire-full. The artists present their performance Help Carry a Tune (2007) and perform with their Sync Armonica synthesizer.

Program 90 min.
Theater 2 (The Roy and Niuta Titus Theater 2), T2
In the Film exhibition Modern Mondays

The Consortium for Digital Arts, Culture and Technology (cDACT) at Stony Brook University presents the Sonic Residues Festival, April 29th to May 12th, 2008, Stony Brook University.

The Sonic Residues Festival will develop subtle and complex spaces of auditory experience, organized loosely around the theme of the remainders left by vibrations in time and space. It is concerned with sound as a medium of artistic expression encompassing performance, sculpture, phonography, experimental notation, and installation. The festival will synergistically combine a concert performance, a gallery exhibit, a series of portable media works, and provocative lectures as mediums of access to sonic residues.

The Sonic Residues Exhibition will take place in the Student Activities Center Art Gallery at Stony Brook University from April 29th to May 12th, 2008. The exhibition includes works by Mike Dory, Luke DuBois, Grady Gerbracht, Takafumi Ide, Stephen Lee, Annea Lockwood, Martine Loyato, Nobuho Nagasawa, Timothy Nohe, Jxel Rajchenberg, and others. There will also be a segment of European sound and video pieces curated by Valerie Vivancos. In addition, projects for personal media players will be available for download at the website.

The Sonic Residues Concert will take place in the Wang Center Theatre at Stony Brook University on May 12 at 7:30. The show includes Ray Anderson, Matthew Burtner, Odd Nosdam, Charlie Woodman, Pamela Z, Kinesthetech Sense, and other musicians. An after-party will follow the concert at the University Cafe, featuring music by Odd Nosdam and video by Luke DuBois.

The Sonic Residues Lecture Series includes: Luke DuBois (Keynote Speaker), March 26th at 3pm at the Humanities Institute, Rm. 1006; Melissa Ragona, May 7th at 4 pm in the Humanities Institute, Rm. 1006; and Pamela Z, May 12th at 3pm in the Wang Center Chapel.

The Organizers for the Sonic Residues Festival are Christa Erickson, Zabet Patterson, and Margaret Schedel. For further information, please contact Sean Connolly at 631.632.1056 or sonicresidues@gmail.com. Directions to Stony Brook can be found at http://www.stonybrook.edu/sb/directions.shtml.

A residue draws a pattern. It can trace an evolving process, recreate an experience, or reimagine a prior event. It can weave pattern, both absent and present, into meaning. Singing beeps of cellular telephones and quick snips of overheard chatter increasingly punctuate the contemporary sonic landscape. We are constantly enveloped by sound to such an extent that its particular textures often disappear, receding into what we might term ?noise.?

Stanford’s orchestra is comprised of 20 laptop stations, each with a laptop and speaker array. Each speaker array has 6 channels of sound. As Wang says, “You put that together, that’s 120 channels of sound, plus 4 subwoofers for low energy.” The Stanford performance on April 29, 2008 was a first of its kind for laptop orchestras. Musicians from Stanford’s Center for Computer Research in Music and Acoustics (CCRMA) connected with musicians 6,000 miles away in Beijing to perform - in real time via a webcast - a program that celebrated music, technology, and international collaboration, and marked the premiere of the all-new Stanford Laptop Orchestra (SLOrk). Also on the program was guest composer and painter Luo Jingjing, who collaborated with the laptop orchestra to create a new improvisational work on site.

For more information on SLOrk, see http://slork.stanford.edu/
For more information on PLOrk, see http://plork.cs.princeton.edu/
Listen to PLOrk at: http://transition.turbulence.org/Works/plork/

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http://abclocal.go.com/kgo/story?section=news/drive_to_discover&id=6107037

Synchronizing metronomes or the physics of coupled dynamic systems (via MusicThing)

The 2008-2009 Workspace Residency will be located on the 29th floor of 120 Broadway in the Financial District. The program offers free studio space for 9 months, a small stipend and access to a community of peers and experts as well as exposure to new audiences at public programs like the final Open Studio Weekend.

Workspace is open to emerging and early-career professional artists working in all disciplines including Drawing, Painting, Photography, Sculpture, Film/Video, Installation/Mixed Media, Sound, Performance and New Media/Computer Arts.

Before applying to Workspace:
Read our application guidelines here: http://lmcc.net/art/residencies/workspace/2008/WkspAG.pdf
RSVP for a Workspace Info Session (Suggested, not required.)
Saturday, March 29 at 4 PM at 200 Hudson Street, 4th Floor
Wednesday, April 9 at 7 PM at 125 Maiden Lane, 2nd Floor
Visit the studios: To see our current studios, attend the Works-in-Progress Open Hours on Friday, March 28 + Saturday, March 29, 12-5PM at 200 Hudson Street, 4th Floor. RSVP is required.

Finished reading the Application Guidelines?
Ready to apply? Complete our Online Form. Start filling out the Online Form ONLY after you have read it entirely and are prepared to complete all fields. Send in or drop off your mail-in materials to LMCC’s office adhering exactly to the instructions in the Application Guidelines. Your application will not be complete until you have submitted both the Online Form and the Mail-in Materials. Your application will only be considered if it is complete and adheres to all guidelines. Late and incomplete applications will not be considered.

Please do not call or email to inquire about results. All applicants will be notified via email about their application status in July 2008.

Note: We will announce the Workspace Writers’ Residency in a separate call. Please note that the 2008-9 deadline for LMCC’s Paris Residency has now passed.

Questions? Let us know: workspaceapp [at] lmcc.net

The Telephone Game: Oil/Water/Ether is a 2007 commission of New Radio and Performing Arts, Inc., for Networked Music Review. It was made possible with funding from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors.

BIOGRAPHY

The Princeton Laptop Orchestra (PLOrk) is a newly established ensemble of computer-based musical meta-instruments. Each instrument consists of a laptop, a multi-channel hemispherical speaker, and a variety of control devices (keyboards, graphics tablets, sensors, etc…). The students who make up the ensemble act as performers, researchers, composers, and software developers. The challenges are many: what kinds of sounds can they create?; how can they physically control these sounds?; how do they compose with these sounds? There are also social questions with musical and technical ramifications: how do they organize a dozen players in this context? with a conductor? via a wireless network?

In its first year of PLOrk’s existence, composers and performers from Princeton and elsewhere developed new pieces for this unprecedented ensemble, including Paul Lansky (Professor of Music at Princeton), Brad Garton (Director of the Columbia Computer Music Center), PLOrk co-founders Dan Trueman and Perry Cook, and several graduate students. They have made extensive use of a new music programming language created by Princeton graduate student (now assistant professor at Stanford University|CCRMA) Ge Wang, called ChucK, which allows the performers to develop new code in performance. In their first major performance (April 2006, Richardson Auditorium) we were joined by the renowned tabla virtuoso Zakir Hussain, legendary accordianist and composer Pauline Oliveros, and the exciting young percussion quartet from New York City, So Percussion. PLOrk was featured in the April issues of the MIT Press Technology Review and Wired Magazine, and performed at the Dartmouth College “Orchestras of Sameness” festival in May 2006.

A friend will always appear at the same light, so you can write or draw on the radio to label it, and the lights are bright so you’ll know a friend has started listening from across the room.

Olinda’s hardware interface already joins the base unit with the friends module. By buying extra modules – or by making their own using the open interface – listeners can adapt their product over time, perhaps adding a remote control or recording. The Olinda pamphlet gives a few ideas of where this might be taken.

With thanks to blog.makezine.

Troika was commissioned by Artwise Curators to create a signature piece at the entrance of the new British Airways luxury lounges in Heathrow Terminal 5.

In response, they created Cloud, a five meter long digital sculpture whose surface is covered with 4638 flip-dots that can be individually addressed by a computer to animate the entire skin of the sculpture. Flip-dots were conventionally used in the 70s and 80s to create signs in train-stations and airports. Troika was fascinated by their materiality, by the way they physically flip from one side to the other. The sound they generate is also instantly reminiscent of travel, and they therefore decided to explore their aesthetic potential in ‘Cloud’.

By audibly flipping between black and silver, the flip-dots create mesmerising waves as they chase across the surface of ‘Cloud’. Reflecting its surrounding colours, the mechanical mass is transformed into an organic form that appears to come alive, shimmering and flirting with the onlookers that pass by from both above and below.

photo © Alex Delfanne/Artwise Curators 2008

The sculpture is located in Terminal 5 in the atrium hall which leads to the British Airways First Class Lounges. The brief from British Airways was open and simple: to create a signature piece that will mark the entrance of the First Class Lounges and signify the transition between the busy shopping floor and the calm and serenity of the lounges.

The project took 8 months in development, manufacturing and installation. Troika was responsible for the concept, design, executive design and engineering, project, production and installation management, and over-viewing all the operations from start to finish.

You can read more about the development process here: http://www.troika.uk.com/cloudmore.htm

Go to the site. Drag instruments, switches, and transporter pipes from the conveyor belt to the checkerboard to make music. Rotate the pieces. Choose a melody. Change pitch, tempo and volume to fine-tune the composition.

Original concept and production by LeCielEstBleu on an initiative of the Cité de la Musique. FluxTunes, the new version of Pâte à Son, all grown-up, will be available soon.

Herbier, by LeCielEstBleu, is an Interactive Kaleidoscope you can play with your microphone. You’ll find it here.

You need Shockwave for both.