This Month’s Performers: Set 1 - Dan Iglesia - Video Set 1 - Radio Wonderland (Joshua Fried) - Music :: Set 2 - Chika - Video Set 2 - Lilt Marathon - Music :: Set 3 - Richard Garet - Video :: Set 3 - WvS - Music

{R}ake is a performance series of alternative and collaborative electro-acoustic music and video. Performances range from pure
improvisation to more structured pieces, with video-artists and musicians working together in exploratory ways.

This month features the “electro” side of electro-acoustic music. Dan Iglesia performs experimental live video with Radio Wonderland/Joshua Fried, who creates electronic music with a laptop and multitude of eclectic devices; Chika creates her audio-reactive, illustrative video with the laptop/electronics duo Lilt Marathon; and Richard Garet creates his self-generated, sometimes aggressive, sometimes environmental video with the abstract electronic audio of WvS.

Monkey Town serves dinner during the show, so come hungry. Seating is limited — It’s a good idea to make reservations on their website.

In the framework of “Waves -The Art of the Electromagnetic Society”, HMKV in the PHOENIX Halle Dortmund, May 10 - June 29, 2008, opening: Friday, May 9, 2008, 19:00, www.hmkv.de

Tonewheels is an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth-century electronic music inventions. Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures, while projected graphical loops and textures add richness to the visual environment. This all-analogue set is performed entirely live without the use of computers, using only overhead projectors as light source, performance interface, and audience display. In this way, Tonewheels aims to open up the ‘black box’ of electronic music and video by exposing the working processes of the performance for the audience to see.

The Tonewheels workshop will provide an introduction to simple techniques of optical synthesis using overhead projectors, transparencies, motors, lasers, LEDs, simple integrated circuit chips, photoresistors, phototransistors, and photodiodes. It will require no previous knowledge of electronics to take part. Participants will make simple circuits to turn light directly into sound and drive motors which can spin or move transparencies over these circuits. They will also have an opportunity to design sound-producing transparencies, either on the computer using Inkscape or similar drawing software, or by hand using ink pens.

http://umatic.nl/tonewheels.html

Enquiries about the workshop, registration until May 22, 2008: Hartware MedienKunstVerein, info@hmkv.de or Tel +49 - 231 - 823 106

Schedule:
Thu 11:00-19:00 Workshop
Fri 11:00-18:00 Workshop (from 18:00 video
program “Abstracts of Syn” by Medienturm Graz)
Sat 11:00-19:00 Workshop
Sat 20:00 final presentation and performance by Derek Holzer
Sun 11:00 brunch

Regulations:
- the participants will pay the costs for travel, food and accomodation
- free admission
- HMKV recommends the City Hotel Dortmund
(http://www.cityhotel-dortmund.de) or Ruhgebiet
(http://www.ruhgebiet.de)

For any further information, please contact:
Hartware MedienKunstVerein
Guentherstrasse 65
D-44143 Dortmund
T ++49 (0) 231 - 823 106
F ++49 (0) 231 - 882 02 40
info@hmkv.de
www.hmkv.de

Workshop and exhibition venue:
PHOENIX Halle Dortmund
Hochofenstr. / Ecke Rombergstr.
Dortmund-Hoerde

The Atrium is one of our busiest exhibition spaces and is used by a wide range of South Hill Park visitors. The space also combines a café and a lounge area and we are particularly interested in site-specific works for the space.

The Sound:Space season also includes the Kinetic Drawings exhibition by Max Eastley and the international Sound:Space symposium on 1 November 2008. For further information, please visit: www.southhillpark.org.uk and www.sound-space.info.

Proposals

The deadline for the proposals is 27 May 2008. There is no fee payable to artists but we provide marketing and technical support. Please indicate your technical requirements in your proposal.

Please send submissions for: Projections :: Download the application form from http://www.sound-space.info and send along with a DVD of your entry to:

Martin Franklin
Digital Media Manager
South Hill Park
Ringmead
Bracknell RG12 7PA
Email: martin@digitalmediacentre.org

or

Wall-based work:
Proposals should include contact details, CV, artistic statement and digital images/film of the proposed work and be sent to:

Dr Outi Remes
Visual Arts and Exhibitions
South Hill Park
Ringmead
Bracknell RG12 7PA
Email: outi.remes@southillpark.org.uk

ISSUE Project Room is thrilled to host pioneering multimedia artist Joshua White and his legendary Joshua Light Show for a week of unique audiovisual collaborations. The residency will involve White’s iconic projections alongside an incredible roster of musicians, with a different musical genre represented on each night of the residency. The Joshua Light Show involves a team of video and light artists, led by White and his senior collaborator, Bec Stupak (Honeygun Labs) to improvise live synesthetic visuals behind a giant rear projection screen, involving the “liquid light” techniques he developed at Bill Graham’s Fillmore East during the late 1960s. In addition, each performance of the light show will feature contributions from a different live-cinema artist, including Seth Kirby, Zach Layton, and Mighty Robot A/V Squad. The residency is curated and produced in collaboration with Nick Hallett and concludes a month of programming at IPR devoted to the Ecstatic Moment.

May 28 ALL-STAR EXPERIMENTAL IMPROVISATION Ikue Mori (electronics), Zeena Parkins (electric harp), Lee Ranaldo (electric guitar) and Marina Rosenfeld (electronics)

May 29 NORTH INDIAN RAGA and TALA (co-presented by Chhandayan) Pandit Samir Chatterjee (tabla) and K.V. Mahabala (sitar)

May 30 FREE JAZZ with Albert-Ayler-inspired quartet, Spiritual Unity Roy Campbell (trumpet) Henry Grimes (bass), Marc Ribot (guitar), Chad Taylor (drums)

May 31 ELECTRONIC MUSIC Soft Circle (Hisham Bharoocha) and Invisible Conga People (Justin Simon, Eric Tsai)

$20 General-admission floor seating (available at the door before each concert) $30 Reserved chair seating can be arranged by email: reservations [at] issueprojectroom.org All performances begin at 8pm.

ISSUE Project Room at the (oa) can factory 232 Third Street at 3rd Ave, 3rd Floor, Brooklyn, NY 11215 F, G to Carroll; F, M, R to 9th Street-4th Ave (718) 330-0313 (venue)

For media inquiries, contact Suzanne Fiol, (718) 812-1129 (cell) For Joshua Light Show inquiries, contact Nick Hallett, nick [at] harknessav.org Images available upon request.

ISSUE Project Room’s Joshua Light Show Residency is made possible through Presentation Funds from the Experimental Television Center. The Experimental Television Center’s Presentation Funds program is supported by the New York State Council on the Arts.

The London art space, E:vent, is among the first to chime-in with an exhibition addressing these issues. Their show, “Sound Proof” (open April 19-May 11), features six artists “using sound materials, drawings, and annotations [to create] audio and visual maps that preserve observations of transformation.” These site-specific works focus on the Lower Lea Valley, below London, which will be virtually reinvented for London 2012. In a way, they will function as aural time capsules–records or “proof” of a space and culture if not doomed for demolition, then certainly slated for overhaul. The valuable question raised by the show is that of preservation–what is deemed worthy of saving (memories, relics, cultural practices) and what is the responsible, effective way to do so. This form of ethnographic programming takes “game art” to another level. - Marisa Olson, Rhizome.

Variations VII is the most recent installment in the Mobius Artists Group’s exploration of John Cage’s eight compositions, titled Variations. Beginning in 1996 with Variations I, in a version for two voices performed by David Miller and Larry Johnson, MAG members and guest artists have studied and performed this series in chronological order. This multiyear project was initiated and is coordinated by David Miller, but each of the projects is essentially collaborative in nature. Working through these radically open-ended compositions, among the most indeterminate of all Cage’s works, has provided the collaborators with an action-research form of insight into one key aspect of Cage’s development.

More important, however, the Mobius realizations of the Variations are aimed at unearthing the potential that these classic “avant-garde” works of the mid-twentieth century have for audiences and artists of our own time. This is especially true for the later works in the series, as they are rarely performed. The first Mobius Artists Group performance of Variations VII, given in March 2007, was the first realization of this work since its original performances in 1966, when it was presented by Experiments in Art and Technology as part of Nine Evenings: Theatre and Engineering.

The Mobius collaborators’ experience in preparing the 2007 performance laid the groundwork for the more fully developed version to be presented this April, including the addition of new team members Alisia Waller and Joshua Jade. The final work in the series, Variations VIII, is projected for performance in 2008-09.

BACKGROUND ON JOHN CAGE’S VARIATIONS VII: In 1966, John Cage and a set of prominent collaborators, including Billy Klüver of Bell Laboratories and David Tudor, presented Variations VII, as part of the series 9 Evenings: Art and Engineering. Performed at the immense New York City Armory under the auspices of Experiments in Art and Technology (E.A.T.), Variations VII was an experiment in making audible the inaudible and transforming the results via live electronic sound processing. By the “inaudible” was meant sounds from the world beyond the Armory space (for example, a restaurant kitchen, the zoo), sounds available in the space itself but generally inaccessible (sounds of the body), and sounds produced by the transformation of non-aural data (particularly via a Geiger counter).

The team of composers working with Cage and Klüver used the metaphor of “fishing” to create a rich and dense soundscape, originating entirely with real-time sources unintended for performance. The Mobius team is developing a 21st-century presentation of Variations VII which, while taking into account what was done in 1966, aims at something different from a reproduction of the original. The sonic “fishing” activities will use a variety of means, from Web-scanning to processes which use no electronic technology. The group will also be fishing in another dimension, with real-time development of projected visual imagery using found material. Finally, the fishing will take place in a set of simultaneous, widening circles, from the performance space itself, to the surrounding neighborhood, remote physical spaces, and the global Web. See Variations VII: FishNet.

About Mobius: Mobius, founded by Marilyn Arsem in 1977, is known for incorporating a wide range of the visual, performing, and media arts into innovative live performance, video, installation and intermedia works. Mobius has produced hundreds of original works that have attained critical acclaim in Boston, nationally and internationally. Works created at Mobius have been presented throughout the North and South America, Europe and Asia.

Mobius has long been committed to creating artist exchange projects bringing artists from different geographic regions to work together. The international exchange projects with artists from Macedonia, Croatia, Poland, and Taiwan have focused on site-specific and publicly-sited work. Mobius has presented work involving thousands of artists over its 30-year history and is recognized as one of the seminal alternative, artist-run organizations in the U.S.

Mobius, Inc is funded by the Tanne Foundation; the Nonsequitur Foundation; the Boston Redevelopment Authority; the LEF Foundation; the Boston Cultural Council, a program of the Mayor’s office on Arts, Tourism, & Special Events; the Foundation for Contemporary Arts; the Oedipus Foundation; and generous private support.

On June 13 2008, Open Ear will host a free one night only event of experimental work in the ATRiuM Theatre at the University of Glamorgan’s newly built ATRiuM, Cardiff School of Creative & Cultural Industries, Cardiff, Wales. Curated by Garrett Lynch the event will present a series of interdisciplinary performances and projections by various artists. Sound and visual artists / groups working across the areas of art, music, media and new technologies within live performance / projected contexts are invited to contribute to this event under an open theme.

What does this mean?

There is no imposed theme instead we want to present a selection of time-based work by artists based on their themes, their continuing research, as an event which will explore the diverse and interdisciplinary nature of audio-visual arts. Proposed performances / projected works can be new or pre-existing works, improvised, dynamically generated (such as software art) or pre-composed, abstract or figurative, individual or collaborative, experimental, site specific and much, much more. All proposals are required to be:

1. time-based (remember this is a audience based event in a theatre)
2. and either audio-visual, audio only or visual only work (selection preference will be given to works which are audio-visual)

Works should aim to be a maximum of 30 minutes each however this is flexible.

As the event is free we are unable to offer individual payment to artists however we will provide access to reasonable requests for equipment (please include a list of requirements in your proposal and we will attempt to cater for this) at the venue and of course the opportunity to present work in one of Cardiff’s newest cutting edge venues.

Proposals should take the form of a word / pdf / rtf / txt document (two pages maximum) with:

1. A description of the work (500 words maximum).
2. Images to give us an idea of the proposed work.
3. A full list of required equipment (please note that the event will host several performers so complex configurations involving lengthy set-up times will not be catered for).
4. Urls to previous examples of work online (videos or sound files online are particularly useful).
5. A short bio (200 words maximum).
6. Artist(s) / group / performer(s) name and full contact details.

Please email proposals as compressed attachments (.zip / .dmg / .sit / .sitx / tar.gz / .tgz) to Garrett Lynch (garrett [at] asquare dot org) no later than 12pm (GMT), Friday 16/05/08.

To get an idea of the type of events we organise please see our website (http://openear.wordpress.com/) for full details of all past events and our YouTube account for videos of pasts events.

:: The Venue ::

The University of Glamorgan’s newly built ATRiuM in Cardiff, Wales opened in 2007 and houses the Cardiff School of Creative & Cultural Industries which comprises of Art & Design, Media & Communication and Drama & Music. Situated in central Cardiff, Wales, this specially-designed building contains cutting edge technology and facilities including industry-standard studios, a theatre and cinema.

Address: ATRiuM Theatre, Adam Street, Cardiff, Wales, CF24 2FN. Detailed information on how to get here can be found on the university website.

Open Ear, audio-visual events and performances are supported by The University of Glamorgan, ATRiuM, Cardiff School of Creative & Cultural Industries, Cardiff, Wales.

The chapter discusses histories of audiovisual performance, including its ancestry in color organs, visual music filmmaking, light shows, cognitive science, and more - as well as various approaches to current practice including VJ’ing, live cinema, and digital media art performance. This one is not available online, but the book is available from the usual sources.

The Cambridge Companion to Electronic Music includes original contributions from many international artists, including Karlheinz Stockhausen and Max Mathews. Chapters introduce the reader to the history and practices of electronic music, including electroacoustic music composition, perceptual aspects and sound synthesis. Considers recent contemporary trends and promotes new movements in this continuously evolving field.

lgOpre (luh - GOP - ruh) is an audiovisual installation of multichannel sound and projected digital animation created with real-time software that links vintage grid pattern algorithms with vinyl record lock-groove samples. The software behind lgOpre, written by the artist, uses customized abstract image generation routines (c.1970), appropriated color schemes, and self-similar number patterns to create an animation that is also a visual controller for a modular digital sound studio. Each of the 34 grid pattern building blocks used for lgOpre is mapped to its own set of processed and unmodified lock-groove samples. The color of the underlying grid is used to select which sound will play as the basic grids from each animation frame are visually highlighted in turn for a determinate duration before advancing to the next frame. Aleatoric color scheme variants introduce a degree of chance to the sound-image mapping.

Compositionally, lgOpre first introduces each visual building block as a full-screen matrix using black and white, grayscale or a few saturated colors to create monochromes or relatively simple patterns accompanied by solo sound samples. The screen splits in half horizontally, then vertically, producing four quadrants with increasing pattern complexity. New color schemes and faster sequencing within a single animation frame trigger the look of blocky color video games or visualized computer core dumps and densely layered multichannel sound.

Locked grooves and the title of Galbraith’s 2002 video Open Research which juxtaposed animated black and white ‘big bit’ grids with human-sized inflatable sculpture from the late-1960s helped give lgOpre its name: locked groove Open research.

David Galbraith is a composer, performer and media artist who lives and works in New York. Galbraith explores the couplings between art, music, technology and the body through his sound installations, video works, custom software and performances using self-built analog electronics. In 2005 Galbraith’s Composition 2005 No. 1: Two Straight Lines Displaced, Nudged and Gently Spun was shown at Diapason and will be included in a forthcoming DVD archive of works exhibited at Diapason.

In 2006 Galbraith received a Finishing Funds grant from the Experimental Television Center/NYSCA for lgOpre, his custom software for sound and image. Galbraith enhanced lgOpre in 2007 to support analog synthesizers at STEIM (Studio for Electro-Instrumental Music) in Amsterdam. His compositions and performances have been presented at The New Museum of Contemporary Art, Tonic, The Stone, Art in General, and free103point9, among other New York venues. Selected solo and group international performances include Erase & Reset: International Night Of Experimental & Electronic Music at Staatsbank Berlin; Garage Festival, Stralsund, Germany; and Musica Pro Nova, Bremen, Germany. Galbraith also performs with the analog synthesis collective Analogos at Diapason.

Galbraith’s visual work has been included in museum exhibitions at P.S.1/MoMA (New York), The New Museum of Contemporary Art (New York), and KW Institute of Contemporary Art (Berlin). Galbraith holds an M.F.A. from California Institute of the Arts (1996) and a B.S. from the University of Wisconsin-Madison (1988). Galbraith also participated in the studio program of the Whitney Museum Independent Study Program in 1996-97.

Diapason gallery for sound and intermedia was founded by composer Michael J. Schumacher in 2001 and its program builds on the efforts of Schumacher’s previous sound space, Studio Five Beekman, founded in 1996. Diapason is the sole venue in New York City and one of few internationally dedicated to the presentation of multichannel sound installation where composers and sound artists can realize their work for an interested public. By providing an optimum listening environment, two high quality multi-channel sound systems, a regular audience, and a place for experimentation, Diapason seeks to engage composers and the public in dialogue about the place of contemporary music and sound practice in a broader cultural context. Diapason is supported by NYSCA, the New York City Department of Cultural Affairs, the Phaedrus Foundation, the Foundation for Contemporary Performance Arts, The Trust for Mutual Understanding, Kirk Radke, and by generous individuals. Diapason is a 501(c)3 organization.

Sculpt is work for sensor gloves, interactive electronics and interactive projected image that explores the relationship between synthetic sound and synthetic image through the tactile nuance of human gesture.

Robert Griffin Byron won the A.B.C. Young Composer’s Award in 1995. Since then, Byron’s chamber music and orchestral works have been heard all across Australia, the United States, and Asia. His work has been performed by the most of Australia’s state orchestras. To date, Byron has received four commissions. In 1997 the West Australian Ballet commissioned the score for the ballet Orlando. In 1998 Future Films commissioned a soundtrack for an art film by Glen Eaves called Structures. The score won the A.B.C. Young Composer Film Award in 1999. Also in 1999 the Australian Ballet commissioned the full-length ballet Mirror Mirror. In 2002 the Ensemble Arcangelo commissioned the chamber work Kaleidoscope, with support from ArtsWA.

In addition to these commissions, Byron’s Piano Sonata No. 2 (Cobalt) was premiered by Michael Kieran Harvey in 1999 at the Calloway Auditorium, U.W.A. Byron’s dance work, Enlightenment, premiered in Bloomington, Indiana, at the Black Box Theater in 2004. Byron collaborated with Choreographer Liz Shea and Lighting Designer Robert Shakespeare, exploring interactive lighting, interactive sound, and choreographic movement. Byron gained second place in the Australian National Harp Composition Competition in 2004 for the work The Moon Methinks Looks with a Watery Eye. In 2006 Byron’s acousmatic work Hip or Hype? was performed at Pixerations in Providence, Rhode Island. His most recent work Swarm, for Perriott Ensemble and Interactive electronics, was premiered by the Boston-based group Dinosaur Annex in 2007.

Byron’s electronic works have been performed at numerous conferences, including the Australasian Computer Music Conference in Melbourne (2002), Perth SPECTRUM conference (2003), Western Australia Converging Technologies conference (2003), SEAMUS conference in San Diego (2003), THRESHOLD at Ball State University in Muncie, Indiana (2004), and Midwest IDEAS Festival (2004, 2005, and 2006). Byron won first place in the audio section at the 2004 and 2005 IDEAS Festivals.

Byron earned his B.Mus. from Edith Cowan in 1997. In 2000 Byron received a Peggy Glanville-Hicks Composer’s Fellowship-in-Residence, where he continued his studies. He earned his M.M. in Computer Music Composition from Indiana University while on a Fulbright Fellowship in 2006. At Indiana, Byron won the 2005 Dean’s Prize for Electroacoustic Composition. He is currently pursuing his Ph.D. in multimedia art at Brown University.