The striking similarities between the Tinnitus sounds and the sound produced by positive feedback in electronic circuits processing audio signals suggest that Tinnitus sounds are caused by positive feedback between neurons in the auditory neural system in the brain by inappropriate axon connections.

It is known that learning takes place by weakening or strengthening axon connections in the brain, and that axon connections that are not used will eventually wither away.

The Tinnitus Tamer uses sequences of special tones and silent periods to retrain the neural networks in the auditory system of the brain to weaken, and ultimately eliminate, the positive feedback loop that creates the Tinnitus sound.

The Tinnitus Tamer thus uses the resources of your own body to take care of the Tinnitus in a natural way.

For more information: http://vavsoft.com/Tinnitus_Tamer.html

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.

Ringing Rocks Park, PA

Doleros is an 8-channel surround sound installation that reconstructs the experience of audio tourism at Ringing Rocks Park, a popular boulder field in rural Bucks County, Pennsylvania. Featuring the largest diabase (dolerite) deposit in North America, Ringing Rocks Park offers visitors the opportunity to explore the sonic qualities of the geologic detritus, which produces different ringing qualities when struck. Visitors wander among these boulders and igneous rocks with hammers as they seek out the best sounding and compare and share their discoveries. Unlike other sites of audio-tourism – the Echo Canyon in Utah, the Ear of Dionysus Cave in Sicily, or the “stalacpipe” organ in the Luray Cavern, Virginia – the exploration of the diabase deposits is a collective sound-making activity.

The audio installation at Diapason echoes the experience at Ringing Rocks Park; the surround sound consists of layered field recordings that recreate the actual physical space, and small metal constructions dispersed throughout the room represent and acknowledge the uniqueness of the rocks’ sounds by resonating independently through individually wired speakers. The result is as much an engulfing and cinematic auditory experience as a lively and playful exploration of sound. In addition to his exhibition at Diapason, Cluett will be leading an outing to Ringing Rocks as part of the 2008 Movement Research Festival. More information at: http://www.movementresearch.org

Seth Cluett (b. 1976, Troy, NY) is a composer and visual artist whose work includes photography, drawing, video, sound installation, concert music, performance, and theoretical writing. His pieces are an exploration of the role of sound in everyday life. Operating at the boundary between the auditory and the other senses, his work engages sound’s ability to be both collectively shared and distinctly personal. Many of his pieces investigate the acoustic signature of specific locations, in which sound is experienced as an activity (audio tourism) or as a geologic process.
Seth’s work has been shown/performed at the 10th Rencontres Internationales Paris/Berlin, Palais de Tokyo Museum, Théatre sur le Pavé, and GRM in Paris; the ICA, Mobius Artist Space, MassArt/nonpod in Boston; WPS1/MoMA, Issue Project Room, The Kitchen, Diapason, Engine 27, Tonic, and The Knitting Factory in New York; the Betty Rymer Gallery at the Art Institute of Chicago, Elastic Arts, Heaven, Artemisia, and Deadtech Galleries in Chicago; as well as the Deep Listening Space in Kingston, NY amongst others. His work is documented on Errant Bodies Press, Sedimental, Crank Satori, BoxMedia, and Wavelet Records. He has published articles for The Open Space Magazine, Leonardo Music Journal, 306090, Earshot, and the Journal of the Acoustical Society of America. For more information see http://www.onelonelypixel.org

Diapason gallery for sound and intermedia is a non-profit performance and exhibition space that invites the public, artists and composers to engage with contemporary music and sound practices. Established in 2001 by composer Michael J. Schumacher, Diapason has built on his efforts at Studio Five Beekman, a sound gallery he founded in1996. With two high-quality multichannel sound systems Diapason’s listening environment draws a regular audience, and Diapason continues to be the sole venue in New York City (and one of few internationally) that is dedicated to both presenting multichannel sound installations and providing space for composers and sound artists to experiment, exhibit and perform.

See movie: http://machinatus.net/tec/tec_240.mov

In the adjoining text, I am tracing the development of aural art in the last century, focusing on the role of the artist working with increasingly mechanized composition methods. From serialism, through chance operations, to recursive grammars and neural networks, the composing subject is progressively removed from local decisions and begins designing processes and systems, developing form in the abstract, playing with intensities, with intuition. Combining ideas from Attali, DeLanda, and Deleuze, I am suggesting that recent non-symbolic approaches to AI are more appropriate in the making of art and perhaps also in the modeling of intelligence. I, furthermore, consider the spatiotemporal specificity of sound, examining the behavior of sound empirically, rather than in abstract theoretical terms, exploring some of the codetermining interplay between sound and architecture.

Software simulation: http://machinatus.net/tec/software_a.html
This simulation was originally developed in order to model the expected behavior of the Ecstasy of Communication physical installation. Although the perfect world of software lost the inherent variability of physical systems, the tool proved quite useful in designing the hardware and software used in the actual installation.

After the completion of the hardware installation, the modelling software became its own end, and a host of new features were introduced. Individual nodes can now move about, drawing functions can be limited, and the sound can be filtered. Both potential and actual network connections are shown, and signals along the connections are visible.

SIGNAL is a Raster-Noton supergroup, featuring Carsten Nicolai (aka Alva Noto), Olaf Bender (aka Byetone), and Frank Bretschneider. The trio performs intense, hypnotic music to a spectacular backdrop of graphical information that reveals the complex geometry of the sounds in play. Most of their sound sources are taken from a huge memory bank of music from long jamming sessions dating from the earlydays of Raster-Noton. These are processed and folded into a taut and energetic web of rhythmic clicks, bristling static, and deep bass pulses that are unexpectedly sensuous and undeniably funky. Their most recent album, Robotron, was released in 2007 on Raster-Noton. This will be SIGNAL’s Boston debut.

mp3 of Signal, Robotron: http://www.raster-noton.net/download/rn-69_robotron/02_Ermafa.mp3

Video of Signal Live in Copenhagen: http://www.youtube.com/watch?v=I2kyrrtVy_c

Musician and visual artist CARSTEN NICOLAI (aka ALVA NOTO) works in the transitional area between art and science. In his intensely dynamic work, Nicolai plays with the rules of physicality. Clicks and glitches are not used as ornamental additions, but make up the essential elements of the work, which is often structured around the rhythmic grooves of hip-hop and R&B. Nicolai has performed in many of the world’s most prestigious spaces including The Guggenheim, MOMA SF, MOMA Oxford, NTT Tokyo, Tate Modern, and Venice Biennial. His latest album, unitxt, will be out this summer on Raster-Noton.This will be Nicolai’s Boston debut. Website: http://www.alvanoto.com

FRANK BRETSCHNEIDER is a founding member of Raster-Noton and one of the pioneering figures in ultra minimal post techno. Using the most basic sound sources (sine waves and white noise), Bretschneider creates minimal, flowing pieces with delicate textures and complex rhythmic patterns. Described as “abstract analogue pointilism,” “ambience for spaceports,” and “hypnotic echochamber pulsebeat,” Bretschneider’s subtle and detailed music is echoed by his visuals: perfect translations of the qualities found in music into visual phenomena. His most recent album, Rhythm, was named one of The Wire magazine’s Top 50 Records of 2007. Website: http://www.frankbretschneider.de

Video of Frank Bretschneider Live: http://www.youtube.com/watch?v=1Rb9IGRaOF4&feature=related

OLAF BENDER (aka BYETONE) is a founding member of the Raster-Noton label, as well as its lead designer. Bender creates his music digitally, assembling sine tones into complex sound fabrics of deep sub-bass and rhythmic clicks and crackles. He creates abstract animations to support his abstract music transforming the rhythm of the music into
a graphic equivalent, which he controls in real time. His new album, D.O.A.T. (Death of a Typographer), is due out this summer on Raster-Noton.

mp3 of Olaf Bender, “Plastic Star”: http://www.raster-noton.net/download/rn-81_plasticstar/plasticstar_original.mp3

Links:
Raster-Noton: http://www.raster-noton.de
Basstown: http://basstown.blogspot.com/
Goethe-Institut Boston: http://www.goethe.de/boston
LEF Foundation: http://www.lef-foundation.org/
Non-Event concerts are supported in part by a grant from the LEF Foundation.

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

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.

The group show Voice & Void is dedicated to the representation of the human voice – and its absence – in the visual arts. The voice and its fading away, speech and the loss of speech, both the presence and the immateriality of the voice, the relation between the voice and corporeality as well as sound and image are only a few of the many aspects addressed in this exhibition.

The exhibition studies the effects of a sensual perception being replaced by another one and the conditions under which the voice allows itself to be imparted by other means – be it written notation, technical recordings or visual representation. While the voice has very specific qualities in its immediate expression, “translated into another medium, the voice becomes apparent as a medium.” (Thomas Trummer) The works allude to the relation of image and sound so that they reciprocally define the specific characteristics of imagery and sound, either underscoring or even subverting each other.

The exhibition comprises thirteen very different approaches to “voice and void”. Historical points of reference include Joseph Beuys” legendary performance “How to Explain Pictures to a Dead Hare”(1965) which is featured in Ute Klophaus” photographs; John Cage”s text sheets titled “Lecture on Nothing (Silence)” (1959) where acoustics of a silence imbued with “presence” is implemented both verbally and visually by means of text notations; and VALIE EXPORT”s “Tonfilm” (Sound film) from 1969, showing the draft for a performance in which the voice is manipulated by means of technological interventions in the glottis and the ear.

These early works are followed by a row of contemporary studies on the phenomenon of the voice – also touching upon its absence. One work, by American artist Rachel Berwick, is an installation with two live parrots. In his journey through South America in 1799 explorer Alexander von Humboldt discovered a parrot that was the only surviving living creature which could speak the language of the indigenous tribe of the Mayporé. Humboldt documented 40 words of this lost language that is now being reanimated in Berwick’s work.

In his site-specific installation Hans Schabus refers to the particular acoustic and visual situation of hidden spaces. He makes these spaces accessible to the visitor by transferring them into the exhibition space.

Asta Grőting”s work revolves around the process of ventroloquism where the performer is no longer just the speaker but also the recipient and interlocutor of his own “second voice”.

The exhibition is rounded off by a number of other works by artists such as Janet Cardiff/ Georges Bures Miller, Anna Gaskell, Christian Marclay, Melik Ohanian, Nedko Solakov and Julianne Swartz. They all approach the voice as the vehicle of language, communication and bodily expression.

The curator of the exhibition is Thomas Trummer who developed the project as part of an international fellowship awarded by The Aldrich Contemporary Art Museum in Ridgefield, CT (USA) where the exhibition was shown first.

The whole piece is based on field recordings from: Mamori Lake, Amazonia, Brazil; Alphios Bridge, Ancient Olympia, Greece; Vibrations from the bridge which connects Denmark with Sweden; A bottling plant in operation and hydrophone recordings from Mamori Lake. Also used were sounds and notes from a church organ. Output signals have been manipulated and electronically treated.

Dramazon is made in memory of a long rainy night in Amsterdam… In the era of 01110011000111010110, one thing remains stable and it will remain stable and non-mutated for eternity. The way people kiss, the way bodies are connected…
Listen >>

TouchRadio is internet audio broadcast streaming direct from the server. To listen you need a mp3 player app. that supports streaming such as Apple’s iTunes for Mac and PC. In the archive >>: Jana Winderen, Guðni Franzson, Lasse Marhaug, Chris Watson, Steve Roden, Leif Elggren, Scott Taylor, The Skull Defekts, Daniel Menche, Fennesz/Rehberg/Toral & Feliciano, Brandon LaBelle, Stephan Mathieu, Leif Inge, Jacob Kirkegaard, People Like Us, KK.Null, Peter Rehberg, Toshiya Tsunoda, Philip Jeck, z’ev, Christian Fennesz & Max Nagl, Carl Michael von Hausswolff, BJNilsen.