Welcome to a late February 2008 issue of Networked Music Review Newsletter, a monthly review of some of the many events archived on Networked_Music_Review [to receive this via email, subscribe here].

In the recently launched interview by Peter Traub, Stephen Vitiello, talks about his residency in the World Trade Center and how hearing made him feel “the distance and height of the building more than seeing.”

It’s taken me some time to understand that one of the central and perhaps the most exciting consequences of the emergence of sound art as a prominent practice is the enhancement of our sensorial experience. An inroad into the hegemony of vision is being made. And with it comes a deeper understanding of acoustical perception and how, through non-visual means, elements of environmental space can be revealed. Continue reading

Welcome to the January 2008 issue of Networked Music Review Newsletter, a monthly review of some of the many events archived on Networked_Music_Review [to receive this via email, subscribe here].

It seems to me that play has become an ever more significant aspect of networked activities, and while much of this is brought about by the participatory nature of the work, it also exists in work that is “through-composed” or out of the hands of the listener. Continue reading

Welcome to the December issue of Networked Music Review Newsletter, a monthly review of some of the many events archived on Networked_Music_Review [to receive this via email, subscribe here].

I had promised myself not to write about sound this month, but find it impossible to resist mention of three works in which sonification of aspects of the environment plays a part: Continue reading

Welcome to the November issue of Networked Music Review Newsletter, a monthly review of some of the many events archived on Networked_Music_Review [to receive this via email, subscribe here].

Each month for several months now I’ve talked about the number of NMR blogs that deal with sound art, the wide range of practices – sound sculptures, sound installations, performances, environments, to mention only four - and the increasing use of non-musical sounds. I will do the same again, referencing some of the many sound works that were blogged in November. Continue reading

Welcome to the sixth issue of Networked Music Review Newsletter, a monthly review of some of the many events archived on Networked_Music_Review [to receive this via email, subscribe here].

I’ve talked about the number of NMR blogs that deal with sound art works, the wide range of practices – sound sculptures, sound installations, performances, environments, to mention four - and the increasing use of non-musical sounds. Continue reading

Welcome to the fifth issue of Networked Music Review Newsletter, a monthly review of some of the many events archived on Networked_Music_Review [to receive this via email, subscribe here].

Once again sound projects have played a major role in the posts. There were numerous sound art festivals such as ctrl_alt_del in Turkey and Audiospace 2007. You can listen to Audiospace’s received submissions, including one performed by Second Life’s Avatar Orchestra at the above URL. Continue reading

Welcome to the fourth issue of Networked Music Review Newsletter, a monthly review of some of the many events archived on Networked_Music_Review [to receive this via email, subscribe here].

Once again sound played a significant role in the month’s entries. From the interview with Max Neuhaus, pioneer of artistic activities with sound and coiner of the now familiar term “sound installation” to Music for Rocks and Water by Cheryl Leonard, where three performers play water and rocks, dripping, drizzling, pouring, rolling, rocking, brushing, rubbing, and stacking them; Continue reading

Welcome to the third issue of Networked Music Review Newsletter, a monthly review of some of the many events archived on Networked_Music_Review [to receive this via email, subscribe here].

From soundscapes to sound sculptures, to a festival of found sound, and works that reproduce the microscopic sounds of plants and trees and the micro-activity of the body, sound played a significant role in this month’s entries.

Digital Art Weeks, Zurich, Switzerland ran a soundscape competition with soundscapes submitted in three categories: the Real World, the Virtual World and Mixed Worlds.
July also saw the opening of Greylock Arts, a new gallery in Adams, MA (USA) with a show of interactive audio sculptures by Gregory Shakar called Mood Vectors, where participants may encounter melodic bolts of lightning, giant sonorous metronomes, and enormous undulating pixels. Continue reading

Welcome to the second issue of Networked Music Review Newsletter, a monthly review of some of the many events archived on Networked_Music_Review [to receive this via email, subscribe here].

This month’s blog was filled with entries about audio-visual work; from Harvestworks’ Crackle, Noise & Light, an evening of electronic sound and video performances that included interactive sound-art and live cinema by NoiseFold (David Stout and Cory Metcalf), as part of the New York Electronic Arts Festival, to performances by LoVid and Zach Layton at Roulette in NYC.

From Cut Chemist (aka Lucas MacFadden ), who presented a video-scratching performance in which he grabbed a digital camera, pointed it at the audience and proceeded to scratch the live footage in sync with the music rhythm, to FEED (Kurt Hentschlager), an audio-visual composition in which audio and video activate one-another; and Audio Kinematics (Jost Muxfeldt), a virtual audio sculpture where sound is visualized and a speeding diagram set to sound - both part of SONAR 2007 in Spain. Continue reading

Welcome to the first issue of the Networked Music Review Newsletter, a monthly review of some of the content archived on Networked_Music_Review [to receive this via email, subscribe here].

NMR interviews an artist every six weeks and encourages its audience to ask questions about his/her work. Our first interviewee was Jason Freeman, who uses new technologies and unconventional notation to turn audiences and musicians into compositional collaborators. Miya Masaoka investigates the sound and movement of insects, as well as the physiological responses of plants, the human brain, and her own body. She is available for questions until July 7.

Two important festivals were noted this month: The New York Electronic Art Festival (NYEAF), and the Mobile Music Workshop hosted by Steim and the Waag Society in Amsterdam. Continue reading