Synapse: Collaboration between the arts and sciences has the potential to create new knowledge, ideas and processes beneficial to both fields. Artists and scientists approach creativity, exploration and research in different ways and from different perspectives; when working together they open up new ways of seeing, experiencing and interpreting the world around us. For the past decade, the Australian Network for Art & Technology (ANAT) has provided opportunities for artists and scientists to work together. Through Synapse, and in partnership with the Australia Council for the Arts, ANAT offers residencies, the Synapse Database and now ANAT is pleased to announce its latest initiative: a moderated elist discussion on contemporary art and science collaborations in fields including bioart, artificial intelligence, robotics, climate change and space, amongst others. You can subscribe here. Continue reading

[Image: Iannis Xenakis - Metastasis (1955)] “The computing machine is a marvelous invention and seems almost superhuman. But in reality it is as limited as the mind of the individual who feeds it material. Like the computer, the machines we use for making music can only give back what we put into them.” Varèse, E. 2004. “The Liberation of Sound.” In Audio Culture: Readings in Modern Music. C. Cox and D. Warner, eds. New York: Continuum.

http://algorithmic.net/ provides a comprehensive research resource for computer aided algorithmic music composition, including over one-thousand research listings, over one hundred system listings, cross referenced links to research, links to software downloads and documentation, and web-based tools for searching and filtering the complete lexicon. Continue reading

120 Years Of Electronic Music charts the development of electronic musical instruments from 1870 to 1990. For the purposes of this project electronic musical instruments are defined as instruments that synthesise sounds from an electronic source. This definition leaves out a whole section of hybrid electronic instruments developed at the end of the last century that used electronics to manipulate or amplify sounds and tape recorders/ Musique Concrete, it has been decided to leave in some non electronic instruments such as the Futurists “Intonarumori” due to their importance in the history of modern music. Continue reading

half/theory represents a loose collective of Australian and New Zealand artists and researchers involved in experimental music, emerging artforms, education, and esoteric research. half/theory provides extremely cheap web server space as a platform for representing some of the many dedicated and unique projects from Australia and New Zealand that would otherwise remain in obscurity. The half/theory shop provides a central marketplace for the world to obtain works by people in the collective. It is intended that the majority of these works will be self-published, sometimes in handmade or numbered editions, and only available in small quantities. half/theory was established by improvising musician and website administrator Scott Sinclair in 2003. Continue reading

Acusmatica.org: What is RedASLA? Rodrigo Sigal - RedAlsa: The Network for Latin-American Sonic Arts. Acusmatica.org: Why was the RedASLA born? Rodrigo Sigal - RedAlsa: A group of composers wanted to be able to exchange experiences, music, information and be able to plan concerts, festivals, publications, etc… without always having to go through Europe or the USA. It is funny how nowadays more links between Latin-American composers working with technology are done in Europe than in Latin America. Continue reading

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The Future of Music: Manifesto for the Digital Music Revolution by Kusek, Dave and Leonhard, Gerd :: Berklee Press Publications, Oxford (2005)

Table of Contents

1. Music Like Water
2. Our Top-10 Truths of the Music Business
3. Futurizing some Popular Music Industry Myths
4. The Future of Music Marketing and Promotion
5. The Future of Music Distribution and Acquisition
6. The Digital Kids and the Changing Marketplace
7. A New Music Economy
8. How Technology Will Rewire the Music Business
9. Megatrends that Will Impact the Future of Music
10. Onto the Future Continue reading

STEIM (the studio for electro-instrumental music) is the only independent live electronic music centre in the world that is exclusively dedicated to the performing arts. The foundation’s artistic and technical departments supports an international community of performers and musicians, and a growing group of visual artists, to develop unique instruments for their work. STEIM invites these people for residencies and provides them with an artistic and technical environment in which concepts can be given concrete form. It catalyzes their ideas by providing critical feedback grounded in professional experience. These new creations are then exposed to a receptive responsive niche public at STEIM before being groomed for a larger audience. Continue reading

Other Minds (based in San Francisco) welcomes you to radiOM[ray-dee-om].org - the website that brings you the sounds of revelationary new music and the voices of the revelationists themselves. Our offerings include interviews with some of the most influential composers of our time including Lou Harrison, Brian Eno, John Cage, Laurie Anderson, György Ligeti, and Anthony Braxton.

We also offer concerts, sound poetry performances, lectures and documentaries in classical music, jazz, experimental music and other forms. The material you will find here is gleaned from thousands of hours of audio recordings from KPFA-FM radio in Berkeley (1949-1995), and concerts and talks produced by Other Minds in San Francisco (1993-2005). Continue reading