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

What does it mean to navigate? What is the importance of location specificity? What does it mean to get lost? The increasing accuracy of satellite navigation strives to eliminate the possibility of human error, but it also produces a sense of dislocation from one’s immediate environment by abstracting location as the coordinates of longitude and latitude. What place is there for one’s body, one’s senses, one’s conscious and unconscious awareness of space, if this knowledge is so apparently made redundant by GPS? What, if any, role can historical skills of navigation at sea, of observation, choice, intuition and improvisation play in navigating the spaces of the future? The symposium Navigating the Space of the Future will take these questions as its starting point to see if we can find our way within the dense environment of global positioning technologies. The field is open but the practice is just starting to form itself by looking at ways to counter locative media strategies where geographical walks are organised that use the city and the street as a playing field negating the relation between space, architecture, time, body and mind. The presentations will focus on new ways of interpreting data of location and navigation by relating these directly to the physical (space) through the use of sound.

Yolande Harris - Sun Run Sun (Artist in Residence NIMk): Sun Run Sun explores the individual experience of current location technologies through a personal experience of sound. It seeks to (re)establish a sense of personal connectedness to one’s environment, and to (re)negotiate this through an investigation into old, new, future and animal navigation using sound. Sun Run Sun investigates the split between the embodied experience of location and the calculated data of position. A series of portable personal instruments ?satellite sounders? developed for the residency, transform satellite data directly into a sonic composition. This composition constantly varies in response to the changing location of the player as they move through their physical environment. ‘The experience of sound is internal, as a process that influences the relationship between the self and the environment. True navigation consists of a continuously coherent relationship between the two.’

David Dunn takes his research into the bioacoustics of bark beetles and entomogenic climate change, and on ultrasonic audio phenomena in both human and non-human environment as starting points to talk about Acoustic Ecologies. He wants to bring forth the sonic presence of these worlds for human contemplation of their inherent aesthetic beauty and to show the amazing continuity of life, with its capacity for infinite variation in audible communication. “Given the superabundance of how music as a human activity has been used, I believe that music has simultaneously been a strategy to evolve our capacity to structurally-couple with our environment through our aural perception, and a significant force for defining the boundaries of group affiliation and for the affirmation of cultural status, giving voice to an evolutionary heritage of an abundance of other coupling modes that are greater than the rational mind alone.” [From Acoustic Ecology and the Experimental Music Tradition by By David Dunn]

Atau Tanaka bridges the fields of media art, experimental music, and research. He creates music for sensor instruments, wireless network infrastructures, and democratized digital forms. Tanaka is best known for his performances where he uses physical gestures to articulate music and sound synthesis and real-time image transformation. For the past years, inspired by the ever-changing social, geographic, ecological, emotional context of using mobile technology for creative ends Tanaka focusses his attention towards mobile media projects. He is exploring the creative, critical and commercial potential of mobile music. “My interest is to take interactive music practice off the stage and outside the concert hall into the urban sphere. Mobile communications devices are meant to connect groups of people. Musical concerts, similarly, are situations that bring people together for a common purpose. Can we elicit commonalities to make a community-based musical process, creating a! shared experience among users?” In his presentation he will pay attention to the description of the architecture of an audio-visual hard- and software framework that was developed for the realization of a series of locative media artworks, and eliciting from this, he brings afore fundamental issues and questions that can be generalized and applicable to the growing practice of locative media.

Netrooms: The Long Feedback is a participatory network piece which invites the public to contribute to an extended feedback loop and delay line across the internet. The work explores the juxtaposition of multiple spaces as the acoustic, the social and the personal environment becomes permanently networked. The performance consists of live manipulation of multiple real-time streams from different locations which receive a common sound source. Netrooms celebrates the private acoustic environment as defined by the space between one audio input (microphone) and output (loudspeaker). The performance of the piece consists of live mixing a feedback loop with the signals from each stream.

To participate email Pedro at P.Rebelo [at] qub.ac.uk by the 1st of April and we will send you a PD patch. You can participate from anywhere in the world with a broadband connection. All you need to do is load the patch during the performance times and listen… You can make a sound, be silent, play music, talk to others and listen… but remember it’s a long feedback loop!

Technical Requirements:

- 1 laptop with Microphone (internal or external) and Loudspeaker (internal or external)
- Pure data-extended 0.39.3-extended
- Patch provided when you email us
- Broadband Connection with UDP and TCP ports 8100 open

Performances:

April 2, 2008 Berkeley, California - CNMAT, University of California Berkeley :: The performance of Netrooms: The Long Feedback is integrated in a concert of music from the Sonic Arts Research Centre. The piece will begin at 8:30pm (PDT)

April 4, 2008 Stanford, California - CCRMA, Stanford University :: The performance of Netrooms: The Long Feedback is integrated in a concert of music from the Sonic Arts Research Centre. The piece will begin at 8:30pm (PDT)

Soundpocket 1 — created for Urban Interface, Oslo (2007) — was installed in a narrow passageway connecting two parts of the city. The soundbeam, which can be as narrow as 50 cm in diameter, was mounted on a pan/tilt head which made it possible to place the sounds very precisely in the passageway. By bouncing the sound off surfaces, it seemed as if the sound could be coming from a window, door, elevator, or a poster on the wall. Most of the sounds seemed to belong to the site; others were slightly out of place, like the sound of a chandelier blowing in the wind.

I wanted it to be slight distortions to the regular soundscape of the passageway, and was pleased to see that the people who used this passageway regularly were noticing these disturbances. This could be described using the first of Barthes´ three listening modes: hearing involves “evaluation of the spatio-temporal situation“ and thus, it is linked to a “notion of territory“. It places the listener on alert when new sounds which don’t “fit in” are heard. By adding an extra layer of sound if also made people focus on the sounds which were already there.

For Soundpocket 2, HC Gilje set up an Internet radio station (using Nicecast), and played sounds from his library of field recordings. He found three locations in Oslo to serve as local radio stations. They were connected to visible cues: a huge oak tree, a small sculpture, and a small pond in the roundabout. The range of the local stations more or less corresponded to these visual cues: if you saw them you would be able to pick up the signal. Gilje used AAREFF FM transmitters placed with the three hosts, who allowed him to pick up their Internet radio streams. The result was three very local radio stations sending out a continuous soundtrack from other places, so somehow these recorded locations came in dialogue with the physical locations of the radio stations. The listening involved active participation from the public as you would need to tune in on your own radio to pick up the broadcast.

HC Gilje works with realtime environments, installations, live performance, set design and singlechannel video. Gilje has presented his work through different channels throughout the world: in concert-venues,theatre and cinema venues, galleries, festivals and through several international dvd releases, including 242.pilots live in Bruxelles on New York label Carpark and Cityscapes on Paris-label Lowave. He was a member of the video-impro trio 242.pilots, and was also the visual motor of kreutzerkompani. In october 2006 Gilje started a 3 year position as a research fellow at Bergen National Academy of the Arts, Norway, exploring how audiovisual technology can be used to transform, create, expand, amplify and interpret physical spaces. He blogs at Conversations with Spaces.

Thomas Ankersmit (born 1979, Leiden, the Netherlands) is a musician and installation artist based in Berlin and Amsterdam. Initially a noise-music inspired saxophonist, his activities expanded to include live electronic music and installation pieces based on architectural acoustics and infrasound. He has been performing solo and in collaboration with other artists such as New York minimalist Phill Niblock, Kevin Drumm, Jim O’Rourke, Gert-Jan Prins, Borbetomagus and Alvin Lucier since 1998. Since 2003, Ankersmit most frequently collaborates with Phill Niblock and Milan-based electroacoustic improviser Giuseppe Ielasi.

Phill Niblock (born 2 October 1933, in Anderson, Indiana) is a minimalist composer, filmmaker, videographer, and director of Experimental Intermedia, a foundation for avant-garde music based in New York. His music usually consists of simultaneous drones created from tape (later computer) manipulations of recorded pitches performed by instrumentalists such as Rafael Toral, David First, Lee Ranaldo, and Thurston Moore, on Guitar Too, for Four (G2,44+1×2); and Ulrich Krieger, on Touch Food.

Sound in Space Explorations, an indiscriminate month of sound performances until March 1, 2008. All events are Free: Sound in Space will traverse diversity by presenting cross sections of the local sound art community. From sound installation to Fluxus note card pieces and field recordings to live ambient music, the topography of the musical fringe is as varied as the community is geographically dispersed.

This is a program for the community by artists in the community. Every performance is free with an aim to urge active collaboration and exchange between artists and audiences. While the sea and space are the dark unknowns, they don’t have to be unknowable. Sound in Space are vehicles with which the community is invited to navigate and explore art that has been termed “experimental,” or “conceptual;” loose terms that create a barrier rather than extend a hand.

Sound Spaces are not just spaces in which sound can be heard. Rather, it is sound itself that creates the space and its special qualities. Therefore the experience of hearing not only enables us to experience the space around us, they can also make it possible to experience physical space as an “inner” space. Bernhard Leitner’s work leads us to a quality of sound (as space) that remains concealed within stimulus streams. It shows the potentials of sensual experience that we are barely conscious of because they are either lost or have remained unknown as possibilities. - Cathrin Pichler

This exhibition addresses the question of the artistic invention of so-called sound sculpture. During the late 1960s in New York, Austrian architect and artist Bernhard Leitner designed the first sound-space sculpture or architecture – a multi-channel architecture of sound – prior to the advent of the technical possibilities required for its realization. The idea stemmed from Leitner’s interest in space (architecture), classical and modern music, modern dance and the spectrum of technologies at the disposal of twentieth-century art.

Conceived in close collaboration with Bernhard Leitner for the Hamburger Bahnhof – Museum für Gegenwart, the present exhibition assembles sketches, notations, models, photographs exclusively pertaining to this early field of experimentation whose scope was initially confined to the realm of theory. At the center of the exhibition in the White Cube is the revival of the first sound-space investigations realized between 1971 and 1973 with the aid of a manual crank-driven circular relay switch and a punchcard programming device. It is not a historical reconstruction, however, but rather a re-inception, on the basis of modern control systems, of the first sound-space-sculpture in the history of the visual arts.

Since 1968 Bernhard Leitner has been designing spaces with sound as material and carrying out theoretical and practical sound-space investigations. Since 1970 Leitner has been exhibiting his sound-space objects and sound-space sculptures in the international context. Leitner’s works have been shown a P.S.1 New York, Künstlerhaus Wien, ZKM Karlsruhe, Kunsthalle Bremen, at documenta 7 and the Donaueschingen Music Days among other key venues. In Berlin his works have been exhibited at the Akademie der Künste, the Klangkunstforum and at sonambiente 1996 and 2006. In 1984 he realized his first permanent public sound-space installation at the Technical University in Berlin. [posted on Mediateletipos]

Over the past year, the Cambridge University City Seminar at CRASSH has explored diverse and enlivening topics in the study of cities, urban space, architecture, and visual and material culture. These topics have ranged widely in time and space, from predictions for the age of the supermetropolis to the use of digital technology in architectural space to an analysis of Mussolini’s use of Rome’s imperial past in the construction of its present.

Out of these encounters emerged an aspiration to allow for a more intense investigation of a particular area within this field. This will find its preliminaryculmination in a one-day conference to be hosted by the City Seminar organisers at CRASSH in Lent term 2008. Taking as its theme the intersection of sound and the city, this seminar seeks to present theoretical, artistic and empirical accounts of the complex relationships between acoustics, sensory awareness and performance in the context of urban space, landscape and the built environment (historic and contemporary). But the concepts of ’sound’ and ‘the city’ are only intended to serve as departure points for more creative reflections on, or interventions into, this theme. A discussion of sound could well include an account of silence, just as a description of a city or urban space might well ask where the city ends and its other begins. Consequently, we expect an eclectic and illuminating discussion stemming from a variety of differing disciplines and backgrounds and forming previously unimagined connections.Confirmed speakers:

• Janet Cardiff (Installation artist, Berlin & New York)
  via videoconference
• Eric Clarke (Professor, Faculty of Music, University of Oxford)
  Various Realities: Sound, Music, and Ecological Theory
• Michael Bull (Media and Film, University of Sussex)
  Sounding Out Cosmopolitanism - Mobile Technologies and the migration of Difference
• Graham Jeffery (Institute for Performing Arts Development (IPAD), University of East London)
  Expanding the learning soundscape: notes from some interventions in urban arts education
• Juliana Hodkinson (Composer and arts writer, Copenhagen)
  Instrumentality and the urban instrumentarium: representation and agency in urban sound art
• Jacob Kreutzfeldt (Arts and Cultural Studies, University of Copenhagen)
  Acoustic territoriality in a Japanese shopping area
• Robin Rimbaud/Scanner (Sound artist and composer, www.scannerdot.com)
  Imaginary Highways: Sound Polaroids in the City

A provisional programme can be downloaded HERE. [posted on Mediateletipos]

Spatial Z is a collaborative composition, jointly written and performed by experimental instrument maker John Bowers, sound artist Ann Rosén and composer Sten-Olof Hellström. The piece explores the spatiality of sound and problematises music as a physical and perceptual phenomenon. What is the connection between music and space? Between instruments and the environments they find themselves in? Between the spaces in which performers interact with their instruments and each other and the audience’s listening space? How wide and high is an abstract sound? What is the relationship between the concert (architectural) space and the (imaginary) spaces suggested in the music itself?

Spatial Z is a composition both in time and space. Sound from the performers will be disseminated through a variety of spaces both real and virtual at varying levels of scale from miniature to the largest imaginable. The concert hall itself becomes a feedback instrument which the audience can engage with by moving around throughout the duration of the piece. By using various unorthodox self-made instruments and techniques such as live coding and circuit bending (where, respectively, hardware and software are manipulated in the performance itself), Bowers, Hellström and Rosén begin to map the ambiguous sonic spaces of Spatial Z.

Ann Rosén: Sound, space, people, meetings, processes and collaborations are all important factors in Ann Roséns art. In her recent works such as Deputy Silences, Schhh and Spatial Silences she explores different aspects of sound and the social context in which it is encountered. As a composer Ann works mainly with EAM (Electr-Acoustic Music) utilizing different surround techniques such as in Surr, IC - first movement, Stress etc. When performing Ann uses a variety of sensor based controllers that she develops and builds herself. In her solo work Ann prefers to work with compositions but together with others such as Hellström and Bowers she often but not always takes on the role as an improviser.

John Bowers is currently a Professorial Research Fellow in the Department of Design at Goldsmiths College, University of London, UK, and a Visiting Research Fellow at the School of Music, University of East Anglia, UK. As an improvising musician, John is part of Tonesucker, an improvising noise metal electric guitar duo (CD Slaughterhouse available on Onoma Research), the Gentlemen of Circuitry, a quartet who play antique and homemade electronic instruments, and the electro-acoustic improvisors The Zapruda Trio (CD Live at Smallfish available on vision-of-sound), amongst other collaborations. Solo work includes The Dial: Have you been to Hilversum? (broadcast by Resonance FM, London), Do It Yourself Silence and Silence Silenced (contributed to the CD A Call for Silence, Sonic Arts Network), and Atonement for Violin Quartet (Norwich Gallery, UK), a four day long performance - installation - webcast revisiting the instrument destruction preoccupations of Fluxus artists. John is co-founder of the Onoma Research music label. A monograph specifying John’s characteristic approach to music, social science research and technical affairs, Improvising Machines, is available here.

Sten-Olof Hellström has been active as a professional composer since 1984 and gained a Masters of Music in composition at University of East Anglia, England 1990. He has been employed as a researcher at the Royal Institute of Technology (KTH) since 1997. As a researcher Sten-Olof has mainly worked in the fields of Human Computer Interaction and sonification (representing data with sound). One example of current work is the construction and development of a computer interface for the visually impaired. Sten-Olof’s main occupation and profession is as a composer working with electro-acoustic music. His music has been performed and broadcast around the world . He is also active as a performer playing live electro-acoustic music on his own and with others such as Ann Rosén, John Bowers, Bennett Hogg and Simon Vincent. Sten Olof is also part of Zapruda Trio, the Aspen Duo, Enscharm and others.

[Image: Spatial Silences by Ann Rosén]

According to a 2003 report from the BBC, Hospital Raymond Poincare is famous for treating road injury victims. Every year 450 deceased people pass through its morgue, and after 40 years of conducting autopsies and talking to bereaved families, chief pathologist Professor Michel Durigon decided it was time to create a Salle des Departs that did not include the traditional red carpet and lugubrious background sound.

Spalletti’s azure blue Salle des Departs was the catalyst for Scanner’s composition, for he “found himself moved beyond all expectation by the project. His brief was daunting, but Durigon felt that the hospital needed an artist whose sensibility would be a source of sustenance to mourners, help them through their pain and suffering, and fully respect the memory of the deceased.

It was this last thought which triggered a painful series of memories for Scanner. As a teenager, he lost his father in a terrible motorcycle accident. The death was a blow which left his family unable to deal with the magnitude of the loss and of their own suffering. This lack of formal mourning came back to haunt him when he met Michel Durigon. Fate has presented him with a unique opportunity to mourn his own father’s death at last, by using his gift of music to help ease the pain of other bereaved families.”

The RadioLab program is available for audition. Listen to Scanner’s Channel of Flight (18′08”) and David Lang’s Départs (18′14″) [Real Player required].

Tuned City presents artistic work and theoretical approaches derived from a critical preoccupation with sound in the context of urban and architectonic situations and their socio-political implications. Invited participants reflect in their work on the aesthetic, ethical and political dimensions of sound art projects and demonstrate the potential in using existing architectures in new ways or designing new spaces. Tuned City extends current discourses on urban development and planning from the perspective of artistic sound production.

On the weekend January 26, 2008 the project will present a 2-part preview of its work at clubtransmediale.08. At the Ballhaus Naunynstrasse on Saturday 26.1. international theorists from the fields of music and architecture will introduce various aspects of the project and outline the main issues to be addressed at the conference. On the following day, Sunday 27.1. sound performances preoccupied in unusual ways with the interrelation of architecture, urban space and sound will be presented in Maria am Ostbahnhof under the title Tuned Space.

(1) TUNED CITY - SYMPOSIUM

Date: 26.1.2008
Time: 12 - 19h
Venue: Ballhaus Naunynstrasse
Tickets: 5.- EUR

The lectures and presentations at this symposium introduce the different aspects of the topic and outline the key points of the planned conference. Sociologist Detlev Ipsen will open up the symposium with some basic thoughts on recent urban developments, followed by the philosophical position of Gernot Boehme defining space through the aesthetics of athmospheres. The architectural historian and theorist Ulrich Winko will give an introduction of the history of music and architecture and will hand over the topic of sound art to the writer and artist Brandon LaBelle. Coming from a critical sound and space discourse himself, LaBelle is going to question one of the pioneers and major figures of sound art, Max Neuhaus. Between the single lectures artists participating in the project in July 2008 will give short presentations of their work.

Lectures:
Prof. Dr. Detlev Ipsen (D)
“City - Mega-City - Urban Landscapes: Volatility of Sound?”

Prof. Dr. Gernot Boehme (D)
“Architecture and City Planning - and Acoustic Atmospheres”

Prof. Dr. Ulrich Winko (D)
“Of the Sound of Spaces - Architecture, Music and Sound Art in the 20th Century”

Brandon LaBelle (US)
“Sounding Spaces”

Max Neuhaus (US)
“Site-specific Sound Work” - Max Neuhaus in discussion with Brandon LaBelle

Project presentations:
Nik Hummer (A)
“Social Sound Systems”

Mark Bain (US/NL)
“Sonic Architecture”

Zimoun & Pe Lang (CH)
“Untitled Sound Objects”

Lola Landscape Architects & Geer-Jan Hobijn (NL/D)
“Composed City”

(2) TUNED SPACE - PERFORMANCES

Date: 27.1.2008
Time: 21h
Venue: Maria am Ostbahnhof
Tickets: 12.- EUR

For the Tuned Space program, artists from across the sound-art spectrum have been invited to make their own sonic investigations, deconstructions and provocations within the architectural space of the Maria club itself, taking the audience from the quiet minimal world of found objects and sounds through to the body- and building-crushing power of subsonic rumblings.

The UK’s Dallas Simpson will undertake a detailed and intimate binaural sonic investigation of the urban wasteland around the club, putting the audience directly inside the performer’s head via wireless microphones and headsets. Swedish field-recordist BJNilsen has teamed up with Icelandic cello player Hildur Gudnadottir to explore the minute architectural and structural resonances of the viola and cello instruments and their so-called Wolftones, played out over a multichannel speaker setup. Basque noise-aktionist Mattin declines to state the trajectory of his performance for the evening, as this anti-laptop Body & Linux performer prefers the element of surprise to any other. Daniel Menche, hailing from Portland Oregon, US, similarly involves his body in the production of an overwhelming sound which seeks the limits of both physical tolerance and structural restraint. And finally, Netherlands-based US expatriate Mark Bain will demonstrate his Vibrasonics system, a set of subsonic devices designed to inject sound waves into the foundations of a building, challenging our notions of architectural stability and perhaps even bringing the walls crashing down upon us.

sound performances by:
Dallas Simpson (UK)
BJNilsen & Hildur Gudnadottir (SE/IS)
Mattin (Basque Country)
Daniel Menche (US)
Mark Bain (US/NL)

Tuned City was conceived and produced by garage g e.V. (Carsten Stabenow and Gesine Pagels) in cooperation with Carsten Seiffarth (singuhr hoergalerie), Derek Holzer, Anke Eckardt and Anne Kockelkorn. The preview weekend was produced in cooperation with CTM.08.

Tuned City received generous funding from the Hauptstadtkulturfonds and Bundeszentrale fuer politische Bildung.