Ars Electronica invites artists and scientists to submit proposals for new and novel ways to connect, in real time, people to people, and people to environments in different physical locations. The goal is to expand and explore meaningful exchanges between remote groups of people.

The one essential requirement for all proposals is live bits: real-time digital information via any network, of any viable quantity, and in any modality. In addition to symmetrical two-way communication, asymmetrical two-way communication and even one-way communication will be considered as long as a live component is present. “Fresh” and “canned” bits, as well as physically transported objects, may also be incorporated.

Definitions of “Live”, “Fresh”, and “Canned” are available on the site.

Ars Electronica will award up to 20 commissions of 10,000 EUR each. But you must act quickly. Deadline for submission is 31 October 2008 and notification of recipients will be 30 November 2008.

The commissions must be completed by June 2009, for inclusion in “80+1: A Journey Around the World,” an 80(+1) day event in the Linz Main Square and the Ars Electronica Centre, 18 June - 6 September 2009, for Linz09, European Capital of Culture.

Full details can be found here. For further information, contact: proposals [at] 80plus1.org

From Soho to Rio: What’s wrong with the world? is a unique event performed in real time across two continents.

Combining live performance in Soho’s theatre bar with real time video links from both London and Rio, What’s wrong with the world? takes the distance between the two cities and uses it to create a third, surprisingly intimate location where performers in London mingle, merge and collide with their counterparts in Rio.

Created, rehearsed and performed via live video link, What’s wrong with the world? combines two cities and two stories to form a single vibrating narrative of distance, delay, loss and discovery characterised by Station House Opera’s distinctive physical and visual style.

What’s wrong with the world? is a collaboration with Phila7 and Oi Futuro in Brazil and is produced by Phila7 in Brazil and Artsadmin in the UK, with support from Soho Theatre and Café Lazeez. Read more…

From Soho to Rio: What’s wrong with the world? is a unique event performed in real time across two continents.
Combining live performance in Soho’s theatre bar with real time video links from both locations, What’s wrong with the world? takes the distance between the two cities and uses it to create a third, surprisingly intimate location where performers in London mingle, merge and collide with their counterparts in Rio.

Created, rehearsed and performed via live video link, What’s wrong with the world? combines two cities and two stories to form a single vibrating narrative of distance, delay, loss and discovery characterised by Station House Opera’s distinctive physical and visual style.

What’s wrong with the world? is a collaboration with Phila7 and Oi Futuro in Brazil and is produced by Phila7 in Brazil and Artsadmin in the UK, with support from Soho Theatre and Café Lazeez.

Impeccably choreographed… an object hurled in Singapore flies halfway round the world and hits a character in Newcastle. Guardian (Play on Earth)

Multiplace 2008 invites artists and cultural workers to submit events / performances / installations / ideas of a networked character, such as online performances, streaming and radio projects, collaborative networked projects and workshops, or the works accessing the networks within a physical location, urban space or between remote venues. Use of digital technologies is not a crucial requirement.

Submitted projects will be proposed to participating venues and organisers. These will assist in providing the infrastructure (technical equipment, internet connection, material, staff, etc) for the project (if needed).

HOW TO SUBMIT: You are welcome to submit your proposal here. There you can also find the current list of submitted projects and ideas. Please note that your submission has to be posted by February 29, 2008.

ABOUT MULTIPLACE: Multiplace was formed as a result of collective efforts of various organisers and associations from the fields of art and technology in Slovakia and later in Czech Republic, Austria and Europe. Its first activity was Multiplace new media event in April 2002, and since then the festival is organised anually each spring focusing on networked art and culture. In 2004, a civic non-for-profit association Multiplace was founded, which operates on a basis of open organisation. Today, Multiplace plays a crucial role in communication, theory and promotion of media arts in central Europe.

ONLINE RESOURCES ON NETWORK ART

* Norie Neumark (2005) Relays, Delays, and Distance Art/Activism, (introduction to At a Distance - Precursors to Art and Activism on the Internet)
* Overviews of network art projects, 1, 2
* Networked Performance Blog
* Networked Music Review
* http://en.wikipedia.org/wiki/Actor-network_theory

For further information please write to admin at multiplace dot sk

The interest of the Telematic Circle goes beyond the requirements of mono-located music performances, for example musical solutions that address the unavoidable latency between two co-located sites.

Technical developments are also supported, with an extended interest in issues that are not addressed in typical speech conference systems. Among these goals are the development of systems with ultra-low latency, sufficient bandwidth to allow immersive multiple communication channels, and accurate spatial reproduction.

Each institution represented in the TC has participated in multi-site concerts over the Internet. Institutions interested in participating in the ongoing research, rehearsals, jam sessions and concerts for the continual improvement of the telematic experience are welcome to join.

Significant music making has occurred with both high tech multi-channel CD quality audio and DV quality video and low tech audio and video transmissions using iCHATav, SKYPE and other applications.

Institutions wishing to join in this research should have an Internet2 connection. TC will provide the consultation to establish connection. Check out http://ccrma.stanford.edu/groups/soundwire/ for instructions.

Each institution has significant input to offer to the continual development of this project. By working together we can create an excellent and strong network of expertise in music, software, hardware and performance venue development that is unparalleled.

The Temple of Noise channels units of energy through electric pathways across webtime and into physical spaces.

UFF NO ES TV: Live from Colombia, Bogota via the web - sintesis audiovisuales de la red a cargo de Adrián Juarez (arg) y Leo Gonzalez (col) :: DATAoma - MAlcolm (0) - Live VJ transmission from California Vela (0)- Live sound Boston :: TEA: (of United States of Belt) - Seth Barger - percussion, found sound (of United States of Belt); Ross Goldstein - guitar, found sound (of United States of Belt); David Scott - sitar, tabla

Eat Flaming Death - noell dorsey - voice; joshua cletus jefferson - alto sax; andrew eisenberg - percussion :: The Ballsmatic Orchestra - Geoff Penington - drums; Carissa Spatcher - base; Edward N. Vanderslice - Guitar and Poly 6 :: Live VJ’s: || onsite:boston || offsite:California ||

A T.O.M. production.

At present, BliK can only be heard in real time at LEMURplex. Online users may download each of the sounds and play with them before writing a score. They must then email the score to blik at zdomain dot net. Once uploaded, each score becomes part of the BliK repertoire.

The BliK algorithms are based in Cycling 74’s Max / MSP software, some of the external tools made by Ali Momeni at the University of Minnesota, and a JavaScript parser written by the author.

League of Electronic Musical Urban Robots (LEMUR) is a Brooklyn-based group of artists and technologists who create robotic musical instruments. Founded in 2000 by musician and engineer Eric Singer, LEMUR creates exotic, sculptural musical instruments which integrate robotic technology. LEMUR’s philosophy is to build robots that are new types of musical instruments, as opposed to animatronic robots that play existing instruments.

BliK is a 2007 commission of New Radio and Performing Arts, Inc. for Networked_Music_Review. It was made possible with funding from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors.

BIOGRAPHY

Roberto Osorio-Goenaga is a music technologist and sound artist. He holds a Bachelor of Arts in Music from the University of Puerto Rico (2003) and a Master of Music Technology degree from NYU (2005). His work has traditionally been based around the framework of digital audio, including the development of VST plug-ins, Max/MSP externals, and stand-alone software development in C/C++. He has experience in physical computing and PIC programming, and also plays guitar and bass.

In January 2008, LEMUR will inaugurate ReSiDeNt, a unique new creator-in-residence program, hosted at LEMUR’s Brooklyn space in Park Slope. Each month, we will award three artists a month-long residency at LEMUR, enabling them to create a work utilizing LEMUR’s resources, including robotic musical instruments, MIDI audio/video controllers, video projection and tracking system and more. Each group of residencies will culminate in a public show at LEMUR at the end of the month.

LEMUR’s staff will provide technical support to residents for learning and utilizing our resources. For early residencies, we will give preference to artists with a reasonable degree of technical skill with computer art. As the year progresses, we will be able to give a higher level of technical support, possibly including programming, electronic design and more.

The deadline to apply for January’s residencies is Monday, December 17th. Announcement of January’s residency awards will be announced the following week.

Subsequent deadlines will be rolling, allowing artists to submit applications to be considered for future residencies throughout the year. The application process is outlined below and will also be posted to LEMUR’s web site shortly.

Applying to ReSiDeNt

The application process is designed to be easy. Mainly, we want to see your qualifications and past work and get a sense of the type of work you would do at a LEMUR residency.

All applications are accepted via email to resident [at] lemurbots.org. Please include the following information in your email.

Part 1: Contact Information

Name
Address
Email
Cell number
Alt number

Part 2: Work Samples

Send URLs of video, audio, photos and text documenting your past projects. Please indicate which works you would like us to view, in which order, and what role you had in creating the work.

We prefer to receive all work samples online. You may also attach files up to 1 MB total. If you need to email larger files which you can not put online, please contact us in advance for ftp information. If you must mail hard copy of work, you can send it to LEMUR, 461 3rd Avenue, Brooklyn, NY, 11215, attn: ReSiDeNt.

Part 3: Artist Resume/CV

Send us your artist resume or CV in plain text, Word or PDF format. Important - please make sure to include a list of your technical skills relevant to the residency.

Part 4: Proposal Sketch

Send us your idea or ideas for what you might do during a LEMUR residency. Include which instruments and resources you envision working with (see below). Your project does not need to be conceived in full at this time, but please instill in us the confidence that you have a reasonable plan in mind and that you can realize a work in a month’s time.

FAQ

What instruments, systems and other resources will be available to me?

GuitarBot, XyloBot, ModBots (percussion bots), HydroBots (water-based bots), Slime-o-trons (slime controllers), Chime-o-tron (MIDI wind chimes), Slink-o-trons (slinky controllers), Sonic Banana (bend controller), Ascension Flock of Birds 6-DOF tracking system with 3 trackers, sensors, MidiTron and MidiTron Wireless sensor interfaces, floor-projected video with video tracking overlay, wall-projected video, PA, PTZ camera, broadband internet, Mac and PC computers, MIDI keyboard, software (Max/MSP/Jitter, Isadora, Digital Performer, etc.). In addition, LEMUR is constantly working on new instruments, which will be made available as they are created.

How much time will I be able to spend at LEMUR working on my project?

You can spend as much time as you want, subject to scheduling with LEMUR staff. Generally, someone is there Monday through Friday from 10 am until 8 pm, and weekend times can be arranged as necessary.

Does my work have to utilize LEMUR’s instruments and equipment?

Yes. A major goal of this residency program is to partner with a variety of artists to create new work for LEMUR instruments.

What length is my work expected to be?

For performances, we would like a minimum of 20 minutes of work. For music, a 40-45 minute set would be highly desirable. Installations would normally be ongoing, though we would hope that any one user would be engaged for 5 minutes or more.

Is there any stipend or other support money?

This is an unfunded residency program, so there is no stipend or support money. The support we provide is in the form of in-kind
donations of our time, space and resources.

Do I have to do a performance, or is an installation ok?

Installations are fine and encouraged. Preference will be given to interactive installations over non-interactive ones.

To realize my work, I want to create new software/Max patches/electronics but I don’t know how. Can someone at LEMUR help me?

Not at this time. We don’t have the resources to develop custom technology outside the scope of our own work. However, if you have a technologist that will commit to partnering with you, you are welcome to propose this.

I have a great idea but I’ve never done computer art before? Should I apply?

At the early stages of this program, we will probably not be able to support artists who do not have reasonable skills in implementing their work.

I live outside of New York City. Can you provide room and board?

We can’t, but you probably already have a friend with a sofa in New York City.

Will there be future opportunities to show the work I create after the end-of-month show?

The best work to come out of ReSiDeNt will likely have future opportunities to be shown. LEMUR stages performances and
installations around the world, and we are always looking to incorporate new work.

What are some examples of projects you will consider?

Compositions for the robots
Interactive performances with the robots and/or controllers
Interactive installations with the robots and/org controllers
Interactive dance with the robots
Theater pieces or performance art with the robots
Interactive video installations incorporating the robots

My discipline doesn’t fall into your listed categories. Can I still apply?

Definitely. These are simply examples, and we will consider work from any discipline if we feel it is possible to realize at our space.

Do I have to come in with a project idea from the beginning?

You do not have to come in with a fully formed project, but you should have an idea of what you want to do and should outline this in your application. You can develop the specifics of your project within the time frame of the residency. Also, feel free to bounce ideas off us before applying.

What if my work will take longer than a month to complete?

We can only devote one month of work time to each artist. If you need more time but can do your preliminary work off-site prior to the residency month, we will consider this.

Please feel free to contact us with any other questions you may have.

The æther9 group presents stationary æmotion: 4 remote performers from 4 different locations united in a real-time broadcast. Remote performers: N3krozoft Group Brussels (BE), Paula Vélez (CO), N3krozoft HQ Geneva (CH) :: Live audio: Christiaan Cruz (California) :: Original screenplay: Nicola Unger & Audrey Samson

The æther9 group is interested in exploring the performative aspect of the infosphere. They make use of existing ‘lo-fi’ communication tools to experiment with the integration of dramaturgical elements linked to the constraints of working with a delocalised group to develop an audiovisual performance. The æther9 group taps into the aether as a medium which facilitates transmission through the global atmosphere. A utopian concept that constantly inspires the development of a set of narrative directives which guide the performance. Including the stationary æmotion performance that you are invited to watch.

Tune in!

Further information on the æther9 project:

http://1904.cc/timeline/
http://sourceforge.net/projects/aether9