The data stream is transmitted via wireless LAN from PALAOA to the German Neumayer Base. From there, a permanent satellite link transmits the data to the AWI in Germany. A constant hiss pervading the signal is the natural, isotropic background noise made audible here through the use of ultra sensitive hydrophones. Additional broad band noise caused by wind, waves and currents adds to it on occasion. Due to the limited bandwidth of the satellite link, jamming of the WLAN link due to storms, or energy shortage, the connection might temporarily be down or scrammed.”

You can listen to the underwater sound of the Antarctic Ocean with a delay of a few seconds. [MP3 audio stream. OGG-Vorbis audio stream - provides better sound quality at a lower bitrate, for a list of compatible players please check out www.vorbis.com.] [via]

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.

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)

Since its development in the mid-twentieth century, the electric guitar has had a profound influence on many aspects of music, creating new sounds, spurring the development of new musical styles, and reshaping concepts of musicianship. In the early twenty first century, despite retaining its iconic status as a symbol of innovation and transgression, the electric guitar and its uses now seem commonplace, almost routine; in short, the instrument may be in danger of losing its edge. The Extensible Electric Guitar Festival aims to rediscover and showcase the electric guitar’s spirit of innovation and exploration. More information and the schedule of events.

For those that can’t be at the festival in person, arrangements have been made to broadcast the two concerts of the Festival live on the web. Please pass this link on to anyone that you think might be interested in joining them from afar.

Live Feed on 4/4-5, Friday & Saturday @ 7:30pm:
mms://wms.ad.clarku.edu/XEG

The shows will be available as an archive the following week.

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)

When Brandtsegg suggested the idea to Aas in 2003, Aas responded “I really would like to hear the Flounder sing”. Brandtsegg’s installation makes use of a loudspeaker technique in which the sound is transferred to the metal in the sculpture. The natural environment, and especially the tidal stream, inspired Brandtsegg to program several variables which different sensors record from their surroundings.

The music is influenced by light level, temperature, moon phase, water level, water direction, and local time. Brandtsegg also composed different themes for days of the week and each of the twelve months. The sensor data and the sound signals are streamed — via the Internet — from Inderøy to Trondheim, where a computer processes it and sends it back.

At the Flounder website, you can follow the audible development of the work over a span of 10 years (2006-2016). You can listen to the composition in two versions – the sound played through the sculpture, or the “raw” version. Go here to learn more about the project.

Tuesday 11: Miya Masaoka (New York) will perform interactive koto and video pieces, also using Super 8 loop and projector; this work will be inspired by a quasi-documentary of the quest for the ‘Minetta Creek,’ the impassioned search for the last living natural stream of water in Lower Manhattan; she has recently created pieces where ordinary plant activity derails a model train, and insect movement and plane flight schedules create the structure and the formal design of audio compositions. www.miyamasaoka.com www.myspace.com/miyamasaoka.

Wednesday 12: Pierre Marietan (Paris and Switzerland) - BLACK OR WHITE’: existing sounds - collected sounds - small instruments - voices; usually, the listener follows the musical path previously taken by the composer; the latter may also give a shape to an existing acoustic material in such a way that this process preserves the listener’s freedom of interpretation; the four sequences proposed for the evening can be perceived through either listening mode; in ‘WITHOUT ANYTHING’, the existing acoustic structure that is revealed creates the music of the place; ‘CAPTIVE VOICES’ qualifies the space as a place of music; in ‘RUMEUR / EMERGENCES’, the sounds from elsewhere transferred into the place, take us off to other worlds; ‘RYTHMUS 21-23′ is a movie by Hans Richter associated with ‘EMPREINTES’, a musical piece for strings, piccolo, side-drum and saxophones. www.pierremarietan.com www.music-environment.com.

Friday 14: Christian Kesten (Berlin) performs works for breathing sounds (in-/exhaling) in monochrome textures, for tongue (acoustically and visually), for jokes in five languages with leaving out the punch lines while building up an installation on a table made out of mundane things, and works for video and voice.

Sunday 16: Manuel Rocha Iturbide (Mexico City) - Some of his compositions have been involved with daily sounds and their transformation through electroacoustic means, as well as with their spacialization; he will present various pieces composed in the last 4 years, most of them created in a multichannel format; with Margot Leverett, clarinet.

Monday 17: Esther Venrooy (Gent, Belgium) - The Spiral Staircase is a suite of short electronic vignettes that constitute two vertical movements; the piece was partly composed with the EMS Synthi 100 analogue modular synthesizer at the IPEM (Institute for Psycho-acoustics and Electronic Music) in Ghent. www.esthervenrooy.com www.myspace.com/esthervenrooy.

Tuesday 18: Screen Compositions - The fourth edition of Screen Compositions, the yearly evening dedicated to intersections of moving image with sonic art; a program of screen works representing dynamic two-way collaborations between video/ film artists and sound/ music artists specifically intended for single-channel projection with no live or performance component; featuring collaborations by: Liora Belford / Ido Govrin; Kjell Bjorgeengen / Marc Ribot; Yan Breuleux / Alain Thibault; Alexandra Dementieva / Aernoudt Jacobs; Richard Garet / Wolfgang R. von Stuermer; Katherine Liberovskaya / Phill Niblock; Francesca Llopis / Barbara Held; Marlena Novak / Jay Alan Yim; Billy Roisz / Toshimaru Nakamura; Billy Roisz / dieb13.

Wednesday 19: Folke Rabe (Sweden) - Composer of vocal and instrumental music with some emphasis on brass; but this will be a retrospective with tape pieces - ARGH!, Cyclone, What?? - and Ship of Fools, a video with the New Culture Quartet; works composed in the 1960s thru 80s.

Thursday 20: Jean Piche (Montreal) - Three triple-channel videomusic works are presented, forming a suite that has helped define a particular genre of pluridisciplinary work: the composer as visual artist; fabricating color and sound, stream and movement, shape and timbre, the artist articulates a highly kinetic discourse at the juncture of abstraction and documentary.

Writing On Air will invite us on a journey through twisted tongues and prosthetic voices, fungal language, the global screamscape, a brief seminar of the proper facial expression for catastrophe, the song of a disembodied knee, radio philosophy and other essential audio ephemera.

Gregory Whitehead is an internationally renowned audio artist, writer, director and producer of well over one hundred radio plays, essays and acoustic adventures. His productions have won numerous major awards, including a Prix Italia for Pressures of the Unspeakable, a Prix Futura for Shake, Rattle, Roll and Sony Gold Academy Awards for The Loneliest Road and No Background Music, featuring Sigourney Weaver. He also performs frequently in literary cabarets and media festivals, as well as live-to-air.

Decomposing Spacetime by Non-linear Insertions of Waves of Sonic Tension: Jeroen Uyttendaele and Isjtar continue their symbiotic merger of sonic material and strategies. Discarding dichotomies as rhythm and texture, form and function, digital and analogue, they seek to build arches of sonic tension.

Isjtar makes electronic music and new media art. He has a profound fascination for all things that underpin the mind, perception and reality. When not lost in fantasies of the systems that surround us, he translates this obsession into performances, installations and music tracks, with an ever critical reflection and a corresponding aesthetic. He is a core-member of OKNO, Society of Algorithm, Code31 and works with several other artists and collectives such as Jeroen Uyttendaele, Shelbatra Jashari, Masato Tsutsui, Machine Centered Humanz and So-on. He had a short and enriching affair with RITS radio, but got lost deciphering reality.

As a Master in Art Science student in Den Hague, Jeroen Uyttendaele extends his experiments in sender-receiver feedback systems. By integrating old fashioned, discarded technology with contemporary digital techniques, he searches for new forms which are neither nostalgic, nor blinded by cutting edge hype. He is a Master graduate of RITS radio.

You can open following URL’s in your mediaplayer:
20u30 :: http://stream.okno.be:8000/gregory_whitehead.m3u
22u :: http://stream.okno.be:8000/isjtar_jeroen.m3u

For a download you can go to (from 1/3/2008)
http://okno.be/streaming_media/audio/2008/gregory_whitehead.mp3
http://okno.be/streaming_media/isjtar/decomposing_spacetime.mp3

Collaboration with10 years Rits Radio. Supported by :: the Flemish Authorities (Vlaamse Gemeenschap) and the Vlaamse Gemeenschapscommissie (VGC).

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

Although technological innovation in art and media has greatly enhanced the ways in which artworks can stimulate our senses, this innovation predominantly concerns the same few sensory modalities, and only rarely aims at supporting the integration between them. Recent artistic Research and Development (aRt&D) has, however, made great progress in developing methods for multimodal art; enhancing the sensorial richness of art and media experiences in integrated ways.

Test_Lab: Multimodal will demonstrate and discuss new methods and technologies to stimulate senses that are not commonly incorporated in artistic concepts, and will introduce innovative ways to integrate sensory experiences in art and media. In doing so, Test_Lab: Multimodal reveals the obstacles faced, and achievements made, in contemporary aRt&D that aims to enhance the sensorial richness of art and media experiences in (technologically) integrated ways.

Test_Lab: Multimodal will feature the latest achievements in stimulating the senses; such as smelly art, live sensory-substitution, the sound of touching one another, sensory-enhanced film, and very loud visuals.

*Arjen Mulder* (NL) is a widely published essayist, and will open Test_Lab: Multimodal with a talk on multimodality from a media theoretical perspective.

*Sissel Tolaas* (N), founder of international Flavors and Fragrances re_search Lab Berlin, will present and demonstrate the smell of FEAR, bringing samples of body odors of men in fear, which she distilled for her project the FEAR of smell – the smell of FEAR exhibited at MIT List Visual Arts Center.

*Tom Froese* (UK), researcher at the Center for Computational Neuroscience and Robotics at the University of Sussex, will demonstrate the Enactive Torch, a perceptual supplementation device that transforms visual into haptic information, and which has recently received funding for the development of a next generation of enactive torches.

*Graham Smith* (CDN), artist and inventor of robotic, virtual reality, photographic, and tele-presence installations and devices, will premiere one of his latest collaborate projects: *Alternative Sensory Information Display**, a.k.a. the* Emotional Chair, which enhances film with vibration, light, wind, and smell for the hearing-impaired.

*Ulf Langheinrich* (D) of artist duo Granular Synthesis, will introduce and demonstrate Granular Synthesis’ masterpiece “Modell 5″; a 10m by 3,5m (!) projection showing the face of Japanese performance artist Akemi Takeya being twisted and manipulated like a Francis Bacon painting supported by a wall of sublow sound.

*Sietske Klooster* (NL) and her students from the /Industrial Design/department of the Technical University Eindhoven will present an innovative social interaction project called TouchMeDare that motivates people to touch each other by creating sounds as a reward for physical interaction.