This week is your last chance to book yourself onto one of the workshops for folly and SoundNetwork ’s micro-festival of art and music in Liverpool, Open Source City, happening this weekend: 20th - 22nd June 2008.

To register now for these exciting workshops below by calling Jennifer on 01524 388 550 or emailing jennifer.stoddart [at] folly.co.uk:

Workshop: Creating Open Source Projects with the Random Information Exchange Alpha 0.2
Friday 20th June.
Presented by Will Scrimshaw and Dominic Smith of Polytechnic.
£25 waged £12.50 unwaged

Workshop: Making Music with Pure:Dyne
Saturday 21st June
presented by Rob Canning and Heather Corcoran of goto10
£25 waged £12.50 unwaged

Workshop: Video Sniffin
Friday 20th June & Saturday 21st June
presented by Stuart Bowditch and Terry Slepcevic of Mediashed
£40 waged, £20 unwaged

Masterclass: 0xA - Performing Music Live with Pure Data
Friday 20th June (half day masterclass)
presented by Aymeric Mansoux and Chun Lee of goto10
£15 waged, £7.50 unwaged

Masterclass: Controlling SuperCollider in 3 Dimensions
Saturday 21st June
presented by Simon Blackmore
£25 waged, £12.50 unwaged

There is also a programme of art, talks and gigs that you can turn up for on the day. To view the whole programme for the festival, and to get hold of the booking form to book your workshop places, visit the folly website at http://www.folly.co.uk/click/1060/9

Open Source City is a Liverpool European Capital of Culture Commission - a micro-festival of open source practice in media art and music presented by folly and SoundNetwork.

Moving Light Installation by Olafur Eliasson at Moma New York April 2008

Mediamatic and B3 Media are organizing an action packed 5-day workshop about audiovisual projects using new media platforms and channels. The workshop participants come with their own project ideas and /or footage, and work towards a functioning prototype.

Workshop approach:
The aim of this workshop is for every participant to create a prototype of an interactive audio-visual project that either runs on mobile phones; that exists online, or that uses a combination of platforms and channels (a cross media project).

Project development is supported by lectures on current media practices by outstanding makers, by practical and technical lessons, and by critical discussions.

The content and genre of the workshop projects is up to the participants to decide, but we’ll look into appropriate combinations of content and project format. The workshop begins with an opening symposium, where renowned makers will show and discuss their recent work, the workshop sessions are between 10.00 and 17.00. And we close the sessions with a public presentation and discussion of results.

Trainers / Assistants :
Trainers will be experienced makers in the field of online, cross medial or mobile phone audiovisual projects.

All participants are assisted both technically and conceptually by smart workshop assistants, well versed in all available tools and the media practices that are relevant to this workshop. Names will be published shortly.

Participants:
The target group of this workshop is: Media professionals from the EU; Authors, directors, educators and artists in the field of film, video, online content, radio, television, mobile phone content and cross-medial content.

Participants preferably have done the content research for their project, but are still researching on the right media format. Participant need not to be skilled in any specific new media technology, but should be skilled as media makers in their own work area. Please note that workshop participants should be residents of the EU.

Materials and tools:
The Korsakow System can be used to create online interactive, databased film projects of very different nature, and can also be used at a more basic level: as a handy content management system for any video project.

AnyMeta, Mediamatic’s content management system that offers all relevant social web functionality, and tat is also a blog- and documentation tool. Furthermore participants will be introduced to uses of Ning, GoogleMaps and other Web2.0 tools. All necessary equipment and software will be available at the workshop.

Price
€ 250 for residents of newer EU countries.
€ 350 for residents of older EU countries.
No VAT is charged because the workshop is held outside The Netherlands.

We have s scholarship available for someone from a new EU country. Procedure for application: Send us an email workshops @mediamatic.net with your motivation and CV and you will be informed if you have been selected for a scholarship.

Registration, information and policy:
You can register online with our registration form here.
Please read our policy carefully!
If you have questions or need more information please contact Klaas Kuitenbrouwer or Deborah Meibergen at workshops [at] mediamatic.net or by phone +31 (0) 20 638 9901.

This workshop introduces participants to the use of creative interaction design methods when exploring the design of sonic interactions with computational artefacts. Specifically, focus will be on physical interactions that rely on continuous sonic feedback. Participants will generate future scenarios and concepts for such interactions, and everyday sounding objects in context will be taken as a starting point. By taking part in the workshop activities, participants will get an embodied understanding of the challenges of designing for meaningful and engaging physical interaction with computational sonic artefacts. Methods employed in the workshop will thus be good complements to the cognition or technology-based approaches to designing sounding objects that are mainstream within the ICAD community.

This one day, hands-on workshop will be divided in fours parts: warm- up exercises, creative idea generation, concept exploration through bodystorming and final presentation and discussion. The workshop is aimed at an ICAD audience, but welcomes a wide range of participants with various backgrounds such as artists, designers, musicians, programmers, cultural and media studies scholars, etc. No previous technical knowledge or design experience is required.

The workshop will give participants the opportunity to explore key aspects of tangible interaction and continuous sonic feedback, all in an activity-based way: the fact that the workshop consists of low-tech small group exercises and interaction-focused creative activities instead of paper presentations or technology tutorials, invites participants to have an active role and to engage all senses in the exploration of this type of situated sonic interaction. The focus is taken away from technology itself and turned instead towards the situated activities of using technology.

If you would like to participate in this workshop, please e-mail an expression of interest to sonicinteraction at googlemail dot com by 6 June 2008, as places are limited. Your expression of interest should explain in a few sentences why you are interested in participating in the workshop and include a short biography. The submission should not excess one A4 page. Please state if you are a member of SID or are applying for a Short Term Scientific Mission (http://www.cost-sid.org/ wiki/STSMCall3).

DATES
Deadline for expression of interest: 6 June 2008
Notification of acceptance: 10 June 2008
Workshop: 23 June 2008

CONTACT AND INFORMATION
sonicinteraction at googlemail dot com
http://sonicinteraction.wordpress.com/
http://icad08.ircam.fr/site/

Over five days, July 1-5, the symposium will approach the topic architecture and sound from five different theoretical and spatial perspectives. The chosen venues - spaces built for the production or reception of sound, acoustically flawed or impossible spaces, public and semi-public urban spaces, finished and planned spaces, wasteland or cultivated spaces, indoor and outdoor locations - each serve to illustrate the topics of that day, and offer a mixture of lectures, artistic presentation, performances and examples of working architectural practice.

Below you will find a rough overview of the themes, places and times. For information on the single slots of these blocks and to the participants please visit our website: http://www.tunedcity.de

TUNED CITY - BETWEEN SOUND AND SPACE SPECULATION :: 1 - 5 july 2008

1 july 2008 - aural architecture :: venue: Pfefferberg Haus 13 :: 8 pm opening / keynotes / performances

2 july 2008 - sound material :: venues: Technische Universität Berlin (block I) Brunnenstrasse 9 (block II) Pfefferberg Haus 13 (block III)
block I / 11 am: listening to soundscapes
block II / 3 pm: building with sound
block III / 8 pm: sound - space - architecture

3 july 2008 - sonic interventions :: venues: Alexanderplatz (block I+II+III)
block I / 11 am: urban space and sonic experience
block II / 1 pm: sound and social communication
block III / 4 pm: public and private soundscapes

4 july 2008 - sonic landscapes :: venues: Tafelgarten Hamburger Bahnhof (block I) :: Wriezener Freiraum Labor (block II+III)
block I / 11 am: installation Punktierter Garten
block II / 2 pm: design of acoustic environments
block III / 9 pm: das kleine field recordings festival

5 july 2008 - virtual soundspaces :: venue: Rundfunkhaus Nalepastrasse
block I / 11 am: radio space
block II / 3 pm: sonic derive
block III / 5 pm: talking sound and building space

Tuned City is 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 project is funded by Hauptstadtkulturfonds.

TUNED CITY HIGHLIGHTS

There are a couple of events we would like to recommend:

1. keynote :: Tuned City day 1 / 8pm / Pfefferberg Haus 13 :: Dr. Barry Blesser Dr. Barry Blesser is considered one of the grandfathers of the digital audio revolution. He invented and developed the first commercial digital reverberation system, the EMT-250 in 1976, helped start Lexicon in 1971, published the landmark paper, “Digital Processing of Audio Signals” in 1978, co-chaired the 1st International Conference on Digital Audio in 1980, and was an adviser to the US Justice Department on the Watergate Tapes in 1974. Dr. Blesser was President of the Audio Engineering Society in 1980. The AES awarded him their
Silver, Bronze, and Governors Medals, both Publication Awards, and made him an AES Fellow. He has been on the AES editorial review board since 1975, and currently serves as its Consulting Technical Editor. Dr. Blesser has published numerous papers in professional journals and has been awarded many patents on audio and signal process.Most recently, MIT Press published his first book (together with Linda-Ruth Salter): “Spaces Speak, Are You Listening? Experiencing Aural Architecture”, which has provoked a latent interest in sound and acoustics worldwide.

workshop :: 1 july - 5 july 2008 :: Chris Watson / Hearing Berlin: 12 Approaches :: Christopher Richard Watson was a founding member of the influential Sheffield-based experimental music group Cabaret Voltaire in 1971.His sound recording career began in 1981 when he joined Tyne Tees Television. Chris Watson has a particular and passionate interest in recording the wildlife sounds of animals, habitats and atmospheres from around the world. As a freelance recordist for film, TV and radio Chris Watson specialises in natural history and documentary location sound together with track assembly and sound design in post production.

3. installation :: Tuned City day 2 / block 2 / 5pm / Brunnenstrasse 9 ::Mark Bain: BUG :: The project Brunnenstrasse is a complete new planning for two invest ruins of Berlin’s 90ies. Brandlhuber’s construction is using the already built basement and places a 5-floor, very light and transparent concrete building in-between two old typical Berlin fire division walls. This building is going to house a gallery and Brandlhuber’s own studio. Mark Bain is involved in the construction process from the beginning on in order to develop a work which will turn the whole building in a sound installation. He is going to implement a system of geodata and seismic sensors in the infrastructure of the building as well as in the concrete as the building is raised. These hyper-sensitive instruments will capture all mechanic and acoustic micro sensations happening in and around the building, like the wind passing by the fassade, foot steps on the stairs, raindrops on the roof, termic material expansion, etc. - all this raw material will be used for a permanent, generative composition, played back in the long tunnel, connecting the street with the backyard. This public tunnel - typical Berlin “Tordurchfahrt” - is itself an acousticly very interesting place, as it is cutting and filtering the street noise. Certain materials are going to be used to work on these effects in combination and interaction with the playback of the house composition. Additionally, in every room of the building will be next to the light switch a headphone jack - so that later inhabitants (or visitors of the gallery) can tune in and listen to the building.

TUNED CITY WORKSHOPS

Hearing Berlin: 12 Approaches / 01.-05.07.08 :: Chris Watson :: Fee: EUR 75 :: Workshop Language: English :: Hearing Berlin: 12 Approaches is a workshop for environmental sound recording conducted by Watson for Tuned City. This workshop takes a multidisciplinary approach towards field recording, inviting practitioners in different disciplines - from sound artists to architects, city planners to social researchers - a chance to
listen to the city of Berlin under Watson’s expert guidance. The results of this 5 day workshop will be presented in the final day of theTuned City event.

Scrying / 01.-02., 04.07.08 :: Martin Howse :: Fee: EUR 60 ::
Workshop Language: English :: Across three days, the scrying workshop will explore and construct city-wide electromagnetic
[EM] phenomena within the data space domain, examining techniques of digital forensics, of signal archaeology overlapping with contemporary artistic concerns. The scrying platform, an open hardware project concerned with the design and implementation of low power (enabling long-term, solar-powered urban installation) devices interfacing code and EM practice, will be used during the workshop.

Kinetic (Architectural) Modelbuilding :: 01.-04.07.08 :: Ralf Schreiber and Martin Kuentz :: Fee: EUR 10 :: Workshop Language: English & German :: This four day workshop aims to create architectural models of of urban structures which can be sonically activated using small motors taken from cassette tape players. Each workshop participant can (alone or in groups) develop and build these “sounding (architectural) models”.
The models can be tuned according to sound criteria and arranged and linked according to their function for a collective presentation on Saturday 5 July.

TICKET RESERVATION

From now on you have the chance to make reservations for tickets. Because some of the venues offer only a limited
capacity we advise to make reservationsas soon as possible. http://www.tunedcity.de/?page_id=244

The Association Of Independents In Radio (AIR), in conjunction with Harvestworks Digital Media Arts Center in New York City, offers two week-long, 40-hour intensives for twenty mid to advance level audio producers. You do not have to be a member of AIR to apply. This opportunity may be especially appealing to those working primarily in traditional narrative and documentary formats eager to experiment with unconventional approaches to assembling sound and telling story.

Ten students will be accepted for each class… Sound Elemental: Water, to be held in August, the second, Sounds Elemental: Fire, in December 2008 at Harvestworks in SoHo. The cost is $650. AIR members who are accepted are eligible for a stipend to help underwrite the cost of the intensive and travel to NYC.

Producers will work in a small group format, and also receive a lot of individualized attention from renowned sound artists-teachers, NYC-based composer and performer Michael Schumacher, Harvestworks’ Hans Tammen, and AIR member Brenda Hutchinson who teaches and performs extensively around the U.S. and overseas.

For complete information, and to link to the application form, go here: http://www.airmedia.org/PageInfo.php?PageID=386

Please direct all inquiries to AIR - if you have questions, you can contact AIR Membership Director Erin Mishkin at erin@airmedia.org or call 617 825 4400

All classes take place at Harvestworks’ workspace, 596 Broadway in the SoHo neighborhood of Manhattan. There will be one evening event at the Diapason sound gallery in Brooklyn.

Who is eligible? We are looking for mid to advance level producers from all walks of the public radio industry and beyond who have demonstrable expertise in digital sound gathering, editing and mixing. AIR membership is not required, though AIR members who are accepted will be provided with a stipend. Those who have participated in AIR’s Harvestworks intensives in past years are eligible to apply.

An audio sample will be required with your application. A panel will review applications, and 10 participants chosen for each intensive chosen.

Costs:
The fee for each intensive is $650, with a non-refundable deposit of $150 due upon acceptance to the program and the balance payable in advance of the intensive.

AIR members who are accepted will receive a $300 stipend to help underwrite fees and travel. If you’d like to join AIR, go here to fill out an application: http://www.airmedia.org/signUp.php
Students coming from outside NYC are responsible for their own transportation and room and board during the intensive. Harvestworks can provide assistance in locating housing and guidance for getting around town for those not native to New York.

Curriculum:
Michael Schumacher will, each day of the intensive, offer his popular lecture-demonstration on the history and landscape of contemporary sound art. Students will have up to 15 hours of individualized “lab” time listening to and drawing on a rich archive of sound listening to assemble a sound piece inspired by the respective themes - Water, or Fire. Participants will have the option to bring with them audio they have previously gathered that supports theme of their respective intensive (Water or Fire). Brenda Hutchinson will work with students to produce a final sound piece representative of the week’s work, to be distributed by AIR as a podcast. Each daily session will be punctuated with critiques and discussion, moderated by Hans Tammen. Lest there be all work and no fun, the class will gather for an evening of socializing at Michael Schumacher’s Diapason sound gallery in Brooklyn.

Instructor biographies:

Michael J. Schumacher is a composer/performer, concert producer and curator, and has received degrees in music from Juillard School of Music and Indiana University. He is director of the sound and intermedia galleries Studio Five Beekman and Diapason, and has produced exhibitions by David Behrman, Alvin Lucier, La Monte Young and other pioneering sound artists. He composes electronic sound installations using 2 - 22 speakers, computer-controlled random structures, taped and live music and acoustic works for piano, chamber ensemble, voice, and orchestra, and has presented his sound installations at major art institutions in the United States and Europe. Schumacher’s discography includes five solo CDs, including a double CD set on the XI label “Room Pieces” (2002). http://www.diapasongallery.org/

Hans Tammen is a composer/guitarist whose music has been described as a journey through the land of unending sonic operations, and his playing as reverse engineering of the guitar. Tammen’s music is documented on almost 20 CDs, and he’s worked with dancers, light designers and video artists on numerous site-specific projects. From 1997 to 2000 he hosted a weekly 2-hour radio show in Germany, devoted to new and experimental music and sound art. Tammen has a degree in Adult Education, and as a technology consultant from 1992 to 2000 he led more than 120 seminars to advise practicioners about new technologies in the workplace. Tammen is currently Deputy Director at Harvestworks Digital Media Arts Center, where he is responsible for the studio projects and the education program. http://www.tammen.org/

Award-winning radio producer, musician, and sound artist Brenda Hutchinson covers a broad range of media, including performance and composition for dance, opera, film, video, public radio, and interactive installations. Her work blends her fascination with language, story-telling, and ambient and sampled sounds. Hutchinson’s most recent work — the dailybell - reflects her large-scale experiments in socially based improvisations. Brenda is a long-time collaborator and protégée of Pauline Oliveros, and has spent many years singing into a 9 1/2 foot PVC pipe with a gestural interface she designed specifically for the the instrument (Long Tube) and MAX/MSP. Several of her radio documentaries have been showcased on public radio’s series SoundPrint and her work featured at festivals in New Zealand, Europe, Latin America and Canada, and venues such as the Lincoln Center, Merkin Concert Hall and The Kitchen in New York City, and New Langton Arts, The Lab and The Exploratorium in San Francisco. Hutchinson has been recognized with a Gracie Allen Award from American Women in Radio and Television, Ucross Residency Award and a Montalvo Artist Residency. Her recordings are available through TELLUS, DEEP LISTENING, THE AERIAL, O.O. DISCS, FROG PEAK MUSIC and Leonardo Music Magazine. http://www.sonicportraits.org/

This workshop introduces participants to the use of creative interaction design methods when exploring the design of sonic
interactions with computational artefacts. Specifically, focus will be on physical interactions that rely on continuous sonic feedback. Participants will generate future scenarios and concepts for such interactions, and everyday sounding objects in context will be taken as a starting point. By taking part in the workshop activities, participants will get an embodied understanding of the challenges of designing for meaningful and engaging physical interaction with computational sonic artefacts. Methods employed in the workshop will thus be good complements to the cognition or technology-based approaches to designing sounding objects that are mainstream within the ICAD community.

This one day, hands-on workshop will be divided in fours parts: warm-up exercises, creative idea generation, concept exploration through bodystorming and final presentation and discussion. The workshop is aimed at an ICAD audience, but welcomes a wide range of participants with various backgrounds such as artists, designers, musicians, programmers, cultural and media studies scholars, etc. No previous technical knowledge or design experience is required.

The workshop will give participants the opportunity to explore key aspects of tangible interaction and continuous sonic feedback, all in an activity-based way: the fact that the workshop consists of low-tech small group exercises and interaction-focused creative activities instead of paper presentations or technology tutorials, invites participants to have an active role and to engage all senses in the exploration of this type of situated sonic interaction. The focus is taken away from technology itself and turned instead towards the situated activities of using technology.

If you would like to participate in this workshop, please e-mail an expression of interest to sonicinteraction at googlemail dot com by 6 June 2008, as places are limited. Your expression of interest should explain in a few sentences why you are interested in participating in the workshop and include a short biography. The submission should not excess one A4 page. Please state if you are a member of SID or are applying for a Short Term Scientific Mission (http://www.cost-sid.org/wiki/STSMCall3).

DATES
Deadline for expression of interest: 6 June 2008
Notification of acceptance: 10 June 2008
Workshop: 23 June 2008

CONTACT AND INFORMATION
sonicinteraction at googlemail dot com
http://sonicinteraction.wordpress.com/
http://icad08.ircam.fr/site/

Musical improvisation is driven mainly by the unconscious mind, engaging the dialogic imagination to reference the entire
cultural heritage of an improviser in a single flash. This workshop will introduce a case study of evolutionary computation
techniques, in particular genetic co-evolution, as applied to the frequency domain using MPEG7 techniques, in order to create an artificial agent that mediates between an improviser and her unconscious mind, to probe and unblock improvisatory action in live music performance or practice.

David Plans Casal is a musician and researcher, and digital technologist at Brunel University. His research focuses on artificial intelligence and music. He has given concerts at IRCAM (Igor Stravinsky Hall), the Sonic Arts Research Centre in
Belfast, and several London venues. His research proposes that musical improvisation is driven mainly by the unconscious mind, engaging the dialogic imagination to reference the entire cultural heritage of an improviser in a single flash. He uses
evolutionary computation techniques, in particular genetic co-evolution, as applied to the frequency domain using MPEG7
techniques, in order to create an artificial agent that mediates between an improviser and her unconscious mind, to probe and
unblock improvisatory action in live music performance or practice.

Advance notice - a CAS-Xtra meeting will be held on 12 June in association with TESLA: Anna Valentina Murch, Recent Large-Scale Public Artwork

2008 is CAS 40 = 40 years of supporting the computer arts

folly and SoundNetwork are kicking off the Summer with an exciting collaboration bringing a micro-festival of art and music to Liverpool, as part of the European Capital of Culture.

Liverpool has a strong history of doing innovative things with electricity, from the birth of the power grid (Sebastian Ferranti) to the early computer games industry (Psygnosis, Ocean, and ZTT). Liverpool also has a formidable musical legacy inevitably centered around the pop phenomenon of The Beatles but which spans every musical genre from classical to electro.

Open Source City tips its hat to Liverpool’s pioneering spirit by offering a program of art, workshops, master classes, talks and concerts that shed light on the growing impact of Free/Libre Open Source Software on the creative practices of today, in particular in media art and music.

“FLOSS” offers opportunities to users, and developers at every skill level to participate in the creative process, starting from the writing of code all the way up to the final mix of your masterpiece. These are tools that have the power to bring people together through creativity, collaboration, knowledge sharing and, importantly, technology. So, how will Open Source play a part in the music and art scenes of the future? Maybe the answer lies in your hands….take part.

Artists and speakers involved include goto10, Access Space, Polytechnic, Simon Blackmore, Tom Chance, MediaShed and 64 Studio… Talks include “The role of FOSS in urban regeneration” and a brief philosophical tour of “Copyright and Freedom”. The hub of the festival is at Mello Mello in the heart of Liverpool’s creative quarter; 40-42 Slater St, Liverpool L1 4BX.

To view the whole programme for the festival, please download the pdf Festival Programme, and to book a paid workshop, download the workshop booking form. Both available from folly’s website at http://www.folly.co.uk/click/1060/9

Open Source City is a Liverpool European Capital of Culture Commission - a micro-festival of open source practice in media art and music presented by folly and SoundNetwork.

A Cultural Commission for Liverpool 2008 European Capital of Culture. Supported by Arts Council England and P H Holt Trust.

In the framework of “Waves -The Art of the Electromagnetic Society”, HMKV in the PHOENIX Halle Dortmund, May 10 - June 29, 2008, opening: Friday, May 9, 2008, 19:00, www.hmkv.de

Tonewheels is an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth-century electronic music inventions. Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures, while projected graphical loops and textures add richness to the visual environment. This all-analogue set is performed entirely live without the use of computers, using only overhead projectors as light source, performance interface, and audience display. In this way, Tonewheels aims to open up the ‘black box’ of electronic music and video by exposing the working processes of the performance for the audience to see.

The Tonewheels workshop will provide an introduction to simple techniques of optical synthesis using overhead projectors, transparencies, motors, lasers, LEDs, simple integrated circuit chips, photoresistors, phototransistors, and photodiodes. It will require no previous knowledge of electronics to take part. Participants will make simple circuits to turn light directly into sound and drive motors which can spin or move transparencies over these circuits. They will also have an opportunity to design sound-producing transparencies, either on the computer using Inkscape or similar drawing software, or by hand using ink pens.

http://umatic.nl/tonewheels.html

Enquiries about the workshop, registration until May 22, 2008: Hartware MedienKunstVerein, info@hmkv.de or Tel +49 - 231 - 823 106

Schedule:
Thu 11:00-19:00 Workshop
Fri 11:00-18:00 Workshop (from 18:00 video
program “Abstracts of Syn” by Medienturm Graz)
Sat 11:00-19:00 Workshop
Sat 20:00 final presentation and performance by Derek Holzer
Sun 11:00 brunch

Regulations:
- the participants will pay the costs for travel, food and accomodation
- free admission
- HMKV recommends the City Hotel Dortmund
(http://www.cityhotel-dortmund.de) or Ruhgebiet
(http://www.ruhgebiet.de)

For any further information, please contact:
Hartware MedienKunstVerein
Guentherstrasse 65
D-44143 Dortmund
T ++49 (0) 231 - 823 106
F ++49 (0) 231 - 882 02 40
info@hmkv.de
www.hmkv.de

Workshop and exhibition venue:
PHOENIX Halle Dortmund
Hochofenstr. / Ecke Rombergstr.
Dortmund-Hoerde

Through pure:dyne for everyone, pure:dyne will reach out to more people - noobs, artists, local users - in a year-long programme of system development, documentation, user support and special public events with partnering media arts centers across the UK. pure:dyne for everyone is a project by GOTO10 and friends. With partners Access Space, MediaShed and Folly, pure:dyne for everyone is supported by the Creative Partnerships programme of Arts Council England.

2. upcoming pure:dyne public events

* Introduction to Video Editing, Processing and Streaming: May 9-10, 2008, LoveBytes - Sheffield, with Access Space. Info: jake-at-access-space-dot-org, info-at-lovebytes-dot-org-dot-uk
* Free Software for Music Making and Home Studios: June 20, 2008, Open Source City - Liverpool, with Folly. Info: enquiries-at-folly-dot-co-dot-uk
* Pure Data for Live Music: June 21, Open Source City - Liverpool, with Folly. Info: enquiries-at-folly-dot-co-dot-uk
* pure:dyne Presentation and FLOSS+Art book launch: TBA, Fall 2008 - London, with Mute magazine
* pure:dyne Workshop: TBA, Fall 2008 - London/Southend-on-sea, with MediaShed and Mongrel

3. pure:dyne code sprints in 2008

April 28 - May 2, 2008, secret base inside a volcano
June 23 - 27, 2008, underwater mobile power plant autumn 2008, TBA

As part of pure:dyne for everyone, pure:dyne’s core developer team (plus friends) will stage three code sprints in 2008 to develop all aspects of the system and documentation. Be a lurker and join our IRC channel #pure:dyne on irc.goto10.org to check what’s being cooked. pure:dyne is currently developed by Rob Canning, Heather Corcoran, Antonios Galanopoulos, Karsten Gebbert, Claude Heiland-Allen, Aymeric Mansoux, Chun Lee, and Marloes de Valk.

4. A new, Debian based pure:dyne!

Starting 2008, pure:dyne will be based on the Debian operating system. While we aim to provide the same features as before and a live distribution in the form of a live CD, live DVD and live USB, we will be able to build up on top of the great Debian community and provide a larger range of software and develop much more advanced functionalities. At the same time we are quite happy to give back in return our efforts to this community and make available the software we package for most Debian based distros around.

5. find out more

Mailing list: http://lists.goto10.org/cgi-bin/mailman/listinfo/puredyne

IRC: #pure:dyne on irc.goto10.org