Cellular automata in generative electronic music and sonic art: a historical and technical review :: Authors: Dave Burraston, Ernest Edmondsa ::

This paper will review electronic music and sonic art applications of Cellular automata (CA) in a historical and technical context. Algorithmic and computational processes have been of interest to artists for many years, creating an emerging culture of generative electronic art. Creating patterns and sequences is necessary for the creative artist working spatially and temporally within a chosen medium. CA are capable of a wide variety of emergent behaviours and represent an important generative tool for the artist.

The sonic artist and musician must be prepared to investigate the theoretical background of CA in order to successfully employ their vast behaviour space within compositional strategy. Continue reading

A History of Sound Art :: Composed and Arranged by J Milo Taylor :: Mixed by Joel Cahen ::

London-based sound artist Joel Cahen discusses his ongoing project Wet Sounds, underwater audio installations that exploit the sounds properties of water :: Talk & Audio Composition February 12, 2011 from 3:00 p.m. – 5:30 p.m. :: Cahen introduces his new underwater installation, which will be staged at Temple Cowley Pools, Temple Road Cowley, Oxford, Oxfordshire, OX4 :: on Sunday February 13, 2011 at 4.30 p.m. ::

An engaging sound collage presenting an unique historical documentation of Sound Art from the early 20th century to the present day, the composition weaves through different sound works throughout the century with narratives and ideas from some of the prominent artists in the field. It is an insightful retrospective into the craft of sound and its development as an artistic practice, from Edison’s first sound film in 1895 to today. Commissioned by Newtoy.

Supported by Oxford Brookes University, Oxford City Council and the PRS Foundation.
http://www.modernartoxford.org.uk/whats-on/a-history-of-sound-art/about/

Call for submissions —Organised Sound: An International Journal of Music and Technology , Volume 17, Number 1 :: Issue’s thematic title: Networked Electroacoustic Music :: Submission Deadline: June 15, 2011 :: Date of Publication: April 2012 :: Publishers: Cambridge University Press :: Issue co-ordinators: Ian Whalley (musik@waikato.ac.nz), Ken Fields (kfields@ucalgary.ca)

Organised Sound has regularly covered networked music in the past, including a themed issue (vol. 10/3, 2005). The proliferation of Internet2 has resulted in a sustained practice of sonic and multimedia experimentation over high-speed research networks. This current themed issue aims to explore and document current work, practices and innovation in this new musical space. Are there new issues in aesthetics to be addressed in electroacoustic music as mediated by networks? Continue reading

OptoSonic Tea with live sets by: Alex Carpenter (live visuals and sound) with James Ross (live sound); Chris Jordan (live visuals) with Bradford Reed (live sound); with invited respondent/moderator: Andrea Monti :: Tuesday, February 15th, 2011 at 8:00 p.m. :: at Diapason, 882 Third Avenue, between 32nd and 33rd Streets, 10th floor, Brooklyn (Sunset Park) — directions: D, N or R train to 36th Street in Brooklyn :: (718) 499-5070 :: Suggested donation: $ 7 ::

OptoSonic Tea is a regular series of meetings dedicated to the convergence of live visuals with live sound which focuses on the visual component. Continue reading

Radiauteur – a new web magazine dedicated to radio art is now live online. Dedicated to radio art, the transmission of conceptual sounds and voiced thoughts, Radiauteur was launched to become a web magazine for academics and artists from all over the world to publish their work ::

In addition to this, Radiauteur aims to become an online platform for the dissemination of past, present and future praxis: an Ariadne’s thread for radio art to reach an audience as wide as possible.

Radiauteur is a non-profit initiative kindly supported by the Centre for Cultural Studies and the Department for Media and Communications of Goldsmiths, University of London. Radiauteur: make waves. Continue reading

zerospace: a performance and conference on distance and interaction in music :: created by C21: Center for 21st Century Studies :: Friday, February 18, 2010, 3:30 p.m. – 6:30 p.m. :: at University Of Wisconsin-Milwaukee, Center for 21st Century Studies, Milwaukee, WI ::

This one-day event explores emerging possibilities of distance and interaction in music. As new network-based technologies have facilitated and amplified human communal interaction, musicians have simultaneously embraced these for live performance. [Ø] [zerospace]—consisting of an afternoon colloquium with performances, and an evening concert—will explore several musical trends in distance and interaction in music. Continue reading

“din is noise” is a newly-updated “tone board,” making the rectangular plane of its screen into a field of sound you can transform. Peter Kirn describes it:

Pixels can be tones, transformed onscreen. A resonator editor uses Bezier curves to edit sounds across octaves. Each resonator, in turn, can be edited with yet more Bezier curves. Put them together into the drone editor… and you can create vast, sculpted soundscapes from series of rectangles dragged around between octaves.

It’s all free, and it’s all doable for your mouse – a Linux exclusive that might convince you to dual boot, or take a second look at that netbook. Continue reading

Call: Submit your Audio|Photo|Text|Video material for a big collaborative live performance in Rome ::
Deadline: February 28, 2011 ::

Francesco Giannico & Roberto Fega present “Daily Memories | Sounds of Memory“. The project was born from the need to create a living-performance based on sounds,videos, photos, drawings, texts that have to do with a daily past forgotten even by a few minutes. We ask you to donate to this project a part of your past or recent memory.

All donated material that you submit will be processed in real time during a live national premiere to be held in Rome between 2 months and you will be clearly informed, as project’s makers.

Please see below our guidelines for sending materials :: Continue reading

Celebrating 50 Years of Music & Technology @ MIT :: February 5, 2011, from 9:00 a.m. – 10:00 p.m. :: MIT Media Lab (E14), 75 Amherst St., Cambridge, MA :: This event is open and free to the public. No tickets are required ::

A full day and evening at MIT’s new Media Lab Complex celebrating the Institute’s unique tradition and future plans at the convergence of music, science and engineering. Curated by Professors Joseph Paradiso and Tod Machover, this lively event will weave together discussions, demonstrations and performances to show the astounding variety of “future music” work at MIT, from audio innovations to synthetic performers, from sensors and interfaces to theories of musical mind and emotion, from hypercellos for Yo-Yo Ma to Guitar Hero. Participants will include Max Mathews (called “the father of computer music”), Miller Puckette (inventor of MAX/MSP), Eran Egozy (co-founder of Harmonix), Emeritus Professors Marvin Minsky and Barry Vercoe, and many others. Includes an imaginative concert featuring surprising, stimulating music by Machover, Makan, Rowe, Ziporyn and others.

The program can be found here:
http://arts.mit.edu/wp-content/uploads/Music-_-MACHINES-Program-5-1.gif

The Center for Research in Computing and the Arts presents Music Under the Influence of Computers:: Wednesday, February 2, 2011 at 7:00 p.m. :: Calit2 Theater, Atkinson Hall, UCSD Campus, San Diego, CA ::

Music Under the Influence of Computers returns with a collection of exciting experimental audiovisual offerings by composers and artists from the United States and Germany, sponsored by The Center for Research in Computing
and the Arts (CRCA) and Calit2. Program:

The Art of Noise of Cartoons (2011) – David Medine (video and surround sound); Omphalos (2008) – Kari Besharse (surround sound); Suburban Review: 1/8/2011, 4:45 – 5:50 pm (2011) – Joachim Gossmann (video and surround sound); Change in the Summation (2007) – Jason Bolte (surround sound); Yet Another Allegiance (2011) – Rick Snow (live video and surround sound) Continue reading