Bergen Center for Electronic Arts

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Works in progress.
Updated: 1 hour 21 min ago

stazione di topolò - ToBeContinued....2015

Tue, 03/24/2015 - 08:37

Come visit our listening station.
You can also listen online at:
stazioneditopolo.it

Samklangfunnet: Music and Technology

Mon, 03/16/2015 - 09:36

Wednesday March 18 20:00
Det Akademiske Kvarter
Olav Kyrresgate 49, 5015 Bergen, Hordaland

Samklangfunnet explores the fusion between technology and music.

The technological evolution of the twentieth century has had an enormous impact on what it means to be a performing musician. Musicians from The Grieg Academy, The Bergen Philharmonic Orchestra and The BIT20 Ensemble will explore some of the possibilities modern technology has provided musicians of our time.

Acoustic instruments have roots that extend back into prehistoric times, and are mentioned in ancient sources, such as Egyptian inscriptions and the Bible. The oldest known human instrument is a bear bone flute made 45 000 – 50 000 years ago. Since then, technology has come a long way. The twentieth century advancements have given performing musicians new opportunities to create their own sound.

Gather all your friends at Kvarteret and open your ears to an exceptional technological evening!

BIT20 Ensemble’s Gisle Martens Meyer will give us an insight into his work with the commission piece Bow Corpse, which will be performed by the BIT20 Ensemble at Nattjazz in June. For this piece Gisle is developing a new software, inspired by both social media and big data.

The BIT20 Ensemble is known for its exploration of contemporary music. Throughout its lifetime it has ordered and premiered over 100 works by both Norwegian and international composers.

Gisle Martens Meyer’s formal education is in computer science, but in 2002 he had a breakthrough with his electronica project Ugress.

The event will take place at Teglverket, Det Akademiske Kvarter.

CC: 50,- for membership of Studentersamfunnet. Free entrance for members.

freethought invites.... Infrastructures of Resistance : Detroit and the underground desire for utopia

Thu, 03/12/2015 - 20:52

A Bergen Assembly event with freethought hosted at Hordaland Kunstsenter.

Thursday 19 March 2015
19:30 Doors open
20:00 Dinner
21:00 A talk by Louis Moreno of freethought

If the notion of Infrastructure is synonymous with the economic, cultural and political integration of a society, its failure has become symptomatic of a kind of pathological decay. So widespread is this infrastructural mentality that cities are today graded against the overall quality of their ‘human resource complex’. Here the city of Detroit exists not so much as a city, but a disaster scenario. Detroit has become a collage of images reflecting an ongoing crisis requiring ‘emergency measures’ to correct some deep deficiency.

In this talk, freethought member Louis Moreno will consider how the political mentality of infrastructure emerged in response to both the destruction of an economic base and the ‘curation’ of the urban cultures of post-fordism. Against this, using clips from documentaries, excerpts from vinyl 12” records and other evidence, Moreno will show how Detroit opens up a different way of envisioning ‘infrastructure’.

Contained in the cartography of Bill Bunge, the documentaries of the League of Revolutionary Black Workers, and the vinyl records of Underground Resistance, we uncover a different kind of cultural infrastructure: an ‘infrastructure of feeling’ able to
articulate and sustain a peculiarly infectious desire for social and spatial liberation.

A simple dinner will be provided and drinks will be available to buy from the Bob’s Your Uncle Sports Bar.
All welcome!

freethought invites….is a series of open and free public events organised by freethought in the lead up to the Bergen Assembly to pursue their research into ‘Infrastructure’. These events are open to all, and will include dinner, drinks and a guest lecture.

Alongside these open and public events, members of freethought will lead a focused day seminar programme around key themes and terms relating to infrastructure with the intention of developing a collective body of research and insights. These seminars are available to anyone who can commit to following the programme in its entirety up until September 2016. For the seminars, specific texts will be circulated in digital form to allow participants to take part in the discussions. If you would like to join, please email freethought@bergenassembly.no

Bob’s Your Uncle Sports Bar is a temporary artist’s bar that exists as part of Carl Johan Högberg’s exhibition Shuttlecock, feat. Bob’s Your Uncle Sports Bar, at Hordaland Kunstsenter until 22 March 2015. Bob’s Your Uncle Sports Bar is envisaged as a replica of the original Bob’s Your Uncle bar at the Amsterdam Kunstverein, designed by Robet Wilhite. Both Bob’s Your Uncle bars host events that foreground the intersection of artistic and social activity.

About freethought
Artistic Directors of Bergen Assembly 2016. freethought is a collective of six persons (Stefano Harney, Adrian Heathfield, Massimiliano (Mao) Mollona, Louis Moreno, Irit Rogoff and Nora Sternfeld) and came together in 2011 as a platform for research, pedagogy, and production.

Follow at @ft-collective and facebook.com/freethought-collective
Bergen Assembly: http://www.bergenassembly.no/ and
facebook.com/Bergenassembly/

For any questions please contact: lona@bergenassembly.no

With thanks to Hordaland Kunstsenter for kindly hosting this event.

Image credit: Flyer for Underground Resistance – Detroit circa 1990s.

VDMX Workshop på BEK

Thu, 03/12/2015 - 15:51

Bli med på VDMX Workshop – sanntidsprossesering av video! 4. til 6. mai holder billedkunstner Piotr Pajchel en VDMX workshop på BEK.

VDMX er et svært fleksibelt VJ-program hvor du kan skreddersy en digital videomixer som passer ditt prosjekt, uansett størrelse og kompleksitet. Det er en rekke ting som gjør VDMX til en fantastisk verktøyskasse for alle som ønsker å jobbe med sanntidsvideo:

- VDMX er et ‘åpent-lag-system’, som er et kjent konsept fra for eksempel Photoshop, og er egnet for komplekse visningskonfigurasjoner.

- Du bygger din egen GUI for å styre hvordan VDMX oppsettet ditt skal se ut og fungere.

- Alle parametre i VDMX kan styres via OSC, MIDI, art-net DMX. Dette er ideelt for musikere og lysdesignere som vil jobbe med video.

- VDMX har innebyget BPM-clock og Audio-analyse.

- Ved hjelp av Syphon kan VDMX strømme video mellom ulike programmer, som f. eks: MAX/Jitter, MadMapper, Unity3D.

- Støtte for Quartz composser og ISF.

Kursholder er billedkunstner Piotr Pajchel, (f. 1979) og utdannet ved Statens Kunstakademi i Oslo (2001-2005). Han har siden 2003 vært kunstnerisk ansvarlig for videoarbeidet i Verdensteatret og er i dag fast medlem av styret.
Verdensteaterets produksjoner har markert seg kraftig nasjonalt og internasjonalt, og er i dag et av norges viktigste scenekunstensambler med et uttrykk som er like dypt forankret i musikk og billedkunst som i teater. Produksjoner som “Konsert for Grønland” (2004), “Fortellerorkesteret” (2006), “Louder” (2007), “And All the Questionmarks Started to Sing” (2010) og “Broen over Gjørme” (2014). ‘’Broen over Gjørme’’ ble vist på Henie Onstad kunstsenter høsten 2014. Verdensteateret mottok Heddas Ærespris i 2014.

Piotr Pajchel vil begynne med å lære deg det grunnleggende i VDMX, for deretter å fokusere på dine spesielle interesser eller prosjekt.
Det undervises i demoversjonen som er gratis, men deltagerne har mulighet for å kjøpe personlig lisens om de ønsker det.

For å delta sender du en mail til bek@bek.no merket med VDMX sammen med en kort bio om deg selv.

Kurset koster kr 250, og inkluderer lunsj alle dagene. Påmeldingen er bindende.

Workshopen forutsetter grunnleggende kunnskap om videoredigering samt at du tar med en Mac med følgende minimumsspesifikasjoner:

OS X 10.6 eller nyere, 4 GB RAM minne

Deltakerene oppfordres til å ta med egne prosjekter eller prosjektidéer.
Det vil bli mulighet for å presentere prosjekter og/eller få hjelp til planlegging og forslag til tekniske løsninger. Kommer du utenbys fra kan BEK være behjelplig med å finne et rimelig hotel, eventuelt AirBnB.

Velkommen!

http://vidvox.net
http://verdensteatret.com

Time and place:
  • BEK - 04/05/2015 to 06/05/2015

The Extensions of Many: Seminars on Media Aesthetics Part 2

Wed, 03/11/2015 - 11:20

Throughout March, BEK is organising a series of seminars exploring the ambiguity of the notion of media from an aesthetic and technological perspective.

Full program in PDF

The themes range from sonic art and theory of rhythm, through the emergence of narratives about multimedia systems in the amalgam of library science and peace activism, to a relation between early video art and ecological crisis. The speakers include Ina Blom, Florian Cramer, Knut Ove Eliassen, Olga Goriunova, Aud Sissel Hoel, Eleni Ikoniadou, and Femke Snelting. The series is programmed by Dusan Barok, founding editor of Monoskop.org currently based in Bergen, in collaboration with BEK, and held at Hordaland kunstsenter. Events are open to general audience and will take place on March 4, 18, and 25.

The Extensions of Many: Seminars on Media Aesthetics

Media-theoretical discussions on aesthetics in recent years gave way to miscellaneous contributions such as those on post-digital aesthetics (Cramer 2013), post-media (Post-Media Lab 2013), ‘anti-media’ (Cramer 2013), ‘evil media’ (Fuller and Goffey 2012), or ‘no media’ (Dworkin 2013). They share one common denominator: the persisting effort for a new theorisation of media and mediality. The humanities’ modernist understanding of media as a means of artistic expression (painting, sculpture, photography..) got complicated by importing elements from mathematical theory of communication, and particularly the interpretation of information channel as medium. This semantic ambiguity was embraced notably in the 1960s in the circuits of conceptual and computer art and from the 1990s on in the domain of new media art, which, despite the former postmodern turn, implied a new artistic genre in terms of the exploration of and work with the latest technology as its means of expression. New media artists in turn refuted the criticism of their modernist nostalgia claiming that the relevance of their work resides in artistic research of media as contemporary information, communication channels.

The issue of medium-specifity had been raised in aesthetics on several notable occasions: in connection with dismantling Horace’s maxim ‘ut pictura poesis’ (Lessing 1766), arguing for the primacy of material ‘faktura’ over stylistic ‘manera’ in the Russian savant-garde of the 1910s (Markov 1914), or formulating the imperative for the arts to submit to the purity of their respective media (Greenberg 1940). However, the introduction of information theory (Shannon 1948) and the unavoidable inclusion of digital (communication) media in the arts thrown the artistic medium into a paradoxical situation between its agency, on the one hand, as the formal/materiological determinant of a work of art, and on the other, as a sole transmission channel of mimesis.

For this series of three seminars, seven scholars working in Norway and internationally were invited to give 45-60-minute talks, each followed by moderated discussion.

///// PROGRAM /////

Wednesday, 18 March 2015, 18:30, HKS

Ina Blom – Video, Water and Social Ontology

The emergence of analog video, a real-time apparatus whose sophisticated microtemporal operations indicated the existence of memory-frameworks independent of (and largely inaccessible to) human perception, opened the field of art to extensive social inventiveness. This inventiveness involved close interactions between human and non-human time loops, technical as well as biological. In my account of this history, video emerges as an autobiographical “subject” or agent that deploys the contexts, personnel and materials of “art” for an exploration of its own temporalizing capacities and – in extension of this – the very tenets of social memory. This activity can be traced through a number of different phenomena marking early video art; in this context I will focus on the video’s peculiar alliance with water in the context of the ecocrisis of the early 1970s, resulting in new conceptions of nature as well as of social ontology.

Ina Blom is an art historian (professor at the University of Oslo) and art critic, contributing to Artforum, Afterall, Parkett, and Texte zur Kunst. Her latest book is On the Style Site. Art, Sociality and Television Culture (Sternberg Press, 2007, 2009). A new book, The Autobiography of Video. The Life and Times of a Memory Technology, is forthcoming from Sternberg Press in late 2015.

Femke Snelting – The Internet on Paper

In 1934, documentalist Paul Otlet wrote: “Humanity is at a turning point in its history. The mass of available information is formidable. New instruments are necessary for simplifying and condensing it, or the intellect will never know how to overcome the difficulties which overwhelm it, nor realise the progress that it glimpses and to which it aspires.” Otlet considered radio, cinema, micro-fiche, phonograph and television all worthy substitutes for the book as information carrier. He envisaged them interconnected into a ‘radiated library’, an intellectual multi-media machine that would support the publication, consultation and creation of knowledge.

Since 1993, the remains of Otlet’s extensive collection of documents are being cared for by The Mundaneum archive center in Mons. Located in a former mining region in the south of Belgium, Mons is also right next to Google’s largest datacenter in Europe. Due to the recent re-branding of Otlet as ‘founding father of the Internet’, and ‘visionary inventor of Google on paper’, The Mundaneum has called international attention to his oeuvre. The Internet giant thankfully accepted the gift of posthumous roots, and adopted The Mundaneum in return.

‘The Internet on Paper’ traces various narrations of media in and around the work of Paul Otlet. It is a contribution in the context of Mondothèque, a platform for experiments by artists, archivists and activists concerned about the way knowledge is produced and distributed today. http://www.mondotheque.be

Femke Snelting is an artist/designer developing projects at the intersection of design, feminism and Free Software. She is a core member of the Brussels based association for arts and media, Constant, co-initiated the design/research team Open Source Publishing (OSP) and the Libre Graphics Research Unit. With delegates Jara Rocha, Seda Gürses and Miriyam Aouragh she takes part in the Darmstadt Delegation, assigned to explore techno-political and socio-emotional relationships between activist practice and tools.
Photos from the event: Thorir Vidar / http://thorirvidar.com

Time and place:
  • HKS - 18/03/2015 18:30

Choral for scattered voices

Mon, 03/09/2015 - 13:38

The choral work “for stadig å bli“ (again and again, to become) deals with listening and distance. The general layout is created by Knut Vaage, based on an initiative from Sissel Lillebostad. Gneis, with conductor Tore Kloster, shapes the piece on site.

Stykket utforskar grensene for sansing og samhandling. Tidsaspektet i partituret er opent, og det inneheld stor grad av improvisatorisk fridom.

Publikum er invitert til å røre seg fritt mellom songarane.

Gratis inngang.

Verket er støtta av Bergen Kommune og Norsk Kulturråd. BEK bidrar med prosjektkonsultasjon, og teknisk support og avvikling frå Thorolf Thuestad.

Time and place:
  • Bergen offentlige bibliotek - 17/03/2015 20:30

Stephan Meidell & Tolga Balci - documentation of collaborative work

Mon, 03/09/2015 - 13:20

Gitar improviser, Stephan Meidell, uses video footage and animations created by the Turkish artist Tolga Balci, when performing materials from his solo album “Cascades”. This has now been documented at Bergen Kjøtt, and BEK has helped with equipment.

Stephan Meidell – kanskje best kjent som gitarist i den improviserende kraut/støy/rocktrioen Cakewalk – gav i fjor ut soloplaten “Cascades” på selskapet Hubro til strålende kritikker i inn – og utland.

Soloplaten er basert rundt improvisasjoner mellom gitaren og store, industrielle rom i Bergen.

I konsertformat filtreres improvisert gitar og perkusjon gjennom
elektronikk og settes opp mot suggererende, hypnoritualistiske rytmer. Resultatet er et unikt klanglig univers i skjæringspunktet
mellom elektronika, doom og avant-jazz.

På konsertene bruker Meidell videomateriale og animasjoner laget av den tyrkiske kunstneren Tolga Balci, og dette har nå blitt dokumentert på Bergen Kjøtt.

stephanmeidell.com

Time and place:
  • Bergen Kjøtt - 04/02/2015 00:00

2015 Electronic Music Midwest Call for Submissions

Sun, 03/01/2015 - 21:48

Lewis University and Kansas City Kansas Community College are pleased to announce an international call for submissions for the Electronic Music Midwest Festival, featuring guest performer Keith Benjamin (trumpet), to be held November 19-21, 2015 at Kansas City Kansas Community College. Each concert will feature an 8.1 speaker diffusion system. Acclaimed trumpeter, Keith Benjamin, will be the featured performer and composers are encouraged to submit works for his consideration. Any composer regardless of region, age or nationality may submit one work.

Deadline: May 20, 2015
Entry Fee: none

For complete guidelines, visit http://www.emmfestival.org/data/callforsubmissions.html

The Extensions of Many: Seminars on Media Aesthetics part 3

Tue, 02/24/2015 - 22:32

Throughout March, BEK is organising a series of seminars
exploring the ambiguity of the notion of media from an aesthetic and technological perspective.

Download full program in PDF
The themes range from sonic art and theory of rhythm, through the emergence of narratives about multimedia systems in the amalgam of library science and peace activism, to a relation between early video art and ecological crisis. The speakers include Ina Blom, Florian Cramer, Knut Ove Eliassen, Olga Goriunova, Aud Sissel Hoel, Eleni Ikoniadou, and Femke Snelting. The series is programmed by Dusan Barok, founding editor of Monoskop.org currently based in Bergen, in collaboration with BEK, and held at Hordaland kunstsenter. This last event is taking place on March 25.

Wednesday, 25 March 2015, 18:30, HKS

Florian Cramer – Talking Past Each Other. On the Word Combinatorics of “Post”, “Media”, “Digital” and “Internet”

What makes the contemporary terms “post-media”, “no media”, “post-internet” etc. so confusing is their reference to greatly different, sometimes unrelated notions of “medium” and “media” that have historically coexisted in the arts and the humanities. The term “post-media”, for example, had two independent coinages and resulting different meanings, one in art criticism and another one in media philosophy. Now that art critical, media theoretical and continental philosophical debates are converging in new constellations and practices, concepts and terminology often get conflated without everyone being aware of it. This lecture will attempt to cut through the mess.

Florian Cramer, reader for new media and their impact on art and design at Creating 010/Willem de Kooning Academy, Rotterdam University of Applied Sciences, The Netherlands. Recent publications: Anti-Media. Ephemera on Speculative Arts (NAi 010 Publishers, 2013), What Is Post-Digital?, A Peer-Review Journal About (2014), http://www.aprja.net/?p=1318.

Olga Goriunova – Digital Subjects and the Questions of the Real

Whereas plastic was once imagined not only as a medium to artistically explore but also a social programme of revolutionary nature, plastic bags, toothbrushes, rubber ducks and other plastic debris are now the basis for the Pacific Trash Vortex, a major threat to marine and consequentially human life, a condition which cannot be simply described as ‘postplastic’. Analogically, instead of focusing on the questions raised by the current accounts of postmedia, I suggest to take a materialist approach to understand the nature of the multiple relations that arise within the thick distance between subjects and their data, digital objects, social media performances and other computational debris. When various kinds of data are pulled together to create forms of digital subjectivity, often proclaimed to be indexically linked to subjects, whether psychoanalytic, demographic or Foucauldian, it is exactly these forms of connection, change and continuity that don’t only indicate disciplinary frictions, but also raise the questions of political character, as well as the questions of what constitutes the real for all the parties involved.

Olga Goriunova is an Associate Professor at the University of Warwick. She recently published an edited volume Fun and Software: Exploring Pleasure, Pain and Paradox in Computing (Bloomsbury, 2014), that attempts to salvage some breathing space in what appears to be a monolithic neoliberal neo-Kantian metacomputational narrative. She is a co-editor of Computational Culture, a journal of software studies (http://computationalculture.net). She once made the Suicide Letter Wizard for Microsoft Word, and is now working on the questions of digital subjectivity, social media images, idiocy and nonsense, as well as the explorations of the limits in both ethico-aesthetic and ecological terms.

Knut Ove Eliassen – Aesthetic Technologies

The term “electronic arts” long had the ring to it of an oxymoron or a catachresis – a figure of speech that brings together contradictory elements or terms that belongs two distinctly different spheres. Due to the development over the last decades of disciplines such as media archaeology, digital humanities, ludology, archive aesthetics, computer culture, and the like, it has become much of a truism that the arts are not merely neutral media of expression but that aesthetic objects have always been imbued with technology. But then again, what does this imply? And what are the consequences? Taking as my starting point the media aesthetics developed in the wake of the work of German media scholar and historian Friedrich Kittler, I will give an overview of the major positions of the so-called Berliner Schule and discuss what I consider its major contribution to the study of aesthetics.

Knut Ove Eliassen is a professor in comparative literature at the Norwegian University of Science and Technology (NTNU) in Trondheim. With a background in history of ideas and philosophy he has published on 20th century French philosophy, aesthetics, media archeology and the literature and philosophy of the Enlightenment. He has also translated Michel Foucault, Friedrich Kittler, and Jean Baudrillard.

Time and place:
  • HKS - 25/03/2015 18:30

Video screening program at 3,14

Thu, 02/12/2015 - 18:31

This weekend Stiftelsen 3,14 offers a four day video screening program with works by Sara Rajaei, Cynthia Marcelle, Elena Kovylina and Eva Ljosvoll. All four artists have exhibited previously at 3,14, and this is an opportunity to see some of their more recent works.

Three of the works are world premieres; Égalité Bergen by Elena Kovylina, based on a performance at Festplassen in Bergen December 6 last year, Ikke alle dørene er lukket by Eva Ljosvoll, and there was the dream and there was a memory connected with it by Sara Rajaei.

In addition three works by Cinthia Marcelle are presented; 475 Volver, ao plano and O século, and one additional work by Sara Rajaei; 1978 the 231st day.

Trond Lossius has co-curated the two works by Sara Rajaei for this exhibition. Additionally BEK supports the exhibition with equipment.

Time and place:
  • Stiftelsen 3,14 - 12/02/2015 to 15/02/2015

The Extensions of Many: Seminars on Media Aesthetics

Thu, 02/12/2015 - 13:51

Throughout March, BEK is organising a series of seminars exploring the ambiguity of the notion of media from an aesthetic and technological perspective.

Download full program in PDF

The themes range from sonic art and theory of rhythm, through the emergence of narratives about multimedia systems in the amalgam of library science and peace activism, to a relation between early video art and ecological crisis. The speakers include Ina Blom, Florian Cramer, Knut Ove Eliassen, Olga Goriunova, Aud Sissel Hoel, Eleni Ikoniadou, and Femke Snelting. The series is programmed by Dusan Barok, founding editor of Monoskop.org currently based in Bergen, in collaboration with BEK, and held at Hordaland kunstsenter. Events are open to general audience and will take place on March 4, 18, and 25.

The Extensions of Many: Seminars on Media Aesthetics

Media-theoretical discussions on aesthetics in recent years gave way to miscellaneous contributions such as those on post-digital aesthetics (Cramer 2013), post-media (Post-Media Lab 2013), ‘anti-media’ (Cramer 2013), ‘evil media’ (Fuller and Goffey 2012), or ‘no media’ (Dworkin 2013). They share one common denominator: the persisting effort for a new theorisation of media and mediality. The humanities’ modernist understanding of media as a means of artistic expression (painting, sculpture, photography..) got complicated by importing elements from mathematical theory of communication, and particularly the interpretation of information channel as medium. This semantic ambiguity was embraced notably in the 1960s in the circuits of conceptual and computer art and from the 1990s on in the domain of new media art, which, despite the former postmodern turn, implied a new artistic genre in terms of the exploration of and work with the latest technology as its means of expression. New media artists in turn refuted the criticism of their modernist nostalgia claiming that the relevance of their work resides in artistic research of media as contemporary information, communication channels.

The issue of medium-specifity had been raised in aesthetics on several notable occasions: in connection with dismantling Horace’s maxim ‘ut pictura poesis’ (Lessing 1766), arguing for the primacy of material ‘faktura’ over stylistic ‘manera’ in the Russian savant-garde of the 1910s (Markov 1914), or formulating the imperative for the arts to submit to the purity of their respective media (Greenberg 1940). However, the introduction of information theory (Shannon 1948) and the unavoidable inclusion of digital (communication) media in the arts thrown the artistic medium into a paradoxical situation between its agency, on the one hand, as the formal/materiological determinant of a work of art, and on the other, as a sole transmission channel of mimesis.

For this series of three seminars, seven scholars working in Norway and internationally were invited to give 45-60-minute talks, each followed by moderated discussion.

///// PROGRAM /////

Wednesday, 4 March 2015, 18:30, HKS

Eleni Ikoniadou – Into the Midst of Things: Sonic Art and the Speculative Aesthetics of Rhythm

In the age of computational media, sound can offer dynamic ways of accounting for bodies, events, and aesthetics. In particular, this talk will look at how sound art experiments that move from the purely sonic to the vibrational and the imperceptible, can allow us to speculate on the idea of a rhythmic aesthetics. The situations these projects effectuate indicate that rhythm becomes the new spatiotemporal reality of the artwork, autogenerating between all the elements and synthesising their interactions without residing in any of them.

This talk will suggest that the digitalisation, virtualisation and abstraction of rhythm, which sonic artworks practically enable and conceptually encourage, expose us to realities that no longer require the active participation of a cognitive subject. As we will see, the concept of rhythm, detached from symmetry and regularity, can uncover immediation, potentiality and affectivity as immanent to our dealings with sound.

Eleni Ikoniadou is Senior Lecturer in Media and Communication at Kingston University. She is the author of The Rhythmic Event (MIT Press, 2014, Technologies of Lived Abstraction series), co-editor of Media After Kittler (Rowman and Littlefield International, 2015) and co-editor of the Media Philosophy series (RLI).

Aud Sissel Hoel – Operative Image

There is much talk these days about images being performative or operative. These notions, which foreground the active and processual dimension of images, are often evoked in order to make sense of the disruptions in the image economy brought about by digitisation. In this talk, however, I propose a deeper revision of the very image category as such. I undertake this revision, first, by arguing that images are “mediating apparatuses.” The notion of “mediating apparatus” is introduced in an attempt to rethink media and mediality in dynamic terms, something that involves a break with notions of media associated with modernist art criticism, as well as with instrumental notions of media as neutral information channels. I proceed to specify what I mean by operative images by maintaining that images, like all mediating apparatuses, are “differential tools,” and that, as such, they have ontological import. Images, in other words, are reconceived as “measures of being.”

Aud Sissel Hoel is Professor of Media Studies and Visual Culture at the Norwegian University of Science and Technology. Hoel’s research covers a wide range of topics in the overlapping fields of image theory, media philosophy, science studies, and digital culture. Recent publications include Ernst Cassirer on Form and Technology: Contemporary Readings (Palgrave Macmillan, 2012), a special issue on computational picturing (2012), and Visualization in the Age of Computerization (Routledge, 2014).

Wednesday, 18 March 2015, 18:30, HKS

Ina Blom – Video, Water and Social Ontology

The emergence of analog video, a real-time apparatus whose sophisticated microtemporal operations indicated the existence of memory-frameworks independent of (and largely inaccessible to) human perception, opened the field of art to extensive social inventiveness. This inventiveness involved close interactions between human and non-human time loops, technical as well as biological. In my account of this history, video emerges as an autobiographical “subject” or agent that deploys the contexts, personnel and materials of “art” for an exploration of its own temporalizing capacities and – in extension of this – the very tenets of social memory. This activity can be traced through a number of different phenomena marking early video art; in this context I will focus on the video’s peculiar alliance with water in the context of the ecocrisis of the early 1970s, resulting in new conceptions of nature as well as of social ontology.

Ina Blom is an art historian (professor at the University of Oslo) and art critic, contributing to Artforum, Afterall, Parkett, and Texte zur Kunst. Her latest book is On the Style Site. Art, Sociality and Television Culture (Sternberg Press, 2007, 2009). A new book, The Autobiography of Video. The Life and Times of a Memory Technology, is forthcoming from Sternberg Press in late 2015.

Femke Snelting – The Internet on Paper

In 1934, documentalist Paul Otlet wrote: “Humanity is at a turning point in its history. The mass of available information is formidable. New instruments are necessary for simplifying and condensing it, or the intellect will never know how to overcome the difficulties which overwhelm it, nor realise the progress that it glimpses and to which it aspires.” Otlet considered radio, cinema, micro-fiche, phonograph and television all worthy substitutes for the book as information carrier. He envisaged them interconnected into a ‘radiated library’, an intellectual multi-media machine that would support the publication, consultation and creation of knowledge.

Since 1993, the remains of Otlet’s extensive collection of documents are being cared for by The Mundaneum archive center in Mons. Located in a former mining region in the south of Belgium, Mons is also right next to Google’s largest datacenter in Europe. Due to the recent re-branding of Otlet as ‘founding father of the Internet’, and ‘visionary inventor of Google on paper’, The Mundaneum has called international attention to his oeuvre. The Internet giant thankfully accepted the gift of posthumous roots, and adopted The Mundaneum in return.

‘The Internet on Paper’ traces various narrations of media in and around the work of Paul Otlet. It is a contribution in the context of Mondothèque, a platform for experiments by artists, archivists and activists concerned about the way knowledge is produced and distributed today. http://www.mondotheque.be

Femke Snelting is an artist/designer developing projects at the intersection of design, feminism and Free Software. She is a core member of the Brussels based association for arts and media, Constant, co-initiated the design/research team Open Source Publishing (OSP) and the Libre Graphics Research Unit. With delegates Jara Rocha, Seda Gürses and Miriyam Aouragh she takes part in the Darmstadt Delegation, assigned to explore techno-political and socio-emotional relationships between activist practice and tools.

Wednesday, 25 March 2015, 18:30, HKS

Continues in a separate post..

Time and place:
  • HKS - 04/03/2015 18:30

Ledige atelier ved cs55

Wed, 02/11/2015 - 15:21

Det er ledig 3 atelier ved Kunstnerverksteder cs55 Bergen.

  1. Nyutdannet atelier # 304, er 42 kvm. Leiepris 2015 er kr. 1.646.— minus husleiereduskjon satt til 14 % kr. 230.— endelig leiepris 1.416.— + strøm. Dette atelieret har doble dører.
  2. Nyutdannet atelier # 404, er 40 kvm. Leiepris 2015 er kr. 1.578.— minus husleiered. 14 % kr. 221.— endelig leiepris 1.357.— + strøm.
    Atelierene for nyutdannete leies ut for ett år av gangen med mulighet for forlengelse inntil 2 år sammenlagt.
  3. Ledig atelier # 302 med 78 km i 3. etasje.78 kvm. Husleie kr. 5.868.— pr, mnd minus husleiereduksjon på (i år) 14 % kr. 822.— Totalt kr. 5.046.— + strøm.

Alle atelier har tilgang til wifi, vareheis, prosjektrom og fellesverksted i 2.etg. etter opplæring ved verkstedansvarlig.
Alle 3 atelierene er ledig fra 01.06.2015 og har søknadsfrist 1.april 2015

Søkes med digital portfolio i pdf form, evtl. webside, CV, motivasjon.

Søknaden sendes til styret i Kunstnerverksteder Cs55 ved kkipphoff@yahoo.de

For å kunne søke atelier for nyutdannete må du være utdannet billedkunstner/kunsthåndverker som avsluttet utdanningen for ikke mer enn 2 år siden.

Kunstnerverksteder cs55 er støttet av Bergen kommune og Hordaland fylkeskommune
cs55

Setting up a Reaper project for ambisonics

Wed, 02/11/2015 - 14:55

Over the past few weeks we have received several questions regarding how to set up a Reaper project to work with first order ambisonic using the ATK for Reaper plugins.

Responding to this, Trond has have just published a screencast that helps explaining this.

MuSA 2015

Fri, 02/06/2015 - 17:42

Sixth International Symposium on
Music/Sonic Art: Practices and Theories
MuSA 2015 – Karlsruhe (IMWI)
25-28 June, 2015

Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe

FIRST CALL FOR PAPERS:
We are pleased to announce the Sixth International Symposium on Music and Sonic Art: Practices and Theories (MuSA 2015), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (http://www.hit-karlsruhe.de/hfm-ka/imm/). MuSA 2015 is also supported by Middlesex University, London. The dates of the Symposium are 25-28 June, 2015.

Proposals for sessions and individual papers for the Sixth International Symposium on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Symposium committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The Symposium language will be English. Previous themes and topics can be seen at: musa2012.zilmusic.com, musa2013.zilmusic.com, musa2014.zilmusic.com

THEME AND TOPICS:
The principal aim of MuSA 2015 is to advance interdisciplinary investigations in – as well as between – music and sonic art. Following the success of MuSA 2014 in opening up interdisciplinary debate on the role of embodied approaches, MuSA 2015 will continue to probe this research area through the Symposium theme: Exploring embodiment in music and sonic art.

We invite submissions on the following, and other related topics:

  • Body movement and emergence of meaning;
  • Embodied approaches to creativity;
  • Kinematics and haptics as background for music and sonic art research;
  • Gesture and expression;
  • Methods for embodied analysis;
  • Phenomenology of the performing body;
  • The body within socio-cultural contexts of music and sonic art;
  • Pedagogical contexts for embodied approaches to music and sonic art;
  • The body in interpersonal sound-based communication;
  • Ecological, biological, neuroscientific and evolutionary approaches to embodiment;
  • Historical roots of embodied approaches in theory and practice;
  • Technology and embodiment;
  • Artificial intelligence and embodiment;
  • Critical discourses of embodiment in practice and research;
  • Embodied aesthetics;
  • Embodiment in collaborative research;

Other topics that are in line with the Symposium’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.

In addition, MuSA 2015 will devote one day to the specific theme: Re-thinking the Musical Instrument

Within the thriving discipline of musical performance studies, there is a general tendency to speak of ‘the performer’ as an abstract category without taking into account the kind of musical instrument that mediates the act of music making and music as a temporally emergent, sounding phenomenon. In reality, different kinds of musical instruments involve different expressive means (and at times different expressive/artistic aims), engender different phenomenologies of performance making, and generate different kinds of performer identities. The nature of the embodied interaction with different instruments in composition and performance, and the expressive and communicative meanings that emerge as a result of such interaction constitute a largely unexplored research territory.

Some of the topics that will be explored include:

• The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
• The discourses that exist in relation to musical instruments in different genres, styles and traditions;
• The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
• Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
• Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
• Relationships between creativity in performance, nature of musical interpretation and musical instruments;
• The role of the musical instrument in the creation of musical identities;

We invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.

ABSTRACT FORMAT:
Please submit an abstract of approximately 250-300 words as an e-mail attachment to musa2015@btinternet.com

Please specify whether you wish your abstract to be considered for the one-day ‘Re-thinking the musical instrument’ event.

As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Monday, 27 April 2015. Notification of acceptance will be sent by 8 May.

REGISTRATION:
The Symposium fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).

If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the symposium committee:

Prof. Dr. Mine Doğantan-Dack (University of Oxford) –
mine.dogantan-dack@music.oxford.ac.uk

Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – troge@hfm.eu

Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) – lorrain@hfm.eu

Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/ HfM-Karlsruhe) – pfl@hfm.eu

Prof. Miroslav Spasov (Keele University, Music Department) – m.spasov@keele.ac.uk

Dr. John Dack (Middlesex University, Art & Design / Science & Technology) – j.dack@mdx.ac.uk

Adrian Palka (Coventry University) – arx110@coventry.ac.uk

Timothy P. Schmele (IMWI, Karlsruhe) – t.schme@gmail.com

Administrative support: Gundi Rössler (IMWI, Karlsruhe) – roessler@hfm.eu

Call for conributions : OM Composer's Book .3

Fri, 02/06/2015 - 17:40

After the success of the first two volumes of The OM Composer’s Book, a new call for contribution is open for The OM Composer’s Book .3.

Contributions to this volume should consist of 10-20 pages chapters providing the description of a musical work making use of computer-aided composition and OM, highlighting a personal approach to composition using computer tools.

Texts shall be written in English. LaTeX format preferred but MS Word or other standard text processing software formats accepted. It is encouraged to illustrate the discourse with high-quality screen captures and score excerpts.
In order to contribute, please send a chapter proposal (1-2 pages max.) to jean [dot] bresson [at] ircam [dot] fr.

There is no strict deadline for proposals but full texts will be expected by june 2015.

Maia Urstad at Barents Spektakel

Thu, 02/05/2015 - 23:08

The last two weeks, Maia Urstad has been in BEKs sound studio, preparing for the Barents Spektakel. Radio Barents – a radio performance is an 8-channel musical piece for portable radios, where performers move around and among the audience, carrying the sound, to make an ever changing sound atmosphere.

[extract from the Barents Spektakel Program]

07. FEBRUARY
RADIO BARENTS
A radio performance by Maia Urstad (NO)
THON HOTEL
Saturday 11:00 – 12:00
Are you on FM or AM?

A kitchen-radio is the most accessible machine to travel in time and space. “Hello, this is Munich FM 90,3” Turn the wheel back and we are two hours further in Moscow. Spending time with a radio means to discover languages we`ve never heard, information we`ll never understand, voices we`ll never meet, discussions we’ll never join.

Who listens to FM and who prefers AM? Is a radio a one-sided information tool or is it used for two-way communication?

The audio and visual artist, Maia Urstad, travels all over the world to catch the sound of radios, transmitters, radio amateurs and operators. In combination with a special technique and 20 performers she presents a site-specific performance for the Norwegian-Russian borderland during Barents Spektakel 2015.

Radio Barents – a radio performance will be performed during the Visual Art Seminar. Open to the public.

Production: Pikene på Broen
Photo: Maia Urstad

link:
http://barentsspektakel.no/program

Time and place:
  • Thon Hotel, Kirkenes - 07/02/2015 10:00

International Call for Scores 2015 - Schallfeld goes electronic

Tue, 02/03/2015 - 20:57

Ensemble Schallfeld in cooperation with “Kulturzentrum bei den Minoriten” invites composers from all nationalities born in or after 1974 to send in pieces for ensemble and electronics.

Since 2013 Schallfeld has been active in Graz and Austria as a young ensemble and platform for the promotion of contemporary music by international composers, mostly of the younger generation. Beyond being a “traditional ensemble”, Schallfeld is active as a free artists’ collective, consisting of musicians with different backgrounds and interests. This leads to the great diversity of Schallfeld’s activities, ranging from music theatre to sound art, chamber music, improvisation and educational activities.

Deadline: 2015-04-01, for detailed terms see

http://schallfeld.weblog.mur.at/en/call-for-scores/

http://schallfeldensemble.com

New Media and Aestetics Seminar

Thu, 01/29/2015 - 16:23

Confirmed dates for our New Media and Aestetics Seminar hosted by HKS. Wednesday 4th, 18th and 25th March. More info coming up soon.

OpenMusic meetup

Wed, 01/28/2015 - 12:16

OpenMusic is a software tool for computer-aided composition. In follow up to a introduction workshop at BEK a year ago, two of the participants have been commissioned to compose small works or etudes. In this meetup Marcus Davidson and Jostein Stalheim will present the outcomes of their work, and reflect on the process of learning and using OpenMusic.

This meet-up is open to composers and anyone else interested in learning more about what OpenMusic can be used for, or get to know the work of Jostein Stalheim and Marcus Davidson.

Marcus Davidson is a Bergen based composer, currently focusing on music which reflects sounds from nature, often working with live recordings incorporated into his compositions.

Jostein Stalheim har skrevet musikk til teater, ballet, opera, orkestre, ensembler og en rekke solister, i tillegg til at han også arbeider med elektroakustisk musikk. Stalheim er også en internasjonalt anerkjent solist på akkordeon, og har spilt med en rekke orkestre i og utenfor Norden. Han har studert komposisjon og akkordeon i København, Helsinki og Oslo.
Stalheim er ansatt ved Griegakademiet, Høgskolen i Bergen der han underviser komposisjon.

 

Supported by Arts Council Norway and the Municipality of Bergen.

Time and place:
  • BEK - 30/01/2015 14:00

The School of Sound International Symposium 2015

Mon, 01/26/2015 - 19:46

The Southbank Centre, London
8-11 April 2015

The School of Sound is about sound – as an art in itself and how it is used in the arts and media. We explore what sound does, how audiences listen.

The SOS is a place where you can raise your awareness of how audio production works, how it conveys information and emotion, how you can work with it.

For four days you’ll be immersed in a world of imagination, invention and innovation. Listening to presentations from a diversity of incredible talents, you will be able to disconnect from your day-to-day work to reflect on sound as something that is profoundly complex, entertaining and important.

The SOS provides a rare opportunity to hear and meet creatives from the highest levels of the arts and media, speaking in detail about how they think and work. And the SOS is not about just one area of sound production. It covers film, theatre, dance, games, installation, music and radio, to expand your thinking and increase your ability to work in diverse areas of media and the arts.

At the SOS you will mix with hundreds of like-minded people – professional practitioners, educators, artists and students – with whom you can network, exchange ideas and create collaborations.

SOS 2015 features John Akomfrah, Siobhan Davies, Peter Sellars, Gerhard Eckel, Pauline Oliveros, Imogen Stidworthy, Nicolas Becker, Kristian Eidnes Andersen and a special session on games sound. For full programme and registration details, go to
http://www.schoolofsound.co.uk/sos/programme