Bergen Center for Electronic Arts
Wesley Smith of Cycling’74 will be holding a one-week advanced Jitter workshop at BEK in February 2014. Jitter is the video and 3D graphics component of Max. This workshop will focus on advanced creative work with Jitter and OpenGL, including GLSL programming using gen, physical modelling, and more.
Workshop activities will include lectures/presentations/demos, exercises, sharing of ideas and experience, and general experiments and creative tryouts. Parts of the time will be set aside for supervising workshop participants’ individual projects.
Please note that this is not an introductory workshop to Max or Jitter. Participants are expected to have prior knowledge of Max and Jitter, and this workshop is an opportunity to further develop and enhance skills, knowledge and creative ideas.
The workshop will be running Monday – Friday 10.00 -16.00, with possibilities for workshop participants to continue working into the evenings. Participants are expected to participate for the whole duration of the workshop. Workshop participation is free, but participants that are not based in Bergen will need to arrange and cover travel and stay themselves. BEK might assist with arranging a stay at the nice and nearby Hotel Augustin at a reduced rate. The workshop will be in English and is open to international participants.
If you want to participate, please send a mail to email@example.com with the following information:
- Full name
- E-mail address
- Where you are based
- A brief motivation for your participation in the workshop, and mentioning of any subject(s) that you would be particularly eager to see covered in the workshop
- A brief description of your prior experience with Max and Jitter
- Link to your web site or similar
- A short bio
- If you’d like BEK to assist in booking a room for you at Hotel Augustin at reduced rate (approx. NOK 645 a night), please indicate so, as well as your date of arrival and departure.
We’ll start assessing applications for participation January 6 and continue until the workshop is fully booked. This is a small, intimate and informal workshop (approx. 10 participants), and we expect it to fill up quickly.
Wesley Smith is a computational artist and researcher working at Cycling ’74 in San Francisco since 2006. At C74, Wesley has focused primarily on Jitter development and more recently the Gen extension to Max. He has a master’s from the Media Art and Technology program at UC Santa Barbara and has taught computational design at SCIArc in Los Angeles as well as MAT.
- BEK - 17/02/2014 to 21/02/2014
Velkommen til vinterkonsert på Østre, med en ellevill og unik lineup som byr på overraskelser og velbehag i store mengder!
I tillegg til konsert blir det lyskunst, og ved inngangen får alle utdelt et objekt som man oppfordres til å utforske gjennom hele konserten!
Vi vil invitere alle dine sanser til et enormt stemningskalas ulikt noe annet du har opplevd! Vinter; stillhet, støy, varme, kulde, myk, hard, lys, mørke, smaker, lukter. Er du klar for ekte stemning?
Tid: Søndag 1.12.2013
Sted: Østre (Østre Skostredet 3)
Arne Toivo Fjose Sandberg
By The Waterhole (Eva Pfitzenmaier -vokal, keyboard, elektronikk)
Birk Nygaard – visuell kunst
50,- for elever ved musikklinja på Langhaugen Videregående Skole.
Fri aldersgrense, med servering.
Konserten er støttet av: AVGARDE, KLASSISK, Trafo, Bergen Kommune
Med Vennlig Hilsen
Ester Størkson, Nadia Alvheim og Vegard Riise
fra Langhaugen Videregående Skole, i samarbeid med AVGARDE og KLASSISK
BEK is involved in the light festival in Solund in November 2013. Anne Marthe Dyvi and HC Gilje are participating artists and have contributed to the development of the format.
“All Lights on Solund” is an exciting and innovative project where creativity, artistic expression and lighting technology meet.
The frame is the distinctive Solund-nature and theme is how light can be used to create activities and experiences and simultaneously engage both the community and others been attached to the project.
The project aims to create three different, yet coherent results, which projects each of which is independent installations where the interaction between expression and technology will create a unified expression.
The areas that are pointed out in consultation with Solund Municipality, all the central area in the center of the municipality.
The 15th and the 16th of November there will be a lightfestival and seminar in Hardbakke in Solund. More information and full program at:
- Hardbakke, Solund - 15/11/2013 to 17/11/2013
After an intensive working period the project A Dip in the Lake will be shown on 6th and 7th of December at Cornerteateret. The work is based on soundrecordings from in and around Bergen and video.BEK has supported the project with equipment and working space.
Runar and his associates put it this way:
Based on John Cage’s A Dip In The Lake, we will bring out the sights and sounds of Bergen, and present it to an audience. Our man-made environments are rich in content: they are meaningful. They are the result of our collective activity that shapes the sound, acoustics, the sonic texture we always find ourselves in. In parallel is the visual expression itself, shaped by us and in constant change. It is Bergen’s audiovisual production we present.
This is a romantic project: To view the esthetic results of collective operations. It is also a political project: to tell the story of our surroundings and to extract the content and consequences of what we do.
The project is conducted in collaboration with BEK and is supported by Fond for lyd og bilde. Director: Runar Bruteig Olsen. Cast: Anita Bjørkli, Sara Bruteig Olsen and Bjarte K. HellandTime and place:
- Cornerteateret - 06/12/2013 19:00
- Cornerteateret - 07/12/2013 19:00
Performance Art Bergen and BEK invite you to join in for Performance Nå 4, Saturday 23 November from 10:00 a.m. to 6:30 p.m. at the C. Sundtsgate 55
Performance Nå 4 is curated by Karen Kiphoff(PAB) and presents artists who in different ways work at the interface between performance art and electronic art.
The artists participating are Espen Sommer Eide / Kristin Tårnesvik ( NO), Guro Gomo ( NO), Amanda Steggell (UK / U.S.) and Paolo Zuccotti (IT / SE) / Jan Hajdelak Husták ( CZ / EN )
ATTENTION ! Participation in the interactive performance " Taking Turns " by Paolo Zuccotti and Jan Hajdelak Husták requires registration. To participate please book at: http://doodle.com/fxi65wunhuiux47e
Espen Sommer Eide ( b. 1972 ) lives and works in Bergen in the crossover area between philosophy, music, visual and performing arts. In addition to touring at home and abroad, he showed artworks in several spaces, including at Henie-Onstad Center, Stedelijk Amsterdam, Manifesta 7 and Bergen Kunsthal. Kristin Tårnesvik ( b. 1964 ) Artworks joins her longtime exploration of the relationship between art, political ideology and propaganda. Tårnesvik’s main tools are photography and text.In addition, she works with performance, interventions and installations. Sommer Eide and Tårnesvik will perform the work “Weeds Archives (live )” at 13:00 and 15.00 in 3rd floor in the project room
Guro Gomo ( b. 1981 ) shows the work “70X1”, a performance and video installation based on personal writings. Using recording equipment she has read the commands that will hopefully help her to use the time for something constructive during her session. The work will be shown between 10:00 a.m. to 6:30 p.m. on 3 floor.
Amanda Steggell (b. 1965) is a choreographer and artist. She combines media art with performance, inspired by phenomenology and science- fiction. Steggell presents “Energy Bank. Crank & Go!”, a unique and mobile station consisting of a generator with a hand crank and a sound system, which is worn like a backpack and which can be used to charge mobile phones. Worn by an employe of Energy Bank as a portable tool, the employe will go around and offer this service to visitors. The work appears contineously between 12:00 p.m. to 4:00 p.m. in the entire building.
Paolo Zuccotti ( b.1983 ) and Jan Hadjdelak Husták ( b.1983 ) his work “Taking Turns” is an engaging and interactive performance that explores how perception shapes our reality. The work, which can only be experienced by one person at a time, consists of a walk through a performance – installation. The project was initiated by Paolo Zuccotti ( concept) and realized with Jan Hajdelak rooftops ( multimedia design), in collaboration with Bonthrop ( artistic and technical consultant ) . Individuel registration at http://doodle.com/fxi65wunhuiux47e
Note that “video glasses” will be used during the performance. Therefore we discourage the participation of children under 7 years old and people with epileptic disorders. Registration required.Time and place:
- C. Sundsgate 55 - 23/11/2013 10:00
Just a few days left to apply to CogNovo, a new and exciting fully funded PhD programme at Plymouth University in the UK.
CogNovo offers a choice of 14 focussed research projects. Each project is supervised by a multidisciplinary team of experts and offers opportunities for secondments to international academic and commercial partners.
DEADLINE: 12:00 30 NOVEMBER 2013
Modality is a network of electronic musicians and developers from six nations. They are gathered now 4 days in Bergen for updating and further development. The purpose is to improve the facilitation of artistic processes through coordinated programming and to share and develop new musical tools.
The group started working in the extension of Jeff Carey and Bjørnar Habbestads residency at BEK in 2010 and has carried out four gatherings since that time. They are now working on revising the code base. The period of Bergen is the first in a series of five workshops realized in Bergen, Amsterdam and Stockholm, with support from the Art Council Norway, Nordic Culture Point, Bergen kommune and Creative Industries Fund NL.
The workshop will end with a concert at Lydgalleriets Non Frontal concert series , Sunday 10 November at. 20.00.Time and place:
- BEK - 06/11/2013 to 10/11/2013
On Friday the 22nd and 23th of November, BEK’s rooms will be dedicated to PAB, performance art Bergen. Booking and equipment lending will be closed during these days. Paolo Zuccotti (IT/SE)/ Jan Hajdelak Husták (CZ)will modify BEK’s spaces for this occasion: come and have a walk through a transformed BEK on Saterday the 23th of November between 10am and 18.30h
Trond Lossius gives an introduction to electronic music for students of contemporary music at The Grieg Academy. The lecture will provide an overview of the history of electronic music, important composers, works, schools and artistic practices.
The discussion will be organized according to the following main topics:
- Early electronic instruments
- Recording, manipulation and distribution of sound
- How do we understand sound, music and the process of listening?
- Quantifying the musical material
- Musical practices changed
Several sound examples will be presented along the way.Time and place:
- Griegakademiet - 01/10/2009 11:15
- Griegakademiet - 12/11/2013 10:15
- Griegakademiet - 29/11/2012 10:15
- Griegakademiet - 10/11/2011 10:15
An Evening of electro-instrumental computer music with Marije Baalman, Till Bovermann and Jeff Carey
Lydgalleriets konsertserie Non Frontal presenterer omsluttende lydopplevelser. Kveldens konsert består av elektronisk musikk fra Modality – et nettverk av komponister, programmerere og lydhackere som arbeider ved BEK i november.
Amerikanske Jeff Carey har besøkt Bergens scener for elektronisk musikk siden 2006 (Nattjazz, Ekko, Borealis, Pixel). Konserten er en samproduksjon mellom BEK og Lydgalleriet.Marije Baalman
Performing “Wezen – Gewording”.
Wezen is a solo music-theatre work where I try to explore the relationship between theatrical gesture and musical instrument, between the body and the sonic world.Gewording (Becoming) is the first performance version where the link between physical and sonic gesture is explored during a live performance, combining movement of the body and live coding.
Performing “Verber” — Sounds from Reverb for Clicks.
“3:30 is Jeff Carey’s 3rd solo CD release that takes its inspiration from that cornerstone of pop music – the three to three and half minute pop song. In his own words Jeff decided to approach this album ‘as an exercise in reduction – the process of packing a maximum amount of musical information into every moment/sound/phrase’. The ferocious and reductionist production angle results in a set of tracks that pull you in and spit you out just as quickly, which in a climate of endless epic track lengths simply adds to the sense of excitement. This is not a mawkish, sentimental piece of work and it will appeal to anyone who doesn’t mind breaking some nails while hanging onto the edges of an electrifying audio vista. It’s a bracing, fizzing and explosive listen which excitedly packs what might have been an hours worth of ideas into its near 22 minutes.”
- Lydgalleriet / Østre - 10/11/2013 20:00
In this interdisciplinary conference, we explore the intersection of soundscapes and acoustic ecology studies (Murray Schafer 1977; Truax 1978) with urban, applied ethnomusicology’s focus on human subjects (Hemetek and Reyes 2007; Jurková 2012) and with sociological understandings of the cultural restructuring of urban space (Fainstein and Campbell, 2011; LeGates 2011; Bridge and Watson 2010), through an evocation of ‘critical citizenship’ (Nell et al, 2012).
We would particularly welcome individual papers (20 mins + 10 mins for questions) or panel presentations (90 minutes) that address the following questions:
- Where is the individual located in urban (soundscape) studies?
- How do the sounds of a city shape human experience?
- What role does sound play in the cultural restructuring of urban space?
- Might soundscape projects be part of urban regeneration and renewal and if so, in what ways?
- How can we create/capture urban soundscapes and what motivates us to do so?
- How might the relationship between the city and the individual be reframed sonically?
- What critical potentials are unleashed in applied soundscape work?
- Are soundscapes mere reflections of acoustic and other realities, or might they construct pathways for greater interaction between cities and their people?
- What are contemporary methodological challenges in representing urban soundscapes?
- What new technologies allow for the reimagining of applied soundscapes production and manipulation?
- How can we productively bring together lessons from different disciplines in relation to urban, societal, cultural and acoustic ecologies in order to imagine a better, lived, urban experience?
Keynote speakers include:
- Dr. Ursula Hemetek, University of Music and Performing Arts Vienna (Applied/Urban Ethnomusicology)
- Dr. Giacomo Bottà, University of Helsinki (Urban Studies)
- Peter Cusack, CRiSAP/University of the Arts, London (Sound Arts Practices)
- Milena Droumeva, Simon Fraser University (Acoustic Ecology)
Please send your individual abstract of no more than 250 words, or a panel abstract of 350 words to LimerickSoundscapes@ul.ie
We also invite five-minute recording submissions for our dedicated listening space at the event. Please send your sound file, associated picture, and a brief description to firstname.lastname@example.org
The deadline for receipt of individual and panel abstracts is Nov 14th. Notifications will be sent by Nov 28th.
Dr. Aileen Dillane, Irish World Academy of Music and Dance, University of Limerick.
Dr. Tony Langlois, Dept. of Media, Mary Immaculate College, University of Limerick.
Dr. Martin Power, Dept. of Sociology, University of Limerick.
Dr. Eoin. Devereux, Dept. of Sociology, University of Limerick.
Dr. Mikael Fernström, Interaction Design Centre and Department of Computer Science and Information Systems, University of Limerick.
Dr. Colin Quigley, Irish World Academy of Music and Dance, University of Limerick.
LimerickSoundscapes is an interdisciplinary research cluster that includes applied, urban, and media ethnomusicologists, sociologists, acousticians, and soundscapes composers, and is based at the University of Limerick and Mary Immaculate College, Limerick, Ireland. This conference is funded by the Faculty of Arts, Humanities and Social Sciences, and by The Irish World Academy of Music and Dance, University of Limerick.
Uninet will be upgrading software on a router upstream from the BEK network coming Thursday (2013-11-07), and hence we expect 15 min downtime at some point between 2200 and 2300 CET. Analogies for the inconvenience!
CFP: Merging Media: An Interdisciplinary Conference on the Study of Hybrid Arts, 1st February 2014, University of Kent
Merging Media: An Interdisciplinary Conference on the Study of Hybrid Arts
Call for Papers
Saturday 1st February 2014 University of Kent, Canterbury
Although we naturally recognise different artistic media as distinct forms – music, painting, sculpture, film, dance, theatre, architecture, animation, and so on – we also
understand that these mediums can nevertheless have a meaningful dialogue in the creation of new artworks. Over the course of art history there have been numerous occasions when
different media forms have merged or been juxtaposed for artistic purposes. These intermedial examples have seen word and image intertwined on the page in the illuminated books of
William Blake; experimentation with the partnership between painting and music in Modest Mussorgsky’s Pictures at an Exhibition; performance and music mixed in Variations by John
Cage; the deconstruction of paintings through digital visual manipulation in Peter Greenaway’s lectures; and the recent National Theatre Live and Royal Opera House theatrical
performances being broadcast onto cinema screens. These instances – and many more – demonstrate a long tradition of medium boundaries being crossed, media being combined to
accentuate one another, or the creation of a new medium altogether.
It is particularly relevant to consider the subject of merging media at a time when discussions of media archaeologies, media convergence and the transmedia phenomena permeate
contemporary academic debates. This conference seeks to engage with these topics by exploring the theories and histories of hybrid art, as well as the effect new technologies have
upon our understanding of this concept. The emergence of digital technologies is an important strand in this investigation because it has both facilitated the creation of new art
forms (such as 3D digital animation) and generated the remediation of older forms (for example, the digitisation of literature for consumption on computerised devices, and new
forms of interaction with fine art online through virtual galleries).
This one-day conference is for postgraduate students and early career researchers whose work incorporates the interdisciplinary topic of artistic hybridity and intermediality. We
invite proposals for 20-minute presentations (individual papers or pre-formed 3-paper panels) or performance pieces from candidates across arts and humanities. We welcome papers,
panels and performances that investigate “merging media” through a variety of interpretations. Possible research topics for submission can include, but are not limited to:
- Hybridity of forms: case studies which explore instances where two or more established art forms are combined. What is the effect of this hybridisation?
- Hybridity and technology: the impact of new technologies upon intermedial art forms, both past and present. Does technology facilitate the “merging” of media for artistic
purposes, or is this an inevitable side-effect of – and an unavoidable trajectory towards – a larger media convergence culture?
- Hybridity and history: specific case studies of merged media from the past, from Wagner’s conception of gesamtkunstwerk – where all art-forms are united as one total art – to
the revolutionary intermedial ‘decadence’ of Warhol’s Exploding Plastic Inevitable, and others.
- Hybridity of performance: how performance is incorporated with various art media, from architecture in site-specific performances, to video in multi-media productions. How do we
engage with performance through technology? How does the notion of “intermedial” relate to the performance of art?
- Hybridity and the audience: what effect does a “hybrid art” form have upon its audience? How does merging media provide new opportunities for engaging with artworks?
- Hybridity and remix culture: how various art forms are recycled and reused in the establishment of new works of art (e.g. the reprocessing of “found footage” for the purposes of
art; fan-made hybrid products).
- Hybridity and modes of production: ways in which hybridisation impacts upon the production or creation of an artwork. What relationship does this production have with the
development and influence of new technologies? What implications do intermedial modes have upon the idea of a singular artist? Which organisations or institutions inspire or
enable the creation of hybrid art?
- Hybridity and sites of exhibition: what is the relationship between the intermedial art and how it is exhibited? Is there a convergence between performance and exhibition? How
is the exhibition of such work impacted by technology? Or is it technological itself (such as the internet)?
- Hybridity and theory: work on the historical or future discourse of intermediality. What implication does contemporary “merging media” hold for theory? How should hybrid arts be
theorised and which elements – such as production, exhibition or audience interaction – should be centralised in this scholarly debate?
Please send abstracts (300 words) for proposed papers, panels or performances and a short biographical note to email@example.com Deadline for submissions is 13th December
2013. Should you have any queries, please contact us at the e-mail address above.
Conference Organisation Committee Emre Caglayan, Frances Kamm, Keeley Saunders, Pete Sillett
Website: http://blogs.kent.ac.uk/mergingmedia/ Twitter: @mergingmedia14
Onsdag 6. november: 18.00- 22.00
Tema: Videokunst i det offentlig rom
Sted: Tag Team Studio i Møllendalsveien 17, www.tag-team.no
Med suppepause og videoevent.
TagTeam og DOPPLER har gleden av å inviterer til et kveldsseminar hvor vi vil diskutere utfordringer og opplevelser knyttet til videobasert og temporær kunst i det offentlige rom. Seminaret tar opp spørsmål rundt bruk og tilgjengelighet for publikum, gjeldende ulike utsmykningsformer, temporære visninger, samt arkivering og nye visningsarenaer. Som en del av seminaret vil Doppler vise et av Tania Ruiz Gutierrez verk i nærområdet.
Tania Ruiz Gutierrez:
Vi har invitert Tania Ruiz Gutierrez til å presentere sin monumentale videoinstallasjon ´Elsewhere´på Malmö Centralstation. Hun vil bl.a. snakke om idéutviklingen av prosjektet og utfordringer/muligheter knyttet opptil drift av denne typen utsmykninger. ´Elsewhere´er det største permanente kunstvideoprosjekt i Europa og består av 46 projeksjoner, spredd utover 360 meter i et bevegelig panorama som flyter langs med trafikken.http://www.elsewhere.name/
Jørgen Blitzner: Jørgen Blitzner er konsulent for utsmykningen av Bybanen i Bergen. Vi har invitert han til å presentere ferdigstilte utsmykninger langs bybanen, ideer og planer for de neste to byggetrinn med fremtidige visjoner.
Anne Marte Dyvi: Anne Mathe Dyvi vil presentere arbeid knyttet til Nasjonalt arkiv for videokunst, www.videokunstarkivet.org. Hva skal vi og vil vi med arkivene? Hvordan kan vi bevare, tilgjengeliggjøre og tilrettelegge videokunst for fremtiden?
Videosnakk: Avsluttende refleksjoner med deltagere og publikum. Seminaret vil foregå på engelsk og norsk.
Doppler: www.doppler.im og TagTeam: www.tag-team.no
+ + +
PUBLIC, seminar and video event in Bergen
Wednesday 6th of November: 18.00- 22.00 ( including pause with serving of soup)
Theme: Video based art in public spaces.
Place: TagTeam Studio, Møllendalsveien 17. www.tag-team.no
TagTeam and DOPPLER has the pleasure to invite to an evening seminar concerning video based and temporary art in public spaces. The seminar will discuss questions concerning the use and availability for the public in relevant to different types of public commissions, temporary screenings as well as archiving and new arenas for viewing . As a part of the seminar Doppler will show one of Tania Ruiz Gutierrez video works outdoors in the area.
Tania Ruiz Gutierrez (FR)
Jørgen Blitzner (NO)
Anne Marthe Dyvi (NO)
Tania Ruiz Gutierrez ( french/colombian visual artist living in Paris) will presents her video work ‘Elsewhere’, video installation at Malmö Central Station( Sweden) . Elsewhere is a monumental moving panorama composed of 46 projections, deployed over 360 linear meters. This is the largest permanent video artwork in Europe. http://www.elsewhere.name/
Jørgen Blitzner : Jørgen Blitzner is adviser for the public commissions for Light Rail project in Bergen. We have invited him to present finished art works along the light rail, ideas and plans for the next two stages with future visions.
Anne Marte Dyvi: Anne Mathe Dyvi will be presenting work related to the National Archives for video, www.videokunstarkivet.org How can we collect, maintain, make available and facilitate video for the future?
Video talk: Talks on future thoughts on the medias placement in public spaces.
Visual Artist Tania RUIZ GUTIERREZ trained as a film-maker. She initially focused mainly in video projections, her works now include objects and mixed-media installations, which have appeared in several international exhibitions and festivals. Public space is a central subject of her artistic research and practice. Main works on this field are GardeTemps – a light, video based, permanent sculpture for the City of Vancouver – and Elsewhere, a monumental permanent video installation for the new Malmö Central Station, opened in December 2010. She currently teaches at the Art Department of The University of Paris VIII.
Elsewhere is a multi-projection video art work which seeks to transform the reinforced concrete landscape of the Malmö C underground station into a wide open space. Through a projection device that evokes the perceptual experience from the train, the viewers will be invited to lose themselves in images during their wait. The projections acting as windows, the station itself becomes a train that loses its spatial and temporal rails, itinerant across the earth.
Mailing list for BEK users
20th International Conference on Auditory Display
22 – 25 June 2014
New York, NY, USA
Paper submission deadline: February 1 2014.
The 2014 International Conference on Auditory Display (ICAD) will be held June 22-25, 2014, at New York University (NYU). ICAD, which began in 1992, will have its 20th conference featuring paper sessions, student think-tanks, workshops, concerts, and other special events.
The conference will take place at NYU’s Steinhardt School of Culture, Education and Human Development. NYU Steinhardt’s facilities are conveniently located in the heart of Manhattan’s Greenwich Village and next to the historic Washington Square Park.
TOPICS OF INTEREST
ICAD is the premier international venue for the dissemination and discussion of work related to the science, art, and practice of sound as a communicative display. Technical areas for the ICAD include but are not limited to:
- 3D and Spatial Audio
- Aesthetics, Philosophy, and Culture of Auditory Displays
- Auditory Display Theory and Methods
- Auditory Information Design
- Applications of Sound in Systems
- Evaluation and Usability of Auditory Displays
- Human Factors of Auditory Display
- Sound Interaction Auditory Cognition, Perception, and Psychoacoustics
- Sonification and Exploration of Data through Sound
- Sonification as Art
- Technologies and Tools for Auditory Display
- Use of Audio in Human-Computer Interfaces
We invite the following three forms of submissions:
- Full Papers should describe work that offers a substantial contribution to the field of auditory display. Paper submission will be 4-8 pages in length, including all figures and references. Authors of accepted papers will be invited to give an oral presentation of their work, and at least one author must present the work at the conference for the paper to appear in the published proceedings.
- Poster submissions should describe both finished work and work in late stages of progress. Work that is complete enough that meaningful conclusions can be drawn at the time of submission is encouraged. Submission for posters requires a proceedings paper of 4-8 pages in length. Authors of accepted submissions will be invited to participate in a poster session, and at least one author must present the work at the conference for the paper to appear in the published proceedings.
- Extended abstracts include, but are not limited to late-breaking results, works in early stages of progress, novel methodologies, unique or controversial theoretical positions, and discussions of unsuccessful research or null findings. Particular attention will be paid to the potential for extended abstracts to lead to engaging presentations of broad benefit to the auditory display community. Submissions for extended abstracts require a proceedings paper of up to 2 pages in length. At least one author must present the work at the conference for the abstract to appear in the published proceedings.
- Submission of papers for review: February 1 2014.
- Notification of acceptance: April 1, 2014
- Camera-ready papers: May 1, 2014
For more information on ICAD 2014 please visit http://www.icad2014.org/
Norberto Degara and Areti Andreopoulou
Agnieszka Roginska and Tae Hong Park
A symposium of the AISB-50 annual convention to be held at Goldsmiths, University of London, on April 2nd, 2014 (tbc)
The convention is organised by the Society for the Study of Artificial Intelligence and Simulation of Behaviour (AISB)
LAM is an inter-disciplinary nexus for musicians (computer and acoustic), computer and cognitive scientists, interaction specialists, philosophers, psychologists and all others who are intent on pursuing and contributing to the goal of an autonomous machine improvisor.
The live algorithm interacts with human performers by listening to contributions in its musical environment, preparing musical material that has at least an element of originality and appropriateness, and delivering this material back into the environment. The intention is to (a) provide a meaningful experience of interacting with a machine intelligence and (b) explore novel musical spaces. The aim is not to simulate the role of human musicians but to find new possibilities for musical expression. The quest is driven by algorithmic processes and models of cognition, creativity and interaction.
The symposium will take place in a single day during the AISB symposium and will consist of a session of presentations of papers, a demonstration session, and an evening concert.
Further details are available at the LAM 2014 website: https://sites.google.com/site/livealgorithms/
TOPICS OF INTEREST
Any research topic that contributes to the Live Algorithm agenda is welcome; for example
Music Information Retrieval
Theory and practice of improvisation
Models of human communication
SUBMISSION, PUBLICATION AND PERFORMANCE DETAILS
Submission must be sent via EasyChair:
Templates are available here: http://www.aisb.org.uk/convention/aisb08/download.html
We request that full papers are limited to eight pages. An extended abstract of up to four pages and a link to online examples are required for the demonstration session. Performance notes of up to four pages, links to online examples and a list of technical requirements are required for performance applications (you can also provide details of any relevant partnership with a particular musician).
Each application will receive at least two reviews. Selected papers, extended abstracts and performance notes will be published in the general proceedings of the AISB convention (with an ISBN) and with the proviso that at least ONE author attends the symposium in order to present the paper and participate in general symposium activities.
Applicants are welcome to participate in more than one session; please let us know if this is the case.
- Submission deadline: 3rd January 2014
- Notification of acceptance/rejection decisions: 3rd February 2014
- Final version of accepted papers/abstracts/performance notes (camera ready copy): 24th February 2014
- Convention: 1-4 April 2014 (confirmation of LAM 2014 symposium tbc)
Please note that there will be separate proceedings for each symposium, produced before the convention. Each delegate will receive a memory stick containing the proceedings of all the symposia. In previous years there have been awards for the best student paper, and limited student bursaries. These details will be circulated as and when they become available. Authors of a selection of the best papers will be invited to submit an extended version of the work to a journal special issue.
Department of Computing
Goldsmiths, University of London
London SE14 6NW
Department of Music
Goldsmiths, University of London
London SE14 6NW
LAM 2014 WEBSITE
Gerard Assayag, IRCAM France
Oliver Bown, University of Sydney, Australia
Nick Collins, Durham University
Roger Dean, MARCS Institute, University of Western Sydney
Bill Hsu, San Fransisco State University, USA
Alex McLean, University of Leeds
Eduardo Miranda, Plymouth University
Francois Pachet, SONY, France
Philipe Pasquier, Simon Fraser University, Canada
Andrew Robertson, Queen Mary, University of London
Diemo Shwarz, IRCAM France
Dan Stowell, Queen Mary, University of London
Atau Tanaka, Goldsmiths, University London
The Jamoma 0.6 alpha version development continues, and alpha 25 has just been released. More info here.
OpenMusic is software for algorithmic and computer-aided composition, primarily developed at IRCAM for the OSX and Windows platform. For the past year Anders Vinjar, with support from BEK, has been porting OpenMusic to Linux. The first public beta of the Linix port is now available, OM_6.7 (beta_4), and will be presented at the upcomming IRCAM Forunm.
The development is part of a larger effort at BEK relating to OpenMusic that includes development, commisioning of new works and an introduction workshop. There are still a few seats available for this workshop!
OpenMusic 6.7, Audio Architecture, and LW-Linux Version
J. Bresson, D. Bouche, A. Vinjar
The principal addition in version 6.7 is the new modular Audio and MIDI architecture, allowing better integration with rendering engines. This new architecture has allowed at a first glance to extend the functionalities of the Audio Player in OpenMusic, offering more flexibility in audio output control. The new version also integrates the new OM-Faust library, allowing the creation and compilation of audio effects and synthesizers using the FAUST programming language as dynamic, on-the-fly modules loaded on different audio channels, that can be controlled interactively or automated.
OM 6.7 has also been ported to LispWorks Linux in a collaboration with the BEK center. The Linux version also uses this new architecture to interface varied open source systems for MIDI and audio rendering.Time and place:
- Download - 29/10/2013 to 20/11/2013
- Ircam Forum 2013, Paris - 20/11/2013 to 22/11/2013
OpenMusic is a freely available graphical program for computer-aided composition. With many tools and services for working with musical structures, OpenMusic is well-suited for work or musical composition and analysis.
BEK offers a one-week workshop with Anders Vinjar. The workshop will provide an introduction to composition in OpenMusic for composers and creative musicians, combining joint presentations and more individual support for each participant and their projects.
Update: Please note that the dates for this workshop has been changed to December 9-13.
The workshop lasts for five days, running from 10:00 to 16:00. Participants are expected to participate for the whole of the week.
The workshop is free, but participants are expected to bring their own laptop (Mac or Windows).
Sign up by sending an email to firstname.lastname@example.org, with the following information: Name, contact info (email and cell phone), a brief intro on yourself, your prior experience (if any) with work on sound and music software, why you want to join the workshop and whether there’s anything particular you would want to work on.Data-assistert komposisjon
Musikknotasjon har blitt utviklet over de siste 1000 årene som et system av instrukser og konvensjoner som beskriver hvordan et musikkstykke skal fremføres. Lenge var dette eneste løsning for å lagre musikk for ettertiden. Parallelt med utvikling av lydfesting og lydbearbeiding de siste 140 årene, har det også skjedd en digitalisering av musikk-notasjon, slik at det musikalske materialet kan tallfestes og beskrives matematisk. Et tidlig eksempel er Arnold Schöenberg sitt 12-tone-system utviklet ved inngangen til modernismen. Et nyere og utbredt eksempel er MIDI. Når musikalsk materiale kan tallfestes, kan det også gjøres til gjenstand for dataprosessering. Data-assistert komposisjon (computer-aided composition) er et sentralt felt særlig innen samtidsmusikk; et digitalt komposisjonsverktøy for å utvikle og bearbeide ulike typer kompositorisk materiale. Resultatet kan uttrykkes og bearbeides videre som noter, eller på andre måter, f.eks. som sett av OSC meldinger, eller som Csound scores. Data-assistert komposisjon kan også brukes for å kontrollere lydprosesser med rike sett av styrbare parametre, og blir et viktig hjelpemiddel i avansert lyddesign.OpenMusic
For komponister innen dette feltet er musikkprogramvaren OpenMusic (OM) det foretrukne verktøyet. OpenMusic er utviklet over mange år ved IRCAM, Centre Pompidou i Paris, og blir benyttet av komponister over hele verden. OpenMusic er et visuelt programmeringsspråk for musikk, bygget på Common Lisp. Denne kombinasjonen gjør OM lett tilgjenglig for alle som arbeider med komposisjon uten å kreve spesielle ferdigheter i programmering, samtidig som OM dekker behovene til dem som vil gå videre og begynne å programmere på egen hånd. OM legger ingen føringer på hvordan komponister skal komponere. Alt fra enkle note-editorer til avansert løsninger basert på vilkårlige egnede programmeringsparadigmer som kunstig intelligens og constraint-systemer er lett tilgjenglig. Fleksibiliteten gjør verktøyet anvendelig og skalerbart, og attraktivt både for nybegynnere og avanserte brukere. OpenMusic har svært god støtte for behandling av tradisjonelle musikalske strukturer i form av musikalske editorer og høynivå funksjoner for musikk. Etter hvert som brukere og ulike typer behov har kommet til, har OM også blitt brukt med hell til alt mulig annet – som eget programmeringsspråk, i arbeid med bilde, tekst, koreografi, spatialisering og svært mye annet.Anders Vinjar
While studying ethnomusicology and linguistics, Anders experimented with potentials of programming-languages and AI-techniques to work on issues of music-analysis. He got interested in using the same tools to create music, stopped studying and started composing. Main interests are acousmatic music and other electroacoustic art, algorithmic composition, DSP and programming for music. He spends most of his composition-hours either doing field-recordings or musical programming away inside functional programming-environments for music such as OpenMusic, Common Music, CLM, SuperCollider and other FLOSS-ware. Output includes concert-music of various kinds, installations, music for movies, streams/web-art, hacks, applications, workshops, lectures, occasional articles etc.
The workshop is supported by Bergen Municipality and Arts Council Norway.Time and place:
- BEK - 09/12/2013 to 13/12/2013
Electric Audio Unit is an ensemble of musicians and composers based in Oslo which explores surround sound. At Ekkofestival 2013 two of the members, Natasha Barrett and Anders Vinjar, perform four works that expose the rich diversity of expressive possibilities offered by three-dimensional surround sound.
«24 timer i døgnet er vi omgitt av lyd: naturlig lyd, menneskeskapt lyd, maskinlyder, vibrasjoner i bygningsstrukturer. Nesten all lyd vi hører har en gang startet i et punkt i rommet, reist gjennom et medium, som luft kanskje, og når til slutt ørene våre. Dette er 3D-lydfeltet: lyd som befolker de samme tre dimensjonene som oss selv. Stereo og surround-systemer ”panorerer” lyd til og mellom høyttalere, hvorfra en enkelt lytter plassert i den perfekte posisjonen kan oppleve et slags fantombilde av rom, dybde og bevegelse. Men disse vanlige systemene kan ikke gjenskape dybden og detaljene i ekte, naturlige lydfelt – ei heller lyd som vi intuitivt oppfatter til å være ”i” rommet snarere enn ”på” høyttaleren. Denne konserten vi en rekke verk komponert i “ambisonics”, en av kun to tilgjenglige teknikker som gjenskaper karekteristika av 3D-lyd. Komposisjonene vi får høre benytter både ambisonics-opptak av naturlig lyd samt syntetisert 3D-lyd»
- David Monacchi (IT): A path into Rainforest (6’00)
- Natasha Barrett (NO / UK): Hidden Values (22’00)
- Anders Vinjar (NO): Triple Point (15’00)
- Jan Jacob Hofmann (TY): Horizontal And Vertical Lines (9’00)
Italienske David Monacchi arbeidar med lydfelt og tek lyttarane med til eit av verdas mest intense lydkjelder – Dzanga-Sangha-regnskogen i den Sentralafrikanske Republikk. Norsk-britiske Natasha Barrett sine arbeid sirkulerer rundt røyndom, drama, fiksjon og metaforar i tredimensjonale rom, og har med sin Ekko-opptreden norgespremiere på verket. Anders Vinjar er inspirert av det såkalla «trippelpunktet» – ein spesiell tilstand i naturen der stoff får uvanlige eigenskapar – i sitt verk: «Vann kan opptre samtidig som is, væske og damp, og minimale påvirkninger kan føre til at vannet umiddelbart endres direkte fra gass til is eller omvendt». Til slutt tek tyske Jan Jakob Hofmann oss med inn i det kunstige rommet. Han representerar ein del av det såkalla Sonic Architecture Project, der romleg musikk eller arkitektur vert danna av lyd.
Konserten er et samarbeid med BEK – Bergen senter for elektronisk kunstTime and place:
- Ekkofestivalen 2013, Østre - Østre Skostredet 3, Bergen - 30/10/2013 20:00