Bergen Center for Electronic Arts
Connecting Cities is a network of worldwide cultural institutions. The aim is to foster the circulation of artistic and cultural contents throughout European and worldwide urban screens and media facades.
With the curatorial theme of INVISIBLE and VISIBLE Cities 2015 we want to develop an awareness on the changes which are hardly visible to the eyes and are underlying our nowadays cities. Our today’s modern cities are hybrid structures in which technology is invisibly interweaved in the perception layers of our everyday lives.
We call for artistic scenarios to visualise invisible, embedded ‘smart’ urban infrastructures and analyse their impact on the technological transformation of our society in a broad and public discourse.
More information here: http://www.connectingcities.net/news/call-proposal-visible-city-2015
Submit your project proposal until 31 October, 2014 here: http://medialab-prado.es/article/invisibleandvisiblecities2015
Two commissioned works by BEK at this years Ekko Festival: Asbjørn Flø with Ratkje, Rishaug & Tafjord – ‘Analogikk’ and Stephan Meidell with Birk Nygaard – ‘Dialogues’
The festival also presents exhibition works supported by BEK: «Dialogues Proglogues» by Stephan Meidell & Birk Nygaard and «Mayhem Machine» by Marieke Verbiesen.
Festival start is 17. October
Flø, Ratkje, Rishaug, Tafjord «Analogikk» (N)
Clear your schedule and mark this date in your calendars. Why, you ask? Well: Four of Norway’s most important composers in the last decade will perform together on this special night. Asbjørn Flø is behind a series of sound installations, traditional compositions and explorations of the possibilities of electronic music – at home and abroad. While colleague Alexander Rishaugveien for many years has operated at the intersection of glitch, contemporary music and ambient, with album releases on Asphodel and Smalltown Supersound.
Hild Sofie Tafjord and Maja Solveig Kjelstrup Ratkje has been experimenting with noise music and improvisation in Fe-mail and spunk, but also pushed musical boundaries individually. In 2001, Kjelstrup Ratkje was awarded the Arne Nordheim Composer Award, and she has contributed in over 70 albums but is best known for his improvised voice art.
The four meet to perform Flø’s piece «Analogikk» based on an «archaeological» and self made electronic musical instrument consisting of analog circuits. The music will combine compositional ideas from contemporary music’s great pioneers, such as Stockhausen and Iannis Xenakis, but will also take on the inspiration of modern particle physics and the romantic landscape paintings. Exactly how it will sound, however, no one knows until it is started.
The piece «Analogikk» is a new commission ordered and produced in collaboration with BEK.
Meidell & Nygaard ‘Dialogues’
Earlier this year guitarist and composer Stephan Meidell released the album “Cascades” (Hubro), where he improvised music by interacting with various rooms in Bergen. Architecture, reverberation and temperature affected the compositions he created on the electric guitar.
During this year’s EKKO Meidell takes his concept one step further; This time, he also brings a computer, for a work called “Dialogues”. Accompanying him is the multimedia sculptor Birk Nygaard, who will create a visuals to the music, based on signals from Meidell’s machine. This time the dialogue will therefore assume analog, digital, visual and musical forms.
The piece «Dialogues» is a new commission ordered and produced in collaboration with BEK.
Both commissioned works are supported by Art Council Norway
«Dialogues Proglogues» Stephan Meidell & Birk Nygaard
Nygaard and Meidell explores the intersection between fragility and precision – both aesthetically and technically – and the unpredictability that occurs when the analog is controlled digitally. In this installation the multimedia sculptor Birk Nygaard exhibits two wall clocks, programmed to interact with music from Meidell. The work is commissioned by BEK, and is performed in its entirety in concert format last Saturday during the festival.
“Mayhem Machine» Marieke Verbiesen
“Mayhem Machine” is an audiovisual instrument that allows one to compose, play and destroy by using its image plane, and then designing the new narratives by adopting sound, light, physical objects and animated video. The work is inspired by the “Instruments of the Future” by Giles Holst in “Poeme Electronique” at the World Exhibition in Brussels in 1958. The sounds are composed of Bærtur by Ketil Mosnes. The project is co-produced by BEK.
Third work at the exhibition is “A Voyage to Arcturus” by Two Ruins
The exhibition is in collaboration with Lydgalleriet.
EKKO FESTIVAL NO. 11
OCTOBER 17th – 25th
ØSTRE – HOUSE FOR SOUND ART AND ELECTRONIC MUSIC IN BERGEN
The EKKO festival for electronic music and art kicks off at Østre and at Korskirken on October 17th and lasts over two weekends until the 25th. This year’s programme includes Nils Frahm’s explorations of the pianos sonic possibilities, Future Brown’s clash of genres, Shackleton’s resonant drones, Andreas Tilliander’s project TM404, and 80s synth pop from Finland by Jaakko Eino Kalevi. And Dj Harvey.
EKKO is known for it’s artistic profile who pushes the traditional boundaries, and the fine balance between music, art, and visuals. Every year the festival presents a piece of music specially commissioned for the festival. This year’s commission work is signed Biosphere and Skatebård, two pioneers who have worked in quite different corners of the Norwegian electronic music scene, and belong to their own generation, but with mutual respect and admiration for the art and for each other’s work.
The festival programme represents a mix between both local and international acts, and between more established artists as well as some up and coming artists.
DJ HARVEY (UK)
NILS FRAHM (TY)
BIOSPHERE & SKATEBÅRD (EKKO COMMISSION WORK)
FUTURE BROWN: FATIMA AL QADIRI, NGUZUNGUZU & J-CUSH (US)
FLOATING POINTS (UK)
LUKE ABBOTT (UK)
EVIAN CHRIST (UK)
JAAKKO EINO KALEVI (FIN)
SUZANNE CIANI & NEOTANTRIK (UK/US)
WALLS/ORAM «SOUND HOUSES» (UK)
TARJEI NYGÅRD & ARE FOSS
SILJE NES «MIRRORED/MIRROR»
DJ CANDLE IN THE WIND (LIVE) (FIN)
ADMIR KENAN & GRAY CHALK
CAKEWALK & BLANK BLANK
FLØ, RATKJE, RISHAUG, TAFJORD «ANALOGIKK» (BEK COMMISSION WORK)
MEIDELL & NYGAARD «DIALOGUES» (BEK COMMISSION WORK)
FAXVAAG & VJ BN
«THE DELIAN MODE»
«I DREAM OF WIRES»
TWO RUINS «A VOYAGE TO ARCTURUS»
STEPHAN MEIDELL & BIRK NYGAARD «DIALOGUES PROLOGUE»
MARIEKE VERBIESEN «MAYHEM MACHINE»
THE PROGRAMME IS PRESENTED IN COLLABORATION WITH LYDGALLERIET, DOC LOUNGE AND ØSTRE.
For complete artist presentations and the playing schedule visit www.ekko.no
Gallery from Ekko no. 10 on Flickr
Buy tickets here: www.ekko.ticketco.no
Day pass on days with two venues:
Østre & Korskirken, Friday, Oct 24th: 300,- + fee
Day passes at Østre:
Friday Oct 17th: 280,- + fee
Saturday Oct 18th: 280,- + fee
Wednesday Oct 22nd: 150,- + fee
Thursday Oct 23rd: 90,- + fee
Friday Oct 24th: 280,- + fee
Saturday Oct 25th: 280,- + fee
Single concerts/ concerts packages
(some early night concerts, not including club programme from 21/22.30):
Korskirken, Friday Oct 24th: 250,- + fee.
Suzanne Ciani + Neotantrik, and Stephan Meidell, Birk Nygaard «Dialogues»,
Østre, Saturday Oct 25th: 150,- + fee.
The exhibition opening plus Flø, Ratjke, Rishaug, Tafjord «Analogikk» on opening night Friday Oct 17th (18:30 – 21:00) is for free.Time and place:
- Østre - 17/10/2014 to 25/10/2014
Institutt for Rytmisk Musikk ved Universitet i Agder ønsker velkommen til Musikkteknologidagene 2014, som i år vil foregå i Kristiansand 6. og 7. november.
SAK-prosessen vil igjen stå sentralt under Musikkteknologidagene, men det vil også være tid til et faglig program.
Vi tar gjerne imot bidrag til programmet, av faglig eller kunstnerisk karakter.
De som ønsker bidra kan melde fra om dette til Jon Marius Aareskjold (firstname.lastname@example.org) som er ansvarlig for det faglige innholdet sammen med Alexander Jensenius. Det legges ikke noen spesielle føringer for temaer, men innlegg som tar for seg undervisning i Musikkteknologi er spesielt velkomne.
Seminarene vil foregå på UiAs campus og vil starte ca klokken 11 på torsdag og være ferdig ca klokken 16 på fredag. Det vil bli konserter og felles middag på torsdag kveld. Hotellpartner er Hotell Norge. Avtalepris oppnås ved å referere til Musikkteknologidagene.
Nærmere informasjon om program vil komme etterhvert.
Dette er en «åpen invitasjon». Dersom noen vet om andre som kan ha interesse av å være med på musikkteknologidagene er det bare å videresende invitasjonen.
Vi ser frem til å være vertskap for dere!
CALL FOR PROPOSALS
RE-CREATE 2015 The 10th anniversary and sixth international conference on the histories of Media, Art Science and Technology
Hexagram, Concordia University and Université du Québec à Montréal in collaboration with Media@McGill and CIRMMT- McGill Montréal, Canada. 5-8 November 2015 Re-Create CFP Submission Site
Re-Create 2015, the sixth international Conference on the Histories of Media, Art Science and Technology will mark the 10th Anniversary of the Re conference series. Re-Create 2015 is devoted to exploring what theories, methodologies and techniques can be used to understand past, present and indeed, future paradigms of creative material practice involving technologies within research contexts from a historical and critical point of view.
The title Re-Create is an abbreviation for the term “research-creation”, part of a growing international movement which goes by many names: “practice-led research,” “research-led practice,” and “artistic research,” among others.
While the link between research and practice seems to be a new horizon, the media-based arts have long been at the intersection of the humanities, sciences, and engineering and present a critical site in which to take up the changing relationships between knowledge, power, and economy.
Research normally signifies modes of acquiring new knowledge that coherently and systematically advance a field and is grounded and validated by both social frameworks (peers) and existing bodies of knowledge. Similarly, research in conjunction with material practice demands that making be historically, theoretically and methodologically framed and valorized.
Re-Create 2015 seeks to interrogate the historical entanglement of research and making within a wide and diverse set of international sites, disciplines and contexts: from non-institutional creative research initiatives driven by artists and designers in the streets, to the labyrinths of industry funded research labs and universities. From unknown or ignored histories of research-based practices in Latin America, Asia and Indigenous communities to government funded initiatives, the conference will thus critically explore the ongoing and productive tensions between theory, method and making in the histories of media, art, science and technology.
Potential contributors to the conference should focus thematic panel sessions or individual papers on one of the following areas of concentration:
- LAB STUDIES : Studies on how artists and designers have historically worked in industry, universities and collective, grass roots-based research environments
- CURATORIAL ACTIONS AND PRACTICES : How have research paradigms historically entered into curatorial practices and how have they been framed, exhibited and articulated?
- ANTI-INSTITUTIONAL RESEARCH : Historical profiles of non-institutionally based research-driven explorations.
- THEORETICAL FRAMEWORKS : How have theoretical paradigms in media, art, science and technology historically evolved structuralism in the 1960s or media studies to current work in affect theory, media archaeology, critical post-humanist approaches derived from STS, appropriation and remix aesthetics, feminist new materialism, queer and postcolonial studies, enactive and distributed cognition?
- METHODOLOGIES : What can methodological tools emerging from the human and social sciences like ethnography, historiography, archaeology, genealogy and other qualitative techniques provide to the historical and critical positioning of practice?
- INTERDISCIPLINARY INTERSECTIONS AND IMPACTS : Exploration of the formation and rise of interdisciplinary research fields (image science, sound studies, science studies, sensory studies, environmental studies) and their impact on the construction of media art histories.
- DIGITAL HUMANITIES : What is the historical relationship between the digital humanities and the histories of media, art, science and technology?
- SITES: How historically have sites of research and practice in media art, science and technology evolved outside of the predominant spheres of Europe and North America and what forms have they taken?
The conference program will include competitively selected peer-reviewed individual papers, panel presentations and poster sessions as well as a number of keynotes and invited speakers and a parallel satellite program of events with Hexagram partners including core cultural institutions in Montreal. In the interest of maintaining a concentrated conference program, there will be a series of plenary sessions as well as accompanying poster sessions. Each of the plenaries as well as the poster sessions will mix together scholars and practitioners representing different cultural perspectives. The conference will be held in English and French, with live translation.
CALL FOR PROPOSALS
Re-Create 2015 welcomes contributions from researchers, artists, designers, scholars and technologists working across diverse disciplines, sites and practices. We particularly encourage scholars and creators from international contexts outside of Europe and North America.
ABOUT THE CONTEXT AND THE HOST
The conference will take place in Montreal hosted by Hexagram, the international network for media, art, design and digital culture (http://hexagram.ca). It is the largest network of its kind in Canada and one of the largest internationally dedicated to research-led creative practices. Ten years after the inaugural Re-Fresh conference at the Banff New Media Institute in 2005, the return of the conference to Canada and specifically to Quebec, offers a pertinent context to address the evolution of research in the histories of media, art, science and technology (http://www.mediaarthistory.org/mah-conf-series).The conference will be held across the two core Hexagram sites at Concordia University and the Université du Québec à Montréal (UQAM). The venues are within walking distance from each other, centrally located in vibrant, downtown Montreal – the digital arts and culture capital of North America.
250 word abstracts of proposals, panel presentations and posters should be submitted in either Text, RTF, Word or PDF formats. Texts can be submitted in French and in English. The DEADLINE for submissions is December 7, 2014. Submitters will be informed by mid February 2015. INFORMATION about the submission process and general information can be found at: Re-Create Submission Site
Conference partners include Media@McGill, CIRMMT-McGill, Cinémathèque québécoise, DHC-Art, Elektra/ACREQ, Goethe-Institut Montreal and others to be announced.
Conference chairs and Hexagram Co-Directors: Chris Salter, artist, Concordia University Research Chair and Associate Professor, Design and Computation Arts, Concordia University (QC/CA/US/DE) and Gisèle Trudel (QC/CA), artist and professor, École des arts visuels et médiatiques, Université du Québec à Montréal.
Re-Create Local Organizing Committee: Thierry BARDINI, Barbara CLAUSEN, Ricardo DAL FARRA, Jean DUBOIS, Jean GAGNON, Alice JIM, Jason LEWIS, Jonathan LESSARD, Louise POISSANT, Chris SALTER, Cheryl SIM, Jonathan STERNE, Alain THIBAULT, Gisele TRUDEL, Marcelo WANDERLEY Re-Create 2015
International Advisory Board: Marie-Luise ANGERER, Monika BAKKE, Samuel BIANCHINI, Georgina BORN, Andreas BROECKMANN, Annick BUREAUD, Michael CENTURY, Joel CHADABE, Dooeun CHOI, Ian CLOTHIER, Sarah COOK, Nina CZEGLEDY, Sara DIAMOND, Diane DOMINGUES, Jean Paul FOURMENTRAUX, Sébastien GENVO, Orit HALPERN, Jens HAUSER, Denisa KERA, Felipe César LONDONO, Natalie LOVELESS, Glenn LOWRY, Rafael LOZANO-HEMMER, Roger MALINA, Sally Jane NORMAN, Nicolas NOVA, Jussi PARIKKA, Christiane PAUL, Simon PENNY, Andrew PICKERING, Sundar SARRUKAI, Yukiko SHIKATA, Michel VAN DARTEL, ZHANG GA, Ionat ZURR
MAH Honorary Board: Douglas DAVIS, Jasia REICHARDT, Itsuo SAKANE, Peter WEIBEL MAH
Conference Series Board: Sean CUBITT, Oliver GRAU, Linda HENDERSON, Erkki HUHTAMO, Douglas KAHN, Martin KEMP, Machiko KUSAHARA, Tim LENOIR, Gunalan NADARAJAN, Paul THOMAS
The Sonic Game Space project by BEK exists from an Exhibition, Workshops, Presentations and Liveperformances, and shows works by a group of artists that are connected trough their work in early game console art. This upcoming Thursday the Sonic Game Space exhibition will open at Lydgalleriet, in Østre Hus for Lydkunst from kl. 19:00
The Sonic Game Space project by BEK combines an Exhibition, Workshops, Presentations and Liveperformances, and shows works by a group of artists that are connected trough their work in early game console art. Their output spans a spectrum of forms including videos, performance & live music, sculpture & installation, often extending beyond the computer screen. Exhibiting artists are Raquel Meyers, Jacob Sikker Remin and Marieke Verbiesen.
Kl. 19:00 Opening Exhibition LydgallerietKL. 21:30 Gameboy Music Performance by Søren Andreassen + Afterwords : DJ Opitz
The program and works up for show can be found online here:
The project is supported by Art Coucil Norway and Bergen kommune.
Raquel Meyers and Jacob Sikker Remin is supported by Nordic Culture Point.
- Lydgalleriet - 09/10/2014 to 12/10/2014
Aalborg Universitet – Musikkens hus – 12-13 maj, 2015
Musikuddannelsen på Aalborg Universitet byder velkommen til den 2. nordiske konference om lyd- og musikproduktion.
Uddannelse og forskning i lyd musikproduktion er i stigende grad spredt ud på forskellige institutioner, og indenfor de senere år er der dukket flere nye uddannelser op i Norden, som på forskellig vis beskæftiger sig med emnet. Dette skyldes ikke mindst skiftende markedsvilkår og efterspørgsel på specialiserede kompetencer i lyd- og musikbranchen.
Denne konference sætter fokus på diversiteten i feltet. Hvilke former for teoretisk tænkning, æstetiske visioner og tilgange til praktisk udførelse eksisterer i forskellige forskningsdomæner og brancher indenfor lyd og musikproduktion, og hvordan griber disse ind over hinanden?
Disse områder tæller blandt andet musikvidenskab, musikproduktion, akustik, musiksociologi, lydteknik, industrielt lyddesign, lyddesign for computerspil, filmlydsdesign og elektronisk lydkunst. Ved at sætte fokus på dette krydsfelt ønsker vi bl.a. at skabe større synergi mellem feltets aktører.
Konferencen beskæftiger sig med alle emner indenfor lyd- og musikproduktion. Disse emner kan inkludere (men er ikke begrænset til):
- Nye betingelser for lyd- og musikproduktion
- Analyse af specifikke musikproduktioner og lyddesigns
- Lyd- og musikhistorie
- Lydperception og akustik
- Uddannelse i lyd- og musikproduktion
- Fremtidige perspektiver på emnet
- Forskere, samt praktisk udøvende producere, akustikere, teknikere og designere indenfor feltet opfordres til at deltage i konferencen.
ABSTRACT – INDSENDELSE OG FORM
Abstractet skal have et omfang af max. 300 ord. Indsendelse sker ved at sende en mail til
senest d. 18. Januar 2015. Alle indsendte abstracts vil blive peer reviewet.
Før 17. april: 1250,-
Efter 17 april: 1500,-
Oplysninger om registrering tilføjes senere.
PRÆSENTATION OG KONFERENCESPROG
Hver præsentation har en varighed af 30 minutter inkl. 10 minutter til spørgsmål og diskussion. Papers præsenteres på nordiske sprog eller engelsk
Konferencen afholdes i Musikkens Hus i Aalborg. Musikkens Hus er Aalborgs nye koncerthus der foruden flere koncertsale rummer faciliteter til forskning og undervisning i musik. Huset er placeret på havnefronten og blev indviet i marts 2014.
Fly: Aalborg lufthavn er forbundet med flere storbyer i Norden via København. Der er desuden direkte forbindelse til Aalborg lufthavn fra bl.a. Stokholm og Oslo.
Fra lufthavnen afgår bus nr. 2 mod Aalborg centrum. Med taxi tager turen ca. 10 minutter.
Tog: Der er en direkte togforbindelse til Aalborg fra bl.a. København. Der er gåafstand (ca. 10-15 minutter) fra togstationen til Musikkens hus.
A new beta of ATK for Reaper is now available:
This is a set of JS plugins for encoding, processing and decoding first-order Ambisonic. The two main changes since beta 3 are:
- Fixed an issue with matrix-based encoders when tracks have insufficient number of channels (thanks to Fergler at the Reaper forum for reporting this).
- A new utility plugin 4channels can be used when batch-processing recordings from portable hard disk recorders (such as Tascam DR680 or SoundDevices 788T) in order to extract the ambisonic channels as a 4-track sound file.
We have received several mails asking about how to prepare 4-channel A- and B-format sound files for further processing. Hopefully the following screencast helps demonstrating how this can be done:
Time and place:
- Lydgalleriet - 09/10/2014 to 12/10/2014
Jan Schacker, Chikashi Miyama and Trond Lossius will present a poster at the joint ICMC|SMC|2014 Conference in Athens, Greece. The paper presents recent development of a `libspatdif’ C/C++ software library for SpatDIF, the Spatial Sound Description Interchange Format, as well as prototype implementations in Max, Pure Data and OpenFrameworks making use of the library.
by Jan C. Schacher (Zurich University of the Arts Institute for Computer Music and Sound Technology ICST), Chikashi Miyama (University of Music, Cologne Studio for Electronic Music) and Trond Lossius (BEK).Abstract
The development of SpatDIF, the Spatial Sound Description Interchange Format, continues with the implementation of concrete software tools. In order to make SpatDIF usable in audio workflows, two types of code implementations are developed. The first is the C/C++ software library `libspatdif’, whose purpose is to provide a reference implementation of SpatDIF. The class structure of this library and its main components embodies the principles derived from the concepts and specification of SpatDIF. The second type of tool are specific implementations in audio programming environments, which demonstrate the methods and best-use practices for working with SpatDIF. Two practical scenarios demonstrates the use of an external in MaxMSP and Pure Data as well as the implementation of the same example in a C++ environment. A short-term goal is the complete implementation of the existing specification within the library. A long-term perspective is to develop additional extensions that will further increase the utility of the SpatDIF format.Time and place:
- The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014
Trond Lossius and Joseph Anderson will present a poster at the joint ICMC|SMC|2014 Conference in Athens, Greece. The paper presents a port of the Ambisonic Toolkit as a series of plugins for the Reaper DAW. ATK for Reaper brings both a comprehensive composition workflow model, the sound-field sound-image paradigm, and a set of versatile tools for working with Ambisonics to the DAW environment.
by Trond Lossius (BEK) and Joseph Anderson (DXARTS, University of Washington)Abstract
While there is a well-established workflow for stereo production in DAWs, options have been more limited when working with Ambisonics. The Ambisonic Toolkit (ATK) brings together a number of tools and transforms for working with first order Ambisonic surround sound, and includes intriguing possibilities for spatial soundfield imaging. These tools have previously only been available for public release via the SuperCollider real-time processing environment.
Cockos Reaper is a reasonably priced and flexible DAW, popular among many composers and sonic artists working with spatial sound. Reaper’s versatile design conveniently supports the ATK’s Ambisonic workflow model. Using the JSFX text-based scripting language, the ATK has now been ported to plugins for Reaper; these include intuitive graphical user interfaces.Time and place:
- The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014
The upcoming version 0.6 of Jamoma enables model-view-controller separation in Max. The novel features that Jamoma 0.6 enables will be presented in a paper at the joint ICMC|SMC|2014 Conference in Athens, Greece. A demo session will further exemplify the many benefits of MVC separation in Max using Jamoma 0.6.
T. Lossius, T. de la Hogue, P. Baltazar, T. Place, N. Wolek & J. Rabin (2014): Model-View-Controller separation in Max using Jamoma. Proceedings of the joint 40th International Computer Music Conference & 11th Sound and Music Computing Conference, Athens.
T. Lossius, N. Wolek, T. de la Hogue & P. Baltazar (2014): Demo: Using Jamama’s MVC features to design an audio effect interface. Proceedings of the joint 40th International Computer Music Conference & 11th Sound and Music Computing Conference, Athens.
Alpha versions of Jamoma 0.6 are currently available.
Paper: Model-View-Controller separation in Max using Jamoma
by Trond Lossius (BEK), Theo de la Hogue (GMEA), Pascal Baltazar (L’Arboretum), Tim Place (74objects LLC), Nathan Wolek (Stetson University) and Julien Rabin (GMEA)Absctract
The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, as well as views that can be dynamically loaded, bound to a model, and then disposed. Jamoma 0.6 enables MVC separation in Cycling’74 Max through custom externals and patching guidelines for developers. Models and views can then be nested for a hierarchal structuring of services. A local preset system is available in all models, along with namespace and services that can be inspected and queried application-wide. This system can be used to manage cues with modular, stringent and transparent handling of priorities. It can also be expanded for inter-application exchange, enabling the distribution of models and views over a network using OSC and Minuit. While this paper demonstrates key principles via simple patchers, a more elaborate demonstration of MVC separation in Max is provided in 1.Demo: Using Jamama’s MVC features to design an audio effect interface
by Trond Lossius (BEK), Nathan Wolek (Stetson University), Theo de la Hogue (GMEA) and Pascal Baltazar (L’Arboretum)Absctract
The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, and views that can be dynamically loaded, repurposed, and disposed.
The use of MVC is widespread in web applications, but is far less common in interactive computer music programming environments. Jamoma 0.6 enables MVC separation in Cycling’74 Max, as presented in 1. This demonstration will examine the development of a multi-band equaliser using these recent additions to Jamoma. This review of the design process will serve to highlight many of the benefits of MVC separation.Time and place:
- The joint ICMC|SMC|2014 Conference, Athens, Greece - 14/09/2014 to 20/09/2014
PNEK, in collaboration with FAV – Festival de Artes Valparaiso, Chile, hereby invites one Norway-based media artist to submit a project idea for the next edition of FAV – taking place January 17 – 25, 2015.
FAV is dedicated to art in public space combining sound, projections, mapping and a film tribute to Valparaiso specially produced for the occasion by renowned national and international artists. The upcoming edition of FAV – goes under the title of Post Tenebras Lux will present multiple activities during nine days, with the aim to actively invite the participation of citizens. To achieve that we have prepared different facilities: Arts Pavilion, Gimme a Hand Weaving Community, Adopt a tree, among others, in addition to workshops and exhibitions.
In the neighbourhood area of the port a curse resides, hidden in the shadows, hypnotizing its inhabitants, sometimes cruelly playing with their minds. Interventions have the mission to chase away this curse, or at least chase her away for a few days. We invite artists to submit works and ideas that reflects and intervene with this, and that can be presented in the portal area of Valparaiso.
Artists may submit a short description of an artwork and/or project, in accordance with the terms of the calls for entries
Artworks and projects within the following techniques: sound, video and mapping
Works produced after 2012
All information should be in English
One project (artist) will be selected by the curatorial committee.
Deadline: October 10th to the following email: email@example.com
The artist will receive the following:
Return air ticket to Santiago de Chile / Valparaiso
Accomodation (incl.preproduction) for 15 days
Technical equipment and assistance
Artist Fee: 5000 NOK
More information about Valparaiso (from wikipedia):
Valparaíso played a very important geopolitical role in the second half of the 19th century, when the city served as a major stopover for ships traveling between the Atlantic and Pacific oceans by crossing the Straits of Magellan. Always a magnet for European immigrants, Valparaíso mushroomed during its golden age, when the city was known by international sailors as “Little San Francisco” and “The Jewel of the Pacific”. In 2003, the historic quarter of Valparaíso was declared a UNESCO World Heritage Site and a new national law named the city “Chile’s Cultural Capital”. Today Valparaiso is still a major city, seaport, and educational centre commune in Chile. The industrial port – and the area around – is perceived as the shadow of the city, troubled with high crime rates and other social realities, as often applied to city ports.
For more information, please contact PNEK curator Daniela Arriado, who will also join the trip in January: firstname.lastname@example.org
SPOR festival for contemporary music and sound art invites composers and sound artists to submit a proposal for a new work to be realized at SPOR 2015, Aarhus, DK.
FEE FOR REALIZING THE PROPOSAL: € 1.000
DEADLINE FOR SUBMITTING: November 1st 2014.
THEME OF THE CALL AND FESTIVAL:
The proposal may describe a wide range of projects, from works for ensemble and music theatre pieces to sound art installations.
In 2015 the festival will focus on practices within music theatre and opera, how we create and present works keeping the history and tradition present but updated to the world of today. Opera and music theatre has a very strong tradition for retaining an authentic and historically based performance practice when speaking of the music – it is allowed to interfere with some elements (like updating scenography, characters, the history etc.), but the music itself and the score is often understood as sacred.
SPOR festival 2015 will bring this fact to discussion and shows the exuberant development that happens in music theatre and opera these years. We therefore ask for spectacular proposals that reflect or question these tendencies.
The proposal should reflect the theme of the festival, handle it either concrete or more abstract.
CONDITIONS AND JURY:
The call for proposals is open to all types of composers and sound artists, from all over the world. You may only submit in one proposal. An international jury will judge the proposals and choose five proposals to be realized at SPOR 2015. Each selected composer/artist/group of artists will receive a fee of € 1.000 for realizing the work. SPOR will cover travel expenses of up to € 200 and provide two night’s accommodation in Aarhus, Denmark.
The jury members for Call for Proposals 2015 are:
Francois Sarhan (FR, composer)
Line Tjørnhøj (DK, composer)
Rainer Nonnenmann (DE, writer, editor and musicologist)
Yannis Kyriakides (CY, composer and sound artist)
Erik Dæhlin (NO , performer Call ensemble)
Anna Berit Asp Christensen & Anne Marqvardsen (festival directors, SPOR).
The jury’s decision is final and cannot be legally challenged.
• Type of works: Acoustic, electronic, electro-acoustic; ensemble piece, solo performance, music theatre or sound installation.
• Duration: For ensemble pieces and performances max. 15 min. Sound installations will run through the whole festival.
• Ensemble/performers/instruments available:
NING ensemble: Erik Dæhlin (percussion) & Amund Sjølie Sveen (percussion) with Silje Aker Johnsen (vocal, contemporary dance).
NING ensemble works with the physical, theatrical and visual aspects of musical performance. Both percussionists work as musicians, performers, composers, stage managers and installation artists. The ensemble wish to create up-to-date contemporary art at the intersection of musi c and performance; musical, physical and conceptual moments in the gap between the poetic and the discursive, both within and outside of the stage. A central theme in the work of the ensemble is how music and the role of the musician exist in an interdisciplinary work. In this process NING has collaborated with a number of other artists among these are vocalist Silje Aker Johnsen. Silje Johnsen has a strong focus on contemporary vocal music, as well as the baroque and classical coloratura repertory. She feels equally at home in extended vocal techniques as in classical singing. Her scenic experience is versatile, ranging from opera roles and concerts, to theatre, performance, improvisation as well as contemporary dance.
Examples of their performances and more info can be found here.
Contact: Erik Dæhlin, daehlin (a) gmail (.) com
More info: www.ningensemble.com; www.siljeakerjohnsen.no
The ensemble can be used in its existing form as well as soloists.
• Technical provision: 1 projector + screen; 1 stereo sound-system (with a small mixer); 4 microphones.
• Further instrumentalists, performers or technical equipment must be provided by the artist/composer.
• Non-technical items such as costumes, scenery and materials for installations must be provided by the artist/composer.
• Concert and staged works will be presented at one of the main venues of the festival.
• Installations can be presented at various venues in Aarhus (indoor/outdoor), agreed with the festival.
WHAT TO SEND:
• Fill out the PDF-form with your personal info, a short description of your proposal and links to 2-3 sound or video files t hat represent your work from the last 5 years.
DOWNLOAD THE FORM HERE.
• Maximum 2 pages of text as PDF describing one work that you wish to create and realize at the SPOR festival 2015 + link to streaming of video and/or sound file sketches (optional).
Please name the file “Proposal_text”.
• CV. Please name the file “CV”.
• Accompanying scores in PDF format are also welcome but optional.
1. Nov. 2014: Deadline for sending in proposals.
Primo January 2015: The 5 chosen proposals will be announced in the SPOR newsletter and via social media platforms.
1. March 2015: Deadline for delivering scores, parts and technical riders
7.-10. May 2015: Performance/presentation at SPOR 2015 in Aarhus, Denmark
WHERE TO SEND THE PROPOSAL:
• call (a) sporfestival (.) dk
Download the Call for Proposals as pfd.
Søren Andreasen will hold an Arduino workshop at BEK. The workshop fee is 500,- NOK, for this you get an Arduino Uno Kit to work on. New dates for the workshop is 24. NOV – 28. NOV. Beginners from Monday 24. and more experienced from Wednesday 26.
Beginners and those who need to brush up on the very basics, get a brief introduction to hardware KITs and the Arduino software Monday 24. and Tuesday 25. November between 16.00 – 21.00
Wednesday 26. – Friday 28. we follow up those who have a little experience with Arduino before and those who have their own projects they need help to get on with. Søren will also bring a proposal for a project for those who need some startspray. For this he use some solenoids, servo motors and a bunch of nobs and lights for you to work on. Wednesday and Thursday we also start at 16.00 and keep it going until we’re eighter finished or excausted, or both. Friday we sum up between 16.00 – 19.00.
This workshop costs 500,- NOK. For this you get a starting KIT and some things to work on (worth the workshop fee). If you need to use servos and solenoids, you pay the actual costs if you want to take them with you after the cource. You need to bring your own laptop. And it would be nice if you bring some power supplys (5 – 36 V) or some toy instruments or other electronic toys.
Workshop holder is Søren Andreasen, http://sorenandreasen.com
He did a similar workshop at BEK last year.
Join by mailing us at bekatbekdotno
Spread this information happily on to those you think might be interested.Time and place:
- BEK - 24/11/2014 to 28/11/2014
On sunday the 5th of October, artist & engineer Jacob Sikker Remin will give a workshop in building your very own synth; the CFO: Cheap, Fat & Open.
Want to build your own synthesizer? This is your chance.! Science Friction have been developing small modular electronic instruments for the last few years and have developed an amazingly powerful, creative tool. Come build one, it is free to attend and does not require any experience (though we need to charge 500kr to cover the cost of the electronics if you build a synthesizer). This is a self-contained instrument that can be played alone, or programmed and encorporated into a broader hardware/software based setup.
CHEAP, FAT and OPEN (CFO) is an open source synthesizer, mixed with a stylophone, a gameboy, a circuit bent toy, and then some software too it is open source and designed to be OPEN and hackable, and therefore the project is inherently messy. you can do a lot of things with CFO, but CFO has a lot of limitations as well. that’s the beauty of it, go with the flow. this is NOT a finished product. many (most) things are still under development, so expect bugs! errors! glitches! — treat them as features ;) or dig the code and change them for the better.
Synthspecs: Monophonic, 3 OSC with 8bit wavetable synthesis, FM, 2 Envelopes, digital filter
The workshop is free, but costs for the CFO synth which you get to keep = 500 NOK
The workshop will end with a collective jamsession, so feel free to bring equipment too!
Workshop from 12:00 to 17:00
with jamsession & pizza afterwords
To join, send email to email@example.comTime and place:
- BEK - 05/10/2014 12:00
On Saturday the 4th October, visual Artist Raquel Meyers will show various techniques for using the Commodore 64 for animation and live performance, by using a unique set of tools.
Saturday 4th October
kl 12:00 – 17:00
by Raquel Meyers
Create music and visuals focus on 8 bit aesthetics.
Raquel Meyers will show how to use the famous Commodore 64 for making illustrations, animations and use of live performance.
This workshop teaches you how to use these tools like Ascii and Petscii, languages used on the C64.The purpose of the workshop is to find new ways of expression in these unique tools that are often misunderstood as limiting and difficult. New ideas don’t require new technologies. In fact, old technologies often spawn new procedures, ideas, styles and goals.
No previous experience is necessary and it is sufficient to bring a standard laptop. The goal of the workshop is that the participants make a music video or a live performance together.
The workshop is free! To join, send email to firstname.lastname@example.orgTime and place:
- BEK - 04/10/2014 12:00
September 28. Line Hvoslef opens her new solo show. Hvoslef’s distinctive non-figurative and fabulating imagery is combined with sound and mechanics in this large scale installation. Søren Andreasen has develod the technical solutions. Trond Lossius will open the exhibition.
I prosjektet ”Lydlandskap” går jeg ett skritt videre og utforsker mulighetene for å behandle lyden fra enkle instrumenter og la denne komme til uttrykk i ulike høyttalere og lyskilder montert i en vegg. Instrumenter, høyttalere, brytere, knotter og lyskilder integreres i et visuelt uttrykk slik at lyd og bilde skal fungere sammen. Konkrete ting som for eksempel en spilledåse eller en dreieskive fra en gammel telefon blir visuelt bundet sammen av abstrakte former og figurer og skal sammen danne et ”landskap”. Videre ønsker jeg at tilskuer/tilhører aktivt skal delta ved å sveive, skru og ”spille” på de forskjellige elementene i veggen.
Hensikten er ikke å lage en bevegelig vegg der publikums handling kommer til uttrykk i en eller annen mekanisk reaksjon, men heller at publikums Aksjon skal være mekanisk, og at Reaksjonen skal være digitalisert lyd.
I ”Lydlandskap” skal publikum oppleve en direkte sammenheng mellom handling og reaksjon.
Lydlandskap is supported by Bergen kommune, and BEK has contributed with project room, exchange, know-how, equipment and funding.Time and place:
- Visningsrommet USF - 28/09/2014 18:00
- Visningsrommet USF - 29/09/2014 to 12/10/2014
For the finissage for the exhibition “Dynamiske konstanter” in an old factory building in Ytre Arna outside of Bergen, HITYAMAC will perform a new site-specific piece.
HITYAMAC is short for “have i told you about my arctic childhood”.
It is a live concept with improvised music, video art and live visual arts performance. The expression can be described, both visually and auditive, as silent, organic and lingering, with a focus on details.
A performance acts as an associative story telling where the content to a large extent will change from time to time, both because of context, and with most of it being improvised.
Thematically they work with nordic identity, around cycles in nature and the relationship man – nature.
HITYAMAC consist of:
Torgeir Hovden Standal
BEK supports with equipment.Time and place:
- Ytre Arna - 27/09/2014 19:00
The performance BLIND by Anita Bjørkli & Runar Bruteig Olsen you can see at Cornerteatret 3. og 4. October. We’re invited to a performance where the balance between stage and audience is disturbed. By tickets here
The audience will use headsets to hear the sound of the performance, and the actors will be blindfolded. Parts of Maurice Maeterlincks text The Blind will be played in the headsets and the actors will try not to let time run away from them.
The performance is in english, and put up in Søylesalen at Cornerteatret!
Actors: Karen Eide Bøen, Anita Bjørkli, Marija Baranauskaite and Sara Bruteig Olsen
Direction and sound: Runar Bruteig Olsen
Video: Anita Bjørkli
Scenography consultant: Silje Sandodden Kise
Producer: Anna Borcherding
Poster: Dino Dikic
Supported by Bergen Kommune and BEK has contributed with equipment and consultations along the way.Time and place:
- BEK - 03/10/2014 to 04/10/2014
Søren Andreasen will hold an Arduino workshop at BEK. The workshop fee is 500,- NOK. Unfortunately we have to postpone the workshop. New dates will be available soon. Meanwhile, go and see Sørens work with Line Hvoslef at Visningsrommet USF. Opens on Sunday 28th.
Workshop holder will be Søren Andreasen, http://sorenandreasen.com
He did a similar workshop at BEK last year.
- BEK - 29/09/2014 to 03/10/2014