The Sao Paulo-based FILE (International Festival of Electronic Language) offers treats for the eyes, ears, and minds of locals and wandering media enthusiasts, alike. FILE rings in its sixth year, this week, with a slate of ambitious events, including installations, a symposium, sound performances, and public projects. The festival has made a particular effort to promote digital culture within its existing urban setting while also presenting a meeting ground for traveling participants to interact and collaborate. Hypertext theorist Ted Nelson commences the festival, today, with a presentation entitled ‘Software and Media for a New Democracy.’ The four-day symposium offers sessions exploring a broad range of current issues, with particular emphasis on the digital culture of South America. ‘Hipersonica’ is the sound and music branch of the festival and features a week of performances with Mr. DJ Spooky headlining the first evening. Other projects expand the festival into! the city through interaction with the public and interventions on Sao Paolo’s transit systems. In other words, this FILE comes in many fun formats. – David Senior
UBU: Robert Ashley, USA
http://www.ubu.com/sound/aether.html
Music with Roots in the Aether, an artwork by Robert Ashley, features seven two-hour programs featuring noted American composers of the 1970s.
Each program is two hours long and consists of one part Landscape / Interview (one hour) and one part live performance (one hour).
The video files are the complete two-hour programs.
The MP3 files have been divided into two parts, one-hour each.
more…
Found Sound in D.C.
LITERAL:
Crisscross a City
[Unrelated photo: a port-a-potty-based public address system at the MACBA, Barcelona, 2005.]
A public art project called FOUND SOUND will be featuring works from artists in sound booths (“reconfigured” Port-a-Potties) on sidewalks in public locations throughout Washington, D.C. from Oct 14-Nov 5. Participating artists include Richard Chartier, Joseph Grigely, Alberto Gaitán, Jennie C. Jones, Helmut Kopetzky, Brandon Morse, Robin Rose, and Alex Van Oss. Actor and part-time New Orleans resident Harry Shearer (The Simpsons, Spinal Tap, HuffPo) is contributing a piece on Hurricane Katrina, and Calvin Trillin has contributed a poem as well. The press release quotes this from an essay by Nora Halpern at Americans for the Arts:
FOUND SOUND entices the listener to crisscross a city to experience fully this collection of work. As one leaves a destination for another—whether by foot, car, bus, or Metro—the heightened audio awareness encouraged by each piece should continue, like a musical riff, through all the spaces in between.
That’s great and all, but in most of the places where these will be, “heightened audio awareness” might not be a good thing. Downtown D.C.’s not known for its street life — but we have plenty of nice, loud traffic and construction. Maybe they should make a podcast available for walking in between. Local galleries including Fusebox, Conner Contemporary Art, the Goethe Institute, and DCAC are collaborating. No map seems to be available yet but we’ll link when it turns up online. No word on whether any of the port-a-potties will be performing their originally intended public service as well, but consider it highly unlikely. [blogged by Tim on shey.net]
fuente: networked_performance
CYMATICS
[O_O] seeing sound waves ) ) )
Is there a connection between sound, vibrations and physical reality? Do sound and vibrations have the potential to create?
LITERAL:
Some years a back I remember being drawn to fine circular geometric patterns being formed in a glass of water on a table in a room resonating to the bassline of a Roland TB-303 Synth.
The intrinsic geometric forms found in nature, the microscopic and macroscopic also are also being perpetrated through invisible forces such as sound waves. Hans Jenny pioneered the study of wave phenomena, and named the art/science Cymatics – derived from the Greek Kyma or kymatika meaning matters pertaining to waves. Over a period of years he animated dust particles, liquids and Iron fillings using sine-wave vibrations within the audible range. All too familiar patterns begin to be formed in these substances as a result of the sound shaping form. In 1967 Jenny published the book ‘Cymatics – The Structure and Dynamics of Waves and Vibrations’. Moving on from the use of sound generators Jenny eventually invented his own machine for producing very precisely controlled oscillations. The Tonoscope could allow very exact and reproducible experiments to be carried out – at its core were a set of crystal oscillators.
Hans Jenny noted to similarity between his sonic patterns and the patterns found all around us and concluded that biological evolution was a result of vibrations – if not connected to it.
The science of visualising sound waves has a history and goes back further then Jenny beginning with Ernst Chladni. Chladni found a way to visualise sound waves by drawing a violin bow across the edge of flat plates covered with sand, the patterns he produced go by the name of Chladni figures.
’Symmetry and harmonics’ by Joost Rekveld (click on ‘texts’) explores many of these ideas and is a great preliminary reader on the history of visualising sound. He importantly draws connections between the early experimenters and later work by filmmakers such as Mary Ellen Bute and Norman McLaren who used oscilloscopes to generate moving images. It’s also interesting to note certain similarities to the geometries of some recent symmetrical generative art.
More info:
Applet demonstrating Chladni figures
Fuente : dataisnature
O P E N J A Y . O R G
: : : Sound Hazard for Open Source DJs
Gianluca Romanin (aka J_Zar) es el artífice de esta comunidad, dedicada a los OPENJAYS o “laptop djs” que funcionan usando software libre.
El 13 de diciembre de 1998 la New York Civil Liberties Union (NYCLU) dio a conocer un informe sobre la vigilancia del espacio público en Nueva York. Titulado New York City: A Surveillance CameraTown, el documento recogía la inquietud con respecto a la proliferación no regulada de sistemas de videovigilancia en las calles de la ciudad. Incluía asimismo un significativo mapa de Manhattan en el que figuraban las 2.397 cámaras localizadas en la isla durante el periodo de investigación, clasificadas según su capacidad de movimiento. Más allá del indudable valor intrínseco del informe, hay que subrayar su importancia como palanca de discusión pública. En efecto, la NYCLU consiguió con su publicación el primero de sus objetivos, iniciar un proceso de debate alrededor de dos temas fundamentales: la cuestión del derecho a la privacidad en el espacio público y los problemas derivados de la falta de regulación para la utilización de estos dispositivos (especialmente la propiedad, condiciones de uso y distribución de las imágenes registradas). El informe finalizaba con un llamamiento a la colaboración ciudadana en la mejora, actualización y extensión del mapa. Y efectivamente, la difusión del mismo parece haber alimentado prácticas afines.
Svcnt dice:
Vale, es bastante fuera de tema, pero creo que vale la pena ver esta fotogalería sobre la exposición Safe: Design Takes On Risk, que se muestra en el MoMA.
Un significativo escaparate sobre cómo la sociedad de consumo sobrevive a la implantación de la sociedad del pánico. Cajas de cartón sin picos (¿cuántas muertes habrán causado esos aterradores envases?), refugios portátiles, bolsas anti-gas, camisetas antibalas, sistemas de videovigilancia… El miedo se está convirtiendo en way of life y negocio redondo en el primer mundo.
Y como paradigma de ese estado de pánico permanente, cualquier riesgo se ha vuelto inaceptable. El ciudadano occidental se ha convertido en un lactante que necesita medidas especiales de protección contra los riesgos domésticos y contra la vida urbana: un ciudadano siempre demandante de nuevas medidas, siempre exigente de nuevas responsabilidades sobre su protección al estado, a la empresa, a otros ciudadanos, a la sociedad en su conjunto y en su totalidad…
Permanentemente necesitados de protección, estos ciudadanos paranóicos pagan gustosos con la moneda de su intimidad, de su libertad. Exigen ser vigilados, registrados, impedidos, tratados como amenaza porque han adquirido la conciencia de serlo. Como Winston Smith, se han vencido a sí mismos. Aman al Gran Hermano.
Nosotros ya lo apuntamos ,)
Vídeo, música, diseño y texto sobre la represión a los inmigrantes africanos para evitar su entrada en las colonias españolas de Ceuta y Melilla.
Vídeo: “La valla de la vergüenza”
Banda sonora [MP3]:
- Canción #1: “
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- Canción #2: “
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
- Canción #3: “
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La Valla de la Vergüenza
http://www.the-platform.org/
R.N.O.
Roil Noise Øffensive (RNØ), formed in 1995 as an outlet for underground, independent noise artists and for the purpose of releasing recordings and publishing work. The extreme sound and sonic anarchy we produce is constantly fueled by a deep loathing of mainstream pop culture and the ever expanding commercial entertainment wasteland. We consider it our honor bound duty to strike dischord and chaos deep into the heart of popular culture and sabotage it’s very existence. It is our therapy. Our mission. Our goal: to corrupt, mar, pervert, and otherwise warp all that is complacent and mundane. Normality is the enemy
www.ncl.ac.uk/niassh/culturelab/mm/mm3.htm
III “Music and Machines” seminar
developed by “Culture Lab” and ICMuS, will take the form of a two-day conference focussing themes that have emerged over the previous two meetings, themes which gravitate around issues of the role of technological legibility and the pressures brought to bear upon aesthetics under the impact of digital technologies. the issue of legibility asks us to consider the different forms of virtuosity that emerge from automated systems, interactive systems, and from activities such as live coding (as a form of artistic performance) and “circuit bending”… how much is the technological mediation itself an attribute of the work? who is playing – the computer or the “musician”? what is the impact upon aesthetic and evaluative principles? rather than attempting to encounter contemporary artworks on the basis of historical specific criteria of value (technical skill, breadth of knowledge, sensitivity of interpretation) should we not be establishing evaluative competencies related to the specifics of contemporary making process?
