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2003 Luigi Russolo Composers In Category B: electroacoustic mu- on 9 September. Five juries of ex- Competition sic with voice or instruments, first perts selected the best works in a to- prize was awarded to Ken Ueno tal of six categories (digital musics, (USA) for Zansetsu; second prize to computer animation/visual effects, To honor the memory of the futurist Ryszard Osada (Poland) for E-motion; interactive art, u19 freestyle comput- composer Luigi Russolo (1885–1947), and third prize to Mathew Adkins ing and, as a double category, net vi- the Russolo-Pratella Foundation of (UK) for Still Time. Honorable Men- sion/net excellence). The jury for the Varese, Italy organized the 25th edi- tions were awarded to Martin Stig Digital Musics category consisted of tion of the international electro- Andersen (Denmark) for Essential Alain Mongeau (Canada), Markus acoustic, analog, and digital music Tree Work, and to Ka-ho Cheung Schmickler (Germany), Antye Greie competition. The competition was (China) for Ice & Fire Dance. Other Fuchs (Germany), Naut Humon open to Italian and foreign compos- finalists included Cristopher Ariza (USA), and David Toop (UK). ers up to the age of 35. The catego- (USA), Samuel Pluta (USA), Rodrigo The Golden Nica for Digital Mu- ries were: (A) analog or digital Sigal (Mexico), and Dai Fujikura electroacoustic music and (B) electro- sics was awarded to Ami Yoshida, (Japan). Sachiko M, and Utah Kawasaki/ acoustic music with instruments or A compact disc will be produced F.M.N. Sound Factory (Japan) for As- voice. with pieces by Nacho de Paz, Guil- tro Twins/Cosmos. White noise, From 22–27 September 2003, the lermo Senn, Erdem Helvacioglu, Ken tuning pitches, and a voice more International Jury, presided over by Ueno, Ryszard Osada, and Mathew reminiscent of a howl than of sing- Frank Gian Maffina of the Russolo- Adkins. Pratella Foundation and including ing: these are the ingredients from Michele Bisasutti (Italy), Philippe which the Astro Twins Ami Yoshida Blanchard (France), Jurau Duris (Slo- and Utah Kawasaki mix their perfor- vak Republic), Carlo Ferrario (Italy), Ars Electronica 2003 mances. Ami Yoshida, however, is and Rossana May (Italy), reviewed 93 not only one half of the Astro Twins. compositions from Argentina, Aus- Ars Electronica was held in Linz Under the name of ‘‘Cosmos,’’ she tria, Australia, Brazil, Canada, Chile, Austria on 6–11 September 2003. also appears on the musical stage to- China, Korea, France, Denmark, En- The subject of this year’s festival was gether with Sachiko M. Ami Yoshida gland, Greece, Mexico, Malaysia, ‘‘Code, The Language of Our Time.’’ won the Golden Nica for the Astro ס Norway, New Zealand, Czech Re- Three thematic domains, Code Twins and Cosmos double album. ,Life ס Art, Code ס Law, Code public, Slovak Republic, Russia, An Award of Distinction in Digi- provided a framework for the issues Spain, Sweden, Turkey, and United tal Musics was awarded to Florian on which this year’s festival of art, States. Hecker/Mego (Germany/Austria) for technology, and society focused: In Category A: electroacoustic mu- Sun Panda¨ monium. Florian Hecker How strong is the socially regulative sic, the first prize was awarded to is a core member of the ‘‘mego’’ label Nacho de Paz (Spain) for Ion; second and normative power of the struc- that won a Distinction in 1999. prize to Guillermo Senn (Argentina) tures and rules of the game that Since 1996, he has left his mark on for . . .Hasta el aire se rompe; and computer programs and their stan- the style of this artists’ group. He fo- third prize to Erdem Helvacioglu dards implement and enforce? What cuses on live performances and on (Turkey) for Below the cold ocean. possibilities exist to get around the development of artistic uses for Honorable Mentions were awarded them? How do software and digital to Mario Bajardi (Italy) for Bjm Piano codes impact the essence and iden- new production formats like MP3. Studio; to Fabrizio Carlone (Italy) for tity of media art as art created out of His CD Sun Panda¨ monium shows Berceuse pour le feu; and to Stefan code, that is, as a generative and pro- the large scope of what is summed Klaverdal (Sweden) for Samtal/ cessual artform that has developed up under the ‘‘noise’’ heading in digi- Conversations. Other finalists in- from and consists of algorithmic and tal jargon. cluded Lazzarini Victor (Ireland), computational processes? To what An Award of Distinction in Digi- Konrad Korabiewski (Poland), Bar- extent can this be captured and rep- tal Musics was also awarded to bara Ellison (Ireland), Pietro Mussino resented by means of conventional, Maja Ratkje (Norway) for voice, co- (Italy), Michael Klinbeil (USA), Pippa art immanent criteria? produced by Jazzkammer (John Hegre Murphy (UK), Jesper Nordin (Swe- The awards for the Prix Ars Elec- and Lasse Marhaug). The Norwegian den), and Nicolas Bernier (Canada). tronica competition were announced experimental artist Maja Ratkje

News 7

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892604322970607 by guest on 27 September 2021 operates exclusively with her voice, a colloquium on ‘‘Past, Present and The program on Sunday, 19 Octo- hence ‘‘voice’’ is the title of her first Future of Technology in Music’’ on ber, included Agostino Di Scipio: solo album. Improvised and com- 18–19 October 2003. The colloquium ‘‘Sound Interfaces—Composing by posed parts are fused into an entity was held at the Ghent University Ecosystemic Interactions’’; Trevor that may be confusing for the lis- conference center ‘‘Het Pand’’ with Wishart: ‘‘Electronic Transforma- tener. The vocalist tackles the task organization by IPEM-Department of tions’’; Jean-Claude Risset: ‘‘Music is of fathoming the human voice in Musicology, Ghent University, and Meant to be Heard: Musical Psy- combination with electronic media support of the Flemish Fund for Sci- choacoustics is Central to Electronic by taking them to the limits of feasi- entific Research (FWO). and Computer Music’’; and Michel bility and, sometimes, endurance. The colloquium was intended as a Waisvisz: ‘‘Composing the Now—a Honorary Mentions in Digital Mu- sequel to the colloquium on ‘‘Elec- Lecture on Engagement with Sonic sics were awarded to Oren Ambarchi tronic Media in Music’’ organized in Time through Sensors, Electronica, (Australia) for TRISTE; Gert-Jan 1964 at the foundation of the IPEM. Loudspeakers and Ears.’’ Prins (Netherlands) for risk; Mark The speakers then included Iannis See www.ipem.ugent.be and click Wastell, Tetuzi Akiyama, Toshimaru Xenakis, Pierre Schaeffer, Godfried- on ‘‘IPEM40!’’ for more information. Nakamura, and Taku Sugimoto (UK, Michael Koenig, and Ton de Leeuw. Japan) for foldings; Whitehouse– Forty years later, the organizers Susan Lawly (UK) for Bird Seed; Phill again invited a number of prominent Niblock (Australia) for The Move- figures to share their vision of the Mu´sica Viva 2003 ment of People Working; Kevin development and importance of new Electroacoustic Composition Drumm (USA) for Sheer Hellish Mi- technologies in music and multi- asma; Rechenzentrum (Germany) for media. Competition Winners Director’s Cut; Toshiya Tsunoda (Ja- The scientific event was coupled The Mu´ sica Viva 2003 Electroacous- pan) for pieces of air; Yuko Nexus6– with performances of music from tic Composition Competition has Sonore Records (Japan) for Journal the last 40 years. The musical pro- announced the 2003 winners. Prizes de Tokyo; Rudolf Eb.er (Japan) for gram took place at ‘Vooruit’ (www. were awarded to Thomas Cahill- HUMPA.ZERKO¨ RPERT; Noriko vooruit.be) on 17–18 October. It in- Jones (UK) for Bounce eye (study in Tsujiko (France) for Hard ni sasete cluded a concert with music by the Marbles) and to Andrea Agostini (make me hard); and Aaron Funk invited speakers, sound installations, (Italy) for Funus. Mentions were (Venetian Snares) and Rachael Kozak a musical exhibit on 40 years IPEM, given to Jorge Prendas (Portugal) for (Hecate) (Canada) for nymphoma- a remix project with music produced Uma leitura possivel para um triarch. at IPEM, and several other contem- poema de Euge´nio De Andrade,to Organization of Ars Electronica porary music concerts. Santiago Toma´s Dı´ez (Argentina) for 2003 was done by the Ars Electron- The program on Saturday, 18 Oc- Krystalis Krystalis, and to Se´bastien ica Center Linz and ORF (Austrian tober, included Marc Leman: ‘‘Musi- Beranger (France) for Schizo a` 12.0. Broadcasting Corporation), Upper cal Content Processing for Artistic The jury consisted of Eduardo Reck Austrian Regional Studio, with co- and Scientific Applications’’; Perry Miranda, Agostino Di Scipio, and organizers Brucknerhaus Linz, Cen- Cook: ‘‘Perceiving our Instruments: Miguel Azguime. ter for Contemporary Art. Psychoacoustics Meets Aesthetics in More information on Ars Electron- the Design of New Performance In- ica 2003 can be found at terfaces’’; Todor Todoroff: ‘‘The In- www.aec.at/code. fluence of Gesture Controlled Instruments in Contemporary Elec- The Electric Rainbow Coalition: troacoustic Music’’; Eduardo Reck A Festival of Electro-Acoustic Miranda: ‘‘Musical Applications of Music IPEM40! in Ghent Evolutionary Computing: From Sound Design to Evolutionary Musi- The Electric Rainbow Coalition: A The Institute of Psychoacoustics and cology’’; and Antonio Camurri: Festival of Electro-Acoustic Music Electronic Music (IPEM) at Ghent ‘‘Multimodal Interactive Systems for was held at Dartmouth College on University in Ghent, Belgium, com- Performing Art and Cultural Appli- 22–23 August 2003. The aim of memorated its 40th anniversary with cations.’’ the festival was to present every

8 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892604322970607 by guest on 27 September 2021 known form of electroacoustic and Bonnie Miksch, Solstice; Mark Kir- was to provide an informal environ- computer music, in academic as well schenmann, Spirals, Ribbons and ment for the discussion of problems as vernacular styles. Twenty-four Rinds; Charles Nichols, Strata 3: in audio and acoustics and the signal hours of music were presented in Guqin; David Javelosa, Acid 4 Ali- processing techniques applied to two twelve-hour tape music concerts cia; Margaret Brazill, Emotion II; and these problems. at the Warner Bentley Theater and Dennis Bathory Kitsz, Spammung. A The technical program was orga- four concerts of live electroacoustic complete listing of all works can be nized into 16 paper sessions and two music in the Faulkner Recital Hall. found at eamusic.dartmouth.edu/ poster sessions. The paper sessions The tape concerts included 95 pieces rainbow/. [Also see James Harley’s had the following themes: analysis/ by 95 composers, played non-stop review of the event in this issue of synthesis: filter design, source sepa- from noon until midnight on Friday Computer Music Journal.–Ed.] ration and system identification, and Saturday. Friday’s live electro- arrays, beamformers, and active acoustic concert included Tatiana noise, virtual acoustics: multichan- Komarova, AncientSun; Rieko Otsu, nel techniques, virtual acoustics: SIGIN; Yuri Spitsyn, b-i-r-d-r-e-a-m / 2003 IEEE Workshop on systems, perception and auditory manipulative quadragonals/; Shawn modeling, musical signal processing: Greenlee, cure wounds (critical); Applications of Signal beat and tempo tracking, analysis/ Todd Brunel, Andalusian Dream; Processing to Audio synthesis: filterbank design, speech, The Hanover Quartet, You Too and Acoustics singing, and vocal tract modeling, Could Run for President as a Demo- virtual acoustics: binaural audio and crat; Meg Schedel, Beat Patterns; The 2003 IEEE Workshop on Appli- HRTF processing, resynthesis and John Paul Young, Ars Didjita; cations of Signal Processing to Audio cross-synthesis, analysis/synthesis: and en.ve.lope, Micro Phantom. Sat- and Acoustics (WASPAA’03) was sinusoidal and noise modeling, and urday’s performances included held on 19–22 October 2003 at the audio coding. Y. Gregory Kim, Live for Violin Mohonk Mountain House in New The complete workshop schedule and Computer; Scott Lindroth, Bell Paltz, New York. The workshop was (including all the papers’ titles and Plates; Nathan Davis, Diving Bell; sponsored by the Audio and Electroa- authors), as well as information Andrew May, Ripped-up Maps; Rob coustics committee of the IEEE Sig- about past WASPAA events, can be Hamilton, Museau de Singe; Ben nal Processing Society. The objective found at musen.engin.umich.edu/ Bogart, Improvisation 1—Part 2; of the two-and-a-half day workshop waspaa03.

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892604322970607 by guest on 27 September 2021