International Computer Music Conference (ICMC/SMC)
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Konzerte, Klanginstallationen, Performances, Künstlergespräche, Filme, Workshops Concerts, Sound Installations, Performances, Artist Talks, Films, Workshops
Biennale für Elektroakustische Musik und Klangkunst Biennial for Electroacoustic Music and Sound Art 28.9. – 1.10.2017 Konzerte, Klanginstallationen, Performances, Künstlergespräche, Filme, Workshops Concerts, Sound Installations, Performances, Artist Talks, Films, Workshops 1 KONTAKTE’17 28.9.–1.10.2017 Biennale für Elektroakustische Musik und Klangkunst Biennial for Electroacoustic Music and Sound Art Konzerte, Klanginstallationen, Performances, Künstlergespräche, Filme, Workshops Concerts, Sound Installations, Performances, Artist Talks, Films, Workshops KONTAKTE '17 INHALT 28. September bis 1. Oktober 2017 Akademie der Künste, Berlin Programmübersicht 9 Ein Festival des Studios für Elektroakustische Musik der Akademie der Künste A festival presented by the Studio for Electro acoustic Music of the Akademie der Künste Konzerte 10 Im Zusammenarbeit mit In collaboration with Installationen 48 Deutsche Gesellschaft für Elektroakustische Musik Berliner Künstlerprogramm des DAAD Forum 58 Universität der Künste Berlin Hochschule für Musik Hanns Eisler Berlin Technische Universität Berlin Ausstellung 62 Klangzeitort Helmholtz Zentrum Berlin Workshop 64 Ensemble ascolta Musik der Jahrhunderte, Stuttgart Institut für Elektronische Musik und Akustik der Kunstuniversität Graz Laboratorio Nacional de Música Electroacústica Biografien 66 de Cuba singuhr – projekte Partner 88 Heroines of Sound Lebenshilfe Berlin Deutschlandfunk Kultur Lageplan 92 France Culture Karten, Information 94 Studio für Elektroakustische Musik der Akademie der Künste Hanseatenweg 10, 10557 Berlin Fon: +49 (0) 30 200572236 www.adk.de/sem EMail: [email protected] KONTAKTE ’17 www.adk.de/kontakte17 #kontakte17 KONTAKTE’17 Die zwei Jahre, die seit der ersten Ausgabe von KONTAKTE im Jahr 2015 vergangen sind, waren für das Studio für Elektroakustische Musik eine ereignisreiche Zeit. Mitte 2015 erhielt das Studio eine großzügige Sachspende ausgesonderter Studiotechnik der Deut schen Telekom, die nach entsprechenden Planungs und Wartungsarbeiten seit 2016 neue Produktionsmöglichkeiten eröffnet. -
Technics, Precarity and Exodus in Rave Culture
29 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 2 Technics, Precarity and Exodus in Rave Culture TOBIAS C. VAN VEEN MCGILL UNIVERSITY Abstract Without a doubt, the question of rave culture’s politics – or lack thereof – has polarized debate concerning the cultural, social and political value of rave culture not only within electronic dance music culture (EDMC) studies, but in disciplines that look to various manifestations of subculture and counterculture for political innovation. It is time for the groundwork of this debate to be rethought. Ask not what rave culture’s politics can do for you; nor even what you can do for it. Rather, ask what the unexamined account of politics has ever done for anyone; then question all that rave culture has interrogated – from its embodied and technological practices to its production of ecstatic and collective subjectivities – and begin to trace how it has complicated the very question of the political, the communal and the ethical. This complication begins with the dissolution of the boundaries of labour and leisure and the always-already co-optation of culture. To the negation of ethics, community and politics, this tracing calls for the hauntology of technics, precarity and exodus. And it ends with a list of impossible demands demonstrating the parallax gap of rave culture’s politics. Keywords exodus, precarity, technics, multitude, workplay He [Randy] predicted the [rave] parties will eventually disappear under the combined pressure of police, city and fire officials. “In the next year and a half it’s going to vanish”, he said. “Then, when they think it’s gone, it will come back, becoming more underground again”. -
An AI Collaborator for Gamified Live Coding Music Performances
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Falmouth University Research Repository (FURR) Autopia: An AI Collaborator for Gamified Live Coding Music Performances Norah Lorway,1 Matthew Jarvis,1 Arthur Wilson,1 Edward J. Powley,2 and John Speakman2 Abstract. Live coding is \the activity of writing (parts of) regards to this dynamic between the performer and audience, a program while it runs" [20]. One significant application of where the level of risk involved in the performance is made ex- live coding is in algorithmic music, where the performer mod- plicit. However, in the context of the system proposed in this ifies the code generating the music in a live context. Utopia3 paper, we are more concerned with the effect that this has on is a software tool for collaborative live coding performances, the performer themselves. Any performer at an algorave must allowing several performers (each with their own laptop pro- be prepared to share their code publicly, which inherently en- ducing its own sound) to communicate and share code during courages a mindset of collaboration and communal learning a performance. We propose an AI bot, Autopia, which can with live coders. participate in such performances, communicating with human performers through Utopia. This form of human-AI collabo- 1.2 Collaborative live coding ration allows us to explore the implications of computational creativity from the perspective of live coding. Collaborative live coding takes its roots from laptop or- chestra/ensemble such as the Princeton Laptop Orchestra (PLOrk), an ensemble of computer based instruments formed 1 Background at Princeton University [19]. -
Edited by Aaron Cassidy and Aaron Einbond Published by University of Hudders!Eld Press
edited by aaron cassidy and aaron einbond Published by University of Hudders!eld Press University of Hudders!eld Press "e University of Hudders!eld Queensgate Hudders!eld HD1 3DH Email enquiries [email protected] First published 2013 Text © "e Authors 2013 Images © as attributed Every e#ort has been made to locate copyright holders of materials included and to obtain permission for their publication. "e publisher is not responsible for the continued existence and accuracy of websites referenced in the text. All rights reserved. No part of this book may be reproduced in any form or by any means without prior permission from the publisher. A CIP catalogue record for this book is available from the British Library. ISBN 978-1-86218-118-2 Designed and printed by Jeremy Mills Publishing Limited 113 Lidget Street Lindley Hudders!eld HD3 3JR www.jeremymillspublishing.co.uk Contents Acknowledgements vii Contributors ix Introduction xiii Aaron Cassidy and Aaron Einbond Part 1: !eories, Speculations, & Reassessments Interview Ben "igpen 3 Chapter 1 Black Square and Bottle Rack: noise and noises 5 Peter Ablinger Interview Antoine Chessex 9 Chapter 2 Un-sounding Music: noise is not sound 11 James Whitehead ( JLIAT) Interview Alice Kemp (Germseed) 31 Chapter 3 Noise and the Voice: exploring the thresholds of vocal transgression 33 Aaron Cassidy Interview Maja Solveig Kjelstrup Ratkje 55 Chapter 4 Subtractive Synthesis: noise and digital (un)creativity 57 Aaron Einbond Interview Pierre Alexandre Tremblay 77 iii Chapter 5 Noise Music Information -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
Spaces to Fail In: Negotiating Gender, Community and Technology in Algorave
Spaces to Fail in: Negotiating Gender, Community and Technology in Algorave Feature Article Joanne Armitage University of Leeds (UK) Abstract Algorave presents itself as a community that is open and accessible to all, yet historically, there has been a lack of diversity on both the stage and dance floor. Through women- only workshops, mentoring and other efforts at widening participation, the number of women performing at algorave events has increased. Grounded in existing research in feminist technology studies, computing education and gender and electronic music, this article unpacks how techno, social and cultural structures have gendered algorave. These ideas will be elucidated through a series of interviews with women participating in the algorave community, to centrally argue that gender significantly impacts an individual’s ability to engage and interact within the algorave community. I will also consider how live coding, as an embodied techno-social form, is represented at events and hypothesise as to how it could grow further as an inclusive and feminist practice. Keywords: gender; algorave; embodiment; performance; electronic music Joanne Armitage lectures in Digital Media at the School of Media and Communication, University of Leeds. Her work covers areas such as physical computing, digital methods and critical computing. Currently, her research focuses on coding practices, gender and embodiment. In 2017 she was awarded the British Science Association’s Daphne Oram award for digital innovation. She is a current recipient of Sound and Music’s Composer-Curator fund. Outside of academia she regularly leads community workshops in physical computing, live coding and experimental music making. Joanne is an internationally recognised live coder and contributes to projects including laptop ensemble, OFFAL and algo-pop duo ALGOBABEZ. -
Travel and Drug Use in Europe: a Short Review 1
ISSN 1725-5767 ISSN Travel and drug use in Europe: a short review 1 Travel and drug use in Europe: a short review PAPERS THEMATIC Travel and drug use in Europe: a short review emcdda.europa.eu Contents 1. Introduction 3 2. Travelling and using drugs 4 Young people 4 Problem drug users 4 3. Examples of drug-related destinations 6 4. Prevalence of drug use among young travellers 9 Young holidaymakers in Europe 9 Young backpackers 10 Young clubbers and partygoers 11 5. Risks associated with drug use while travelling 13 Health risks 13 Risk related to personal safety 14 Legal risks 14 Risks related to injecting drug use 14 Risks to local communities 15 6. Potential for prevention interventions 17 7. Conclusions 19 Acknowledgements 21 References 22 Travel and drug use in Europe: a short review 3 emcdda.europa.eu 1. Introduction Recent decades have seen a growth in travel and tourism abroad because of cheap air fares and holiday packages. This has been accompanied by a relaxation of border controls, especially within parts of Europe participating in the Schengen Agreement. As some people may be more inclined to use illicit substances during holiday periods and some may even choose to travel to destinations that are associated with drug use — a phenomenon sometimes referred to as ‘drug tourism’ — this means that from a European drug policy perspective the issue of drug use and travel has become more important. This Thematic paper examines travellers and drug use, with a focus on Europeans travelling within Europe, although some other relevant destinations are also included. -
Download Press
LA PINCE RECORDS RELEASES ARTISTS PUBLIC RELATIONS CONTACT # PRESS KIT PRESS L A PINCE RECORDS THE GENESIS HOUSE OF THE CREW TECHNO reated in 2016 by the collective dj’s03 DUB CREATORS (DJD2B, Steve Ko & Lucho Misterhands), La Pince Records stand out by Creleasing its records in vinyl & digital. Rocked since the 90’s by the sounds of Detroit & Berlin, has bring to the collective on subtle blend to them music. Definitely dedicated to the dance floor, all tracks can be classified in the Techno / House categories. EP RELEASE VINYLS P LA PINCE RECORDS / PRESS KIT / 03 RELEASES LPR001 DJ D2B - MONGOLISTIC EP irst EP, DJ D2B deliver to you 3 unique & exclusive directed pieces House/Techno influenced by the minimal trends. FAlong with deep beats05 & shaman inspiration vocals, hypnotic melodies with sensual tones, “Which promise you a nice trip into the clouds”. A1 - MONGOLISTIC (Original Mix) A2 - SENSUAL EMOTION (Original Mix) B1 - FLOAT IN THE CLOUD (Original Mix) Released on: June 2016. AVAILABLE ON CLICK HERE TO LISTEN Syncrophone Records shop, Techno Import, House Monkey Records. decks.de, deejay.de, juno.co.uk, hhv.de, technique.co.jp, redeyerecords. co.uk. Beatport, JunoDownload, TrackSource, Apple Music, Spotifiy, Youtube P RELEASES / PRESS KIT / 05 LPR002 DUB CREATORS - KANPEKINA EP or the LPR002 DUB CREATORS release on their own imprint La Pince Records. This trio deliver to us their KANPEKINA EP. 06FMade up with 4 strong-deep bassline tracks the original mix & 3 dance-floor remix witch goes from House to Tech-House. A1 - KANPEKINA (Original Mix) A2 - KANPEKINA (Lucho Misterhands Remix) B1 - KANPEKINA (DJ D2B Remix) B2 - KANPEKINA (Steve Ko Remix) Supported by DJ Handmade (Tresor Berlin) . -
I846-I912 a Territorial History
The Far Southwest I846-I912 A Territorial History Howard Roberts Lamar The Norton Library W • W .-NORTON & COMPANY • INC· NEW YORK For Shirley Acknowledgments The number of individuals and institutions to whom I am indebted for making this study pos sible is so great that it is impossible for me to ex~ press adequate thanks to all. Among the many officials and staff members of the National ~rchives who have courteously searched COPYRIGHT@ 1970 BY W. W. NORTON & COMPANY, INC. out pertinent materials in the Territorial Papers of the United States COPYRIGHT© 1966 BY YALE UNIVERSITY I am particularly grateful to the late Clarence E. Carter and to Robert Baluner. Ray Allen Billington not only provided support First published in the Norton Library 1970 by arrangement with Yale University Press. and advice but gave me a chance to test several of my conclusions in public meetings. George W. Pierson, as chairman of the Yale History Department, arranged two leaves of absence for me between 1959 SBN 393 00522 4 and 1961, so that I could give full time to the study. Archibald Hanna, Director of the Yale Western Americana Collection, did all in his power to supply me with needed manuscript materials on the Far Southwest. ALL RIGHTS RESERVED A grant from the Henry E. Huntington Library in 1957 permitted Published simultaneously in Canada by George J. McLeod Limited, Toronto-. the use of the splendid New Mexico Collection of William G. Ritch. In 1959 a fellowship from the American Council of Learned Societies enabled me to visit state archives and historical libraries throughout the Southwest. -
Programme Artikulationen 2017
Programme ARTikulationen 2017 Introduction 2 Research Festival Programme 4 Thursday, 5 October 2017 6 Friday, 6 October 2017 29 Saturday, 7 October 2017 43 Further Doctoral Researchers (Dr. artium), Internal Supervisors and External Advisors 51 Artistic Doctoral School: Team 68 Venues and Public Transport 69 Credits 70 Contact and Partners 71 1 Introduction ARTikulationen. A Festival of Artistic Research (Graz, 5–7 October 2017) Artistic research is currently a much-talked about and highly innovative field of know- ledge creation which combines artistic with academic practice. One of its central features is ambitious artistic experiments exploring musical and other questions, systematically bringing them into dialogue with reflection, analysis and other academic approaches. ARTikulationen, a two-and-a-half day festival of artistic research that has been running under that name since 2016, organised by the Artistic Doctoral School (KWDS) of the Uni- versity of Music and Performing Arts Graz (KUG), expands the pioneering format deve- loped by Ulf Bästlein and Wolfgang Hattinger in 2010, in which the particular moment of artistic research – namely audible results, which come about through a dynamic between art and scholarship that is rooted in methodology – becomes something the audience can understand and experience. In Alfred Brendel, Georg Friedrich Haas and George Lewis, the festival brings three world- famous and influential personalities and thinkers from the world of music to Graz as key- note speakers. George Lewis will combine his lecture with a version of his piece for soloist and interactive grand piano. The presentations at ARTikulationen encompass many different formats such as keynotes, lecture recitals, guest talks, poster presentations and a round table on practices in artistic research. -
Electronic Music Midwest 13Th Annual Festival Providing Access to New
13th Annual Festival Electronic Music Midwest October 24-26, 2013 Kansas City Kansas Community College Providing access to new electroacoustic music by living composers October 24-26, 2013 Kansas City Kansas Community College Kansas City, Kansas October 24, 2013 Dear Friends, Welcome to the 13th Annual Electronic Music Midwest! We are truly excited about our opportunity to present this three-day festival of electroacoustic music. Over 200 works were submitted for consideration for this year’s festival. Congratulations on your selection! Since 2000, our mission has been to host a festival that brings new music and innovative technologies to the Midwest for our students and our communities. We present this festival to offer our students and residents a chance to interact and create a dialog with professional composers. We are grateful that you have chosen to help us bring these goals to fruition. We are grateful to Kari Johnson for serving as our artist in residence this year. Kari is an outstanding performer throughout the festival. The 2013 EMM will be an extraordinary festival. If only for a few days, your music in this venue will create a sodality we hope continues for a longtime to follow. Your contribution to this festival gives everyone in We are delighted that you have chosen to join us this year at EMM, and we hope that you have a great time during your stay. If we can do anything to make your experience here better, please do not hesitate to ask any of the festival team. Welcome to EMM! Mike, Jason, Jay, David, Rob, and Ian EMM Guest Artist, Kari Johnson “…Johnson played beautifully, displaying a !rm musicality and a "air for drama.” - Kansas City Star “…her sensitivities rather extraordinary, baroque while futuristic.” - www.acousticmusic.com Kari Johnson is a pianist who specializes in new music and electronic music performance. -
Eastman Computer Music Center (ECMC)
Upcoming ECMC25 Concerts Thursday, March 22 Music of Mario Davidovsky, JoAnn Kuchera-Morin, Allan Schindler, and ECMC composers 8:00 pm, Memorial Art Gallery, 500 University Avenue Saturday, April 14 Contemporary Organ Music Festival with the Eastman Organ Department & College Music Department Steve Everett, Ron Nagorcka, and René Uijlenhoet, guest composers 5:00 p.m. + 7:15 p.m., Interfaith Chapel, University of Rochester Eastman Computer Wednesday, May 2 Music Cente r (ECMC) New carillon works by David Wessel and Stephen Rush th with the College Music Department 25 Anniversa ry Series 12:00 pm, Eastman Quadrangle (outdoor venue), University of Rochester admission to all concerts is free Curtis Roads & Craig Harris, ecmc.rochester.edu guest composers B rian O’Reilly, video artist Thursday, March 8, 2007 Kilbourn Hall fire exits are located along the right A fully accessible restroom is located on the main and left sides, and at the back of the hall. Eastman floor of the Eastman School of Music. Our ushers 8:00 p.m. Theatre fire exits are located throughout the will be happy to direct you to this facility. Theatre along the right and left sides, and at the Kilbourn Hall back of the orchestra, mezzanine, and balcony Supporting the Eastman School of Music: levels. In the event of an emergency, you will be We at the Eastman School of Music are grateful for notified by the stage manager. the generous contributions made by friends, If notified, please move in a calm and orderly parents, and alumni, as well as local and national fashion to the nearest exit.