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Audio Mostly Diapason Presents Xenakis News Audio Mostly User Experience Enrichment,” and a Gallery in Brooklyn, New York hosted Best Paper award was won by Scott weekly performances during February Audio Mostly 2009 was held 2–3 Beveridges for “An Exploration of 2010 of Xenakis’s electronic works. September 2009 at the Glasgow Cale- the Effect of Structural and Acous- The music included Bohor (1962), donian University in Scotland. This tical Features on Perceived Musical Persepolis (1971), Hibiki-Hana-Ma was the fourth in this conference Emotion.” (1969–70), Polytope de Cluny (1972), series, which focuses on interaction The next Audio Mostly is sched- and La Legende´ d’Eer (1978). On 6 with sound. Keynote speakers for uled for 15–17 September 2010 in February German sound artist Daniel the event were Kim Papworth of Pitea,˚ Sweden. Teige diffused the works live in the Wieden and Kennedy advertising Web: www.audiomostly.com concert over an eight-channel system agency in London; Geraint Wiggins, made possible by Joel Chadabe and professor in Computational Creativ- Diapason Presents Xenakis the Electronic Music Foundation. ity at Goldsmiths College; and Patrik The concert was recorded and played Juslin, researcher in music psychol- As part of the festival “Iannis Xenakis: as a sound installation in the gallery ogy at Uppsala University in Sweden. Composer, Architect, Visionary,” on 13, 20, and 27 February. A Best Presentation award was given which was organized by the Drawing Diapason is dedicated to support- to Valter Alves for “A Proposal of Center and curated by Sharon Kanach ing the creation and presentation Soundscape Design Guidelines for and Carey Lovelace, the Diapason of multichannel audio works. The Figure 1. Participants are gathered around Michael Hlatky presenting “A Graph Editor for Remote Composition of Game Music” at Audio Mostly 2009. (Photo: Stefan Lindberg.) News 5 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2010.34.2.5 by guest on 02 October 2021 Figure 2. Live gear at the Blip Festival. (Photo: blipfestival.org/2009/press.) gallery hosts sound installations, live performances, and public discussions about audio and visual arts. Web: www.diapasongallery.org MusicAcoustica The Beijing International Electronic Music Festival was held 25–31 Oc- tober 2009 in Beijing, China at the Central Conservatory of Music. The theme for the 2009 event was “In- teraction.” The festival included a performance series, master classes, lectures, and an electronic-music composition competition. It was also the venue for a day-long Electro- acoustic Music Studies Asian Net- work (EMSAN) Colloquium, built around the themes “Visions of the Future of Electroacoustic Music in Asia” and “Projects of Publications on Electroacoustic Music in Asia.” Web: www.musicacoustica.cn, and exploring the possibility of omf.paris-sorbonne.fr/EMSAN Blip 2009 modeling these chips’ capabilities in The 2009 Blip Festival was held at the software for contemporary computing Bell House in New York City 17–19 environments. Beauty, Horror, and Silence December. The festival, now in its Web: blipfestival.org fourth year, celebrates “eight-bit” The 12 Nights music series capped chip music and arts that showcase their 2009 season with Beauty, Horror, the capabilities of the computers of Sonic Acts and Silence: The Electronic Arts and yore, such as the Commodore 64, the Music Festival, a three-night event Amiga, the Atari ST, and the Nin- The 13th Sonic Acts Festival was held held 4–6 December at the Harold tendo and Gameboy game systems. at venues around Amsterdam 25–28 Golden Gallery in Miami, Florida. The festival consists of workshops, February 2010. This year’s festival Over 100 works were selected from film screening, and open-mike events was devoted to “the poetics of space.” artists including Flea (FIU Laptop for neophytes and professionals. The The keynote address was delivered and Electronic Arts Ensemble), Paula evening concert schedule hosted by Derrick de Kerckhove, a theorist Matthusen, David Mendoza, Sarah eight-bit artists such as Bitshifter, on new media and cognition. Other O’Halloran, Margaret Schedel, SofIA VBlank, and David Sugar. The festival sessions and workshops included Ensemble, Jorge Variego, and Nathan included a screening of the full-length Architectures of Sound, regarding the Wolek. A jukebox program ran daily documentary film Blip Festival: compositional use of speaker arrays; in the gallery, and live performances Reformat the Planet, which explored Composing with the Environment; were hosted in the evenings. the underground ChipTunes scene Acoustic Spaces and Field Recordings; The 12 Nights 2010 series is and the genesis of the Blip Festival. Exercises in Immersion; The Poetics planned to reach out and connect David Viens conducted a workshop of Hybrid Space; Soundwalks, Acous- with a broader range of Miami venues covering hardware and sonic analysis tic Spaces, and Field Recordings; and artists. of the sound-generating integrated Invisible Architectures; and Spatial Web: www.12nights.org circuits (ICs) of the 1970s and 80s Perception. Sessions were open to 6 Computer Music Journal Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2010.34.2.5 by guest on 02 October 2021 Figure 3. Coincidence Engine One by The User at Transmediale 2010. (Photo: The User.) “OVERLAP—Sound and Other Me- dia” and featured artists such as Charlemagne Palestine, Ryoji Ikeda, and Thomas Koner.¨ Web: www.transmediale.de Turbulences Sonores A concert series entitled “Tur- bulencessonores: L’experience´ de l’ecoute”´ took place 3–5 February 2010 at The´atreˆ de la Vignette of Universite´ Paul Valery´ in Montpel- lier, France. Student compositions of “mixed” and acousmatic music were presented in two concerts on 3 and 4 February; the composers were Simon Juan, Astrid Clet, Sophie Touma, Cristal Baschet, Guilhem Rosa, Ben- jamin Planchet, Isaac Chia, Florent Morisot, and Laurent Borras. Also on the public and conducted by artists, audio improvisation by Pe Lang based 4 February, an acousmatic concert, theorists, and scientists, including on the manipulation of a battery and interpreted by Jonathan Prager on Hans Koch, Edward Shanken, Annea coil electromagnetic field, experimen- the acousmonium, consisted of Lockwood, Roger Malina, Yutaka tal sound art from Benjamin Laurent Franc¸ois Bayle’s Toupie dans le ciel, Makino, Mayanne Amacher, and Aman, and a performance using live Bernard Gunther’s¨ Untitled 4/92,and Francisco Lopez.´ sounds (and visuals) from a Tesla coil Agostino Di Scipio’s Untitled. This Web: 2010.sonicacts.com by the artist named artificial. was followed by works for live elec- One of the works nominated for tronics composed and performed by the Transmediale Award 2010 was Mr. Di Scipio: Audible Ecosystemics Transmediale Coincidence Engines by Canadian Nos.1and2andCraquelure.On5 artist duo The User (Emmanuel February Mr. Di Scipio gave a master Transmediale 2010, Futurity Now, Madan and Thomas McIntosh). The class, and three other lecturers spoke was held 2–7 February 2010 at the series of works is in homage to Gyorgy¨ about his music. The event closed Haus der Kulturen der Welt in Berlin. Ligeti and his use of metronomes in that evening with a concert by the The annual media arts festival in- Poeme` Symphonique. ensemble Syntax, whose performance cluded many sound-oriented works More music was available via included three works involving including a collaboration between CTM.10, an annual innovative club electronics: Pierre Jodlowski’s digital artist and “hacktivist” aaajiao music festival hosted in collabora- Collapsed, Denis Dufour’s Face (Xu Wenkai) and glitch electronica tion with Transmediale. The evening aux ten´ ebres,` and Luc Ferrari’s Et musician Byetone (Olaf Bender), an performance series was entitled tournent les sons dans la garigue. News 7 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj.2010.34.2.5 by guest on 02 October 2021.
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