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Creative and Cultural Aspects sented by Larry Austin, Fernando John Cage. The concert ended with and Applications of AI and and Jose Ramon Beltran, Corey Lockwood’s tape piece floating Cognitive Science Cheng with Gregory Wakefield, world. The second concert pre- Alberto de Campo, David Eagle, sented music by John Bischoff and Gerhard Eckel, Frank Ekeberg, Laetitia Sonami. This symposium was held in April James Harley, Maria Harley, David The outdoor installations ran for 2000 as part of the Convention of Malham, Peter Otto, François one week each and were located in the Society for the Study of Artifi- Pachet with Olivier Delerue and Pe- the courtyard of the Contemporary cial Intelligence and the Simulation ter Hanappe, Gerard Pape, Frank Music Program. Ted Apel’s Wenke’s of Behaviour (AISB-00) at the Uni- Pecquet, Andrea Polli, Stephen View was followed by Michael versity of Birmingham, England. Travis Pope, Pedro Rebelo, Curtis Schumacher’s Room Piece Twenty- AISB-00’s theme was “Time for AI Roads, Yon Vissel, and David Four. and Society,” with guest speaker Wessel with Ville Pulkki. The three Sunday evening radio Marvin Minsky. Topics included the history of broadcasts, “Other Voices, Other The symposium Creative and Cul- sound spatialization, an overview of Sounds”, hosted by Steven Miller, tural Aspects and Applications of AI spatialization technology, new were also made available via the and Cognitive Science had a strong sound spatialization processes and World Wide Web at kunm.unm.edu. musical strand, with a session de- interfaces, Ambisonics, frameworks In the first, music by Elainie Lillios, voted to Techniques for Modelling for describing and analyzing sonic Rick Nance, Maggi Payne, Nathaniel Musical Creativity. Papers included space, spatial sound signification Reichman, Brian Reinbolt, and “Knowledge-based Composition of and representation, the synthesis of Michael Schumacher framed a per- Minuets by a Computer” (Mathis moving sound, virtual space rever- formance of Hirokazu Hiraishi’s 30- Löthe, University of Stuttgart, Ger- beration simulation, sound diffu- minute piece Time Turning. many), “Including Interval Encoding sion, and future possibilities for the The second comprised shorter into Edit Distance Based Music spatialization of sound. pieces by Christopher Bailey, Mike Comparison and Retrieval” (Kjell Abstracts of the papers can be Berry, John Levack Drever, Jeffrey Lemström and Esko Ukkonnen, read by visiting CREATE’s World Faustman, Alexandra Gardner, Kip University of Helsinki, Finland) and Wide Web pages at Haaheim and Daniel Asia, Elainie “A Prototype Direct Manipulation www.create.ucsb.edu/. Lillios, Jonathan Peters, Tim Place, Music Tool Based on Lerdahl’s Pitch Robert Rich, Laura Romberg, David Spaces” (Matthew Smith, Middlesex Stanford, Sung Ah Shin, and Suk University, England). Jun Kim. Detailed information on AISB-00 Santa Fe International Festival The final broadcast featured a dis- can be found on the convention’s of Electroacoustic Music cussion with Annea Lockwood and World Wide Web pages at Steve Peters. Their music was www.soi.city.ac.uk/~geraint/aisb00/. The fourth annual Santa Fe Interna- played as well as pieces by Ingram tional Festival of Electroacoustic Marshall and Barry Truax. Music took place in Santa Fe, New More information can be found by Mexico, USA, in April 2000. It was Sound in Space at the visiting the festival’s World Wide hosted by the College of Santa Fe University of California, Web pages at www.csf.edu/perfart/ Contemporary Music Program and cmp/SFIFEM/SFIFEMindex.html. Santa Barbara included live performances, outdoor installations, and radio broadcasts. The Center for Research in Elec- The Composer in Residence was tronic Art Technology (CREATE) at Annea Lockwood. Lovebytes in Sheffield, England the University of California, Santa In the first of two concerts, the Barbara, USA, held a weekend sym- College of Santa Fe Electroacoustic The Lovebytes 2000 Digital Arts posium in March 2000 entitled Ensemble, directed by David Dunn Festival took over a number of ven- Sound in Space. After a welcome and Steven Miller, performed ues in Sheffield’s Cultural Indus- and introduction from JoAnn Lockwood’s Monkey Trips in addi- tries Quarter in April. Three days of Kuchera-Morin, papers were pre- tion to pieces by David Dunn and digital art and music events in- cluded multimedia presentations,
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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892600559461 by guest on 26 September 2021 live performances, exhibitions, ries more detailed information Spatialization, General Topics, Psy- workshops, and film screenings. about the program. choacoustics, Musical Analysis, and A highlight of the festival was a two sessions devoted to Linux. series of live multimedia perfor- In the months preceding the con- mances by sound artists in a cinema Academy Now at the Royal ference, Yann Orlarey of Grame environment. The international line- Scottish Academy of Music and conducted a survey of Linux-based up included Kim Cascone and Terre projects in computer music. The re- Thaemlitz of the US, Smyglyssna of Drama sults of the survey were presented Sweden, and Kaffe Matthews and during the special Linux session and Team Doyobi of the UK. Academy Now was held at the have been published on the World The Multimedia Gallery featured Alexander Gibson Opera Studio of Wide Web. This important resource new work from The Digital Space the Royal Scottish Academy of Mu- is now available at www.grame.fr/ Programme, a series of sound-based sic and Drama in Glasgow, Scot- yann/linuxcms.html. multimedia commissions combin- land, in May 2000. Students from Full details of the JIM conference ing digital sound, visuals, and inter- the Academy’s contemporary the- can be found on the World Wide active computer programs. atre practice course collaborated Web at www.scrime.u-bordeaux.fr/ Lovebytes is on the World Wide with three local composers, Pete JIM2000. Web at www.lovebytes.org.uk. Dowling, Alan Roach, and Kenny The conference was also the occa- MacKinnon, to bring together a sion of the final stage of the Interna- four-day event focusing on electroa- tional Acousmatic Music Kansas City Festival coustic music and theater. The first Competition organized by the Stu- evening set their collaborative work of Electronic Music dio de Recherche et de Création en alongside that of Kagel and Rainer. Informatique et Musique The second event featured elec- Électroacoustique (SCRIME). The first annual Kansas City Festi- troacoustic music and video. It pre- From 62 pieces, the competition val of Electronic Music was held sented Francis Dhomont’s pre-selection jury—including Daniel 28–29 April 2000, on the campus of Phonurgie, Joseph Hyde’s Zoetrope, Teruggi, François Donato, and Kansas City Community College in Elsa Justel’s La illusion sensible, Christian Eloy—selected six final- association with the University of Alistair MacDonald’s The Tincture ists for the concert and prize-giving Missouri at Kansas City Conserva- of Physical Things, Pippa Murphy’s at the André Malraux Center in Bor- tory of Music. Postcard from Paris, Denis deaux on 17 May. Five concerts of electronic music, Smalley’s Empty Vessels, and There are four prizes associated including music for tape, instru- Nicholas Virgo’s Hellau. with the competition. The Prix ment and tape music, interactive The final concert was of music for SCRIME 2000 was awarded to Mei- compositions, and works for video, brass and electronics and offered a Fang Lin of Taiwan for Internal land- were presented in a new eight- tribute to the late Tim Souster. Two scape, realized at the University of speaker diffusion environment. of Souster’s works—Heavy Reduc- Illinois, USA. The Prix Conseil Tom Lopez, professor of music at tions for tuba, narrator and tape, and Régional d’Aquitaine was awarded the Oberlin Conservatory of Music, Echoes for brass band and tape de- to Pablo Garcia of Mexico for was the guest composer and Kansas lay—were framed by Ingram Gutura, realized at City University, City composer James Mobberley Marshall’s brass sextet Fog Tropes London, England. Aliocha Van der was also featured. and John Harris’s Brass Quintet. Avoort of Belgium won the Prix Four papers were presented on Octandre for Tropisme, realized in Saturday: Richard Boulanger spoke her own studio in Brussels. The Prix on Csound, Lawrence Fritts on JIM 2000 in Bordeaux du Public went to Rogelio Sosa of spatialization, Mark Applebaum on Mexico for Maquinaria del ansia, re- self-plundering, and Stéphane Roy’s Journées d’Informatique Musicale alized at the UPIC studios in France. paper was entitled “From the sound (JIM) 2000 was held 15–18 May in The other finalists were Natasha object to the musical function”. The Bordeaux, France. Papers were pre- Barrett (UK/Norway) with Viva la festival’s World Wide Web site at sented in seven main sessions: Selva, and Mathieu Constant www.umkc.edu/mpact/festival car- Composition and Writing Tools, (France) with Volte-face.
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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892600559461 by guest on 26 September 2021 Dialogues at the Bedlam Third International GENESIS / Theater, Padua, Italy at the begin- CORDIS-ANIMA Workshop ning of June 2000 and featured solo- Theatre, Edinburgh, Scotland ists from Interensemble. The first concert, “ALINE, The third GENESIS / CORDIS- The fourth Dialogues festival ex- ALONE – Sentimental perfor- ANIMA workshop, a five-day event plored different media, articulating mance”, added electronic perfor- entitled Physical Modeling Tools for crosscurrents between technology mance by Davide Lorenzon to the Creating Music and Graphics, was and creativity in music with elec- Interensemble Soloists. organized by <
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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892600559461 by guest on 26 September 2021 Sikora (France/Poland), and Scott No prize was awarded for music sions were devoted to the topic Time Wyatt (USA). for dance or theatre but mention Structures in Electroacoustic Music. In all, 608 pieces were entered in was made of Construct by Frédéric The associated book and CD will be the competition, representing work Blin of France. available in June 2001. More informa- from 46 countries: Argentina, Aus- The prize for installations or envi- tion about the festival can be found tralia, Austria, Belgium, Brazil, Bul- ronmental works was awarded to on the World Wide Web by visiting garia, Canada, Chile, China, Magali Desbazeille and Siegfried www.gmeb.fr. Colombia, Costa Rica, Croatia, Canto of France for Tu penses donc Cuba, Denmark, Ecuador, Estonia, je te suis. Alexis Malbert, also from Finland, France, Germany, Great France, received a mention for his Prix Ars Electronica 2000 Britain, Greece, Hungary, Iceland, work Projet. Ireland, Israel, Italy, Japan, Korea, The multimedia prize was won by In the 2000 Prix Ars Electronica Lithuania, Macedonia, Malta, Jacques Diennet (France) for Cap- competition, the Golden Nica for Mexico, the Netherlands, New tives II, with mention of Barbara Digital Musics was awarded to the Zealand, Norway, Peru, Poland, Por- Held (USA) for The Well. German artist and designer Carsten tugal, Russia, Serbia, Spain, Sweden, Six residencies were awarded: to Nicolai for his CD-Edition 20' to Switzerland, Taiwan, the USA, and Nicolas Congé (France) for Palpalitch, 2000. Awards of Distinction were Venezuela. Irina Escalante Chernova (Cuba) for made to Chris Watson for Outside Magisterium prizes were awarded La primavera del angel, Konstantinos The Circle of Fire and to GESCOM/ to Béatriz Ferreyra (Argentina) for Karathanasis (Greece) for Piece for Rob Brown, Sean Booth, and Russell Rio de los pajaros and to James flute and electronics, Colby Leider Haswell for MiniDisc. Dashow (USA/Italy) for …at other (USA) for Hydraulis, Iikka Lindgren The full list of Prix Ars times, the distances. Special men- (Finland) for Kaukana, and Nikos Electronica results are on the World tion was also made of Isidore Isou in Stavropoulos (Greece) for Piano. Wide Web at prixars.orf.at. recognition of his pioneering work The 2000 Synthèse festival cel- in the field of sonic art. ebrated both 30 years of electroa- The Trivium awards were made in coustic music and the turning of MUTEK – Music, Sound and six categories. In the first category, the millennium. The festival pro- New Technology in Montreal concert music, prizes were awarded gram included the “international to Jose Halac (Argentina/USA) for The open work project” on the theme Foundation Image Light Motion and Breaking of the Scream and to Jens Utopian fanfares for the next mil- Sound (FILMS) and EX-CENTRIS, Hedman (Sweden) for Relief. Men- lennium, performed throughout the dedicated to independent film and tions were made of Night Ascends week. In addition to the pro- new media, presented the first from the Ear like a Butterfly by grammed concerts, the Salon de MUTEK, a five-day event combining Hideko Kawamoto (Japan) and Boreas Musique offered listening facilities music and sound creation with new by André Ruschkowski (Germany). for pieces presented at previous fes- technology, in Montreal, Canada in The prize in the program music tivals and for composers in Bourges June 2000. category was awarded to Ambrose whose work was not included in The program centered around five Field (Great Britain) for Expanse Ho- the festival itself. The festival also evenings of intense musical and sound tel (Durango Mix) with mention presented a retrospective, with a se- experimentation, presented by a series made of John Mallia (USA) for ries of concerts devoted to pieces of avant-garde artists from Europe, Smyrna Soundscape. realized in Bourges over its 30-year Canada, and the USA. Performers In the category of works including history. slated to appear in the festival in- live performance, the prize went to Educational and academic events cluded the experimental electronic- Pierre Jodlowski (France) for De included an international colloquium music acts Pole, Thomas Brinkmann, front (Quatuor) with mentions to on Max/MSP with Miller Puckette Kit Clayton, Panacea, Vladislav Delay, two Italian composers: Luigi and David Zicarelli, a series of public Safety Scissors, Taylor Deupree, Jake Ceccarelli for Respiri and Agostino workshops, and the International Mandell, and Carsten Nicolai, winner Di Scipio for 5 Interazioni cicliche Academy of Electroacoustic Music. of the 2000 Prix Ars Electronica alle differenze sensibili. In 1999 and 2000 the Academy’s ses- Golden Nica for Digital Musics.
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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892600559461 by guest on 26 September 2021 Many events were streamed live the acousmatic concerts. For these, 2000 as part of the 20th Congress of on Mutek’s World Wide Web site at the studios of the Technical Univer- the Brazilian Computing Society. www.mutek.ca. sity of Berlin were joined by the Bir- Roger Dannenberg (USA) and Leigh mingham Electroacoustic Sound Landy (UK) were invited to deliver Theatre (BEAST) to create a “super the keynote speeches. Thirty papers Inventionen 2000 Festival acousmonium” comprising more from 10 countries were selected for in Berlin than 48 loudspeakers. New electroa- presentation at this international coustic music from France, Ger- symposium, 20 of which will be pub- many, Italy, and the UK was lished in issue 5.3 of the Electronic The biennial new music festival performed alongside works commis- Musicological Review (Curitiba: Inventionen took place in Berlin, sioned by the festival. Universidade Federal do Paraná). In Germany, 20 June–2 July 2000, pre- The program was completed by a addition, 28 compositions were se- senting a series of concerts and one-day conference on the theme lected for concert performance over sound installations. The festival “Room acoustics / Room treatments the four days of the event. opened with a press conference at / Auralisation” with presentations Details of the symposium can be which the publication from from Nicola Bernardini, Antonio found on the World Wide Web at Inventionen 1998, 50 Years of Camurri, Nicola Sani, and Lorenzo www.cmu.eca.usp.br/lami/ Musique Concrète, was launched. Seno (Italy), Jonty Harrison (UK), sbcm2000/. The sound installations of the Stephen Travis Pope (USA), and 2000 festival were intended to draw Ludger Brümmer, Peter Krämer, attention to otherwise overlooked Christoph Moldrzyk, and Hans aspects of the spaces for which they Distorted Media Sound Tutschku (Germany). were designed. These projects in- Database The festival concluded with a re- cluded a self generating sound instal- alization of Luigi Nono’s Prometeo, lation emanating from behind the Distorted Media is an interactive commemorating the 10th anniver- Womacka Frieze, a light-triggered sound database with free access for sary of the composer’s death. sound installation in the former download and submission. Compos- Full details and program notes are showroom of the Kaiser’s drug store, ers are invited to make use of the available on the festival World Wide and “Robot antennae” creating a me- sounds for any creative and non- Web site at www.inventionen.de. chanical ballet in a skittle alley. commercial purposes. The concert series of Inventionen During the year 2000, the data- 2000 included works for instru- base is being used as a tool for live ments and live electronics. The 25 VII Brazilian Symposium events and radio pieces which are June concert included Red Shifts for on Computer Music also broadcast via the Internet. trombone and oscillators by Pauline These programs can be heard on the Oliveros and Alvin Lucier’s On the The Seventh Brazilian Symposium Radiolab World Wide Web site, Carpet of Leaves Illuminated by the on Computer Music, chaired by www.brussels2000.org/radiolab. Moon, for plucked stringed instru- Bernadete Zagonel, was scheduled Distorted Media can be found at ment and pure wave oscillator. to be held in Curitiba, the capital of www.brussels2000.org/ A major feature of the festival was Paraná state, Brazil, from 17–20 July distortedmedia.
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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892600559461 by guest on 26 September 2021