[Event] TEI’13

Seventh International Conference on
Tangible, Embedded and Embodied Interaction
February 10-13, 2013. Barcelona, Spain
Papers, performances and workshops.


Norbert Schnell & Frederic Bevilacqua: Body and Sound – Tangible Interfaces in Music Listening and Performance

Monday, February 11th

The recent availability of both affordable motion capture technology and mobile platforms, allows for creating a new generation of musical instruments and interactive audio applications. These systems are currently redefining the boundaries between music listening and music performance. On one hand, new devices and applications, enable music listening as an active participation in musical interpretation and composition. On the other hand, new digital musical instruments integrate notions of perception, generativity, and collaboration, questioning the performance practices and functions of traditional instruments.

In this context, the design of novel instruments and interactive audio applications becomes the exploration of infinite possibilities to create relationships between bodily action, physical objects, sound, and musical structures.

Design, here may relay on existing – musical and extra-musical – metaphors and bodily knowledge as well as on abstract concepts and topologies.

The musical interaction scenarios and playing techniques that we have developed over the past years involve everyday objects and games as well as free gestures that have been created by listeners in response to sound and music. Our presentation will include numerous examples, such as the MO, Modular Musical Objects, and Urban Musical Game featuring playful collaborative interaction scenarios.

Bill Verplanck: Metaphors, Haptics and Celebration

Closing keynote on Wednesday, February 13th

I will discuss METAPHORS for interaction and how HAPTICS is involved. Reflecting on Monday’s TEI Student Design Challenge I will review what a CELEBRATION of tangibility might be.

More info here.

[Event] ABA08: Body Waves

Tues 18 Sep 2012
Doors 5:30pm
Performances 6-8pm
Goldsmiths College (Ian Gullard Lecture Theatre, Whitehead Building
– nearest entrance at end of Laurie Grove)
Lewisham Way, New Cross, London SE14 6NW
Entrance fee: donations

Work by Stanier Black-Five and Malcolm Riddoch

Body Waves is a live infrasonic performance whose sounds go beyond the auditory system to be felt in the body. The primary sound source in this exploration of vibroacoustic perception are the unique recordings made by Stanier Black-Five at the epicentre of the recent earthquakes in New Zealand, which capture the vibrations of its massive aftershocks, collapsing buildings and subsequent demolitions. Riddoch will transform this live performance using MaxMSP and digital mixing for quadraphonic spatialization and waveform extrapolation to accentuate lower frequency harmonics. Sinusoidal analysis will be used to convert the waveform data to controllers in order to automate the spatialization with live mixing to balance the enhanced infrasonics. The performance will emphasize somatic feedback to guide the improvisational aspects as the infrasonic soundscape evolves over time. Body Waves is a spatial work indeterminate with respect to performance and spatialized through a quadraphonic set-up to immerse its audience/participants in this visceral music of the body.

If you want to know more, then please trundle on over to ABA’s website.

[Event] Soundwave ((5)) Humanities

San Francisco
5th July 2012 – 30 September 2012


Soundwave 5 poster

“MEDIATE Art Group is excited to announce the return of Soundwave this summer for its fifth season, entitled HUMANITIES, exploring our sonic connections to the human experience. Arguably the largest celebration of avant-art, sound and music in the Bay Area, Soundwave ((5)) HUMANITES will feature over 90 participating artists and musicians, in over 35 inspired performances, concerts, exhibits and conference panels & presentations over the span of 3 entire months.

‘These innovative artists and musicians will uncover the future of humanity from bionic brainwave instrumentations, subconscious realities, technohuman immersions, Zen-inspired performances, hybrid mythologies, new dimensions, and other artist imaginations,’ says Alan So, Soundwave Festival & Artistic Director. “

Bodies|Sounds|Technologies readers might be interested in checking out The Human Bionic at The Lab on 14th July:

The Human Bionic features innovative instrumentation using the human body that questions the boundaries between the biological and technological. Artists Cantrell, Kuhne and Stuck imagine the hybridization of humans and technology with interactive performances utilizing brainwaves, muscles, sensors and human processing to create and conduct sound. Cantrell creates ‘Sounding Body’ an audience-interactive performance event that uses brainwaves to reveal how our thoughts can take various sonic forms. Multi-media artist Kuhne conjures ‘Rebound’ using videos and sensors to activate sound and image. Stuck presents ‘Pressed’ positioning the dancer’s real body between a symbolic language that directs movement and the video record of past movement. The Human Bionic explores our physical connection to technology while raising questions as to what is at stake, and what can be lost, by organic bodies and their interrelationships as technological implements become increasingly ubiquitous and essential in our current society.

The Future Bionic looks pretty good, too; Jay Kreimer’s ‘Born Wireless’ sounds particularly fascinating and I hope to write a blog post about it soon (a naive proposition, perhaps, given that I am stuck in the UK and won’t be able to see it ‘in the flesh’). Other exciting offerings include:  The New Humanity Conference: Technohumanity at Intersection for the Arts and The Meta Bionic at The Lab (featuring work by  M+V (aka Tavis Johns & Paulina Velázquez), Guillermo Galindo, and NASSA ). For more info, check out the Soundwave ((5)) website.

[Call for Papers/Performances] Live Interfaces


Performance, Art, Music
7th-8th September, 2012


Live Interfaces is a conference on live, technology-mediated
interaction in performance. The conference seeks to investigate
cross-disciplinary understandings of performance technology with a
particular focus on issues related to the notion of ‘liveness’ in

Live Interfaces will consist of paper and poster presentations,
performances and workshops over two days. Researchers, theorists and
artists from diverse fields are encouraged to participate, including:
digital performance, live art, computer music, choreography, music
psychology, interaction design, human computer interaction, digital
aesthetics, computer vision, smart materials and augmented stage

We invite submissions addressing the conference theme of
technology-mediated live interaction in performance, and suggest the
following indicative topics:

– Audience perception/interaction
– Biophysical sensors
– Brain-computer interfaces
– Computer vision/real-time video in performance
– Cross-modal perception/illusion
– Digital dramaturgy/choreography/composition
– Digital performance phenomenology
– Gesture recognition and control
– Historical perspectives
– Live coding in music, video animation and/or dance
– Participatory performance
– Performance technology aesthetics
– Redefining audience interaction
– Tangible interaction

Paper submissions should be in extended abstract form, with a
suggested length of 500 words. Please format all submissions using
either the Word or LaTeX template available from the website.

Performance proposals should include a description of the performance
and the live interaction technology used, as well as a list of
technical requirements. Attaching recordings of past performances is
strongly encouraged.

We hope to announce a journal special issue on performance technology
following the conference as a publication opportunity for extended

Extended abstracts must be submitted electronically via the website by
midnight (GMT+1) on the 17th June 2012. All submissions will be
subject to cross-disciplinary peer review, and notified of acceptance
by 1st July.

Please address all queries to liveinterfaces@icsrim.org.uk

Key dates:

– 5th May – Call for extended abstracts
– 17th May – Submissions system open
– 17th June – Submission deadline
– 1st July – Notification of selected papers/performances
– 29th July – Camera-ready deadline for accepted papers
– 7-8th September – Conference

Registration will open nearer the date, with a fee in the region of
£25, including lunch for both days.

Please keep an eye on one of the following for updates, including
information on conference workshops and co-located events.

Website: http://icsrim.org.uk/liveinterfaces/
Facebook: http://facebook.com/liveinterfaces/
Twitter: http://twitter.com/liveinterfaces/
Identica: http://identi.ca/liveinterfaces/

Planning committee:
Alex McLean, University of Sheffield, University of Leeds (from August)
Kate Sicchio, University of Lincoln
Maria Chatzichristodoulou, University of Hull
Scott Hewitt, University of Huddersfield
Ben Dornan, University of Sheffield
Stephen Pearse, University of Sheffield
Phoebe Bakanas, ICSRiM, University of Leeds
Ash Sagar, York St Johns University

Senior advisor:
Kia Ng, Director of ICSRiM, University of Leeds

Supported by Vitae Yorkshire, the University of Leeds and the Arts and
Humanities Research Council 


Call for Works: Sounding Bodies

I am curating an event called ‘Sounding Bodies’ as part of Fringe Arts Bath’s 2012 Festival. The aim is to explore the body as a producer and receiver of sound, through performance, installation, broadcasts and any other medium that might seem relevant. If you are interested in submitting a proposal, check out the call for expressions of interest on FAB’s website.

The deadline for submissions is Friday 17th February 2012, and the festival runs from 25th May to 10th June 2012.

[Conference] Music: Cognition, Technology, Society

[Recycled from the AMS Annouce mailing list]

Cornell University

11-13th May 2012

Technology plays a crucial role across a broad spectrum of sonic
activity, offering new cognitive frameworks and reshaping social
networks in ways that challenge the conventional binary of the
individual subject versus the collective. It mediates performance and
listening, provides new modes of analysis, and inspires musical
creation. It conditions our perception of sound as well as our ability
to change it, and is thus both an appropriate tool and topic of aural

The nexus of social, cultural, and political issues in and around
music, cognition, and technology encompasses a range of
interdisciplinary approaches to the question of musical meaning, and
therefore this international conference will draw on a wide range of
scholarship from across multiple disciplines. We hope to integrate,
rather than simply collate, these different methodologies, inviting
papers that attempt to reconcile the hermeneutic and the performative,
the empirical and the abstract. To this end presenters will share
their papers with the other participants in their session two weeks
prior to the conference, in order to foster productive dialogue.

Keynotes will be given by Eric Clarke (University of Oxford), Ichiro
Fujinaga (McGill University) and Carol Krumhansl (Cornell University).
The guest composer will be Tod Machover (Massachusetts Institute of

Abstracts of no more than 300 words must be submitted by 1 February
2012. Drafts of accepted papers must be submitted by 26 April 2012.

Further information is available from www.mcts2012.com

[EVENT] noise=noise

[stolen from SANLIST]
noise=noise “Bio signal noise, music for flesh, psychosis attacks, the body is integrated”.
Featuring performances by:

Atau Tanaka“Concrete Corps is a musical concert performance for performer and bio-electrical interface as musical instrument. The instrument in question is the BioMuse, a sensor interface captures electromyogram (EMG) biosignals reflecting muscle tension. Biomedical electrodes make electrical contact with the skin, detecting electrical impulses of neurons as the brain commands voluntary muscle contraction.”

Marinos Koutsomichalis“Sygxysis – a disturbance of psychological or mental health, psychological unrest, unrestful vexation) is a study in complexity using recursive stochastic noise generators. Sygxysis attacks the audience with intense spectra to enact situations of discomfort and psychological unrest, setting this way both body and consciousness into a constant state of alert and resulting in a profound awareness shift.

Ryan Jordan“The audio static buzz and noise is momentarily hijacked as stray pirate radio frequencies are channelled and received through human flesh and bone.”

Marco Donnarumma“Music for Flesh II is a seamless mediation between human biophysical potential and algorithmic composition. By enabling a computer to sense and interact with the muscular potential of human tissues, the work approaches the biological body as a means for computational artistry.”

Monday August 15th
£5 suggested donation
rough bar

nnnnn Unit 73a, Regent Studios, 8 Andrew’s Road, E8 4QN
(get in the lift and go to the 7th floor, turn right and its the second unit)