[Event] Robots and Avatars

Robots and Avatars – UK Selection
Body > Data > Space
19th – 28th September 2012
12 Star Gallery, Smith Square, London

Produced and curated by body>data>space, Robots and Avatars – UK Selection will showcase a series of innovative digital artworks, as some of the most cutting edge examples of digital creativity from the UK today, in the field of virtual environments, telepresence, robotics and body technologies. The presented artworks are  from a selection linked to our current projects MADE and  Robots & Avatars.

The Showcase will present commissions from Joseph Hyde (“me and my shadow”), Michael Takeo Magruder (“Visions of our Communal Dreams”) and Atmos (“Outreach”), alongside work from other UK-based creators.

For more information please visit the body > data > space website.

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Interactive Instruments and Embodied Learning Experiences

Rostratt: The Mobile Room, Interactive Environments and Music Sharing.

Just before Christmas I received a newsletter from MEDEA (a centre for collaborative media at Malmo University) about a project being carried out in a pre-school. Researchers are designing various interactive technologies to allow the children to explore the corporeal experience of sound and music-making. The games and instruments being developed include a visualisation tool that allows participants to see the correlation between vocal qualities and the amount of air in the lungs (I’m a bit sceptical about role of, and need for, visualisation in this one) and ‘The Insect Instrument’ for ‘singing and composing quiet sounds’. The project is still at the pilot stage at the moment, but I’m looking forward to hearing more about its findings as the research develops.

You can read more about the project by clicking on the orange subtitle at the top of this article, or by visiting The Right to your Voice: New Musical Instruments, Environments and Creativity.

[cfp] eContact!: Biotechnological Performance Practice

eContact! extends an open call for contributions to an issue focussing on the use of the body in electroacoustic performance practice, coordinated by Guest Editor Marco Donnarumma. Performers, composers and others are encouraged to contribute their perspectives on the role or position of the body in experimental practices of musical performance.

Submission deadline: 31 January 2012
Publication: 29 February 2012
Submission Guidelines can be found here.

Suggestions for contributions include, but are not limited to the following ideas:

  • Use of Mechanical Myography (MMG), Electromyography (EMG) and other similar biological signal measurements in performance
  • Scoring / notation of body-related performance
  • Sound Art dealing with the body and biological aspects of performance
  • Development of DIY, biological-based, Interactive Musical Systems (IMS)
  • The definition / augmentation of Self on stage by means of biotechnologies
  • Cognitive aspects of embodied interaction between the biological body and computer
  • Composer—Technology—Performer: definition of roles?
  • Live electronics vs. fixed media in biotechnological performance practice
  • Historical overviews and reflections
  • Critical perspectives on gesture-based “human-computer interaction”
  • The sound of flesh…

We also welcome other contributions that engage in a discourse on the relation between biophysics and music. Feel free to propose other ideas!

To state your interest in contributing or for further information, contact Guest Editor Marco Donnarumma.

New and/or unpublished materials are preferred but reprints of previously published materials are also possible (eContact! will credit and link to original publications). The author is responsible for securing all permissions and clearing any copyrights related to the submission.

The inclusion of audio and video support documentation, photos, technical diagrammes and sketches is strongly encouraged. Audio and video examples should be submitted in the highest quality possible.

 

 

[Event] cfp: INTER/actions >>> symposium on interactive electronic music

INTER/actions: Symposium on Interactive Electronic Music

April 10-12, Bangor University School of Music

In collaboration with Electroacoustic Wales, Risk of Shock, GEMINi (Gestural Music Interaction) Research Group and Bangor Sound City.

Featured composers and performers: Karlheinz Essl (Vienna), Lauren Sarah Hayes (Edinburgh), Andrew Lewis (Bangor), Xenia Pestova (Bangor), Pierre-Alexandre Tremblay (Huddersfield),  Ed Wright (Bangor)

INTER/actions is a three-day symposium and mini-festival focusing on performance and interaction in electronic music. We aim to provide an environment to exchange ideas and instigate collaborations for composers, performers, sound artists and music technologists interested in the role of the performer in electronic music, whether in the traditional sense, or audience-as-performer. We are looking for creative proposals for performances, interactive installations and paper sessions.  http://www.riskofshock.org/interactions.html

 

Call for Proposals: Pieces and Interactive Installations

Deadline: December 16 2011

We invite composers and performers to submit works for instruments and interactive electronics, instruments and fixed media, gestural controllers and interactive sound installations. Compositions and installations submitted must be fully documented with technical performance specifications. A concert recording, studio recording, simulation or video should be submitted, sufficient to give a reasonable idea of the final form of the piece / installation / performance. Please send a link to an online audio excerpt or email an mp3 file along with full technical requirements and a score, if applicable, as well as a short biography (150 words) to muse03@bangor.ac.uk. If you would like to send a hard copy audio CD or audio files on DVD instead, please address to Dr Xenia Pestova, Bangor Unviversity School of Music, College Road, Bangor, Gwynedd LL57 1YY, UK to arrive by the 16th of December 2011.

Performances will be able to make use of the following facilities:

  •  8-channel loudspeaker playback (ATC)
  • Various microphones (including Schoeps Collette and AKG414)
  • Soundcraft mixer with 16+16 inputs (switchable), 16 direct outputs, 8 groups, 2 mix, 4 AUX send, 2 FX send
  • Mac Pro computer with MOTU PCI-424 and 24 I/O interface
  • 3x MOTU 828 FireWire interfaces
  • Large-screen video projection
  • Boesendorfer Imperial Concert Grand Piano

Composers / performers who need additional equipment are requested to bring their own. Composers / performers who make use of their own software (for example, Max patches, SuperCollider) will be expected to take responsibility for installing and operating the software, including providing any libraries that may be required.

 

Call for Proposals: Papers and Demos

Deadline: December 16 2011

We are open to proposals for 20-minute paper and demo presentations on topics including, but not limited to:

  •  Performance practice in electronic music
  • Gesture
  • New interface design
  • Compositional issues
  • Improvisation in interactive contexts
  • Analysis of interactive work

Please send a 250-word abstract, as well as a short biography (150 words) to muse03@bangor.ac.uk.