Donnerstag, 4. Januar 2018

brainfood #1/2018 Newsletter Julia Mihály

NEWSLETTER #1 / 2018  Julia Mihály

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Liebe Neue Musik - Freaks

& Sound Geeks !
Frohes Noise!
...2018 ist da - die Party kann beginnen!
Und sie scheint vielversprechend zu werden.
Kompositionsaufträge und Einladungen zu Festivals lassen neue Solo-Performances und Instrumentalkompositionen entstehen und unterstützen Kooperationen mit verschiedenen Kreativ-Kollegen aus der Neuen Musik und der Performance-Szene.

Für heute Abend ein Hörtipp:
hr2 kultur | 21:30 Uhr | Neue Musik
„Kellerkind und Glamourgirl - Die Musikerin Julia Mihály“  - porträtiert von Leonie Reineke
LINK: Click Here


Was passiert in nächster Zeit noch?

Unter dem Titel "HyperMOODbox" arbeiten Annesley Black, Marc Behrens und ich derzeit zusammen an einer audio-visuellen Installation, welche im Februar im Rahmen des Themenschwerpunktes TRANSIT des Kulturfonds Frankfurt RheinMain an den Hauptbahnhöfen in Frankfurt, Wiesbaden und Darmstadt zu erleben sein wird. Weitere Infos folgen zeitnah. 


Daneben bin ich aktuell als Fritteusen-Expertin Teil des Performance-Projektes „Heart of Europe“, welches in der kommenden Woche im Mousonturm in Frankfurt aufgeführt wird:
LINK: Click Here





Und als kleiner Vorausblick:

Unter dem Motto „Echos of ‘68“ findet in diesem Jahr das Forum neuer Musik des Deutschlandfunk statt, bei dem ich meine 45-minütige One-Woman-Solo-Performance „Grand Hotel Establishment“ uraufführen werde: In sechs Kompositionen für Stimme, Live-Elektronik, Sensor-ausgestattete Gegenstände und Videos blicke ich retrospektiv auf eine Generation zwischen Aufbruch und Protest, philosophischen Kopfkinos und linksradikaler Hilflosigkeit, und untersuche das gegenwärtige Erbe der 68er- Generation.


Im Sommer werde ich als Tutorin bei den 49. Internationalen Ferienkursen für Neue Musik Darmstadt einen Workshop zum Thema Stimme und Live-Elektronik geben. By the way, die Ausschreibung zur Teilnahme am Workshop läuft noch bis zum 15. Januar. LINK: Click here


Darüber hinaus erscheinen in den kommenden Monaten Artikel von mir in den MusikTexten, positionen – Texte zur aktuellen Musik sowie im Bad Blog of Musick. Und das nächste Radio-Feature ist ebenfalls in Vorbereitung.
Demnächst mehr dazu… .

Ich wünsche einen Guten Start ins neue Jahr!
Beste Grüße,
Julia



 
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Copyright © Julia Mihály

Gerauer Straße 44
60528 Frankfurt am Main

Homepage: 
www.juliamihaly.net

Credits
Cover Photo: Ela Mergels, (http://www.elaela.de/)  2017
Photo footer: Courtesy La Biennale di Venezia,  A. Avezzu
Heart of Europe: Julia Novacek



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[cec conference:] Happy New Year






Dienstag, 2. Januar 2018

SAN FRANCISCO - San Francisco Tape Music Festival - Jan 5/6/7 2018



sfSound presents
The San Francisco
Tape Music Festival 2018


Friday January 5, 9pm
Saturday January 6, 8pm
Saturday January 6, 10:40pm
Sunday January 7, 8pm


16th Street Victoria Theater
2961 16th Street
San Francisco

America's only festival devoted to the performance of audio works projected in three-dimensional space, The San Francisco Tape Music Festival features four distinct concerts of classic audio art and new fixed media compositions by 30 local and international composers. Hear members of the SF Tape Music Collective, along with guest composers, shape the sound live over a pristine surround system (24 high-end loudspeakers) with the audience seated in complete darkness. It's a unique opportunity to experience music forming - literally - around you. 

The 2018 Festival's first two concerts showcase the entire range of the “fixed media” artform; a very special Saturday late-night show presents cinema-for-the-ear, ambient, and long-form-exploration tape pieces; and the Sunday concert features an entire concert of “audio postcards” and “sound walk” compositions. Throughout the festival, composers from the empreintes DIGITALes label will be highlighted. 

Remembering the pioneering work of one of the fathers of musique concrète, PIERRE HENRY (1927-2017), the festival presents a performance of his seminal work, Variations for a Door and a Sigh (1963). Other tape music classics include KARLHEINZ STOCKHAUSEN'S quadraphonic Gesang der Jünglinge (1956) and JAMES TENNEY'S proto-plunderphonic composition, Collage #1 (Blue Suede) (1961). 

 

Recent works by international artists HILDEGARD WESTERKAMP, JONTY HARRISON, FRANCIS DHOMONT, NATASHA BARRETT, and others will be performed alongside bay area composers THOM BLUM, CLIFF CARUTHERS, NATHAN CORDER, MATT INGALLS, FERNANDO LOPEZ-LEZCANO, MAGGI PAYNE, ADAM SOHN, SOPHIA SHEN / GABBY WEN, TIM WALTERS, and CHAMBERLAIN ZHANG. 


 

PROGRAM DETAILS

Friday January 5, 2018 (9pm)
PIERRE HENRY Variations for a Door and a Sigh(excerpt) (1963)
FRANCIS DHOMONT Phœnix XXI (2016)
MAGGI PAYNE Coronal Rain (2017)
FERNANDO LOPEZ-LEZCANO Y Sonó como Arpa Vieja (2017)
NATHAN CORDER clima, slice, clima (2017)
ELSA JUSTEL Cercles et Surfaces (2013)
PANAYIOTIS KOKORAS Qualia (2017)
JAMES O'CALLAGHAN Xenoia (2017)


Saturday January 6, 2018 (8pm)
JAMES TENNEY Collage #1 (Blue Suede) (1962)
THOM BLUM Tabula Rasa (2017)
MATT INGALLS Collage #3 (Buchla Suite) (2017)
SOPHIA SHEN / GABBY WEN Cloudburst Dreamscape (2017)
ADAM SOHN Cricket Rhythm (2017)
ROCÍO CANO VALIÑO Tâches (2016)
NIKOS STAVROPOULOS Karst Grotto (2017)
DEMIAN RUDEL REY Che-toi (2016)
BERNADETTE JOHNSON Summer (2009)
FRANCESCO GIOMI Scabro (2011)


Saturday January 6, 2018 (10:40pm)
[ program runs 1hr 15min with no intermission ]
MONIQUE JEAN T.A.G. (2013)
JOSEPH ANDERSON Pacific Slope (2002)
TIM WALTERS The Answer in the Flame (2017)
CHAMBERLAIN ZHANG Spiralism (2016)


Sunday January 7, 2018 (8pm)
KARLHEINZ STOCKHAUSEN Gesang der Jünglinge (1956)
HILDEGARD WESTERKAMP Kit's Beach Soundwalk (1989)
JONTY HARRISON Espaces cachés (2014)
NATASHA BARRETT A Soundwalk through Shanghai (2014)
HANS TUTSCHKU Remembering Japan (part 1) (2016)
CLIFF CARUTHERS Short Walk to Killaloe Moon (2001)
ORESTIS KARAMANLIS Sterfos (2009)



funded in part by
The San Francisco Grants for the Arts and individual contributions
equipment kindly provided by The Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University and sfSound.



 



Donnerstag, 28. Dezember 2017

DEGEM News - NEWS - WFAE End of Year News: Your Link to Sounds Emergent: Diverse Ecologies

From: Eric Leonardson, World Forum for Acoustic Ecology 
Date: 2017 December 22
Subject: WFAE End of Year News: Your Link to Sounds Emergent: Diverse Ecologies


Greetings from the World Forum for Acoustic Ecology!
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Greetings from WFAE President
Eric Leonardson


Greetings! It is my great pleasure to write this end of the year message announcing publication of the new Soundscape: The Journal of Acoustic Ecology.
 
Soundscape is an annual, peer-reviewed journal published by the World Forum for Acoustic Ecology featuring the latest research in our field. 

Soundscape, Volume 16 is the second of a pair of issues sharing the theme of guest editor Jay Needham, “Sounds Emergent: Diverse Ecologies.”  This edition celebrates the life and work of Pauline Oliveros with articles by Edward Shanken, Yolande Harris, Seth Cluett, Tomie Hahn and Stephan Moore. Also included are reviews and commentary by Honna Veerkamp, Maile Colbert and Heather Contant and an extended article on augmented reality audio by Leah Barclay.  My own report touches on various WFAE activities throughout 2017 including affiliate news and endorsed events and conferences, some of which I recap below. 

Please find your download for the 
PDF of Volume 16 here. Visit WFAE's journal archive to download previous back issues of Soundscape.

On behalf of the World Forum for Acoustic Ecology, I wish to express our great appreciation to Phylis Johnson, who picked up the editorial reigns from Soundscape’s founding Editor-in-Chief, Hildegard Westerkamp, in 2012. She worked with guest editors to produce five, high-quality volumes of Soundscape. Following these years of dedicated service to the WFAE, Phylis will now serve as President of the American Society for Acoustic Ecology.
 
We are thrilled to welcome Leah Barclay, President of the Australian Forum for Acoustic Ecology, as the journal's third Editor-in-Chief. Soundscape, Volume 17 is due for release in June 2018 in conjunction with the  20th anniversary of the 
AFAE. To celebrate, the AFAE will convene the Symposium and International Ecoacoustics Congress 2018 in partnership with the International Society of Ecoacoustics (ISE), Queensland University of Technology (QUT) and Griffith University. The conference is endorsed by the WFAE and the call for papers, posters and creative works is now open.
 
After the three years of dedicated service, Christopher DeLaurenti has retired as WFAE Secretary, having successfully on-boarded his successor, Tyler Kinnear. Tyler has served on the WFAE Board as the Representative for the 
Canadian Association for Sound Ecology/ Association canadienne pour L’écologie sonore, who proudly endorse his appointment. 

Leah and Tyler continue upgrades to the WFAE website, most notably the addition of a 
WFAE News blog. In March 2018, anticipate a return of your free access to the WFAE’s online Library, our next big updating project! This includes a searchable database for our news archive, all past volumes of Soundscape, supplementary articles, historical resources, plus new content. Our fully implemented website is intended to receive written and digital contributions from the WFAE’s network of Affiliated Organizations, raising the profile of their diverse activities and work, and enriching the global discourse in Acoustic Ecology.

Do not forget to download the 
PDF of Volume 16 here and to visit our website's journal archive for back issues of Soundscape.

 I wish you a happy and peaceful holiday season!

 Eric

 



Dear Friends and Listeners,

Today on Friday, December 22, 2017, an error was discovered in Soundscape: The Journal of Acoustic Ecology, Volume 16.

An incorrect version of Stephan Moore’s article, “Three Recent Moments With Pauline Oliveros” appeared on pages 16-17. We apologize to Stephan for this error, and are happy to report that a corrected PDF is now on the WFAE website.

Please delete copies downloaded before 2:30 PM US CST / -6 UTC.

Thank you!
Soundscape Editorial Committee

Soundscape: The Journal of Acoustic Ecology
  • Volume 16 published December, 2017.
  • Volume 17 slated for publication June, 2018. 
  • Print copies were not produced. 
  • Contact WFAE Secretary, Tyler Kinnear for details.
Support the WFAE
Join the WFAE



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[cec-c] I am genderless like cacti and certain species of fishŠ 19 Jan 2018

News & events from CRiSAP
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I am genderless like cacti and certain species of fish...

CRiSAP presents an event exploring Voice, Intelligent Machines and Identity
As HAL9000, the errant robot in Kubrick’s 2001: A Space Odyssey slowly malfunctions and “dies” he sings ‘Daisy Bell’. The use of the song, written by Harry Dacre in 1892, was inspired by author Arthur C. Clarke’s visit to Bell Labs in 1961, where he heard the IBM704 sing the song in the earliest demonstration of computer speech synthesis. Five decades later machine generated voices are ubiquitous and robots are fulfilling more and more roles in our everyday lives. Voice is still one of the main ways in which we communicate with these personal assistants, system controllers or sexual partners and they with us.
I am genderless like cacti and certain species of fish… seeks to explore the current state of speech synthesis and the social, political and cultural issues in computer voice generation through presentations from leading artists and researchers; Professor Roger K Moore, Chair of Spoken Language Processing at University of Sheffield, Siri Landgren, artist, Alice Emily Baird, artist, researcher and member of Multivocal and Professor Cathy Lane, composer, sound artist and academic.

Book Tickets


 - -
 
This event is part of the Beyond 2001: New Horizons an exhibition celebrating the 10-year anniversary of the Stanley Kubrick Archive at the University’s Archives and Special Collections Centre. Students will produce and show work alongside invited artists and academics that offer new perspectives inspired by archive material from 2001: A Space Odyssey.
A cross-school collaboration celebrating all things screen, the exhibition will be set in motion with accompanying performances, events, panels and workshops, punctuated by screenings of the film for staff and students.
#Beyond2001
Dedicated to the exploration of the rich complexities of sound as an artistic practice, the centre's aim is to extend the development of the emerging disciplinary field of sound arts and to encourage the broadening and deepening of the discursive context in which sound arts is practised.






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