overlap.org presents

OVERLAP LONDON
22 OCT 2008 @ 8 PM
18-22 Ashwin St | Dalston
London | E8 3DL | info@cafeoto.co.uk
£6/5

SEBASTIEN ROUX (room40 / optical sound / 12k)
DOUGLAS BENFORD (12×50 / Bip_hop / si-cut.db)
BEDDOES (overlap)

[thanks to MG]

Lu’s art work is taking off. Our friend Josette from Gray Area Gallery contacted me out of the blue because she heard about Lu’s great artwork. The result is that Lu’s artwork is showing all Saturday night during an all female-themed event.

To take it a step further, I said to Lu, you gotta do something new too! Something I have been batting around for ages with Mark Hellar and others is an event where people’s hard drives can be played back. Well, Lu’s hard drive is being played back on 3 screens live for the last half of the night!

More from Lu’s blog:

This coming Saturday, my videos will be screening at Gray Area Gallery from 8PM-4AM. Man, it’s an 8 hours screening! It’s hard to do without some partying! So this is a pride party night with all female DJs from San Francisco and LA.

My videos will be projected on three screens in the main space. From 8-10PM, they will be showing “The Plum in the Golden Vase”, “The Unique Dancers”, “Panda Express”, “Bump’n Grind”, “Don’t Talk About Politics’. After 10PM and the rest of the night, three screens will shuffle through video clips from my hard drives. They are clips of out takes of above videos, videos I have never shown, and old works back to 2001. This become a project itself I call it “Scratch”. Watch out! Dangerous dangerous!!

Text from Gray Area Gallery:

This Saturday night we will be inviting friends and family over for a Female Themed Pride Party. We thought it would be fun to celebrate and are excited to welcome- 3 talented queer female djs from los angeles: ANON, DAISY-O, and KIM ANH that produce Booby Trap.
They will be rocking Pride Saturday alongside San Francisco’s own DJs QZEN, ALONA, and, SIMILAK CHYLD.

BOOBY TRAP
is a weekly boob-friendly dance party in East Hollywood that attracts a crowded floor of hot, sassy, and did we mention hot? Ladies dance to upbeat electro pop and new wave from DJs ANON, DAISY-O, and KIM ANH (http://www.myspace.com/clubboobytrap). While the Hollywood crowds flock to Sunset, the savvy ladies East of Highland head to Booby Trap.

GAB would like to invite you to a special evening dedicated to celebrating women in honor of San Francisco’s pride weekend. We will be showing selected pieces from DEER FANG and an installation in our mezzanine.

DEER FANG

is a video artist working in San Francisco and Guangzhou. Her earlier projects investigate the condition of video in art making and the dynamics within the production process through participation, improvisation, real-time and socialization. Her current work uses common formats from popular culture such as the news, reality TV show, music videos, and online videos to dissect culture and political meanings in the media and in our everyday society. Fang studied in School of Visual Art with Luca Buvoli and completed her BFA in Graphic Design in 2005. She received MFA in New Genres (Video+ Performance) at the San Francisco Art Institute with Tony Labat, Paul Kos and Okwui Enwezor in 2007.

8 - 10 pm: Reception for Deer Fang (free wine)
10pm to Late (after-hours): DJs and Performances

Free before 10 pm
$10 after

Event proceeds support GAB & Bitch Magazine “feminist response to pop culture”.

Electroacoustic music is in a sense more democratic than pop music: You don't need a tremendously expensive studio to compose your music and no huge international record companies are likely to promote your works, so composers from around the world have more equal chances of being heard. Do you find interesting differences in the electroacoustic music composed in different parts of the world?

There are different ‘schools of thought’ producing different sounds, different approaches to time, and different philosophies of public performance. But these schools of thought extend across geographical boundaries. As you point out, we can hear music from all over the world on the Internet.

Ironically, now that more people have an equal chance at being heard, it can be harder to actually get noticed; people are so overloaded with distractions it’s difficult to get anyone’s attention, much less hold their attention for the period of time necessary to discuss and to build upon what has been said and done previously.

During the middle ages, an educated person might have owned one book and they really studied and memorized that book; now we have so many books that we might not even read all of them completely, much less memorize them; we might prefer to get the ideas from the author’s blog or online video instead. A similar thing is happening in music; it is easier to find breadth than depth. This is the perfect scenario for accelerated evolution during a period of rapid change in the environment.

[read the full article - via electromediaworks.gr]

[carlascaletti.com]

[symbolicsound.com]

OSCulator has been featured in issue 14 of MAKE magazine and has been described as the ultimate tweakable gateway between your Wiimote and MIDI-controlled audio, as quoting Bill Byrne the author of this article.
The next version will bring a host of new features, amongst them is the direct support of the TUIO protocol used in the reacTIVIsion software (remember those illuminated cubes on the table that Björk uses live?).
The new Presets feature in OSCulator is a way to store different routing configurations and change them on the fly, wether it is by sending an OSC message, or merely clicking in the new toolbar menu. By the press of a simple click, you can turn your Lemur into a sophisticated MIDI controller or a Keyboard controller. The possibilities are infinite.

[thanks to Cam]
[make-digital.com]

UPDATE:

OSCulator Embraces the Controller

On pages 11-14 of the June 2008 of the SEAMUS newsletter, Camille Troillard discusses the past, present, and future directions of his OSCulator software.

Thomas Ankersmit (1979) is based in Berlin and Amsterdam, plays saxophone, makes electronic music and creates installation pieces with sound, infrasound and modifications to the acoustic characters of spaces.
Influenced more by experimental and electroacoustic practices than (free) jazz, Ankersmit focuses on exploring the timbral extremes of the saxophone. His electronic music is constructed out of swarms of electro-mechanical micro-events with an acute sense for detail and intensity, combining the delicate instability of analogue synthesizers with the precision of computer editing and multitracking.

Thomas Ankersmit [NL]
Uploaded by pablosanz

He performed using an EMS synthesizer (a beautiful Synthi A to be precise), a laptop running Max/MSP and an alto saxophone. Such instrumentation could suggest a duality between the acoustic and the electronic or the analog and the digital leading to two different approaches. On the contrary, his 27-minute improvisation did not rely on such oppositions and instead integrated various sound-making means into a single and unified practice. The said improvisation began quietly with buzzes, glitches, hiss and static produced by the EMS synthesizer in conjunction with the laptop. For the first 15 minutes, constant small changes of volume, frequencies and types of sounds generated a consistent sonorous space in constant activity and mutation. It then stabilized and progressively morphed into a Phill Niblock-like drone with multiple pitches. Such an association should not come as a surprise, considering both have been working together extensively in the past years. This drone was suddenly replaced by uninterrupted pitches played on alto saxophone. While circular breathing, Ankersmit would modify the tones, complement them by humming along an octave lower or modulate the sound by moving the saxophone’s bell next to the panel of a table or agitating his hand next to the bell. It created a fabulous drone with a very abrasive texture that fully exploited the acoustic properties of the phenomena involved in the room.

Extracts from live show by Agrare (Maja Ratkje, Hild Sofie Tafjord and Lotta Melin) with video projections by Kathy Hinde. 'Carrying' is inspired by Chekhov's play Three Sisters.

[agrare.com]

Agostino Di Scipio

UNTITLED 2008

Ökosystemische Klanginstallation in 2 freien oder ausgeräumten Zimmern

This work implements a chain of recursive processes leaning on the acoustics of the host space. A web of purely sonic interaction is established, mediated by the room acoustics. A unique sonic narrative is outlined: (1) a "production plant" exploits the room as a kind of energy reservoire out of which raw sound materials are carved; this is accomplished with very low-frequency acoustical feedback making some thing in the room tremble or buzz; (2) this raw material is then "optimised" and "packaged" (computer-processed), and finally delivered to a "consume" system (loudspeaker system); the "wastes" of sound in the room (resonances in peculiar spots in the room, where no human ears can stand) are in turn collected and "recycled" in the production plant.

Agostino Di Scipio (Naples 1962), composer, sound artist and theorist. His works often explore non-conventional approaches on the generation and trasmission of sound, and recently have involved dynamical networks of live sonic interactions between performers, machines, and environments. Some samples of his work are in his monograph CD "Hörbare Ökosysteme. Live-elektronische Kompositionen" (RZ Edition). Di Scipio works primarily in his own studio (L'Aquila, Italy), but occasionally has pursued his efforts as visiting composer in various institutions (Simon Fraser Univ. Vancouver, 1993; ZKM Karlsruhe, 2006; IMEB Bourges, 2003 and 2005). Artist-in-residence of the DAAD Berlin (2004-05). Electronic Music professor at the Music Conservatory of Naples, guest professor at CCMIX (Paris, 2001-2007). He lectured at the University of Illinois (Urbana-Champaign), Johannes-Gutenberg Universität (Mainz) and elsewhere. In Winter 2007-08 he served as Edgard-Varese-Professor at TU Berlin. Author of essays and articles in the analysis and critical theory of music technologies. Editor of many publications, including the Italian translation of books such as "Heidegger, Hölderlin & John Cage" by M.Eldred (Semar, 2000) and "Universi del suono" by Iannis Xenakis (LIM/Ricordi, 2003). Materials and more info.

[via inventionen.de]

Concerts and sound installations / 60 years Musique Concrète / 50 years GRM Paris / International conference SMC08

23rd July - 3rd August 2008 - Berlin

Castello Sforzesco
Museum of Musical Instruments
Sala della Balla
06:00 p.m.

MITO has promoted the transfer of the RAI Studio of Musical Phonology at the Museum of Musical Instruments in Milan to make its equipment and electronic archives available to the public.
The priceless musical heritage and technology is for the first time assembled and exhibited in its entirety in a museum.
Luciano Berio, Bruno Maderna and Luigi Nono's experimental music will live again in their original environment and an innovative digital library will disclose its contents.

Free admission

[mitosettembremusica]