noise-arch.net – a collection of experimental music released on cassette during the 80s and 90s.
Thanks to a collaboration with the University of Michigan Library, the International Computer Music Conference proceedings from 1975 onward are now available online. The articles are full text searchable.
Algorithmic.net by Christopher Ariza is a “comprehensive research resource for computer aided algorithmic music composition, including over one-thousand research listings, over one hundred system listings, cross referenced links to research, links to software downloads and documentation, and web-based tools for searching and filtering the complete lexicon.”
ESSA, the European Sound Studies Organisation, was founded on Friday, July 14 2012. The aim is to provide an international, interdisciplinary and interprofessional organization for promoting the study of sound by providing a forum for knowledge exchange, for conferences, for research encouragement and development of projects, and for information. Membership is currently free, but an annual fee will be charged eventually.
Terz Magazin has some articles on women in sound art and electroacoustic music: Lauren Redhead on British artists Caroline Lucas, Lauren Sarah Hayes, Claire M. Singer, and Karen Lauke, Michaela Graf on sexuality and sound art, Sabrina Peña Young on Pauline Oliveros, Maggi Payne, Alice Shields, Adina Izarra, Brenda Hutchinson, Annea Lockwood and Elainie Lillios, and finally Julia Gerlach on Maryanne Amacher, Oliveros, Eliane Radigue, Christina Kubisch, Kaffe Matthews and Hanna Hartmann. There are also features on Mia Zabelka and Katharina Klement.
DREAM, Digital Re-Working Re-Appropriation of Electro-Acoustic Music, is
“a EU funded project aimed at preserving, reconstructing, and exhibiting the devices and the music of the Studio di Fonologia Musicale di Milano della Rai. During the 1950s and 1960s, this was one of the leading places in Europe for the production of electro-acustic music, together with Paris and Cologne.
During the project, part of the equipment of the Studio (oscillators and non-linear filters) has been virtually reconstructed and will become part of the permanent exhibit at the Museum of Musical Instruments in Milan. Some of these devices were used by Belgian composer Henri Pousseur to compose Scambi, one of the very first examples of open forms in music. The history of the Studio and the main project results have been published in the book The Studio di Fonologia – A Musical Journey (Ricordi, 2012).”
I hardly need mention that the Studio di Fonologia was the place where Berio, Maderna and Nono created their early electronic works. It seems that the book hasn’t been released yet, but there’s an earlier Italian version available at the Ricordi website.
AES oral history #85 – John Chowning on the origins of FM synthesis (lots of other interesting clips too).
Multimodal music processing – a free online book edited by Meinard Müller, Masataka Goto and Markus Schedl.
DYNAMIC PERFORMANCE OF NATURE: AUGMENTING ENVIRONMENTAL PERCEPTION THROUGH SOCIAL MEDIA AND ARCHITECTURAL INFORMATICS
by BRIAN W. BRUSH, YONG JU LEE & NOA YOUNSE
Dynamic Performance of Nature is a permanent architectural media installation in the Leonardo Museum located in Salt Lake City, Utah. It intends to augment environmental perception in museum visitors by communicating global environmental information through a dynamic and interactive interface, facilitated by social media, and embedded in the material of a high-tech media wall.
FEELTRACE AND THE EMOTIONS (AFTER CHARLES DARWIN)
by DEBRA SWACK
The Emotions is a multi-channel photographic, possibly interactive, video done in collaboration with the Brain Mind Institute in Switzerland about the universality of emotions on a biological level and the potential for futuristic misuse through genetic and or technological modification. Genetically emotionally or otherwise enhanced individuals could become the fashionable norm; synthetic biology could replace plastic surgery, with the further complication of not knowing where those genetic modifications might take them as individuals or us as a species.
FROM PLAINTEXT PLAYERS TO AVATAR ACTORS: A SHORT SURVEY OF ONLINE GAMING PERFORMANCE
by MATHIAS JANSSON
Online performance started in the early text based systems as MOO, MUD and chat rooms and have followed the technology development into 3D online worlds. Joseph Delappe, Eva and Franco Mattes, Rainey Straus and Katherine Isbister are some examples of artists who are today making performance in these new digitals worlds.
EMERGENCE IN THE SOCIAL WEB
by LIAT BERDUGO
With emergence theory – in ant colonies, cities, and brains – the whole is more than the sum of its parts. Something new is happening online, where a collective consciousness seems to emerge from the social web, giving rise to emergent phenomena like memes, the Occupy Movement, and the hacker collective Anonymous.
A STEP BACKWARDS FOR A LEAP FORWARD: THE OFF LABEL FESTIVAL / DIGITAL ART WEEKS 2011
by ART CLAY
The OFF Label Festival is the brainchild of the Digital Arts International Network group in collaboration with host institutes around the world. Wary of the present New Media movement in the arts and the academic environment upon which many “New Media Art Festivals” and “Science and Art” fusion events depend, the DAW moved this year’s edition into more diverse and eclectic waters and targeted a more general audience by focusing on analogue arts, mixed-media art forms, and by introducing the element of spirituality.
THE BOOK OF STAMPS: TRAVEL GUIDE FOR SONIC LANDSCAPING FROM CITIES TO URBAN CULTURES
by ART CLAY
The Book of Stamps is a travel guide between sonic landscapes from cities to urban cultures. The sheets of the book provide a “recording surface” and the ink stamps with their various patterns provide the ability to place sounds into the book. Together they act as an interactive tangible interface for a variety of time based musical tasks that form a collaborative composition by its users.
by HENRY GWIAZDA
“What is music today anyway? Is it still organized sound? Or is it evolving into something else? Perhaps music is not only sound. Perhaps artists choose a medium to work in because it enables them to present their ideas reflecting how they view time?” Video artist and composer Henry Gwiazda discusses his artistic progression from music/sound to what he describes as “multimedia digital choreography” and questions what the music of the future might look/sound like.
by SIMON LONGO & MAX SCHLESER
Visual Rhythms is a collaborative project between Simon Longo and Max Schleser. The article explores the transversal synergy between sound and video, placing the Bergsonian concept of intuition at the basis of the creative discovery in the live performance, which materialises into a temporal AV experience during this artistic intervention.
CLICK FOR DETAILS, A SOUND AND LIGHT INSTALLATION
by ALESSANDRO PERINI
The core of the sound and light installation Click for Details is a looped 4- channels electronic music track, entirely produced using a single impulse (mathematically a Dirac delta, also called “click” or “glitch”) as the only source for the whole piece. Departing from the the traditional dualism of sound and visuals as a combination of two different levels of perception, the work intends to provide the audience with an experience of sound and light as two aspects of a sole entity, related to the same source.
VERTIGO OF THE TECHNOLOGICAL SUBLIME
by VITO CAMPANELLI
This essay of Campanelli explores a deeper reflection on Abstract Journeys, the most recent artwork by the Italian artist Marco Cadioli. Abstract Journeys consists of a series of screencapture video and images from Google Earth whose different surfaces and forms have been transformed by human activities in an abstract geometric compositions.