DEREK HOLZER: A BRIEF HISTORY OF OPTICAL SYNTHESIS

THESE LECTURES ARE FREE TO ATTEND AND ARE A PART OF THE EYE FOR AN EAR FESTIVAL

ANDREI SMIRNOV 3hr Lecture Presentation on Russian Avant Garde Film Sound Practices: Noise Sound tracks in Film/ Graphical Sound Expts/ Cartoons with Sound track

http://asmir.info/

DEREK HOLZER: “A Brief History of Optical Synthesis”

The technology of direct optical synthesis arose with the first sound-on-film motion pictures. In the 1930′s, several designs for optical synthesizers were produced in the USSR, Germany and United States, with a handful even being commercially realized with to great amount of techno-utopian hype. The future of sound, we were assured, was made of light.

http://www.umatic.nl/tonewheels_historical.html

J MILO TAYLOR- Snooky the Chimp (#8 You’ll be Surprised)

THE SCREENINGS /LECTURES ARE FREE TO ATTEND AND ARE A PART OF THE EYE FOR AN EAR FESTIVAL

SANDRA NAUMAN- ‘Seeing Sound – MARY ELLEN BUTE (1906–1983)’ “In the 1930s Mary Ellen Bute belonged to the pioneers of abstract film in the USA; in the 1950s she was one of the first filmmakers to explore the possibilities of electronic image generation. In her short films she began to transfer the principles of musical composition to the creation of visual materials and tried various ways of linking sound and image.

ROB MULLENDER- Film Screening and Lecture Presentation of GUY SHERWIN’S Optical films from the 70’s: Night Train & Sound Track

Guy Sherwin- http://www.luxonline.org.uk/artists/guy_sherwin/
http://www.youtube.com/watch?v=NPvuh1-wFN0
http://www.lcc.arts.ac.uk/research/research-degrees/student-projects/rob-mullender/

J MILO TAYLOR- Snooky the Chimp (#8 You’ll be Surprised)

An anti-work. a counter-score. an audio-visual exploration of obsolescence, transformation and media anarchaeology

http://suborg.net/

Shaders are small programs that run on the graphic cards of computers. They are a bit strange to deal with but executes extremely fast. In this workshop we will program shaders to make realtime graphics with audio signals as input material. That means… we take some sound, draw the waveform in some way, and last apply some shader to get weird and wonderful looking shapes generated by the audio.

Please Pre-Register by sending an email to info@nkprojekt.de

The graphics we will code in C++ using the Cinder framework, and the audio can come from a microphone, a sound file or some other realtime synthesis program like SuperCollider or PureData.

Aimed at people with a bit of knowledge in programming, but will also be accessible for others. We will provide a lot of examples to hack – you should provide the sound via your favorite sound files or synthesis programs.

Workshop Leader: fredrikolofsson.com

selected projects:

2003-2012 redfrik. alias for my own audiovisual work. solo performances in sweden, holland, uk, japan, germany, poland, greece, spain
2001-2012 /f0. alias for my video related work. many collaborations, installations, performances. all over europe, asia, america, australia
2000-2012 musicalfieldsforever. a 10+ years collaboration. exhibitions and research projects mainly in the scandinavian countries.
2003-2009 klipp av. defunct audiovisual duo. performed in 9 countries including tours in japan, usa & australia

selected writings:

2006 computer music journal sum06+dvd: ‘klipp av: live algorithmic splicing & audiovisual event capture’
2004 read_me04: ‘live algorithm programming & a temporary organisation for its promotion’. co-author
2003 icmc2003: ‘a protocol for audiovisual cutting’. co-author with nick collins
selected presentations:

2010 ‘artistic constraints’. esmuc, barcelona, spain
2008 ‘media arts & new productions’. ycam, yamaguchi, japan
2008 ‘one-bit music’. [in]tolerance, club-transmediale, berlin, germany
2007 ‘live coding practise – another month’. loss livecode festival, sheffield, uk
2006 ‘klipp av keynote’. acmc06, adelaide, australia
selected work experience:

2011-2015 hardware and software developer. the rhyme research project, oslo, norway
2009-2013 teacher. audiovisual programming course. universität der künste, berlin, germany
2005-2008 teacher. sound/music programming course. kristianstad university, sweden
2007 software developer. ifields research project, certec/furuboda, lund, sweden
2004-2006 research fellow. prof. mark d’inverno, university of westminster, london, uk
selected education:

1996-2000 master of fine arts: composition. royal university college of music, stockholm, sweden
1994-1996 diploma: arrangement & composition. luleå university of technology, sweden
selected stipends:

2009 summer residency. as composer for the european bridges ensemble, hamburg, germany
2008 6 months, artist in residence, iamas, japan

John Hegre & Greg pope -Cipher Screen is a live art piece using 2 prepared 16mm film projectors with black film loops and a live sound feed.This work harnesses the mechanisms of film and cinema; the projector, the film material, the darkened room and synchronized sound – creating a live score and a visual and sonic interaction.

http://jazkamer.blogspot.de/
http://gregpope.org/cipher-screen/

Mariska de Groot QUADTONE – Lumisonic Rotera’ is a mesmerizing light-is-sound projection performance in space. Graphical patterned wheels are coding a beam of light, which portable light-sensitive speakers convert into audible frequencies.

http://mariskadegroot.com/

Stereophonic Solar Return: Jonathan Gowthorpe / Julien Ottavi / Jenny Pickett
Don’t listen to the sun too long!
http://www.apo33.org/noise/doku.php
http://www.jennypickett.co.uk/
https://soundcloud.com/vompleud

Wajid Yaseen & Colin Hacklander & Fredrik Olofsson- Modus/NK (UK/Germany)
‘Girth: we endure already that short instant’

An improvised drum and distorted-vocal collaboration, loosely driven by Winckel’s “thickness of the present” estimating NOW to be 600ms…the accumulated time lag of the perceptual and cognitive mechanisms of hearing… all that chronos and & tempus shit. In Bergson terms this thickness is variable…Even microseconds of light synthesize billions of electromagnetic vibrations into color…

http://www.youkneeform.com/
https://soundcloud.com/goodgodd

Pedro Lopes processing analogue residues of vinyl discs, with turntables, laptop and PD

https://vimeo.com/9842098

U.K.I. viral performance LIVE CODE LIVE SPAM by Shu Lea Cheang- A 70 minute non-stop hyper-jam session. As a sequel to Shu Lea Cheang’s cyberpunk cult movie I.K.U. , the replicants of U.K.I. trade sex for codes, code sexing code in noise blast out, a virus is born and multiplied to eventually infect a city! We invite noise sound artists to plug in with own laptops/devices.

http://www.u-k-i.co/performance/html/concept.html

Audiovisual anarchivism by Hannes hoelzl & Alberto de Campo Modern devices have huge numbers of image, video, audio and text files hidden away deep down in their operating systems. Audiovisual Anarchivism aims to free these secret libraries of borgesian dimensions from their dark dungeons so they can breathe the fresh air of audiovisual performance, and maybe find purpose in life …

http:///earweego.net
http://albertodecampo.net/

SuperCollider is the text-based programming environment most often used to generate or manipulate sound, but it can also make graphics and animations. However, the graphics performance is nowhere near as fast as other environments, such as Processing. So why bother?

Please Pre-Register by sending an email to info@nkprojekt.de with the Subj line SuperCollider Workshop

With its reasonably easy syntax, SuperCollider provides a good starting point to explore the concepts found in much more complex graphics frameworks such as Quartz and OpenGL. Together with its sound making abilities, which are far more advanced than other creative programming environments, it’s possible to make exciting and interesting generative audio-visual patches with only one tool.

Aimed at beginners, and with a focus on practical action, this one day workshop serves as an introduction to creating audio and graphics with code.

Chris Jeffs is an electronic music maker and freelance developer, with over 15 years experience using SuperCollider.

more info: chrisjeffs.com

Part 1
Explanation and design of some of the most common circuits for analog audio effects and for
electronic musical instruments and controllers that used electromagnetic fields. Realization of these circuits starting from everyday electric tools (light bulbs, electric motors, relays and anything with electronic components and / or copper coils inside). From electroacoustic feedback network to electromagnetic feedback network. From no input mixer to no output mixer: an electromagnetic audio adder.

part 2
Use of electromagnetism to create interactive systems e to generate audio filters, with some
explained examples of my work. Self generated sounds and audio controllers using mixed form of
feedbacks (electromagnetic and acoustic). DIY multiple feedbacks analog filters and the
environment as filter: about the creation of complex audio effects with few recycled electronic
components and electromagnetic feedback.

During the workshop every participant will build his own interactive audio module.To attend the workshop prior knowledge is not required but is better to have a basic knowledge of Max Msp.
Bring with you a computer with max-msp and some old electronic tools, electric motors, light
bulbs also burned, and anything from which you can take electronic components and copper wire.

Registration for the workshop is essential and can be done by sending an email to info@nkprojekt.de with the subj line Feedbacks

COST: 50 euro + 20 euro for interactive audio module kit
WHEN: Jul 12 & 13 2013
TIME: 11:00-13:00 / lunch / 14:00-17:00
WHERE: N.K. | Elsenstr. 52/2.Hinterhaus Etage 2, 12059 | www.nkprojekt.de

About the Workshop Leader:

Simone Pappalardo (born in Reggio Emilia, Italy, 1976) is a teacher of computer music at Ottorino
Respighi Conservatory of Latina, Italy and is a composer, performer and sound artist . His research
is focused on the DIY electronic instruments and audio reactive/site specific installations, based,
primarily on electromagnetic field. He was curator for installation art section both at the Emufest
(International Festival of Electronic Music) of the Conservatory Santa Cecilia in Rome and at the
festival “Le forme del suono” of the Conservatory Ottorino Respighi in Latina. He won the special
prize for the national award of the arts Italy with the composition “Hyde” for prepared piano with electromagnetic fields.

His works have been presented in international festivals and contemporary music events such as
Musicacoustica in Beijing , festival 4 days in Milan, Museum of contemporary art Macro in Rome,
Kernel Festival, teatro Franco Parenti in Milan, Museum of experimental art in L’aquila, Poetronics,
Teatro Globe in Buenos Aires. He graduated in Music and New Technologies at the Conservatory of Rome.

http://www.fluid-radio.co.uk/2013/05/postcards-from-italy-rome-simone-pappalardo/

a workshop conducted by Mali Weil

The workshop will focus on the elaboration of relational tools and active practices borrowed from everyday reality (archives, forms, interviewes, conversations) about the concept of action and animal spirit.

The aim is to design a space-machine, in which physical, social and mental coordinates (place, system and thinking) open a concrete possibility of interaction and development of alternative logics for the viewer.

Prerequisite are not necessary to take part at the workshop. It can be useful (but not indispensable) to have available a personal notebook or a tablet to search, elaborate and exchange work materials.

About Mali Weil.
Mali Weil, established in 2008 by Elisa Di Liberato, Lorenzo Facchinelli and Mara Ferrieri, is based between Trento (IT) and Berlin. It realises transmedia projects that cross experience design, multimedia storytelling and site specific installation. By tools taken from daily life, Mali Weil builds aporetic experiences and relational machines to escape from the current economic logic.

maliweil.org
vimeo.com/maliweil

Fee: EUR 25 (for each day)
Number of partecipants: max 15
Location:
NK Projekt
Elsenstr. 52 2HH 2Etage
12059 Berlin
+49(0)17620626386

Registration is required and can be done by sending an email to info.animalspirits@gmail.com with the subject line “Animal Spirits workshop registration”. Please indicate which day (SAT or SUN) you would like to attend when making your reservation.

Workshop will be structured subsequently: presenting the complex system of interaction in audiovisual performance, closer examination of each contemporary art form: audio (composition of experimental electronic music, live production, improvisation, sound characters and experiments), visuals (on a wider range of physical/visual interaction, interaction within responsive environments, and
interaction between physical and virtual worlds) and movements (various dance approaches in performance; making conscious decisions in relationship to the audio and visual elements created and making maps for choreography generated by various qualities of movement.

authentic movement exercise in relationship to concept of shadows, dualities and atavisms), theoretical summary of each part, a functional explanation and practical experimentation with techniques and possibilities within each form, creating a new concept for the workshop group and final creation of new practical and concrete piece.

Attendants will be split into three groups, led by a person respectively in their focus of audio, visuals or movement. We will accent the constant relationship between audio – visual – performance. On conceptual level of audio representing time perception, common emotional experiences and abstract language, visuals building architecture in space, defying images or creating illusions, dance as
presentation of dynamic force and velocity, together in interaction with audio and visuals. All approaches are versatile, all three parts of audiovisual performance has the same potency of carrying metaphors of the story, interpreting the final piece in a congenial trinity. We will explore the practical and conceptual implications of working with interactive tools, instruments and computer-controlled systems within performance conditions. Interactive tools and systems, ranging from
multimedia and real time synthesis software (Max/MSP, Isadora) to the construction of proximity sensors (haptic, pressure and flex sensors, etc), distance-sensor (e.g. ultrasound, laser) or camera/video-based responsive environments and “seeing spaces”. All that linked to Audio (on Ableton Live), within action/reaction “forces”. Opportunities for learning about creative applications of digital technologies in dance and performance and for developing individual approaches and aesthetics are still not easy to have, and stronger partnerships between choreographers, musicians and software programmers but also with practitioners from the communications and social science fields need to be forged in order to further our understanding of the physical, cognitive, and social dimensions of interactivity.

cargocollective.com/stratofyzika

TIME: 16:00-21:00
COST: 50€
WORKSHOP REGISTRATION: stratofyzikaworkshop@gmail.com
WHERE: N.K. | Elsenstr. 52/2.Hinterhaus Etage 2, 12059 |www.nkprojekt.de