The cutting edge of contemporary creative industry met in Belgrade for RESONATE 2013, three days of intensive networking, information, knowledge sharing and education. Live coding, sensing touch, audio reactive mapping, digital kaleidoscope, augment anything, motors and music, open frameworks & asymmetric game design are just some of the workshops. Resonate brings artists together into a forward-looking debate on the position of technology in art and culture, from software engineering to visual arts theory, and aims to create a bridge between culturally separated segments of the artistic and intellectual scene.

We want to show that future is in the hands of those willing to experiment, individuals with simple desire to feed their inquisitive nature for knowledge and experience. We do not know what the future holds but the only way to find out is to create a platform where the most inspiring individuals can meet and share their ideas. Whereas internet has given us power to communicate to many, we need more events like Resonate where these ideas can flourish and “resonate”.

Excellent online archive where you can watch all the talks from last year and the latest as they happen.

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A collaboration between Magnetic Field B, Dom Omladine in Belgrade and CreativeApplications.Net, Resonate 2013 Festival took place in Belgrade and with over 1200 visitors from all over the world, over 75 artists, thinkers, writers and performers in 16 workshopsover 40 talksscreenings and performances.

Participants include Casey ReasJoachim Sauter (ART+COM), ZimounKlaus ObermaierMoritz StefanerZach GageTale of TalesGolan LevinIvan PoupyrevRaquel MeyersAnthony Dunne (RCA), Cohen van BalenKarsten SchmidtSpaces of PlayMemo AktenAndreas Müller (Nanikawa), James BridleLiam YoungKyle McDonaldPeter KirnStudio NAND, & onedotzero. Likewise the CAN/HOLO team will be at resonate too including Greg J Smith, Alexander Scholz and Sherry Kennedy.

Talk about generative design to manufacturing, Plask and WebGL, Unity as a Tool for Non-Games, Generative Design, Datatainment, Large Scale Projection Mapping, Urban Prototyping and discussion panels about Tools or Instruments, Surveillance and Transparency, Coding Narratives, Interaction and Performance and Design Fiction: Provocations & Pedagogy. onedotzero screened a special version of their programme/selection for Resonate festival and participating artists panel discussion.

The night programme featured Pantha du PrinceMouse on MarsDj DinkyValensMonosaccharideMarko NasticJan Nemecek and we’ve also teamed up with a number of bars and clubs in Belgrade to celebrate the opening of the festival meaning not one party but many.

If you are not able to come to resonate this year, follow updates on our Twitter or Facebook. All talks are being recorded so the same as last year you will have a chance to watch to them later.

CAN is back next week so in the meantime, check:

resonate.io | resonate on Facebook | resonate on Twitter | Full Programme of Resonate 2013

Resonate is supported by MailChimp, Ministry of Culture and Information in Serbia, Hi-ReS!, AudiovisualAcademy, Dom Omladine Belgrade, RedBull, Macola, Orion Telekom, The Studio for Creative Inquiry, Nexus Productions and Antipod.

From the earliest recorded archives to NOW, Sound Art finally makes it into MoMA! Including the work of Jacob Kirkegaard, with whom I recorded the first of my Transit Lounge Radio conversations, and who made the beautiful Golden Resonance remix of bridge sounds from my recordings of the Golden Gate Bridge.

“The diversity of these works echoes the complex and contested field of sound as art. Yet the exhibition posits something specific: that sound can elicit… modes of active, focused listening, and a heightened relationship between interior and exterior space. At a time when personal listening devices and tailored playlists have become ubiquitous, shared aural spaces are increasingly rare. Many of the artists in the exhibition aim for such realities, and the sound they create is decidedly social, immersing visitors and connecting them in space. In many of the works, links are drawn between disparate topographies and subjects, giving rise to new notions of place, time, and experience.”

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Soundings: A Contemporary Score

August 10, 2013–November 03, 2013

Posted on April 3, 2013

Special Exhibitions gallery, third floor, and Various Locations

NEW YORK, April 5, 2013—The Museum of Modern Art’s first major exhibition of sound art, Soundings: A Contemporary Score, presents work by 16 of the most innovative contemporary artists working with sound.

While the artists in Soundings approach sound from a variety of angles—the visual arts, architecture, performance, computer programming, and music—they share an interest in working with, rather than against or independent of, a given situation or environment. These artistic responses range from architectural interventions to visualizations of otherwise inaudible sound to an exploration of how sound ricochets within a gallery to a range of field recordings including bats, abandoned buildings in Chernobyl, 59 bells in New York City, and a factory in Taiwan. Soundings is organized by Barbara London, Associate Curator, with Leora Morinis, Curatorial Assistant, Department of Media and Performance Art, MoMA.

The artists in the exhibition are Luke Fowler (Scottish, b. 1978), Toshiya Tsunoda (Japanese, b. 1964), Marco Fusinato (Australian, b. 1964), Richard Garet (Uruguayan, b. 1972), Florian Hecker (German, b. 1975), Christine Sun Kim (American, b. 1980), Jacob Kirkegaard (Danish, b. 1975), Haroon Mirza (British, b. 1977), Carsten Nicolai (German, b. 1965), Camille Norment (American, b. 1970), Tristan Perich (American, b. 1982), Susan Philipsz (Scottish, b. 1965), Sergei Tcherepnin (American, b. 1981), Hong-Kai Wang (Taiwanese, b. 1971), Jana Winderen (Norwegian, b. 1965), and Stephen Vitiello (American, b. 1964).

The exhibition is accompanied by a fully illustrated catalogue, with texts by Barbara London and writer Anne Hilde Neset, and an artists’ interview section coordinated by Leora Morinis.Soundings is also accompanied by evening music events, a film program, and a Sound Lab in The Lewis B. and Dorothy Cullman Education and Research Building.

The exhibition is supported in part by the Office for Contemporary Art Norway (OCA).

These are prints made on paper that are actual sound recordings. One, from 1806 is the “oldest known inscription of audio ‘waveforms,’ not recorded automatically but drawn by hand”. I have a project on hold with artkillart who first told me about the possibilities of printing an audio record onto paper/card, and finding this today reminded me that we still need to make that work. For now, listen and marvel at this extraordinary archive of audio preserved in book form.

Extracting Audio from Pictures

Patrick Feaster
POSTED BY  ⋅ 06/20/2012 ⋅ 9 COMMENTS

derhandschuh

This isn’t just a pretty picture.  It’s a bona fide sound recording—a “record.”  In fact, it might arguably be the oldest “record” in the world that you can listen to today!

Let me clarify—I don’t mean it’s the world’s oldest sound recording.  But nowadays when people use the word “record” colloquially to refer to sound media, they typically mean the specific format that includes LPs, 45s, and 78s—that is, the kinds of grooved disc you’d play on a “record player.” Technically, these “records” are based not on the phonograph Thomas Edison unveiled in 1877, but on the gramophone invented by Emile Berliner in 1887.  The gramophone disc dominated the worldwide recording industry for much of the twentieth century and still has currency in the twenty-first, for instance in the art of turntabling.  The distinctive crackle of its surface noise is stamped in the popular imagination as the quintessential “old recording” sound.

So what are the oldest known “records” in this sense—that is, the oldest known gramophone recordings, as opposed to the oldest sound recordings in general?  The first commercially available gramophone discs were manufactured and released in Europe in the summer of 1890, and numerous examples are available for listening (here, for example).  In addition to these, a few experimental gramophone discs from 1887 and 1888 survive at the Smithsonian Institution and elsewhere, but attempts to play these haven’t been very successful, and no intelligible or identifiable content has been recovered from them to date.  Finally, some other very old gramophone recordings have come down to us only in the form of prints made on paper,like the one on the fourth floor of Wells Library.  This isn’t a unique situation.  Many important early motion pictures that didn’t survive in the form of actual films were nevertheless preserved as paper prints deposited for copyright registration purposes with the Library of Congress and later retransferred to film for projection and preservation.  Similarly, I’ve found that paper prints of “lost” gramophone recordings can be digitally converted back into playable, audible form.

Some Other Early “Recordings” at IU – Listen to these on their website
Here are a few other snippets of audio obtained from high-resolution scans of books in the IU Bloomington Libraries.

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Year: 1806

Lilly Library: Q113 .Y77 (two copies, one previously owned by Ian Fleming)
Thomas Young, A Course of Lectures on Natural Philosophy and the Mechanical Arts(London: Joseph Johnson, 1807), Volume 1, Plate XXV, Fig. 353.
Significance: Oldest known inscription of audio “waveforms,” not recorded automatically but drawn by hand.  (The book is dated 1807, but the engraving itself is dated 1806.)

Year: 1877

Wells Library (oversized): Q1 .S45 n.s.,v.37 1877
“The Talking Phonograph,” Scientific American 37 (December 22, 1877), 384-5, on page 384.
Significance: Print made from a plaster cast of a fragment cut from the sample tinfoil recording Thomas Edison used to demonstrate his phonograph for an audience outside his laboratory for the first time.  I’ve inserted silences to represent the missing content (which is a majority of it).  The direction of recording is anybody’s guess, so what you hear might be played backwards.


articulatevibrations

Year: 1878
ALF (Geosciences): Q1 .A5 ser.3,v.16
E. W. Blake, Jr., “A method of recording Articulate Vibrations by means of Photography,” American Journal of Science and Arts 116 (July 1878), 54-59, on page 57.
Significance: Oldest known publication of a recording of recognizable phrases in the English language (“Brown University”; “How do you do?”); also the oldest known publication of a photographic recording of airborne sounds (Image above)

D2T (Digital-to-Tangible)– Services

This is a truly beautiful concept, and one of the few dealing with how to preserve our digital lives in a way that is aesthetically and philosophically satisfying. I have piles of receipts that seem like junk, imagine having these significant moments of consumer life redrawn into a tangible artwork. Gorgeous.

Un-Digitization (UN-DI) service “D2T” (Digital-to-Tangible)

Ever wondered what will happen to your digital documents in the future or how long can you store a thermally printed receipt? Our most common data storing technologies are unsuitable for storing data for more then a couple of years. It’s evident that the majority of digital data we produce today will not be accesible in the future (and it seems that most people are quite unaware of this). This is why we atOre.e Refineries have kicked off a service targeted for people who want to encapsulate their digital (and otherwise fragile) data into formats which last trough the ages. We call this process Un-Digitization (UN-DI) and the service is called “ D2T (Digital-to-Tangible)– Services“.

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An UN-DI (Un-Digitization) of a receipt documenting a performance at a restaurant. (Click here to view bigger)

People treat receipts as neutral documents but looking at them closely one can find symbols and signs which tell of a bigger story. They are compressed with information on economical legislation, they can be directly linked to global payment card systems and they tell a lot about the digital technologies involved in trade and global logistics. It’s not surprising that people tend to store some important receipts for other then taxation purposes too. They are proof of rites of passages.. I could imagine someone framing a receipt they got when buying their first car for example.

Here’s what we’ve dug up on the subject of digital data storing on delicious and please contact Ore.e Ref. if you need the D2T services. To learn more on the receipts documenting a performance at a restaurant look up Framer Magazine Issue 2# “Paying the Bill without Money” (page. 102).

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Working with D2T we’ve discovered that the more beautifully data is stored the more likely it is to last. In the example above a mondane un-digitized Ikea receipt has reached new aesthetic heights. I plan to continue with the Ikea theme but even in it’s current form “Ikea 4#” receipt is likely  to be considered more valuable then a tagless usb-stick. We haven’t bumped into other studies or research on the subject of “Beauty and Digital preservation“. But it seems like a no-brainer that beautifully encapsulated data is better protected then ugly data. So far the only popularly known experiment which somewhat touches the subject has been WD’s efforts of embedding Morse code in their hard-drive casings. Memory-stick designers and hard-drive designers will surely catch up with this subject soon.

2012_digital-to-tangible-3-elite-receipt_ore-e-refineries_cool1_ink_xxx_e-1-a_z_pho-768x1024

An UN-DI (Un-Digitization) of a receipt documenting a performance at a restaurant. (Click here to view bigger)

john_cage_preparedpiano

John Cage Prepared Piano for
iPhone, iPad and Android
John Cage :: Official Website.

Celebrate John Cage’s 100th birthday by playing the CagePiano app on your iOS or Android mobile device. One of the many ingenious innovations of American composer/writer/artist John Cage was his creation of the “prepared piano”, in which he placed objects beneath and between the strings of a grand piano to create an entirely new instrument.

The sounds of John Cage’s Prepared Piano are now available for you to play on your portable device with this innovative app. Play meticulously sampled sounds of a piano prepared with the actual materials used by John Cage in the preparations for his Sonatas and Interludes (1946-48) as sampled under the supervision of the John Cage Trust.

  • Both paid and free versions allow you to your record your performance and share it via Facebook, Twitter and email.
  • The paid tablet version features all 36 prepared notes, playable at once, plus the ability to save your performances locally, making dramatically unique ring tones possible.
  • The free version offers 9 sampled notes on screen at a time, while a random shuffle button makes available other prepared notes.

At the end of 2012, Visual Artists Ireland undertook a survey of visual artists who are actively exhibiting and supporting visual arts programming through support services. The initial results of the survey revealed that out of 580 exhibition opportunities covered in the survey, 79.66% could not provide a fee to the artist for their participation. Published on Mar 1, 2013

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Further figures indicated that production costs were not met in many cases, and in a large percentage (43.3%) of cases, artists were asked to either pay or contribute to the administration costs of their exhibitions. 77.8% of artists received no fee for education or outreach programmes. Of these 31.9% received a contribution towards travel expenses for these events.

The situation of artists being expected to exhibit and provide education and other support services for free is not a new one. However, to date it has been anecdotal. This survey revealed the endemic reality. This comes about through a wide range of reasoning. We see the primary cause is the low level of funding being made available to the cultural sector with a heightened expectation about the scale and broad range of delivery, and a lack of clarity in the terms and conditions of funding.

It is important for us to note that the campaign wishes to acknowledge those who do pay artists, and also that there may be situations in which an artist wishes to support a gallery, festival or event and waive their fee. It is also important that we are clear that this campaign is not a witch hunt with a name and shame policy. It is clear in our objectives that we are looking for professional organizations to pay professional artists in an equitable manner, and that there is a clearly advertised policy that this is in place. We are also looking to ensure that funding budgets set by government and by the funding agencies are in keeping with such policies.

The project will deliver a set of payment guidelines. The guidelines will be based upon international best practice, and will be scalable for different sizes of organizations as well as the experience/reputation of artists. They will also take into consideration the different work undertaken by artists within the context of exhibitions and supporting services.

RUN COMPUTER RUN

Economics and the Immaterial

Glitch_Casey

CALL FOR ARTWORKS

How do we give value to immaterial goods? How do we buy and sell digital images? What is the relationship between economics and digital aesthetics? How can curators and artists create new platforms and models for the creation of economic exchange? These are some of the questions that this show attempts to answer. We are currently accepting artwork (video, jpg, gifs, 3d models or HTML content) that will feature in a unique gallery-based exhibition. The exhibition is composed of two parts – a gallery-sited virtual show, and the online production and distribution of materially-realised limited-edition goods.

In the gallery, each artist will be represented by an AR-code – an augmented reality marker embedded with visual information that can only be viewed with the aid of a computer or smart-phone. As visitors walk through the gallery, they can interact with the markers using either their smart-phone or one of the tablets that will be provided by the gallery.

The artwork submitted will then be produced as a series of limited-edition goods including apparel and digital prints. These goods will be made available online for the duration of GLITCH.

The following products will be produced for each artist included in this exhibition:
1 Limited Edition Tee (run of 20)
1 Limited Edition tote bag (run of 20)
1 A5 postcard
1 A3 digital print (run of 30)

These goods will be made available via this website for the duration of GLITCH.

All profits from the sale of these goods go to the corresponding artist.



Before submitting please consult our technical spec for file types, and use our templates for submitting work.

Artwork that is not sent according to the technical spec or design templates will not be accepted as submissions.



Artworks will be exhibited using the Layar platform

Submission guidelines:
Email hello@runcomputerrun.com with the following information:
– completed templates

- artist name
– short bio (max 100 words, English only)
– email, url
– work name & synopsis (max 100 words, English only)
– screenshots x 2 (jpg 800 x 600px)

All artworks must adhere to our technical specification.
One entry per artist

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Deadline for entries: May 5th 2013

All submissions will be considered by the GLITCH curatorial team. Artists will be notified by May 12th 2013. Artwork will be exhibited during Glitch festival at Rua Red in Dublin, Ireland from May 24 – July 13

RUN COMPUTER, RUN
25th May – 13th July
Curated by Nora O’Murchú

Glitch, our annual Digital Arts Festival returns!

Run Computer, Run takes over both RUA RED galleries and showcases how creative technologies provide us with a critical lens to examine our everyday culture. From augmented reality, to video games, and interactive artworks, both our gallery and website will show how digital artists are taking on some of the key social, economic, political and cultural issues that challenge how the Internet is changing.

This years’ Glitch features a gallery based show from Casey Reas, Marius Watz, FIELD and David Szauder that examines how the aesthetic and platforms of code has transformed from screen based interfaces to mobile platforms, print, 3d printing, and moving image.

Well, yes. I still have to read the report…

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DO ARTISTS REALLY EXPECT TO GET PAID?

An economic study of professional artists in Australia (‘the artist survey’).

DOWNLOAD THE PDF HERE

This is the fifth in a series of studies commissioned by the Australia Council and conducted independently by Professor David Throsby from Macquarie University.  This report was co-authored by Anita Zednik.

This is study profiles the careers of practicing professional artists across all major art forms (except film).  It is based on interviews with 1,030 practicing professional artists conducted in Oct/Dec 2009.

The report includes analysis of:

  • The artist population
  • Training and education
  • Career progression
  • Artistic achievements
  • Patterns of working time
  • Income and expenditure
  • Employment and social security
  • Professional practice issues
  • Usage of new technologies
  • Longer term trends.

This evening I am going to the Lost Lectures with the seriously awesome Michelle O’Brien. Will report back!

LOST IN BERLIN

The Lost Lectures is a unique series of ‘Enchanting Talks from Secret Locations’.  We take lectures out of traditional corporate and academic environments and into incredible secret spaces that surprise, delight and bring the imagination to life. We invite a magically eclectic host of speakers: 6 per evening, from the worlds of science, art, design, business, blogging, entertainment and more.  Their talks range from the sublime to the ridiculous, which is just how we like it!

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BERLIN: April 4th 2013

Josef Průša: is considered something of a revolutionary: an open-source ‘genius’ and a pioneer in the world of  3D printing.  He’s one of the lead developers of theRepRap project: an open-source hardware project that is fundamentally changing the rules of manufacture, creating wealth without money (who needs money when you can make anything?), logistics (who needs deliveries when you have the blueprint?) and forging a new future seemingly without limits.  Josef is coming from Prague to share his 3D vision of the future and demonstrate his brilliant replicating machine.

Katharina Frosch is an economist and co-founder of Stadtgarten, a community-based gardening initiative that encourages would-be gardeners to use this public space to grow and harvest their own vegetables and share in the spoils: over 1000 servings of fresh, organic fruit and veg last year!  She is also the co-creator of Mundraub, an internet platform that enables users to share the location of fruit trees lying on common or non-farmed land so they can be tended and harvested.  Both projects have been awarded prizes by the German Council of Sustainable Development.  Katharina will talk about the importance of collaboration and community (both real and digital) in channelling the agricultural potential of our planet.

Prof. Björn Brembs:  is Professor of Neurogenetics at Regensburg University: he’s a prolific blogger and world authority on how the brain accomplishes adaptive behavioural choice, in other words how the brain is organised for reward, punishment and decision-making. In 15 minutes, he’ll describe a new understanding of neurons and circuits ending centuries of philosophical debate around the idea of ‘free will’ and use neuroscience to wrestle this term from its philosophical ancestry, the goal being to arrive at a scientific and factual understanding of the fascinating and uniquely human concept of free will.

Anke Domscheit-Berg is an entrepreneur and a campaigner for both open government and better opportunities for women in leadership roles.  She’s on the board of Government 2.0 and previously worked as Director of Government Relations & Innovation at Microsoft.  She’s the founder of FemPower, an organisation that advises female executives on how to break the glass ceiling andOpengov, a body that advises governments and policy makers to develop and implement open government strategies, making them more transparent and participative.  In her talk, Anke will reveal a new way of politics, one where government and civil society can collaborate, share data and work together towards common goals, creating a fairer, more open society.

Peaches is an electro artist known for her ravenously raunchy, gender-twisting mix of explosive electro-clash, with tracks like Fuck the Pain Away and Mommy Complex.  Music is just one element in her expansive oeuvre: throughout her career, she’s furthered her experimental sound and stage creations, allowing us to experience the evolution of the Peaches persona.  From electronic music machines to pink bathing suits, giant necklaces to hairy costumes, Peaches has pushed the boundaries of self-expression to their breaking point.  In this no-holds-barred performance (part talk, part interactive show), Peaches will demonstrate that it’s in losing fear that we will gain freedom of expression and experience real creativity.

We are planning to announce one final iconic speaker on the night itself (Lost X), we are still awaiting clarity on this, thus their identity must remain shrouded in mystery.

As always there’ll be a bar open till late, free-running demo from one of Germany’s foremost parkour crew, ParkourONE intro’d by Ben Scheffler as well as a musical mash-up of an interval, a chance to meet all the speakers and then, the afterparty!!

Until then, Lostlings… keep this to a whisper.