A call for telematic performances for Deep Wireless Festival X, 1 May 2012
We are looking for individuals and ensembles from around the world to perform over the Internet on May 1st 2012 as part of the 10th anniversary of Deep Wireless, organized by New Adventures in Sound Art (Toronto).
The performances will be part of a webcasted six-hour-long, worldwide jam session, which will be coordinated from the music department at Concordia University in Montreal.
Performers are invited from everywhere around the world, as long as they have access to high-speed broadband Internet and do not mind performing at potentially strange hours of the day (or night).
Additionally, for a collaborative telematic piece titled “Hug the world,” proposals are particularly encouraged from Asia, Africa, South America, Australia and New Zealand, and as far north and south in the globe as possible.
The programming theme for Deep Wireless 2012 is Freedom and we ask participants to consider what that means from their cultural and artistic perspective.
Experience with telematics is not required!
How to propose:
Send an initial expression of interest to hugtheworld2012@gmail.com
Please include the following details in your email:
Location
Ensemble size
Ensemble type (live electronics, laptops, instruments, etc.)
Experience with telematics and jacktrip
Any questions you have
You will receive additional information about logistics, training, testing, and performance times, etc.
If this is of interest to you, you are encouraged to communicate with us as early as possible. It will assure proper consideration and preparation of logistical matters on both ends.
About the festival:
Founded in 2002, Deep Wireless Festival of Transmission Art is an annual festival based in Toronto that celebrates the endless possibilities of wireless and other forms of transmission in the arts.
http://www.naisa.ca
Electroacoustics @ Concordia University:
http://music.concordia.ca/
Organizers:
Eldad Tsabary (Concordia University), Telematic jam session coordinator
Darren Copeland (NAISA), Artistic director
Nadene Thériault-Copeland (NAISA), Managing director
Tuesday, February 7, 2012
Thursday, October 7, 2010
Aural Architecture at WNUR
Thursday, October 7, 2010 (7:30 p.m. CST)
WNUR (89.3 FM)
1877 Campus Drive
Evanston, IL 60208
(847) 866-9687
admission: $5 suggested donation for those attending the event, and this can be heard on 89.3FM and on www.wnur.org.
You are invited to attend “Aural Architecture,” which is part of the Fifth Annual Chicago Calling Arts Festival and Chicago Artists Month. “Aural Architecture” explores sonic properties of buildings and how natural soundscapes relate to the built environment, and it includes musicians interacting with buildings’ sounds. A sculptor presents a sculpture that pertains to this theme, and musicians in remote locations perform together telematically via Skype, with contributions of audio recordings from inside and around buildings --
• Julia Miller (guitar), Satya Gummuluri (vocals), Jeff Carter (sculpture), Sarah Ritch (cello), Dan Godston (trumpet), and Anthony Poretti (drums) at WNUR;
• Berg26 at a 19th Century morgue in Berlin -- Annie Goh begin_of_the_skype_highlighting end_of_the_skype_highlighting, Florian Goeschke, Thomas Wochnik, Anna Bäumer, Patrick Muller, Daniela Imhoff, Elen Flügge, Christof Wenta, Damian Rebgetz, and Alexander Sieber;
• Marcos Fernandes and Masashi Heirakuji at the Yamagin Archive (Shimonoseki, Japan);
• audio recordings contributed by Barry Blesser, Tony Schwartz and Jimmy Giuffre, and the Buckminster Fuller Institute
Fifth Annual Chicago Calling Arts Festival
Chicago Calling is a multi-arts collaboration festival. During the Fifth Annual Chicago Calling Arts Festival, people in Chicago work with people outside of Chicago -- both here in the U.S. and abroad. These collaborations include a range of art forms, such as music, dance, film, literature, and intermedia -- and they are prepared or improvised. Some Chicago Calling events involve live feeds between Chicago and other locations. 2010 Chicago Calling events include “Bicycles and the Arts” at Happy Dog Gallery, “Translations 2010” at the Reconstruction Room, “Seda Röder / Burton Greene - Harrison Bankhead Duo Concert” at Curtiss Hall in the Fine Arts Building, “Temperatures and Shapes / Arctic Live” at Elastic Sound & Vision Gallery, “I Remember Fred” at the Velvet Lounge, “Chicago Calling, Waiting for the Bus” at Café Ballou, “Aural Architecture” at WNUR, “Two Way Tarot Mirrors” at Myopic Books, “Facets of Southeast Asia” at the Zhou B. Art Center, “Chicago Equinix” at Soapbox Music, “The City as Studio / Curatorial Practice” at the Phantom Gallery Chicago Network Office, and “My Favorite Banned Books Abecedarian Read-Out” at the Logan Square Library.
Borderbend Arts Collective
Chicago Calling is organized by the Borderbend Arts Collective, a 501(c)(3) organization whose mission is to promote the arts by to creating opportunities for artists to explore the aesthetic geography along the borders and boundaries between art forms. Poetry, music, performance, and the visual arts are no longer discreet modes: hybrid forms, and interarts collaborations proliferate in global arenas.
Borderbend events encourage artists to use innovative aesthetic technologies and create strategies to engage and collaborate with artists from divergent communities in Chicago and the world. Multi-venue performances of music, poetry and visual arts exhibitions and interdisciplinary festivals reach beyond immediate cultural and aesthetic neighborhoods to cross borders and boundaries among participants, audiences and art forms.
Annual Borderbend projects include Chicago Calling and the Mingus Awareness Project. Other organizations partner with Borderbend to enrich and extend the reach of its project, such as the Experimental Piano Series, which is co-produced by the Chicago Composers Forum and Borderbend, in partnership with the PianoForte Foundation.
Chicago Artists Month
Throughout October, you are invited to meet hundreds of Chicago visual artists at exhibitions, workshops, open studios, tours, neighborhood art walks and more in venues across the city. Presented by the Chicago Department of Cultural Affairs in collaboration with more than 200 program partners, Chicago Artists Month aims to showcase the extraordinary talent and vibrancy of Chicago’s art community.
This year's theme, "The City as Studio,” explores the impact of the urban environment on Chicago artists and their work, and the contributions that artists make to the vitality of our city. The place where art is imagined and made, whether in a physical or virtual space, affects the idea, the process and the final product. And the art, once created, leaves a mark on the place it occupies. Chicago Artists Month 2010 looks at how the city influences art and artists, and how artists transform the city by contributing to civic dialogue and quality of life.
Links
• Spaces Speak, Are You Listening? Experiencing Aural Architecture by Barry Blesser and Linda-Ruth Salter: http://www.blesser.net/spacesSpeak.html
• Tony Schwartz: http://tinyurl.com/ndyjwp
WNUR (89.3 FM)
1877 Campus Drive
Evanston, IL 60208
(847) 866-9687
admission: $5 suggested donation for those attending the event, and this can be heard on 89.3FM and on www.wnur.org.
You are invited to attend “Aural Architecture,” which is part of the Fifth Annual Chicago Calling Arts Festival and Chicago Artists Month. “Aural Architecture” explores sonic properties of buildings and how natural soundscapes relate to the built environment, and it includes musicians interacting with buildings’ sounds. A sculptor presents a sculpture that pertains to this theme, and musicians in remote locations perform together telematically via Skype, with contributions of audio recordings from inside and around buildings --
• Julia Miller (guitar), Satya Gummuluri (vocals), Jeff Carter (sculpture), Sarah Ritch (cello), Dan Godston (trumpet), and Anthony Poretti (drums) at WNUR;
• Berg26 at a 19th Century morgue in Berlin -- Annie Goh begin_of_the_skype_highlighting end_of_the_skype_highlighting, Florian Goeschke, Thomas Wochnik, Anna Bäumer, Patrick Muller, Daniela Imhoff, Elen Flügge, Christof Wenta, Damian Rebgetz, and Alexander Sieber;
• Marcos Fernandes and Masashi Heirakuji at the Yamagin Archive (Shimonoseki, Japan);
• audio recordings contributed by Barry Blesser, Tony Schwartz and Jimmy Giuffre, and the Buckminster Fuller Institute
Fifth Annual Chicago Calling Arts Festival
Chicago Calling is a multi-arts collaboration festival. During the Fifth Annual Chicago Calling Arts Festival, people in Chicago work with people outside of Chicago -- both here in the U.S. and abroad. These collaborations include a range of art forms, such as music, dance, film, literature, and intermedia -- and they are prepared or improvised. Some Chicago Calling events involve live feeds between Chicago and other locations. 2010 Chicago Calling events include “Bicycles and the Arts” at Happy Dog Gallery, “Translations 2010” at the Reconstruction Room, “Seda Röder / Burton Greene - Harrison Bankhead Duo Concert” at Curtiss Hall in the Fine Arts Building, “Temperatures and Shapes / Arctic Live” at Elastic Sound & Vision Gallery, “I Remember Fred” at the Velvet Lounge, “Chicago Calling, Waiting for the Bus” at Café Ballou, “Aural Architecture” at WNUR, “Two Way Tarot Mirrors” at Myopic Books, “Facets of Southeast Asia” at the Zhou B. Art Center, “Chicago Equinix” at Soapbox Music, “The City as Studio / Curatorial Practice” at the Phantom Gallery Chicago Network Office, and “My Favorite Banned Books Abecedarian Read-Out” at the Logan Square Library.
Borderbend Arts Collective
Chicago Calling is organized by the Borderbend Arts Collective, a 501(c)(3) organization whose mission is to promote the arts by to creating opportunities for artists to explore the aesthetic geography along the borders and boundaries between art forms. Poetry, music, performance, and the visual arts are no longer discreet modes: hybrid forms, and interarts collaborations proliferate in global arenas.
Borderbend events encourage artists to use innovative aesthetic technologies and create strategies to engage and collaborate with artists from divergent communities in Chicago and the world. Multi-venue performances of music, poetry and visual arts exhibitions and interdisciplinary festivals reach beyond immediate cultural and aesthetic neighborhoods to cross borders and boundaries among participants, audiences and art forms.
Annual Borderbend projects include Chicago Calling and the Mingus Awareness Project. Other organizations partner with Borderbend to enrich and extend the reach of its project, such as the Experimental Piano Series, which is co-produced by the Chicago Composers Forum and Borderbend, in partnership with the PianoForte Foundation.
Chicago Artists Month
Throughout October, you are invited to meet hundreds of Chicago visual artists at exhibitions, workshops, open studios, tours, neighborhood art walks and more in venues across the city. Presented by the Chicago Department of Cultural Affairs in collaboration with more than 200 program partners, Chicago Artists Month aims to showcase the extraordinary talent and vibrancy of Chicago’s art community.
This year's theme, "The City as Studio,” explores the impact of the urban environment on Chicago artists and their work, and the contributions that artists make to the vitality of our city. The place where art is imagined and made, whether in a physical or virtual space, affects the idea, the process and the final product. And the art, once created, leaves a mark on the place it occupies. Chicago Artists Month 2010 looks at how the city influences art and artists, and how artists transform the city by contributing to civic dialogue and quality of life.
Links
• Spaces Speak, Are You Listening? Experiencing Aural Architecture by Barry Blesser and Linda-Ruth Salter: http://www.blesser.net/spacesSpeak.html
• Tony Schwartz: http://tinyurl.com/ndyjwp
Sunday, June 13, 2010
Inspiraling: Telematic Jazz Explorations @ NYU - UCSD
Inspiraling: Sun Jun 13 - 7:00 PM
San Diego 4:00 pm PDT
Admission Free.
NYC: 35 W. 4th Street, 6th Floor, New York NY, 10012. Music Technology Program, Steinhardt School, New York University. 7:00pmEDT
SAN DIEGO: Calit2, University of California San Diego, 9500 Gilman Drive, La Jolla, CA 92093-0436. Center for Research and Computing in the Arts (CRCA). Click here for irections. 4:00pmEDT
An unprecedented concert of new jazz works with renowned composers and performers for the telematic music medium. Telematic music is real-time performance via the internet by musicians in different geographic locations. Performers will be located in New York and San Diego, playing together as one trans-continental ensemble in real-time and "real-space". There will be local audiences as well as a world-wide webcast. The music explores elements of jazz fused with artistic properties of telematic technology including multiplicity, heterophony, swing, polyphony, synchronicity, and nodality. The transparent densities and intensities are manifested to create this new music reality of telematic jazz.
Composers - Mark Dresser, Gerry Hemingway, Oliver Lake, Sarah Weaver
San Diego Performers - Hafez Modirzadeh, saxophone, Michael Dessen, trombone, Alex Cline, percussion, Mark Dresser, contrabass
New York Performers - Amir ElSaffar, trumpet, Oliver Lake, saxophone, Min Xiao-Fen, pipa, Gerry Hemingway, percussion, Sarah Weaver, conductor
Coordinators - Mark Dresser and Sarah Weaver
Co-Presented by Roulette Intermedia, Inc.
San Diego 4:00 pm PDT
Admission Free.
NYC: 35 W. 4th Street, 6th Floor, New York NY, 10012. Music Technology Program, Steinhardt School, New York University. 7:00pmEDT
SAN DIEGO: Calit2, University of California San Diego, 9500 Gilman Drive, La Jolla, CA 92093-0436. Center for Research and Computing in the Arts (CRCA). Click here for irections. 4:00pmEDT
An unprecedented concert of new jazz works with renowned composers and performers for the telematic music medium. Telematic music is real-time performance via the internet by musicians in different geographic locations. Performers will be located in New York and San Diego, playing together as one trans-continental ensemble in real-time and "real-space". There will be local audiences as well as a world-wide webcast. The music explores elements of jazz fused with artistic properties of telematic technology including multiplicity, heterophony, swing, polyphony, synchronicity, and nodality. The transparent densities and intensities are manifested to create this new music reality of telematic jazz.
Composers - Mark Dresser, Gerry Hemingway, Oliver Lake, Sarah Weaver
San Diego Performers - Hafez Modirzadeh, saxophone, Michael Dessen, trombone, Alex Cline, percussion, Mark Dresser, contrabass
New York Performers - Amir ElSaffar, trumpet, Oliver Lake, saxophone, Min Xiao-Fen, pipa, Gerry Hemingway, percussion, Sarah Weaver, conductor
Coordinators - Mark Dresser and Sarah Weaver
Co-Presented by Roulette Intermedia, Inc.
Monday, March 8, 2010
telematic events in 2010
April
ResoNations Panel Videoconference
April 9, 2010 / 4:00PM-5:30PM EDT
Presented by the Music Technology Program Lecture Series, Steinhardt School, New York University
An international videoconference on the groundbreaking international telematic music concert for peace, ResoNations. Panelists will make presentations on the ResoNations concert and the ongoing project. Performance highlights will be shown. Local and online international audiences will participate in discussion.
ResoNations was an international telematic music concert for peace November 21, 2009 12:30amGMT performed by twenty-six renowned musicians in five international locations: United Nations Headquarters in New York, University of California San Diego, The Banff Centre in Alberta, Canada, Queens University Belfast, and Dongguk University in Seoul with support from the Korean Advanced Institute of Science and Technology (KAIST). Telematic music is real-time performance via the internet by musicians in different geographic locations. Four new contemporary music works for peace were performed by the composite ensemble: Hope's Dream by Mark Dresser and Sarah Weaver, Disparate Bodies by Pedro Rebelo, Rock, Paper, Scissors by Chris Chafe, and Green-colored Harmony by Jun Kim. The performance took place on high-bandwidth internet with JackTrip audio software developed by Chris Chafe and Access Grid video software developed at Argonne National Laboratory. There were audiences in each location and a world-wide webcast.
ResoNations was part of the annual Innovation Talks Symposia held at the United Nations Headquarters New York by World Association of Former United Nations Internes and Fellows (WAFUNIF), a United Nations Peace Messenger. WAFUNIF Arts For Peace and the Permanent Mission of Romania to the United Nations sponsored the event. Arts for Peace has also worked with artists Mark Dresser and Sarah Weaver as a sponsor of Deep Tones for Peace, another recent telematic music project, and looks forward to further opportunities to support the work of the United Nations through telematic music and technology.
Greeting: Dr. Agnieszka Roginska, Associate Director, Assistant Professor, Music Technology Program, Steinhardt School, New York University
Introductions: Dr. Robert Rowe, Vice-Chair, Director of Music Composition, Steinhardt School, Department of Music and Performing Arts Professions, New York University
Dean Sally Blount, Leonard N. Stern School of Business, Undergraduate College, Advisor to the President and Provost for Global Integration, New York University
Panelists and Audience Locations:
Site 1
New York University, Steinhardt School, Music Technology Program
Public Audience: 35 West 4th Street, 6th Floor Conference Room, New York, New York 10003
Sarah Weaver, Moderator
ResoNations Coordinator, Composer, Performer, United Nations Site Director
Arts for Peace Music and Technology Director, World Association of Former United Nations Internes and Fellows (WAFUNIF)
Graduate Student, Music Technology Program, Steinhardt School, New York University
Dean Leslie
ResoNations United Nations Site Director
Presidential Attaché, Arts for Peace Director, World Association of Former United Nations Internes and Fellows (WAFUNIF)
Frank Dominguez
ResoNations Development
Arts for Peace Development Director, World Association of Former United Nations Internes and Fellows (WAFUNIF)
Pedro Rebelo
ResoNations Composer, Performer, Belfast Site Director
Professor, Sonic Arts Research Centre (SARC) Queen's University Belfast
Franziska Schroeder
ResoNations Performer, Belfast Site Director
Professor, Sonic Arts Research Centre (SARC) Queen's University Belfast
Woon Seung Yeo
ResoNations Performer, Technologist, Seoul Site Director
Professor, Audio and Interactive Media (AIM) Lab, Graduate School of Culture Technology (GSCT), Korea Advanced Institute of Science and Technology (KAIST), Seoul, Republic of Korea
Site 2
University of California San Diego, Calit2 at UCSD
Public Audience: Atkinson Hall, Room 2004, UCSD - La Jolla, California 92093-0037
Mark Dresser
ResoNations Composer, Performer, San Diego Site Director
Dean's Fund for Innovation in Arts and Humanities, University of California, San Diego
Center for Research in Computing and the Arts (CRCA), Professor, University of California, San Diego
Todd Margolis
ResoNations Technologist
Center for Research in Computing and the Arts (CRCA), University of California San Diego
Site 3
Stanford University
Center for Computer Research in Music and Acoustics (CCRMA), Palo Alto, California
Chris Chafe
ResoNations Coordinator, Composer, Performer, Software Designer, Banff Site Director
iCore Visiting Professor, The Banff Centre
Professor, Director of CCRMA, Stanford University
Site 4
Dongguk University
Musical Arts and Technology (MARTE) Lab, Seoul, Republic of Korea
Jun Kim
ResoNations Composer, Seoul Site Director
Professor, Musical Arts and Technology (MARTE) Lab, Dongguk University
Online Audience Participation:
Multimedia Art Research Centres and Electronic Laboratories (MARCEL) is a permanent high band-width network dedicated to artistic, educational and cultural experimentation, exchange between art and science and collaboration between art and industry with 150 members in 22 countries. Members will view the panel through the MARCEL Access Grid venue and submit questions online.
Public Webcast:
Hosted by the MARCEL Network\
For Full Listing of ResoNations 2009 Musicians, Technologists, and Further Information, View the ResoNations Website
* * *
4/17: Kamal Sabran (Ipoh, Malasia), Dan Godston (Chicago), Bruce Mak (electric guitar), and Michael Staron (upright bass)
* * *
May
5/12: "Jazz Telemotions: A Networked Trio Concert" by Mark Dresser, Myra Melford, and Michael Dessen with media artist John Crawford and scenic designer Victoria Petrovich
* * *
June
6/12: "Inspiraling: Telematic Jazz Explorations"
* * *
July
TBA
* * *
August
TBA
* * *
September
* * *
October
* * *
November
* * *
December
Check soon for more updates. If you know about any upcoming telematic events, please write info about them in the comment section, and this will be updated. Thanks.
ResoNations Panel Videoconference
April 9, 2010 / 4:00PM-5:30PM EDT
Presented by the Music Technology Program Lecture Series, Steinhardt School, New York University
An international videoconference on the groundbreaking international telematic music concert for peace, ResoNations. Panelists will make presentations on the ResoNations concert and the ongoing project. Performance highlights will be shown. Local and online international audiences will participate in discussion.
ResoNations was an international telematic music concert for peace November 21, 2009 12:30amGMT performed by twenty-six renowned musicians in five international locations: United Nations Headquarters in New York, University of California San Diego, The Banff Centre in Alberta, Canada, Queens University Belfast, and Dongguk University in Seoul with support from the Korean Advanced Institute of Science and Technology (KAIST). Telematic music is real-time performance via the internet by musicians in different geographic locations. Four new contemporary music works for peace were performed by the composite ensemble: Hope's Dream by Mark Dresser and Sarah Weaver, Disparate Bodies by Pedro Rebelo, Rock, Paper, Scissors by Chris Chafe, and Green-colored Harmony by Jun Kim. The performance took place on high-bandwidth internet with JackTrip audio software developed by Chris Chafe and Access Grid video software developed at Argonne National Laboratory. There were audiences in each location and a world-wide webcast.
ResoNations was part of the annual Innovation Talks Symposia held at the United Nations Headquarters New York by World Association of Former United Nations Internes and Fellows (WAFUNIF), a United Nations Peace Messenger. WAFUNIF Arts For Peace and the Permanent Mission of Romania to the United Nations sponsored the event. Arts for Peace has also worked with artists Mark Dresser and Sarah Weaver as a sponsor of Deep Tones for Peace, another recent telematic music project, and looks forward to further opportunities to support the work of the United Nations through telematic music and technology.
Greeting: Dr. Agnieszka Roginska, Associate Director, Assistant Professor, Music Technology Program, Steinhardt School, New York University
Introductions: Dr. Robert Rowe, Vice-Chair, Director of Music Composition, Steinhardt School, Department of Music and Performing Arts Professions, New York University
Dean Sally Blount, Leonard N. Stern School of Business, Undergraduate College, Advisor to the President and Provost for Global Integration, New York University
Panelists and Audience Locations:
Site 1
New York University, Steinhardt School, Music Technology Program
Public Audience: 35 West 4th Street, 6th Floor Conference Room, New York, New York 10003
Sarah Weaver, Moderator
ResoNations Coordinator, Composer, Performer, United Nations Site Director
Arts for Peace Music and Technology Director, World Association of Former United Nations Internes and Fellows (WAFUNIF)
Graduate Student, Music Technology Program, Steinhardt School, New York University
Dean Leslie
ResoNations United Nations Site Director
Presidential Attaché, Arts for Peace Director, World Association of Former United Nations Internes and Fellows (WAFUNIF)
Frank Dominguez
ResoNations Development
Arts for Peace Development Director, World Association of Former United Nations Internes and Fellows (WAFUNIF)
Pedro Rebelo
ResoNations Composer, Performer, Belfast Site Director
Professor, Sonic Arts Research Centre (SARC) Queen's University Belfast
Franziska Schroeder
ResoNations Performer, Belfast Site Director
Professor, Sonic Arts Research Centre (SARC) Queen's University Belfast
Woon Seung Yeo
ResoNations Performer, Technologist, Seoul Site Director
Professor, Audio and Interactive Media (AIM) Lab, Graduate School of Culture Technology (GSCT), Korea Advanced Institute of Science and Technology (KAIST), Seoul, Republic of Korea
Site 2
University of California San Diego, Calit2 at UCSD
Public Audience: Atkinson Hall, Room 2004, UCSD - La Jolla, California 92093-0037
Mark Dresser
ResoNations Composer, Performer, San Diego Site Director
Dean's Fund for Innovation in Arts and Humanities, University of California, San Diego
Center for Research in Computing and the Arts (CRCA), Professor, University of California, San Diego
Todd Margolis
ResoNations Technologist
Center for Research in Computing and the Arts (CRCA), University of California San Diego
Site 3
Stanford University
Center for Computer Research in Music and Acoustics (CCRMA), Palo Alto, California
Chris Chafe
ResoNations Coordinator, Composer, Performer, Software Designer, Banff Site Director
iCore Visiting Professor, The Banff Centre
Professor, Director of CCRMA, Stanford University
Site 4
Dongguk University
Musical Arts and Technology (MARTE) Lab, Seoul, Republic of Korea
Jun Kim
ResoNations Composer, Seoul Site Director
Professor, Musical Arts and Technology (MARTE) Lab, Dongguk University
Online Audience Participation:
Multimedia Art Research Centres and Electronic Laboratories (MARCEL) is a permanent high band-width network dedicated to artistic, educational and cultural experimentation, exchange between art and science and collaboration between art and industry with 150 members in 22 countries. Members will view the panel through the MARCEL Access Grid venue and submit questions online.
Public Webcast:
Hosted by the MARCEL Network\
For Full Listing of ResoNations 2009 Musicians, Technologists, and Further Information, View the ResoNations Website
* * *
4/17: Kamal Sabran (Ipoh, Malasia), Dan Godston (Chicago), Bruce Mak (electric guitar), and Michael Staron (upright bass)
* * *
May
5/12: "Jazz Telemotions: A Networked Trio Concert" by Mark Dresser, Myra Melford, and Michael Dessen with media artist John Crawford and scenic designer Victoria Petrovich
* * *
June
6/12: "Inspiraling: Telematic Jazz Explorations"
* * *
July
TBA
* * *
August
TBA
* * *
September
* * *
October
* * *
November
* * *
December
Check soon for more updates. If you know about any upcoming telematic events, please write info about them in the comment section, and this will be updated. Thanks.
Saturday, March 6, 2010
audio from recent telematic performance events
April 17th performance event with musicians in Chicago and Malaysia
1st segment, 2nd segment, 3rd segment, 4th segment, 5th segment, 6th segment, 7th segment
AUDIO FROM TELEMATIC PERFORMANCE EVENTS IN 2009
Sonic Bridge 2 (March 23rd)
1st segment, 2nd segment, 3rd segment, 4th segment, 5th segment, 6th segment, 7th segment, 8th segment, 9th segment, 10th segment
* + > \ < ^
Fourth Annual Chicago Calling event at Brown Rice (October 2nd)
performers included: Jon Godston (soprano saxophone / Chicago), Gregory O'Drobinak — Arc of the Oven / Chicago), Williwaw (amplified ukulele / Glasgow), Steve Dalachinsky (poetry / New York City), Jim Ryan (kalimba / Oakland, Dan Godston (trumpet / Chicago), Michael Staron (bass / Chicago), and Jimmy Bennington (drums / Chicago)
first segment, second segment
CCAF4 performance event -- musicians at WNUR and Mills College (October 8th):
Performers at WNUR included Saalik Ziyad (vocals), Jayve Montgomery (reeds and percussion), Dan Godston (trumpet), Mike Staron (upright bass), and Matt Weston (percussion). Performers at Mills College included Karl A.D. Evangelista (guitar), Eric Glick Rieman (piano, toy piano, celeste, melodica), Curtis McKinney (bass), Lona Kozik (piano), Drew Ceccato (reeds), and Krzysztof Golinski (drumset)
1st segment (7:16), 2nd segment (11:08), 3rd segment (10:11), 4th segment (5:00), 5th segment (7:47), 6th segment (6:33), 7th segment (9:42), 8th segment (11:22), entire audio file (1 hr 9 min)
* + > \ < ^
Chicago-New Orleans panel discussion (October 11th)
* + > \ < ^
If you have been involved with a telematic performance event recently, and you'd like to let people know about audio, video, or other kinds of documentation that happened, please comment below and this can be updated with more info and links. Thanks.
1st segment, 2nd segment, 3rd segment, 4th segment, 5th segment, 6th segment, 7th segment
AUDIO FROM TELEMATIC PERFORMANCE EVENTS IN 2009
Sonic Bridge 2 (March 23rd)
1st segment, 2nd segment, 3rd segment, 4th segment, 5th segment, 6th segment, 7th segment, 8th segment, 9th segment, 10th segment
* + > \ < ^
Fourth Annual Chicago Calling event at Brown Rice (October 2nd)
performers included: Jon Godston (soprano saxophone / Chicago), Gregory O'Drobinak — Arc of the Oven / Chicago), Williwaw (amplified ukulele / Glasgow), Steve Dalachinsky (poetry / New York City), Jim Ryan (kalimba / Oakland, Dan Godston (trumpet / Chicago), Michael Staron (bass / Chicago), and Jimmy Bennington (drums / Chicago)
first segment, second segment
CCAF4 performance event -- musicians at WNUR and Mills College (October 8th):
Performers at WNUR included Saalik Ziyad (vocals), Jayve Montgomery (reeds and percussion), Dan Godston (trumpet), Mike Staron (upright bass), and Matt Weston (percussion). Performers at Mills College included Karl A.D. Evangelista (guitar), Eric Glick Rieman (piano, toy piano, celeste, melodica), Curtis McKinney (bass), Lona Kozik (piano), Drew Ceccato (reeds), and Krzysztof Golinski (drumset)
1st segment (7:16), 2nd segment (11:08), 3rd segment (10:11), 4th segment (5:00), 5th segment (7:47), 6th segment (6:33), 7th segment (9:42), 8th segment (11:22), entire audio file (1 hr 9 min)
* + > \ < ^
Chicago-New Orleans panel discussion (October 11th)
* + > \ < ^
If you have been involved with a telematic performance event recently, and you'd like to let people know about audio, video, or other kinds of documentation that happened, please comment below and this can be updated with more info and links. Thanks.
Wednesday, December 9, 2009
Another Language Performing Arts Company
Another Language Performing Arts Company and the University of Utah is searching for dancers to participate in the telematic cinema performance of InterPlay: Event Horizon, choreographed and directed by Elizabeth Miklavcic (Artistic Director). Prospective dancers must be affiliated with an Internet2 institution and have access to an Access Grid facility. The performances will be March 26 - April 04, 2010, with technical and dress rehearsals during March 22 - 25. This project is a celebration of Another Language's 25th anniversary and marks our eighth InterPlay performance.
Please pass this information on to anyone who might have interest. For more information please contact me at jimmy.miklavcic[at]utah.edu or visit www.anotherlanguage.org/interplay
thanks,
Jimmy
Please pass this information on to anyone who might have interest. For more information please contact me at jimmy.miklavcic[at]utah.edu or visit www.anotherlanguage.org/interplay
thanks,
Jimmy
Tuesday, September 29, 2009
Chicago Calling Telematic Performance Event at WNUR and Mills College
Thursday, October 8, 2009 (7:30-9:30 p.m.)
You are invited to attend this Fourth Annual Chicago Calling Arts Festival event, which features a telematic performance involving musical ensembles at WNUR and at Mills College (Oakland, CA).
LOCATIONS:
WNUR 89.3 FM
1877 Campus Drive
Northwestern University
Evanston, IL 60208
Concert Hall
Mills College
5000 MacArthur Blvd.
Oakland, CA 94613
Performers at WNUR include:
Saalik Ziyad -- vocals
Jayve Montgomery -- reeds and percussion
Dan Godston -- trumpet
Mike Staron -- upright bass
Matt Weston -- percussion
Performers at Mills College include:
Karl A.D. Evangelista -- guitar
Eric Glick Rieman -- piano, toy piano, celeste, melodica
Curtis McKinney -- bass
Lona Kozik -- piano
Drew Ceccato -- reeds
Krzysztof Golinski -- drumset
For those who would like to attend this event at WNUR, there is a $5 suggested donation. Otherwise, you can listen to it at 89.3 FM or online.
* * * *
The Fourth Annual Chicago Calling Arts Festival (CCAF4) takes place October 1-11, 2009, featuring Chicago-based artists collaborating in performances and projects with artists living in other locations -- both here in the U.S. and abroad. These collaborations will be prepared or improvised, and some performances will involve live feeds between Chicago and elsewhere. CCAF4 venues include: Little Black Pearl Art & Design Center, Claudia Cassidy Theater at the Chicago Cultural Center, The Velvet Lounge, Elastic Sound & Vision Gallery, Epiphany Church, Columbia College Concert Hall, WNUR, Mercury Café, WLUW, Myopic Bookstore, Café Ballou, Quaker House, Hotti Biscotti, Brown Rice, and other venues. http://www.chicagocalling.org
CCAF4 is being organized by the Borderbend Arts Collective, a not for profit organization. Borderbend’s mission is to promote the arts, to create opportunities for artists to explore new directions in and between art forms, and to engage the community.
Chicago Calling is part of Chicago Artists Month, the fourteenth annual celebration of Chicago’s vibrant visual art community. In October, more than 200 exhibitions of emerging and established artists, openings, demonstrations, tours, open studios and neighborhood art walks take place at galleries, cultural centers and arts buildings throughout the city. For more information, call 312.744.6630. Chicago Artists Month is coordinated by the Chicago Department of Cultural Affairs and is sponsored by the Chicago Office of Tourism with additional support from 3Arts.
Sunday, March 8, 2009
performance configurations: recipes & ingredients
Here are several possibilities:
* Artists in different locations improvise with each other, in an open ended way.
* Come up with musical configurations. For instance, a Musician A in Location A improvises with Musician A in Location B, then MA in LA improvises with MB in LB.
* A schematic can be drawn up so a clearly defined set of sequences can help the performers develop their performances around mutually understood sets of guidelines / scaffolding.
* * *
If you'd like to suggest more performance configurations be included, please mention those in a comment and I could add those to this list.
* Artists in different locations improvise with each other, in an open ended way.
* Come up with musical configurations. For instance, a Musician A in Location A improvises with Musician A in Location B, then MA in LA improvises with MB in LB.
* A schematic can be drawn up so a clearly defined set of sequences can help the performers develop their performances around mutually understood sets of guidelines / scaffolding.
* * *
If you'd like to suggest more performance configurations be included, please mention those in a comment and I could add those to this list.
Thursday, February 26, 2009
How Are You Doing?
Chicago artist Laura Mayer has launched an interesting new audio art project - http://howareyoudoingproject.com Anyone can call in on an 800 number and record their answer. The artist then curates and posts the best material culled from these random voicemails and posts it on the website.
This is the type of audio art project I've long wanted to do. It's interactive, and involves collaboration with an anonymous public via phones. There are a bunch of new web tools springing up that allows work like this to be created. Just a few years ago these free/low cost tools didn't exist. I'll be highlighting a few more of these tools in future posts.
This is the type of audio art project I've long wanted to do. It's interactive, and involves collaboration with an anonymous public via phones. There are a bunch of new web tools springing up that allows work like this to be created. Just a few years ago these free/low cost tools didn't exist. I'll be highlighting a few more of these tools in future posts.
Saturday, February 21, 2009
Sonic Bridge 2
a telematic performance event
Tuesday, March 24, 2009 (8 p.m. CST / 7 p.m. MST / midnight Buenos Aires)
Hundreds of miles of wall and fence stretch along the U.S.-Mexico border, and the U.S. Immigration Policy is going in a different direction now, as the Obama administration moves forward. Performers at Elastic Sound & Vision Gallery will be part of a telematic performance event which will perpendicularly run through the U.S.-Mexico border wall/fence, in conjunction with sound artists and musicians who live in Tucson, Mexico City, Vera Cruz, and Buenos Aires. Artists in these remote locations will interact with each other in real time. Although people have many different opinions about what should be done about the U.S.-Mexico border/fence and the U.S.’ Immigration Policy, it is a good that ideas and sound can travel freely across borders.
at Elastic Sound & Vision Gallery (Chicago)
Amanda Gutierrez -- laptop
Dan Godston -- trumpet & small instruments
Jayve Mongtomery -- saxophone & percussion
Carlos Cumpian -- poetry
Noe Cuellar -- laptop
Wiliwaw -- amplified ukulele
Ian Hatcher
at KAMP (Tucson):
Glenn Weyant -- Kestrel 920
Steev Hise -- electronics & samples
streaming live at http://kamp.arizona.edu/
in Mexico City:
Kai Kraatz -- Nordlead
Daniel Lara -- FAT BOX
Antonio Dominguez -- video
in Veracruz:
Ernesto Romero -- laptop
in Buenos Aires:
Buenissimo Collective
Valeria Cammano Caamaño
Agustin Genoud
Leonello Zambon
Josefina Zuain
Azucena Losana -- video
Elastic Sound & Vision Gallery
2830 N. Milwaukee Ave., 2nd floor
Chicago, IL
$7 suggested donation
Sonic Bridge 2 happens during the week of Sound Megalopolis, in Mexico City.
Click here to visit the Sonic Bridge blog.
audio from Sonic Bridge 2:
1st segment
2nd segment
3rd segment
4th segment
5th segment
6th segment
7th segment
8th segment
9th segment
10th segment
Tuesday, March 24, 2009 (8 p.m. CST / 7 p.m. MST / midnight Buenos Aires)
Hundreds of miles of wall and fence stretch along the U.S.-Mexico border, and the U.S. Immigration Policy is going in a different direction now, as the Obama administration moves forward. Performers at Elastic Sound & Vision Gallery will be part of a telematic performance event which will perpendicularly run through the U.S.-Mexico border wall/fence, in conjunction with sound artists and musicians who live in Tucson, Mexico City, Vera Cruz, and Buenos Aires. Artists in these remote locations will interact with each other in real time. Although people have many different opinions about what should be done about the U.S.-Mexico border/fence and the U.S.’ Immigration Policy, it is a good that ideas and sound can travel freely across borders.
at Elastic Sound & Vision Gallery (Chicago)
Amanda Gutierrez -- laptop
Dan Godston -- trumpet & small instruments
Jayve Mongtomery -- saxophone & percussion
Carlos Cumpian -- poetry
Noe Cuellar -- laptop
Wiliwaw -- amplified ukulele
Ian Hatcher
at KAMP (Tucson):
Glenn Weyant -- Kestrel 920
Steev Hise -- electronics & samples
streaming live at http://kamp.arizona.edu/
in Mexico City:
Kai Kraatz -- Nordlead
Daniel Lara -- FAT BOX
Antonio Dominguez -- video
in Veracruz:
Ernesto Romero -- laptop
in Buenos Aires:
Buenissimo Collective
Valeria Cammano Caamaño
Agustin Genoud
Leonello Zambon
Josefina Zuain
Azucena Losana -- video
Elastic Sound & Vision Gallery
2830 N. Milwaukee Ave., 2nd floor
Chicago, IL
$7 suggested donation
Sonic Bridge 2 happens during the week of Sound Megalopolis, in Mexico City.
Click here to visit the Sonic Bridge blog.
audio from Sonic Bridge 2:
1st segment
2nd segment
3rd segment
4th segment
5th segment
6th segment
7th segment
8th segment
9th segment
10th segment
Thursday, February 12, 2009
Distributed Audience
I watched the Mark Dresser performance video and really enjoyed the music. The issue that really struck me though was the lack of a distributed audience. We often struggle with this problem in our own performances. I feel that a telematic performance should include, in its process, the development of a distributed audience that shares in the experience. So far, many of the telematic performances that I have seen or read about focus the attention to building an audience at the host site. For example, in Mark Dresser's performance, there seemed to be audience at the main theater and none at the other two sites.
Another Language continues to work on this problem. We see it manifested in several ways. One site of collaborators are graduate students that have the drive and desire to be involved in developing this form but do not have the technical or facility support from their respective department. They must perform in a classroom because the performance spaces do not have the computing or network infrastructure to support their particpation. Other sites utilze adapted visualization labs associated with their institution's high performance computing facilities.
I really would like to see the next phase of telematic performance really focus on distributed audiences. I think this is the only way to increase the attention to this nebulous art form.
--------------------
Thanks for your comment. What you saw gave you an inaccurate idea of what was happening. The performance had three local audiences. Also there was an Ichat stream between the three locations. In addition there was the perspective you saw posted on youtube which showed the performance from one vantage point only, the San Diego, space.
We had hoped to create one equally distributed virtual space, but it was beyond our resources at the time. It is a good point, however.
Mark Dresser
Another Language continues to work on this problem. We see it manifested in several ways. One site of collaborators are graduate students that have the drive and desire to be involved in developing this form but do not have the technical or facility support from their respective department. They must perform in a classroom because the performance spaces do not have the computing or network infrastructure to support their particpation. Other sites utilze adapted visualization labs associated with their institution's high performance computing facilities.
I really would like to see the next phase of telematic performance really focus on distributed audiences. I think this is the only way to increase the attention to this nebulous art form.
--------------------
Thanks for your comment. What you saw gave you an inaccurate idea of what was happening. The performance had three local audiences. Also there was an Ichat stream between the three locations. In addition there was the perspective you saw posted on youtube which showed the performance from one vantage point only, the San Diego, space.
We had hoped to create one equally distributed virtual space, but it was beyond our resources at the time. It is a good point, however.
Mark Dresser
Friday, January 23, 2009
Sonic Bridge
Friday, January 23 (9:30 p.m. CST / 1:30 a.m. Buenos Aires)
Hundreds of miles of wall and fence stretch along the U.S.-Mexico border, and the U.S. Immigration Policy could change soon since Barack Obama is now the U.S.’s 44th President. Performers at Brown Rice were part of a telematic performance event which perpendicularly ran through the U.S.-Mexico border wall/fence, in conjunction with sound artists and musicians who live here in Mexico City and Buenos Aires. Artists in these remote locations interacted with each other in real time --
1. in Buenos Aires: Azucena Losana, Matthew Golombisky (upright bass), Jorge Crowe, and Colectivo BUENISSSIMO (Agustin Genoud, Josefina Zuain, Valeria Caamaño, and Leonello Zambon)
2. in Mexico City: Amanda Gutierrez, Ezequiel Netri Collective with Tito, Kai Kraatz, Jaime Villareal, and Changorama Collective (Rafael Cauto, Zaratustra Vasquez, and David Somellera)
3. at Brown Rice: Christopher Preissing (flute), Gregory O'Drobinak (arc of the oven), Williwaw (amplified ukulele), Jayve Montgomery (reeds and percussion), and Dan Godston (trumpet)
Although people have many different opinions about what should be done about the U.S.-Mexico border/fence and the U.S.’ Immigration Policy, it is a good that ideas and sound can travel freely across borders.
Brown Rice
4432 N. Kedzie Ave., 1st floor
Chicago, IL 60625
Sonic Bridge blog
Brown Rice channel on ustream.tv
Hundreds of miles of wall and fence stretch along the U.S.-Mexico border, and the U.S. Immigration Policy could change soon since Barack Obama is now the U.S.’s 44th President. Performers at Brown Rice were part of a telematic performance event which perpendicularly ran through the U.S.-Mexico border wall/fence, in conjunction with sound artists and musicians who live here in Mexico City and Buenos Aires. Artists in these remote locations interacted with each other in real time --
1. in Buenos Aires: Azucena Losana, Matthew Golombisky (upright bass), Jorge Crowe, and Colectivo BUENISSSIMO (Agustin Genoud, Josefina Zuain, Valeria Caamaño, and Leonello Zambon)
2. in Mexico City: Amanda Gutierrez, Ezequiel Netri Collective with Tito, Kai Kraatz, Jaime Villareal, and Changorama Collective (Rafael Cauto, Zaratustra Vasquez, and David Somellera)
3. at Brown Rice: Christopher Preissing (flute), Gregory O'Drobinak (arc of the oven), Williwaw (amplified ukulele), Jayve Montgomery (reeds and percussion), and Dan Godston (trumpet)
Although people have many different opinions about what should be done about the U.S.-Mexico border/fence and the U.S.’ Immigration Policy, it is a good that ideas and sound can travel freely across borders.
Brown Rice
4432 N. Kedzie Ave., 1st floor
Chicago, IL 60625
Sonic Bridge blog
Brown Rice channel on ustream.tv
Monday, January 19, 2009
Deep Tones for Peace
From Deep Tones for Peace: "Deep Tones for Peace Now! is a daily streaming of live meditations for peace in the Middle East over the internet using ustream.tv." On April 25, a group of bassists including Thierry Barbe, Han Han Cho, Mark Dresser, Lisle Ellis, Dean Ferrell, Ken Filiano, Irina-Kalina Goudeva, Henry Grimes, J.C. Jones, Michael Klinghoffer, Rob Nairn, Chi Chi Nwanoku, William Parker, Barre Phillips, David Phillips, Bertram Turetzky, Sarah Weaver, and James Ilgenfritz will perform an internet performance between Jerusalem and New York. This is an excellent cause, and what a great way to express the desire for peace.
Friday, January 16, 2009
telematic arts-related publications
BOOKS
The Robot in the Garden, by Ken Goldberg
Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness, edited by Edward Shanken
Women, Art, and Technology, by Judy Malloy
* * *
MAGAZINES
The Leonardo Music Journal
Networked Music Review
* * *
ARTICLES
"Networked Sonic Spaces," by Jerome Joy and Peter Sinclair
The Robot in the Garden, by Ken Goldberg
Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness, edited by Edward Shanken
Women, Art, and Technology, by Judy Malloy
* * *
MAGAZINES
The Leonardo Music Journal
Networked Music Review
* * *
ARTICLES
"Networked Sonic Spaces," by Jerome Joy and Peter Sinclair
Thursday, January 15, 2009
history of telematic arts
A History of Telematic Art: Australian Perspective
Networked Music & Sound Art Timeline, by Jerome Joy
If you'd like to add a comment to this post, I will add more to this.
Networked Music & Sound Art Timeline, by Jerome Joy
If you'd like to add a comment to this post, I will add more to this.
contributors to the field of telematic arts
Robert Adrian (Vienna)
Keith Armstrong
Roy Ascott
Nurit Bar-Shai
Bill Bartlett
The Western Front
Liza Bear
Liza Bear's work on VDB
John Bischoff
Chris Brown
Chris Chafe, CCRMA Director, Musician
Scott Deal
Telematic Collective
Mark Dresser
e-lecture entitled "Telematic Performance"
"Tapping into a Mesmerizing Telematic Tapestry at UCSD" (San Diego Union-Tribune article, 11/2/2008)
telematic performance video on youtube
Experiments in Art and Technology (E.A.T.)
E.A.T. Revisited (2008)
Kit Galloway
Electronic Cafe International
Satellite Arts Project '77
Jesse Gilbert
Ken Goldberg
Jo-Anne Green
Jerome Joy (France)
Eduardo Kac
Rafael Lozano-Hemmer
Judy Malloy
Elizabeth Miklavcic and Jimmy Miklavcic
with Another Language Performing Arts Company and the University of Utah Center for High Performance Computing. They have been creating telematic performances since 2003.
Performances created by Another Language (Salt Lake City)
InterPlay: Intransitive Senses (2003)
InterPlay: Hallucinations (2004)
InterPlay: Loose Minds in a Box (2005)
InterPlay: Dancing on the Banks of Packet Creek (2006)
InterPlay: Nel Tempo di Sogno (2007)
InterPlay: Carnivale (2008)
Nam June Paik
Good Morning, Mr. Orwell (1984)
Paul Serman (United Kingdom)
Helen Thorington
Pauline Oliveros
Deep Listening Institute
The Telematic Circle
Sherri Rabinovitz
Electronic Cafe International
Satellite Arts Project '77
Sarah Weaver
Norman White (Canada)
interview with Norman White on the Open Space Gallery website
Telephonic Arm Wrestling (1986)
Robert Whitman
If you add names of individuals in a comment, I could add those to this list.
Keith Armstrong
Roy Ascott
Nurit Bar-Shai
Bill Bartlett
The Western Front
Liza Bear
Liza Bear's work on VDB
John Bischoff
Chris Brown
Chris Chafe, CCRMA Director, Musician
Scott Deal
Telematic Collective
Mark Dresser
e-lecture entitled "Telematic Performance"
"Tapping into a Mesmerizing Telematic Tapestry at UCSD" (San Diego Union-Tribune article, 11/2/2008)
telematic performance video on youtube
Experiments in Art and Technology (E.A.T.)
E.A.T. Revisited (2008)
Kit Galloway
Electronic Cafe International
Satellite Arts Project '77
Jesse Gilbert
Ken Goldberg
Jo-Anne Green
Jerome Joy (France)
Eduardo Kac
Rafael Lozano-Hemmer
Judy Malloy
Elizabeth Miklavcic and Jimmy Miklavcic
with Another Language Performing Arts Company and the University of Utah Center for High Performance Computing. They have been creating telematic performances since 2003.
Performances created by Another Language (Salt Lake City)
InterPlay: Intransitive Senses (2003)
InterPlay: Hallucinations (2004)
InterPlay: Loose Minds in a Box (2005)
InterPlay: Dancing on the Banks of Packet Creek (2006)
InterPlay: Nel Tempo di Sogno (2007)
InterPlay: Carnivale (2008)
Nam June Paik
Good Morning, Mr. Orwell (1984)
Paul Serman (United Kingdom)
Helen Thorington
Pauline Oliveros
Deep Listening Institute
The Telematic Circle
Sherri Rabinovitz
Electronic Cafe International
Satellite Arts Project '77
Sarah Weaver
Norman White (Canada)
interview with Norman White on the Open Space Gallery website
Telephonic Arm Wrestling (1986)
Robert Whitman
If you add names of individuals in a comment, I could add those to this list.
examples of telematic performances
IN NORTH AMERICA
"North by South" (AlienNation, Houston TX, 5/21/1998)
telematic performances produced by Another Language:
InterPlay: Intransitive Senses (2003)
InterPlay: Hallucinations (2004)
InterPlay: Loose Minds in a Box (2005)
InterPlay: Dancing on the Banks of Packet Creek (2006)
InterPlay: Nel Tempo di Sogno (2007)
InterPlay: Carnivale (2008)
InterPlay: AnARTomy (2009)
IN LATIN AMERICA
IN EUROPE
IN ASIA
IN AFRICA
If you'd like to comment on this post, I could add to this.
"North by South" (AlienNation, Houston TX, 5/21/1998)
telematic performances produced by Another Language:
InterPlay: Intransitive Senses (2003)
InterPlay: Hallucinations (2004)
InterPlay: Loose Minds in a Box (2005)
InterPlay: Dancing on the Banks of Packet Creek (2006)
InterPlay: Nel Tempo di Sogno (2007)
InterPlay: Carnivale (2008)
InterPlay: AnARTomy (2009)
IN LATIN AMERICA
IN EUROPE
IN ASIA
IN AFRICA
If you'd like to comment on this post, I could add to this.
telematic performance check list
Here are several things to cover to consider as you put together your own telematic performance:
* Make sure that all the artists have had enough tech runs so they are comfortable with the hardware and software they are using.
* Make sure that everyone involved is aware of the range of possibilities and limitations that are associated to telematic performances. It would be a good idea for all the artists involved with an upcoming telematic performance to explore the history, current advances, and upcoming potential regarding telematic performances, so they can have a realistic sense of the possibilities and limitations.
* How can the parameters suggested by telematic performances spark ideas about how to creatively investigate and explore new creative possibilities?
* Make sure you have given yourself enough time for tech set up, on the day of the performance.
* Make sure that each remote location has sufficient tech support. The tech support people should be in a chat session while the performance is happening -- so progress can be monitored, dynamics can be communicated to other locations, and creative and meaningful troubleshooting can occur.
* All the artists should be on the same page, in terms of of the performance plan. Whether the event will involve open improvisation, compositions, time constraints, or other dynamics and variables, everyone should be clear with each other and in agreement about what the plan is. If one plan has to be abandoned or adjusted to accommodate a contingency plan, is everyone all right with this potential?
* Is everyone comfortable with "rolling with it," in case something does go awry? Sometimes what seems like a mistake can be integrated into the creative process, with interesting results. If it's not going well, everyone should be comfortable with the performance stopping (at least temporarily) until tech issues can be resolved.
* * *
What are some other possibilities? If you'd like to add a comment, I could add more to this post.
* Make sure that all the artists have had enough tech runs so they are comfortable with the hardware and software they are using.
* Make sure that everyone involved is aware of the range of possibilities and limitations that are associated to telematic performances. It would be a good idea for all the artists involved with an upcoming telematic performance to explore the history, current advances, and upcoming potential regarding telematic performances, so they can have a realistic sense of the possibilities and limitations.
* How can the parameters suggested by telematic performances spark ideas about how to creatively investigate and explore new creative possibilities?
* Make sure you have given yourself enough time for tech set up, on the day of the performance.
* Make sure that each remote location has sufficient tech support. The tech support people should be in a chat session while the performance is happening -- so progress can be monitored, dynamics can be communicated to other locations, and creative and meaningful troubleshooting can occur.
* All the artists should be on the same page, in terms of of the performance plan. Whether the event will involve open improvisation, compositions, time constraints, or other dynamics and variables, everyone should be clear with each other and in agreement about what the plan is. If one plan has to be abandoned or adjusted to accommodate a contingency plan, is everyone all right with this potential?
* Is everyone comfortable with "rolling with it," in case something does go awry? Sometimes what seems like a mistake can be integrated into the creative process, with interesting results. If it's not going well, everyone should be comfortable with the performance stopping (at least temporarily) until tech issues can be resolved.
* * *
What are some other possibilities? If you'd like to add a comment, I could add more to this post.
telematics logistics: software & hardware
GENERAL SETUP
There are many ways a telematic performance can be set up, in terms of equipment -- so audio (and video) can be transmitted. There are many advantages to doing a performance in a venue (such as a radio station, studio, or some other venue) where the equipment is already there. Internet 2 is the most powerful internet connection you could use, but many venues do not have that connection/capability. DSL or broadband are good. If you decide to do it in another venue where you have to set up the equipment, here are some suggestions:
* Make sure you have good internet connection, preferrably DSL or broadband. Use an ethernet cable, rather than Wifi, since the connection will be better that way. (There is still not a guarantee that the connection will remain constant, and in fact you can count on there being breaks and latency in the connection), but using an ethernet cable can help.
* Make sure you have a good sound interface with your computer. You could just mic the room, but if you can it would be best to mic every instrument.
* Set up monitors so you can hear how the sound mix in the room is working out, as well as the sound that's coming in from the remote locations. A sound engineer should be there to adjust levels. Maybe one person can manage both the sound levels and make sure the internet connection is solid, but you might need two tech/sound people in each venue.
There are other basic set up strategies, but the aforementioned on is a basic one that seems to work.
* * *
SOFTWARE
Google Talk
iChat
Jack Trip
MSN Messenger
Ninjam
oovoo
Silverlight
Skype
pros:
1. It is easy to download, install, and use.
cons:
1) There are latency issues. Sometimes the delays can be two or more seconds.
2) Since it is geared for talking, it is not very good for simultaneous transmission of sound -- from two or more locations.
3) Although you can set up multiple locations for an audio conference call, you can only see video from two locations simultaneously.
precautions:
1) Be sure to do a number of tech runs. Make sure the audio heard in each location is at least tolerable. If the audio is too distorted or there are other problems, the settings should be adjusted.
Ustream
* * *
HARDWARE
microphones
* What kind of microphones are you using?
* Are you planning on miking the whole room, close miking the instruments, or some other microphone configuration?
If you'd like to add a comment to this, I could add more to this post.
There are many ways a telematic performance can be set up, in terms of equipment -- so audio (and video) can be transmitted. There are many advantages to doing a performance in a venue (such as a radio station, studio, or some other venue) where the equipment is already there. Internet 2 is the most powerful internet connection you could use, but many venues do not have that connection/capability. DSL or broadband are good. If you decide to do it in another venue where you have to set up the equipment, here are some suggestions:
* Make sure you have good internet connection, preferrably DSL or broadband. Use an ethernet cable, rather than Wifi, since the connection will be better that way. (There is still not a guarantee that the connection will remain constant, and in fact you can count on there being breaks and latency in the connection), but using an ethernet cable can help.
* Make sure you have a good sound interface with your computer. You could just mic the room, but if you can it would be best to mic every instrument.
* Set up monitors so you can hear how the sound mix in the room is working out, as well as the sound that's coming in from the remote locations. A sound engineer should be there to adjust levels. Maybe one person can manage both the sound levels and make sure the internet connection is solid, but you might need two tech/sound people in each venue.
There are other basic set up strategies, but the aforementioned on is a basic one that seems to work.
* * *
SOFTWARE
Google Talk
iChat
Jack Trip
MSN Messenger
Ninjam
oovoo
Silverlight
Skype
pros:
1. It is easy to download, install, and use.
cons:
1) There are latency issues. Sometimes the delays can be two or more seconds.
2) Since it is geared for talking, it is not very good for simultaneous transmission of sound -- from two or more locations.
3) Although you can set up multiple locations for an audio conference call, you can only see video from two locations simultaneously.
precautions:
1) Be sure to do a number of tech runs. Make sure the audio heard in each location is at least tolerable. If the audio is too distorted or there are other problems, the settings should be adjusted.
Ustream
* * *
HARDWARE
microphones
* What kind of microphones are you using?
* Are you planning on miking the whole room, close miking the instruments, or some other microphone configuration?
If you'd like to add a comment to this, I could add more to this post.
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