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Archive for the category “muziek”

Nacht van Kunst & Kennis 14 september

Leiden Marketing, Cultuurfonds Leiden en Museum De Lakenhal organiseren op 14 september samen met de Universiteit Leiden, het LUMC, de Hogeschool Leiden, het BioScience Park en de Leidse musea de Nacht van Kunst & Kennis in Leiden. In september vindt de eerste editie van dit nieuwe festival plaats dat de komende jaren uit moet groeien tot een stadsbreed festival vol muziek, theater, kunst, experimenten en (nacht)colleges met jaarlijks meer dan 20.000 bezoekers.

Festival De Nacht van Kunst & Kennis is een festival dat bezoekers in aanraking brengt met nieuwe kennis, verrassende experimenten, bijzondere sprekers en kunst. Kennis is de rode draad in de Leidse economie, samenleving en arbeidsmarkt, zowel in het heden als verleden. Maar kennis is vaak verborgen en ontoegankelijk. Tijdens de Nacht trekt de organisatie alle registers open en kunnen bezoekers kennis op een bijzondere manier beleven. De Nacht brengt bezoekers in aanraking met verrassende ideeën, nieuwe muziek, voorstellingen en kunst. Voor talentvolle (jonge) Leidse wetenschappers, kunstenaars en muzikanten is een speciale plek in het programma.

Programma Het publiek gaat op ontdekkingstocht naar nieuwe kennis, kunstvormen, ideeën, opkomende bands, wetenschappelijke uitvindingen of geniet van dans en theatervoorstellingen. De wetenschap wordt hierbij op een kunstige manier gepopulariseerd en de kunsten worden geïnspireerd door de wetenschap. Vragen rondom de toekomst van de menselijke levenskwaliteit staan centraal. Zo kunnen bezoekers een blik werpen op de toekomst. Welke geneesmiddelen zijn in ontwikkeling? Hoe wordt energie in de toekomst opgewekt? En is water in 2030 een universeel afdwingbaar mensenrecht? En welke invloed hebben verschillende soorten muziek op de mens? De ondernemers van het BioScience Park laten zien welke producten zij ontwikkelen en wat de toepassingen hiervan zijn. Het meest verrassend zijn de gezamenlijke crossover projecten van kunstenaars en wetenschappers zijn. Kortom een Nacht vol experimenten, voorstellingen, muziekoptredens, kunst, nachtcolleges en tentoonstellingen,

Kennisvalorisatie De Nacht van Kunst & Kennis past in een trend waar kennisvalorisatie en communicatie over onderzoek steeds belangrijker wordt. Nederland is geïnteresseerder in de wetenschap getuige allerlei nieuwe programma’s op de televisie en de vele uitgaven van de populairwetenschappelijke magazines. De Nacht van Kunst & Kennis haakt aan bij deze beweging en versterkt bestaande initiatieven door hen een extra podium te bieden.

BRON: http://www.cultuurfondsleiden.nl/nl/nieuws/2013/may/8/nacht-van-kunst-kennis-14-september/



Sonic archeology, essentially, is the exploratory probing of phenomena through sonic amplification, creating audible maps of otherwise un-detectable events in the natural world. Examples range from the early phonographic experiments of Thomas Edison to the more paraphysical realm of EVP (electronic voice phenomena).

This hands-on workshop aims to equip the sonic archaeologist with a range of DIY techniques for forensic examination of the material and immaterial. A series of experimental situations will be established: probing natural micro worlds and the paraphysical, investigation through audible excitation, transformation and detection (ultrasound, infrasound, interference, light, surface playback, electrochemistry). The workshop will equally examine classical techniques of EVP (electronic voice phenomena) as well as new practices suggested by these strategies of detection.

Dates: Dec 8-9, 2012
Time: 11:00 – 18:00 (each day)
Cost: €70 (includes materials)
Location: STEIM, Achtergracht 19, 1017WL Amsterdam
Maximum Participants: 15

For more information and online registration please visit steim.org

Spectacular Interactive Dance Performance Using Projection Mapping

“We’re living in an age where technology is a staple of our lives. We function through the use of technology on a daily basis and numerous branches of the art community have embraced this fact, incorporating it into their work. Now, even dance has welcomed the power and immersive quality of the digital age. Interactive new media design company Ultra Combos has teamed up with Taiwanese dance company Anarchy Dance Theater to produce an interactive dance experience that is a feast for the eyes.

The audiovisual performance titled Seventh Sense utilizes the practice of projection mapping to allow both the dancers’ and audience’s movements to be detected. The projected light reacts to all motion, accordingly. Every individual in the performance venue is a participant that contributes to modifying the visual spectrum of the room that ranges from soft ripples to visual space alterations.

Check out the video, below, to get a glimpse of the performance in action. Also, if you’re in Spain later this month, you will have the opportunity to see Seventh Sense in person at Centro Parraga on October 19th and 20th.

SOURCE: http://www.mymodernmet.com/profiles/blogs/ultra-combos-anarchy-dance-theater-seventh-sense



Waste Landscape @ TodaysArt

French artist Elise Morin and architect Clémence Eliard created Waste Landscape, which is composed of 65,000 CDs, sorted and hand-sewn together into a 500-square meter surface. In the artists’ own words: ‘Made of petroleum, this reflecting slick of CDs forms a still sea of metallic dunes; the artwork’s monumental scale reveals the precious aspect of a small daily object.’ Waste Landscape will be on display at various locations and will be different each time. Eventually it will be completely recycled into polycarbonate. After the first exhibition of the work at Le CENTQUATRE in Paris, Waste Landscape will be presented at TodaysArt 2012



GO TO: http://todaysart.org/2012/



All members of ICAS have spent years crafting unique festivals and events, each with its own identity grounded in strong local connections and context.

ICAS and its members uphold the cultural value of music and sound creation in both an absolute sense, and in the multifarious forms that meld music and sound with other cultural practices.

Unlike the mainstream music business, ICAS members adopt an alternative set of criteria to measure the success of their endeavors, which favors quality, critical reflection, innovation and exchange over profit.

Reflecting on the aesthetic and societal agency of contemporary sound creation against a backdrop of the transformation processes induced by digital technology, they wish to raise awareness and support for experimental and experiential sound and music cultures.

ICAS members understand their curatorial and organizational activities as a creative force that, engaged in a constant dialogue with artists, producers, critics and audience, constructively contributes to the development of artistically independent music and sound creation.

Using a palette of transdisciplinary approaches, ICAS member organizations actively engage in building bridges between art disciplines, cultural fields, scenes and genres with a special eye on fostering exchange between academic musical traditions, experimental music and pop (sub) cultures and between the arts and technology.


The ICAS network is an open structure that welcomes the participation of new members.

It aims to spark dialogue, knowledge exchange and mutual support amongst international organizations engaged with experimental sound cultures.

Thus it fosters community and collaboration instead of competition between cultural entrepreneurs.

ICAS functions as a creative platform for self-reflection and learning on a global level, calling on its members to constantly reinvent, question, inspire and challenge each other.

Its greater aim is to support its members in building-up sustainable infrastructures to support, promote and sponsor experimental and critical sound cultures within their specific localities and contexts.

ICAS is about consciously linking these structures and places to build a positive form of globalization that accords local contexts and emerging talent greater value within an international framework.

It seeks to realize the value of shared experience and knowledge, to develop collectively. It is based on the belief that this will result in even stronger sustainable structures for its respective members, ensuring their activities can continue to evolve.


Activities within the events and festivals organized by ICAS members include concerts, performances, commissioned work, exhibitions, participatory projects, educational workshops, conferences, presentations, panel discussions, publications and informal spaces for knowledge-sharing within and between fields.

Additionally ICAS organizes meetings and workshops to define the directions, aims and actions of the network.

ICAS serves as an interface to intensify dialogue between its members and the decision makers in cultural, political and economic fields.

The network meetings also serve to increase public awareness concerning the issues addressed by ICAS and its member organizations.

With their activities, ICAS and its member organizations specifically wish to promote:

– education
– knowledge exchange
– transcultural dialogue
– democratic values of experimental music (cultural diversity, openness, dialogue, process, participation)
– audience participation
– self determined work
– social practice
– emerging talent and local scenes
– artistic experiment, aesthetic and technological innovation, critical art practices
– research
– reflection and discourse
– dissemination and circulation of new ideas and art works
– fair business practice
– polycentricity

SEE: http://icasnetwork.org/

Notating Action-Based Music

“In “Notating Action-Based Music” (LMJ 21) Juraj Kojs discusses the notation of action-based music, in which physical gestures and their characteristics, such as shape, direction and speed (as opposed to psychoacoustic properties such as pitch, timbre and rhythm), play the dominant role in preserving and transferring information. Grounded in ecological perception and enactive cognition, the article shows how such an approach mediates a direct relationship between composition and performance, details some action-based music notation principles and offers practical examples. A discussion of tablature, graphic scores and text scores contextualizes the method historically.”

SOURCE: http://www.leonardo.info/e-LNN/currentnewsletter.html

AND SEE /LISTEN TO: http://www.mitpressjournals.org/doi/suppl/10.1162/LMJ_a_00063

De Veenfabriek

“De Veenfabriek is een ensemble waarin kunstenaars en wetenschappers samenwerken die zich verhouden tot elkaars werk en denken, de maatschappij, de wetenschap en het ambacht. De Veenfabriek is daarom meer dan een muziektheatergezelschap dat zich tot enige taak stelt om een aantal muziektheatervoorstellingen per jaar te produceren. Zonder afstand te doen van deze belangrijke opdracht richt de Veenfabriek zich tegelijkertijd op het permanente onderzoek naar nieuwe podiumkunstvormen waarin verschillende kunstdisciplines met elkaar geconfronteerd worden.”

BRON: http://www.veenfabriek.nl/

Voor het weekend: Lernert & Sander // Jeugd van Tegenwoordig – Electrotechnique

“The pair’s latest – jovially explicit – creation is probably the best thing we’ve seen this year.”
(Esquire, February 2011)

BRON: http://www.dutchdesignawards.nl/nl/finalisten/communicatie/?id=3307


Quiet Ensemble: turning goldfish into unwitting musicians

“Quiet Ensemble, the Italian team we spoke with for our most recent Tech Q&A, turn goldfish into unwitting musicians with their installation Quintetto. Each of five large water tanks contains a goldfish. With software detecting their movements within the tanks, each fish alters an ambient sound by swimming in various directions, creating a random symphony, and never playing the same song twice.”

BRON: http://www.thecreatorsproject.com/blog/featured-works-from-the-gallery-week-35


The Creators Project: Who are you and what do you do?
Bernardo Vercelli: We are a freshly made collective called Quiet ensemble composed of Fabio Di Salvo and myself. We live just outside Rome in our studio-house. It’s a special place—it used to be a barn and a coffin factory! We focus on the greatness of small events, observing natural elements and mixing them with technology. We try to create universes made [from] the elements of chaos and control, searching for the balance between the two.

What kind of hardware do you use?
We often use Arduino, Luigino, and Peppino (OK the last one does not exist…), and various electronic devices and Apple [products], lots of Apple.

What kind of software do you use?
We started doing our first works using basically Isadora, a software built for theatre and real-time projects. Isadora takes its name from Isadora Duncan, the great choreographer. Right now we are getting more into Max/MSP/Jitter, and at the same time looking into open-source [softwares] like Processing, Pure Data, and openFrameworks. And of course, we use TextEdit.

What piece of equipment can you simply not live without?
Right now it would be MIO sensors, microphones, Kinect, video projectors and… well, insects.

If money were no object, how would you change your current setup?
We would have a deeper, dreamier relation to life, erase our economical needs, and not call what we do “work,” but life. Probably we would have much more time to focus on what we like. That does not mean that we don’t like what we actually do, but many times we have to approach different kind of works in a way where the commercial side prevails. We always try to research elements that are interesting to us, even if the project focuses on commercial use.

Is there any piece of technology that inspired you to take the path you did?
Vercellio: Microscope
Fabio Di SalvoPraxinoscope

What is your favorite piece of technology from your childhood?
Vercelli: Game Boy, and it actually came close to ruining my childhood.
Di Salvo: I had a huge car track game. I loved it.

What fantasy piece of technology would you like to see invented?
Vercelli: A machine that would tell me exactly what I want and what I need.
Di Salvo: I would like to see times where electricity is transmitted through the air.

BRON: http://thecreatorsproject.com/blog/user-preferences-tech-qa-with-quiet-ensemble

Festo: Technology, Art and Music

“Artistically interpreting technology: Festo has repeatedly given a vision of the future with its interpretation of technical creativity and enthusiasm in the context of man, technology, design and art. Interweaving art and music with technology.
Harmonices Mundi MondgetriebeThe Festo TechnologyCentre features a symbolic attraction. The Harmonices Mundi. A technical, complete work of art comprised of three parts: a world clock, an astronomical clock and a carillon. They symbolise the innovative power and precision work of the company.

The Harmonices Mundi is a synthesis of astronomy, mechanics, melodics and electronics. The name is based on the title of a book by Johannes Kepler which was published in 1619. In his book, Kepler defines the laws of planetary motion. Fascinated by historical astronomy, Prof. Dr. Scheurenbrand (former member of the management board) spent many years constructing the Harmonices Mundi for Festo in his spare time.


Mano Gigante

Mano Gigante

Stage designer and robot artist Roland Olbeter created an avant-garde stage set for Wagner’s “Tannhäuser” opera at La Scala in Milan. At the centre of the action was a huge hand, over 12 metres long, which was used as one of the props.

Eight electric drives from Festo’s BDNCE range were used to move the “Mano Gigante”, coordinated by customised control technology. Olbeter’s collaboration with Festo stretches back many years. The artist uses only proven industrial components, which he combines in pursuit of his artistic interpretation.

One nice side effect: even the musicians appreciated the quietness of the electric drives on stage as they didn’t interfere with the audience’s listening pleasure.


The Sound Machines

The Sound Machines

Five automated sound machines provided musical accompaniment for the opening celebrations at the Hannover Messe 2007 – thanks to technology from Festo. Pneumatic components and a PLC control system were applied very differently from the way they are used in industrial automation; they created a bridge between technology and art.

Set designer and robot artist Roland Olbeter developed and crafted the unique ensemble “The Sound Machines”, an automated electrical string quartet with a drum. The four string instruments sound and function like electric guitars, the difference being that each string sound machine only has one string.

21 microcylinders from Festo are used in each sound machine. The microcylinders on the string instruments imitate the mechanical movements of a musician’s left hand, determining the pitch of the tone by changing the length of the strings. On the drum, the microcylinders move various drumsticks and a jazz brush.

“Fast Blue Air” was composed especially for the Hannover Messe 2007 by Australian composer Elena Kats-Chernin. It explores the range of sounds generated by the sound machines, including the noises produced by the pneumatics.

The program for the music is saved in midi files and the sound is generated in three steps. In the initial, “digital” step, the sound machines are controlled by a PLC (programmable logic controller). In the second step, pneumatic components make the strings vibrate by either plucking them like a guitarist or stroking them like a string musician. In the third step, the sound is received and amplified by electronic pick-ups, similarly to an electric guitar. The sound machines offer a variety of options for generating very different musical effects.”

BRON: http://www.festo.com/cms/en_corp/10934.htm

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