Trans-X, a Symposium about Transmission Art

Schedule at a Glance

Friday May 17th

7:00 pm @ the NAISA Space - Registration / Opening reception
+Installation exhibits in various venues at the Barns
Still Here by Alyssa Moxley and Ramona Stout
Barns by Eleanor King
Radio Art Salon by various international radio artists

8:00 pm TransX Transmission Art Concert: Host Darren Copeland

NONLINEAR, NONARTICULATED by Csenge Kolozsvari
Sea Swim Sounds by Robert Mackay
Tuned City by Robin Koek and Marieke van de Ven
The Best is Yet to Come by Elizabeth Shores and Vikram Patel

Saturday May 18th

10:00 am Keynote: Keynote address
Radio In Its Place - Here There Nowhere Now by Steve Bates

11:30 break

11:45 amSession 1: Radio on the Fringe
Radius RANGE: Local, Distant, Fringe by Jeff Kolar & Meredith Kooi
Interpelled by Victoria Estok

12:45 pm Lunch (not provided)

2:15 pm Session 2: Radio in Installation Art
Frequencies: Dawson City by Andrew O’Connor
Still Here by Alyssa Moxley and Ramona Stout

3:30 pm Break

3:45 pm Session 3: Tuned City
Expanded Radio by Robin Koek 
The Urban Score by Marieke van de Ven

4:30 dinner break (dinner not provided)

6:00 – 8:00 pm Still Here (installation) by Alyssa Moxley and Ramona Stout. Please choose a 15-minute slot

8:00 Deep Wireless Concert - Signals
Performances by Eleanor King, Matteo Marangoni & Angel Faraldo

Sunday May 19th

10:00 am Keynote address
From Radiation to Resonance by Anna Friz

11:30 am break

11:45 am: Session 4: Performance Transmissions
City Sondols – Toronto by Matteo Marangoni and Angel Faraldo
The Dancer From the Dance: Mapping Motion With Sound Via Radio Transmission by Tricia Postle and Leif Bloomquist

12:45 pm Lunch (not provided)

2:15 pm Session 5: Mobile Interventions
Cellphonia: Toronto SONicGeo by Steve Bull and Scot Gresham-Lancaster
'Be Here Now' - Meaningful Strategies for Embodied Presence at Live Concerts in the Age of Techno-Mediation by Alexandria Lepinski

3:15 pm Break

3:30 The Sounds of Sea Swim by Robert Mackay

4:00 dinner break (dinner not provided)

6:00 – 8:00 pm Still Here (installation) by Alyssa Moxley and Ramona Stout. Please choose a 15” slot

8:00 Deep Wireless Concert - Interior Vibrations
Performances by Anna Friz, Kristen Roos

Monday May 20th

10 amb Break-out Workshops
1/ Micro-radio Transmitter
2/ Contact Mic
3/ SOUNDwalk / recording workshop

12:30 pm Lunch (not provided)

2:00 Session 6: Distant Transmissions
Grey Ecologies: Sonic Transfers and Monuments by Abinadi Meza
Distant Touch and a Faraway Feeling by Samwell Freeman


TransX Transmission Art Sympsium Notes

Friday May 17th TransX Transmission Art Concert: Host Darren Copeland

NONLINEAR, NONARTICULATED, 2013
by Csenge Kolozsvari

live performance and sound installation
duration 15:00

the line is a sounding field
“I am interested in teaching my body to walk again – to balance on a one inch wide slack line – not as an acrobatic act, but as a strategy for thinking differently. It is through embodied experience that I find this difference.”

In terms of the event, there is no sense of linearity in the walking on the line. Through the continuous co-composition of all the factors experiencing it the performer, the spectators, the space, the sounds the line expands its own potential for sounding, balancing and resonating.

The sounds created by the balancing movement are recorded through contact microphones. The intimate relationship between the line and the body creates a vibration that will be amplified and accumulated live, referencing the layers of repetitive movements during the learning process and the performance. By observing this movement series in their everydayness, one can discover the details of the process that are populating the experience; the need for alignment with the inner rhythm and the momentum of the movement, the relation between desire for security and overcompensation, the revaluation of minor movements, the role of changes in breathing, the sense of subjective time-in-the-moving, the ways movement sounds through.

The result is an open ended, unstable and dynamic system of mutating thoughts, sounds and movements a space to invent, create and experiment. To learn how to balance or rather: to learn how to be able to lose it and get it back again.

Csenge Kolozsvari is an emerging interdisciplinary artist exploring the embodied relationship between thought, movement and sound through the process of change - a transformation by repetition. Using sound, video, sculpture, light and human presence she creates synesthethic, multisensory pieces. Her artworks has been exhibited internationally, most recently at the HTMlles Festival, Montreal (2012), Scale 46, Bristol (2012), the Helsinki Festivals’ Night of the Arts, (2012) and the Art Hall /Kunsthalle, Budapest (2011). She has participated in residencies across Europe and is the recipient of awards including the National Cultural Fund of Hungary Award, the Stanley Mills Memorial Foundation Fellowship, the Eötwös Hungarian National Scholarship and a Concordia Merit Scholarship.

Sea Swim Sounds
by Dr. Robert Mackay

Rob Mackay (Sound)
John Wedgewood Clarke (Poetry and Readings)
Lara Goodband (Curation)

Sea Swim Sounds is one of a number of artworks created for the Sea Swim project. Sea Swim explores how swimming transforms the way we feel ourselves to be in our bodies and the liberating effects these changes have on the imagination.

Taking a phonographical approach, the sounds of Scarborough’s South Bay and the sea swimmers was captured over a period of 6 months using a range of recording techniques. Hydrophone, binaural, and ambisonic soundfield recordings have been combined to convey different perspectives, from the intimate to the panoramic. At times, simultaneous recordings were taken, both above and below the waves in order to create an immersive experience. The poet’s voice has been recorded both in the studio and in situ, further exploring notions of internal and external space.

Sea Swim is part of imove: a Cultural Olympiad Programme in Yorkshire – www.imoveand.com/seaswim

Rob Mackay is a composer, sound artist and performer. Currently he is a Senior Lecturer in Creative Music Technology at the University of Hull. He is the director of the ‘Sounds of Our Surroundings’ research group (http://icpcluster.org/page/sounds-of-our-surroundings).

Prizes and honours include: IMEB Bourges (1997 and 2001); EAR99 from Hungarian Radio (1999); Confluencias (2003); La Muse en Circuit (2004 and 2006). His work has been performed in 18 countries (including several performances on BBC Radio 3). He has held composer residencies at Slovak Radio (Bratislava), La Muse en Circuit (Paris), the Tyrone Guthrie Arts Centre (Ireland), and CMMAS (Mexico).

He has worked in a number of groups, including the Welsh Hip-Hop collective 'Tystion', collaborating alongside John Cale on 'A Beautiful Mistake', as well as two John Peel sessions on BBC Radio 1 and supporting PJ Harvey. More recently, he has collaborated with percussionist Evelyn Glennie on the Ruskin Rocks project (www.leeds.ac.uk/ruskinrocks).

John Wedgwood Clarke trained as an actor at the Guildhall School of Music and Drama and holds a D.Phil. in Modernist poetics from the University of York. He is currently Leverhulme Artist in Residence at the Centre for Environmental and Marine Sciences at the University of Hull, Scarborough.

Lara Goodband is an curator and artist. She studied art history and English literature at the University of York and holds an M.A. in art history from Manchester University.  Since then she has worked continuously in art galleries, first as an in-house curator and now as a freelancer, specialising in temporary and touring exhibitions, in museums and galleries throughout Yorkshire.

Tuned City
by Robin Koek and Marieke van de Ven

The work Tuned City touches the surface of the city, exploring sounds produced by its inhabitants and the municipal architecture, placed within a radiophonic context. Moving within the aural urban sphere the composition portrays the transversal landscape of the radio. Departing from the concept of transmission as a mediator through time and space, bringing together people and ideas by establishing collective auditory experiences.

Radio-specific concepts like bandwidth, tuning and scanning guide the arrangement for electronic sound, acoustic instruments and field-recordings. The composition explores the relation between the expressions of the musicians and the dynamics, sound colours and rhythm of the city.

The composition was commisioned by Gaudeamus Muziekweek and broadcasted on the Concertzender. It has been performed at several venues in the U.S. during the tour of Duo-X. Tuned City will see its Canadian premiere in the form of a tape piece, covering the radio version and the live registration.

Marieke van de Ven (Netherlands, 1985) studied Composition and Sound Design at the Utrecht School of the Arts.

Inspired by concrete sounds, instruments and field recordings she explores the intersection between acoustic and electronic sound. Within the stratification of different musical elements she investigates the narrative quality of her music. Her work was performed at FAQ Festival, Gaudeamus Muziekweek and broadcasted on the Concertzender.

Over the last years she established a repertoire of various multidisciplinary collaborations with choreographers, dancers and theatremakers. Recently she composed the music for 'Corporalis' by Retina Dance Company in Antwerp.

Robin Koek (Netherlands, 1987) is active as a composer, musician and designer of artistic systems. Koek studied Sound Design and Composition at the Utrecht School of the Arts.

Over the last years he established a repertoire of various multidisciplinary collaborations. With a main focus on sound art and interactive systems he was involved in projects that range from installation art to interactive dancepieces.

His works explore states wherein acoustic, digital and analog signals intertwine and form in to one body of sound. Currently his focus is on compositions and sculptures that explore the spatial potential of sound.

The Best is Yet to Come
by Elizabeth Shores and Vikram Patel

How can we come closer to understanding seemingly unquantifiable systems? Is it possible to hear the differences between the frequencies of statistical events? What does it mean to commit ourselves to exploring them together?  

In ‘The Best is Yet to Come’ we explore our understanding of existence and objectivity through performance, transmission, and lecture. Inspired by the concept of a ‘New Year’ and its related arbitrary system of time, we create a series of tones scaled to cover the range of human hearing with the smallest theoretical unit of time as it’s highest frequency in order to express the frequencies between different contemporary events.

Elizabeth Shores explores self-sufficiency and presence as a multi-disciplinary artist working at the intersection of geography, ecology, and infrastructural development. Her research is made visible by producing work that reflects the energy and emotional tone of her environment, blending media, theory, and investigative research practice to work in whatever medium best fits the idea or situation at hand. Having received her BFA in Intermedia from The University of Iowa, she is currently pursuing an MFA at The University of New Mexico and has exhibited in museums and galleries both nationally and internationally.

Vikram Patel has primarily explored his interests through scientific means having received his BS in Math and Physics from the University of Texas at Dallas and his MS in Physics from the University of Iowa. He has been using radio for the past several years as a medium to examine the interactions between politics, religion and philosophy.

Installation exhibiting Friday to Sunday 6 - 8pm

Still Here
by Alyssa Moxley and Ramona Stout

Still Here is a soundscape of the island of Santorini, in the Cyclades, Greece, recorded and composed by the artists Ramona Stout and Alyssa Moxley. Our composition, which includes ambient sounds, talk, and music, aims to explore a shared timelessness.

The visual realm of Santorini is littered with signposts of modernity. There are electric wires sagging across the valley and satellite dishes rusting on roofs. However, the scattered village soundtrack is almost entirely absent of sounds of the modern era. The island has increasingly become a tourist hotspot with local communities replaced by picture perfect facsimiles of themselves.

We have selectively edited our recordings from Santorini to create a timeless map. It is fundamentally inaccurate, romanticized, the aural equivalent of a landscape photograph in which all pylons and road signs have been photo- shopped into non-existence. Yet it is all drawn from the aural environment as it is today, and likely will be for many years to come.

These soundscapes will be transmitted on 5 very low power FM transmitters placed at a distance from each other in an empty room, transmitting on the same frequency. Five visitors at a time will be invited to enter the room, each with their own handheld radio receiver. As they move, listeners reconstitute the landscape and its communities. Visitors can opt in and out of the various soundtracks from around the island, choosing to stand by one transmitter only or journeying to different environments: cliff tops, village domesticity, celebration, church bells, singing, shoreline and docks, terraces, rocks and tall grass.

Alyssa Moxley is an artist, writer, and audio producer with interests in embodied knowledge, music, cosmology and acoustic ecology. She studied Ethnomusicology at the School of Oriental and African Studies, Sound Design at the London College of Communication, production techniques at the Banff Centre, and is currently studying an MFA in Sound at the School of the Art Institute of Chicago. www.alyssamoxley.com/ www.soundcloud.com/dromomaniac

Ramona Stout studied ethnomusicology at the University of Chicago. After graduating she dealt in vintage vinyl. She now lives on the island of Santorini, Greece, where she also learned to walk, talk, and swim. She is organising an annual music festival on the island, which will cater to its permanent community with a showcase of lesser known musicians from around the Balkans. She works as a freelance writer and sound artist/audio producer.

Saturday May 18th

10:00 am Keynote: Keynote address
Radio In Its Place - Here There Nowhere Now
by Steve Bates

Radio In Its Place - Here There Nowhere Now

In this talk, Steve Bates will discuss some of his recent projects that include site-specific recording, questions of threshold and border, residues of colonialism, silent broadcasts, sonic infiltrations and transmission. These projects include low-power productions in Dakar, and Ndar/Saint-Louis, Senegal and on Austria’s national state radio network. While different in their range and context, these investigations with site-specific sound geographies relate to a larger whole. The colonial history of longitude connects the project Radio 16º 16º to the site of Saint-Louis where site-specific recordings were collected as the raw material for low-power broadcasts. The title, borrowed from the abbreviated coordinates of the city, indicate an influence of military concept and jargon on the everyday. A Year of Radio Silence is a project with multiple iterations that uses the idea of a silent broadcast as its primary material, here one that causes a grand piano in Austria’s state radio studio to resonate across the former colonial power. 

Steve Bates is an artist and musician living in Montréal. The sonic is always the starting point for his projects which are evocations of communication networks and systems, or expressions of spatial and temporal experience. Bates frequently uses sound material that is site-specific in an attempt to uncover place and how the sonic effects our experience of site. Time is measured, stretched, pulled at, ignored, and extended. His work has been exhibited in Canada, the United States, Europe and most recently, Senegal. Steve Bates works in the field, on the air and in museological/gallery contexts. These shifting territories reflect the content of his practice.

11:30 break

11:45 am Session 1: Radio on the Fringe
Radius RANGE: Local, Distant, Fringe by Jeff Kolar & Meredith Kooi
Interpelled by Victoria Estok

Radius RANGE: Local, Distant, Fringe
by Jeff Kolar & Meredith Kooisp

Radius' 2012 series RANGE: Local, Distant, Fringe explores the importance of place and proximity in the event of radio transmission and reception. Radius, the experimental radio broadcast platform based in Chicago, IL, USA, released a three-part, location-based commissioned series and booklet titled RANGE: Local, Distant, Fringe, which highlighted the economic, political, and technical dimensions of the electromagnetic spectrum. The artists involved in RANGE produced sound works for the three coverage areas of Local (Emilie Mouchous and Andrea-Jane Cornell "Rise & Shine"), Distant (Damon Loren Baker "Distant"), and Fringe (Rob Ray "Subject to Greater Uncertainties") in order to challenge issues of signal accessibility and question radio's role as a distribution tool. The three parts of the series are based on the proprietary mapping software that plots radio station coverage areas. The talk will present audio excerpts of the three episodes featured in the RANGE series, and Radius' curatorial vision for executing location-based broadcasts.

Jeff Kolar is an audio artist working in Chicago, USA. His work, described as “speaker-shredding” (Half Letter Press) and “wonderfully strange” (John Corbett), includes cross-platform collaboration, low-powered radio, and live performance. Jeff is a free103point9 Transmission Artist, and also the director of Radius, an experimental radio broadcast platform. His work has been released on Panospria (Canada), HAK LO-FI Record (France), free103point9 (USA), and has appeared in compilations by Furthernoise.org (Australia) and Sonic Circuits (USA). His video work was published in the DVD journal ASPECT: The Chronicle of New Media Art. He presents at festivals, radio programs, exhibitions, and performance venues which recently include GLI.TC/H, KUNSTRADIO, and The Kitchen; and in Argentina, Mexico, and the Netherlands, among others internationally. http://www.jeffkolar.us/

Meredith Kooi is the editor for Radius. She is currently a PhD student in the Graduate Institute of Liberal Arts at Emory University where she organizes the salon series SENSORIUM for the Visual Scholarship Initiative. She received her MA in Visual and Critical Studies from the School of the Art Institute of Chicago and her BA in Environmental Studies from Denison University. Her visual and performance work has been shown in galleries and medical venues both nationally and internationally including the High Museum of Art in Atlanta, the Goat Farm Arts Center in Atlanta, Swedish Covenant Hospital in Chicago, and the Green Lantern Gallery in Chicago. Her critical writing has been published in Theorizing Visual Studies: Writing Through the Discipline edited by James Elkins, Kristi McGuire, Maureen Burns, Alicia Chester, and Joel Kuennen (Routledge 2013), her arts commentary in the DVD journal ASPECT: The Chronicle of New Media Art (2010), and her poetry in CTRL+P (2012). http://meredithkooi.us

Interpelled
by Victoria Estok

Interpelled is an ongoing project exploring an innovative use of sound as a unique tool for creative activist intervention. Sound and voice can interrupt, influence, and intervene at key moments in ways other intervention art strategies can’t.

Interpellation is the ways in which ideology speaks to the individual. My work with interpellation came from questions of morality in the face of the climate crisis. This led me to use hyper directional sound to inspire a level of reflection and dialogue I saw lacking around what I considered to be the world’s most pressing issue.

During several one-on-one interventions at the annual 2010 UN climate talks I used a HSS (hyper directional sound speaker) to project specific sounds at individual conference attendees with the goal that the audio would be interpreted as the voice of their conscience speaking.

Victoria Estok has a dual background in sound art and environmental work. Before pursuing sound, she worked as a committed environmental educator and advocate in both urban and back country settings. It  was during this time that she became aware of a deep seated need to uncover the intentions behind everyday actions.  Alternating between taking a playful look at what we consider to be reality and then sometimes a more poetic approach, her work lingers on sounds and words in order to capture the listener and have them reexamine what they are paying attention to.

12:45 pm Lunch (not provided)

2:15 pm Session 2: Radio in Installation Art
Frequencies: Dawson City sp by Andrew O’Connor
Still Here by Alyssa Moxley and Ramona Stout

Frequencies: Dawson City
by Andrew O’Connor

Part public sound installation, part narrative documentary Frequencies: Dawson City is project for a series of low watt FM transmitters laid out around Dawson City Yukon. It was commissioned by the Klondike Institute for Art and Culture as a part of their series The Natural & The Manufactured. The transmitters are all broadcasting on the same frequency and laid out in an array so that as you walk the installation with your radio tuned one transmitter starts to fall out of range as the next one is coming in. Each transmitter broadcasts a different collage of soundscapes and stories (played on a loop) that relate specifically where you are standing. The buildings, the landscapes, the stories and experiences attached to them, and how these memories resonate in a physical location. By employing random chance and juxtaposition, multiple narratives are combined in a way that creates a unique listener guided narrative experience.

Andrew O’Connor is a transmission artist based in Toronto. His work for the radio has been featured on numerous programs across CBC Radio 1 & 2 such as Inside the Music, The Signal, and Metro Morning as well as syndicated internationally on the Australian Broadcasting Corporation, Radio Zero in Lisbon and WGXC in upstate New York. Andrew’s installation and sound design work has been presented by the Vancouver New Music Festival, the Third Coast Filmless Festival, Megapolis, and was recently featured in a multi-disciplinary theatre project called Boblo that premiered in December 2012 at the Theatre Center in Toronto.

Still Here
by Alyssa Moxley and Ramona Stout

Still Here is a soundscape of the island of Santorini, in the Cyclades, Greece, recorded and composed by the artists Ramona Stout and Alyssa Moxley.

We have selectively edited our recordings from Santorini to create a sound map. It is fundamentally inaccurate, yet it is all drawn from the aural environment as it is today, and likely will be for many years to come.  It is a soundtrack that glosses the extremes of silence and noise that have come to dominate the island and recreates a bygone era in which there existed a host of functioning communities like Vothonas, of which there are now very few. It is the result of our recording the pulse of a place that now exists in suspended animation, a place that is alive but not quite living.

Alyssa Moxley is an artist, writer, and audio producer with interests in embodied knowledge, music, cosmology and acoustic ecology. She studied Ethnomusicology at the School of Oriental and African Studies, Sound Design at the London College of Communication, production techniques at the Banff Centre, and is currently studying an MFA in Sound at the School of the Art Institute of Chicago. www.alyssamoxley.com/ www.soundcloud.com/dromomaniac

Ramona Stout studied ethnomusicology at the University of Chicago. After graduating she dealt in vintage vinyl. She now lives on the island of Santorini, Greece, where she also learned to walk, talk, and swim. She is organising an annual music festival on the island, which will cater to its permanent community with a showcase of lesser known musicians from around the Balkans. She works as a freelance writer and sound artist/audio producer.

3:30 pm Break

3:45 pm Session 3: Tuned City
Expanded Radio by Robin Koek 
The Urban Score by Marieke van de Ven

Expanded Radio
by Robin Koek

Expanded Radio (Robin Koek) - approaching the concept of 'radio' from the perspective of composition and the practice of sound art. The lecture deals with the possibilities radio allows for composers to work with non-lineair concepts of time, make instant global musical, connections through transmission and re-define concepts of the public space within their creations. It elaborates on how radiophonic concepts like interference, wavelength and tuning were translated to the domain of musicians within the work Tuned City

Robin Koek (Netherlands, 1987) is active as a composer, musician and designer of artistic systems. Koek studied Sound Design and Composition at the Utrecht School of the Arts.

Over the last years he established a repertoire of various multidisciplinary collaborations. With a main focus on sound art and interactive systems he was involved in projects that range from installation art to interactive dancepieces.

His works explore states wherein acoustic, digital and analog signals intertwine and form in to one body of sound. Currently his focus is on compositions and sculptures that explore the spatial potential of sound.

The Urban Score
by Marieke van de Ven

The Urban Score (Marieke van de Ven) - a lecture about the auditory characteristics of the city and the artistic values of urban sound in the context of electro-acoustic music. The lecture explains how sounds of the city are able to source and guide the process of composition and their conceptual values marking a context for the piece. 

Marieke van de Ven (Netherlands, 1985) studied Composition and Sound Design at the Utrecht School of the Arts.

Inspired by concrete sounds, instruments and field recordings she explores the intersection between acoustic and electronic sound. Within the stratification of different musical elements she investigates the narrative quality of her music. Her work was performed at FAQ Festival, Gaudeamus Muziekweek and broadcasted on the Concertzender.

Over the last years she established a repertoire of various multidisciplinary collaborations with choreographers, dancers and theatremakers. Recently she composed the music for 'Corporalis' by Retina Dance Company in Antwerp.

4:30 dinner break (dinner not provided)

6:00 – 8:00 pm Still Here (installation) by Alyssa Moxley and Ramona Stout. Please choose a 15” slot

8:00 Deep Wireless Concert Signals
Performances by Eleanor King, Matteo Marangoni & Angel Faraldo

Sunday May 19th

10:00 am Keynote address
From Radiation to Resonance
by Anna Friz

From Radiation to Resonance

Speculations and curiousities regarding the Radio of the Future, including the search for extraterrestrial life and cetacean radio. Maps are certainly lost, and mutiny may be declared.

Anna Friz got her start in campus/community radio at CiTR Vancouver in 1993. Since then she has created audio art and radiophonic works for extensive international broadcast, installation, or performance in more than fifteen countries. She is currently an FQRSC post-doctoral fellow in the Sound department at the School of the Art Institute of Chicago (2011-2013), and holds a Ph.D. in Communication and Culture from York University, Toronto. Anna is a free103point9 transmission artist. www.nicelittlestatic.com

11:30 am break

11:45 am: Session 4: Performance Transmissions
City Sondols – Toronto by Matteo Marangoni and Angel Faraldo
The Dancer From the Dance: Mapping Motion With Sound Via Radio Transmission by Tricia Postle and Leif Bloomquist

City Sondols – Toronto
by Matteo Marangoni and Angel Faraldo

City Sondols is the title of an ongoing series of public interventions exploring architecture and public space that employ performative practices and mobile audio technologies to induce perceptual shifts within the built environment. Performers equipped with self-made mobile electronic musical instruments lead an audience on a walk through the city while probing the surrounding space with sound. In this talk we will present some questions that form the background of our project and summarize the trajectory that has conducted to its current state of development. We will further report on the two week residency organized for us by NAISA in Toronto during the Deep Wireless festival preceding the Trans-X Symposium, presenting documentation of our interventions in Toronto and Mississagua and relating the process of choosing locations, composing the soundwalks and interacting with both incidental listeners and with the audiences attending the Deep Wireless program.

Matteo Marangoni (Florence, 1982) Focusing on the potential of listening to establish new connections between people, places and objects, his performances and installations employ field recordings, sound archives, computer programming and DIY electronics. His research investigates the relationship between sound, space and the body, looking for ways to address the body of the listener and to induce enhanced states of auditory awareness.

His work has been presented at Stroom Den Haag (The Hague), at the European Media Art Festival (Osnabruck), Patterns Pleasure (Amsterdam), Fabbrica Europa (Florence), Q-02 (Brussels), Signal Raum (Munich), the International Biennial of Contemporary Music (Koper) and Tadaex (Tehran). He is currently working on a commission from the Humboldt Lab Dahlem in Berlin.

Ángel Faraldo (Spain, 1980) is a composer, sound artist, improviser and digital instrument designer currently based in The Netherlands. He is interested in processes that maximize minimal resources, as materialized in his ongoing cycle, The Feedback Study Series his digital synthesizer MISS or his interactive sonifications of Tanja Smit’s Textworks.

He has presented his work in festivals and venues throughout Europe and the United States; his music is released for free through various net-labels on the internet and his works involving computers are entirely based on free and open-source software.

He also teaches workshops on improvisation and electronic music with Pure Data, and collaborates as digital instrument designer or electronic music performer with projects and ensembles such as Modelo62 (NL), Fonos21 (ES), Medea Electronique (GR) and IOM (NL).

The Dancer From the Dance:
Mapping Motion With Sound Via Radio Transmission

by Tricia Postle and Leif Bloomquist

We present our work on the development of a device by which a dancer may wirelessly transmit bodily motion to a MIDI-capable device or computer in order to produce or alter sound, creating music that is immediately integrated with and inseparable from the dance.

To begin we briefly consider the history of movement mapping and dance notation. Moving into more recent history, we then present the technology employed (Arduino).

An accelerometer measures the motion. The x/y/z components are scaled and inserted into a MIDI message, which is then transmitted to a receiver and can be interpreted by any MIDI device. The motions can be mapped to parameters such as filters, pitch, etc., allowing the dancer to affect any sound that can be created electronically.

We then discuss some of the possible applications.

Several short vignettes will be used to demonstrate the device, followed by a three-minute piece showing the techniques working together as a whole.

Tricia Postle is the artistic director of Majlis Art Garden, a multidisciplinary seasonal art space in Queen West presenting poetry, music, dance and storytelling. This summer through Majlis she will be hosting a number of salon evenings on the intersection of music and technology, to be documented online, as well as other performances. For further information please visit majlisarts.com

Tricia is also a poet and a musician with a strong interest in medieval troubadour traditions, and has recently started composing.  She holds a Bachelor of Arts in Medieval Studies and Music from the University of Toronto.

Leif Bloomquist has been creating computerized sounds since the days of the Commodore 64. Classically trained in clarinet and percussion, he now composes using sequencing software and homebuilt hardware. His music can be heard in diverse environments such as gothic nightclubs and churches. He has released five albums to date through his various projects.  For further information please visit www.schemafactor.com .

When not creating experimental music, Leif is a senior engineer at MDA, an aerospace company best known for their work on the Canadarm. He holds a Bachelor of Applied Science in Systems Design Engineering from the University of Waterloo.

12:45 pm Lunch (not provided)

2:15 pm Session 5: Mobile Interventions
Cellphonia: Toronto SONicGeo
by Steve Bull and Scot Gresham-Lancaster
'Be Here Now' - Meaningful Strategies for Embodied Presence at Live Concerts in the Age of Techno-Mediation by Alexandria Lepinski

Cellphonia: Toronto SONicGeo by Steve Bull and Scot Gresham-Lancaster

The Cellphonia.org project explores the social, technological, and creative possibilities of cell phones with bias to encourage new applications for cultural growth.  With over a dozen examinations of this approach to using cellphones as social microphones, the Cellphonia: SONicGeo -Toronto was formulated around the concept of moving through time and the landscape of Toronto. The participants asked to “press” a number to answer one of the three questions:

Where have you been? - Where are you now? -  Where are you going?

The server side script then puts their various responses into three sound storage locations: Then- Now –Future. The score changes slightly with each new call, so participants can continue to hear their contributions in the various sections juxtaposed in new ways with each new call and providing a new aleotoric narrative each time. The conceptual framework of cellphonia is direct and comprehensible, but capable of constant and varied levels of surprise.

Steve Bull
is a mixed-media technology artist and entrepreneur whose practice includes extensive software engineering experience. For the last ten years he has created location-specific narratives and games that explore the social, technological, and creative possibilities of cell phones. Bull received grant to create Cellphonia from NYSCA in 2005.

Scot Gresham-Lancaster
is a composer, performer and instrument builder. Currently teaching Sound Design at ATEC UT Dallas, his recent work at IMéRA is a 2nd order sonification of data sets. With HUB he is an early pioneer of "computer network music" and cellphone operas and "co-located" international Internet performances.

'Be Here Now' - Meaningful Strategies for Embodied Presence at Live Concerts in the Age of Techno-Mediation
by Alexandria Lepinski

‘“Be Here Now”: Meaningful Strategies for Embodied Presence at Live Music Concerts in the Age of Techno-Mediation’ offers an in-depth analysis of the state of modern-day live music concerts in the age of techno-mediation, where social media platforms, wireless communication and mobile technology play an integral part in our social identities and the ideologies that surround us. After briefly examining the dichotomous philosophy that informs many technological sceptics and musical purists, the paper offers an opportunistic argument for the inevitable convergence of new media and sensory-enhancing technology in the live music arena.

Crucial questions are posed: How can we innovate and maximise our state of presence as technologically driven individuals and through the familiarity of visual media? Where does this leave the unique physicality, temporality and ‘liveness’ of live music?

Be Here Now draws on a large breadth of scholarship and is organized into four sections - Antiquity, Erosion, Alternatively, and Recuperation – which, through the thoughtful consideration of varying performance case studies, serve to provide a mediated resolution.

Alexandria Lepinski received a BA in Popular Music and Women’s Studies from Western University, focusing on desktop production and the cultural significance of music. Upon graduating, Alexandria attended a live concert that prompted her to reconsider her understanding of music performance and the formalized divisions between art mediums and new media. She pursued a master’s degree in Creative and Cultural Entrepreneurship at Goldsmiths College in London, England, and in the fall of 2012, submitted her thesis entitled ‘“Be Here Now”: Meaningful Strategies for Embodied Presence at Live Music Concerts in the Age of Techno-Mediation’, along with a curated concert series proposal. She is now living in Toronto, eager to begin a dynamic career in live music curating that shatters conservative performance standards and explores daring, pluralistic multi-media platforms.

3:15 pm Break

3:30 Session 6 The Sounds of Sea Swim by Dr. Robert Mackay

The Sounds of Sea Swim
by Dr. Robert Mackay

The Sounds of Sea Swim is a collection of compositions, sound collages, and installations developed as part of commissioned work for the Sea Swim project run in Scarborough, UK. Part swimming club and part art club, Sea Swim explores how swimming transforms the way we feel ourselves to be in our bodies and the liberating effects these changes have on the imagination.

Several aspects have been explored in this work, including phonography, sonic geography, acoustic ecology, field recording practice, and voice.

Set-up by co-artistic directors Lara Goodband and John Wedgewood Clarke, Sea Swim is part of imove: a Cultural Olympiad Programme in Yorkshire – www.imoveand.com/seaswim

imove has been funded by Legacy Trust UK, creating a lasting impact from the London 2012 Olympic and Paralympic Games by funding ideas and local talent to inspire creativity across the UK.

Rob Mackay is a composer, sound artist and performer. Currently he is a Senior Lecturer in Creative Music Technology at the University of Hull. He is the director of the ‘Sounds of Our Surroundings’ research group (http://icpcluster.org/page/sounds-of-our-surroundings).

Prizes and honours include: IMEB Bourges (1997 and 2001); EAR99 from Hungarian Radio (1999); Confluencias (2003); La Muse en Circuit (2004 and 2006). His work has been performed in 18 countries (including several performances on BBC Radio 3). He has held composer residencies at Slovak Radio (Bratislava), La Muse en Circuit (Paris), the Tyrone Guthrie Arts Centre (Ireland), and CMMAS (Mexico).

He has worked in a number of groups, including the Welsh Hip-Hop collective 'Tystion', collaborating alongside John Cale on 'A Beautiful Mistake', as well as two John Peel sessions on BBC Radio 1 and supporting PJ Harvey. More recently, he has collaborated with percussionist Evelyn Glennie on the Ruskin Rocks project (www.leeds.ac.uk/ruskinrocks).

John Wedgwood Clarke trained as an actor at the Guildhall School of Music and Drama and holds a D.Phil. in Modernist poetics from the University of York. He is currently Leverhulme Artist in Residence at the Centre for Environmental and Marine Sciences at the University of Hull, Scarborough.

Lara Goodband is an curator and artist. She studied art history and English literature at the University of York and holds an M.A. in art history from Manchester University.  Since then she has worked continuously in art galleries, first as an in-house curator and now as a freelancer, specialising in temporary and touring exhibitions, in museums and galleries throughout Yorkshire.

4:00 dinner break (dinner not provided)

6:00 – 8:00 pm Still Here (installation) by Alyssa Moxley and Ramona Stout. Please choose a 15” slot

8:00 Interior Vibrations
Performances by Anna Friz and Kristen Roos

Monday May 20th

10 am Break-out Workshops

1/ Micro-radio Transmitter Workshop
2/ Contact Mic Workshop
3/ SOUNDwalk / Recording Workshop

12:30 pm Lunch (not provided)

2:00 Session 7: Distant Transmissions
Grey Ecologies: Sonic Transfers and Monuments by Abinadi Meza
Distant Touch and a Faraway Feeling by Samwell Freeman

Grey Ecologies: Sonic Transfers and Monuments
by Abinadi Meza

This paper/listening presentation focuses on interstitial urban space and clandestine soundscape interventions. The presentation starts with a contextualization of themes and references related to sonic territory, intervention, time, anonymity and the psycho-politics of cities, then shares original listening examples from transmission art projects in Los Angeles, California and Houston, Texas.

Each paper section is approximately 6 minutes in presentation length:
1. Charles Babbage and the permanent impression of sounds in our environment
2. JG Ballard and spatial/urban paranoia
3. Temporal monuments and ruins, citizens, habitants, wanderers

Listening examples are approximately 6 minutes in length (three 2-minute excerpts).

Abinadi Meza is a sound artist and writer based in Houston, Texas. He was educated at Drake University, University of Northern Iowa, University of Minnesota and Southern California Institute of Architecture (SCI-Arc). Meza\'s performances, installations and transmissions have been presented in the United States, Spain, Ireland, Sweden, Portugal, and Brazil. He teaches in the Interdisciplinary Practices and Emerging Forms MFA program at the University of Houston.

Distant Touch and a Faraway Feeling
by Samwell Freeman

Distant Touch and a Faraway Feeling (DTFF) is a suite of wearable electronic apparrel equipped with radio transeivers, vibrating motors, and touch sensors. Participants wear haptic sensor gloves that use radio to control vibrating motors embedded in hats, gloves, wrists bands, underwear, and socks. Marshall McLuhan described the immense network of electronic connections that made possible the distant transmission of signals as a sort of externalized central nervous system for the human race. Distant Touch and a Faraway Feeling experiments with this externalization of our nervous system. The project allows people to feel another's touch not through proximity, but by transduction of electronic sensors and transmission as radio. Using custom circuity, caresses can cross rooms and go through walls.

Samwell Freeman works with electricity, trying to find a starry synthesis of the mysterious speedy electron and the soft slow human. Studying obsolete technology Freeman explores our potential lives as elderly cyborgs. Many of his works are platforms for creativity that facilitate virtual drawing using sensors like gyroscopes and joysticks.

Freeman has exhibited at Maker's Faire, Figment Detroit, Seton Hall University, New York University, Flux Factory, Burning Man, and Dorkbot NYC. Always interactive his work takes shape as devices, applications, videos, performances, drawings, and conversations. His website is: http://welike2draw.com/samwell/

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2012 New Adventures in Sound Art