From damian at frey.co.nz Sat Jul 1 04:57:01 2006 From: damian at frey.co.nz (Damian Stewart) Date: Sat, 01 Jul 2006 23:57:01 +1200 Subject: [Af_list] Thoma Koner live cinema In-Reply-To: References: Message-ID: <44A6630D.9030909@frey.co.nz> tim at soundbite.co.nz wrote: > Just got the film fest guide & noticed this: > > From the Outskirts of Nothing to the Subrurbs of the Void yeah that looks pretty choice, i'll be there for sure :-) -- f r e y live music with computers http://www.frey.co.nz From samukun at gmail.com Sat Jul 1 20:10:59 2006 From: samukun at gmail.com (Sam Hamilton) Date: Sun, 2 Jul 2006 15:10:59 +1200 Subject: [Af_list] thomas koner + Message-ID: <19ccf87f0607012010y302f68efk16224ceb06634682@mail.gmail.com> i cant remember if i posted the info here but the thomas koner performance in auckland is being nestled in between the "fps" programme, which for auckland, if you look in the booklet, is on the opersate page to the thomas koner page. page 80 and 81 that is. sorry, all you who know me are going to get really sick of hearing about the "fps" programme from me, please excuse me as im likely to forget who i have rattled off to about it. adios sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060702/a23f729f/attachment.html From s.kerr at auckland.ac.nz Sat Jul 1 21:19:57 2006 From: s.kerr at auckland.ac.nz (Sean Kerr) Date: Sun, 02 Jul 2006 16:19:57 +1200 Subject: [Af_list] MUSIC 4 100 COMPUTERS -->> CALL FOR 100 ONLINE PERFORMERS <<-- Message-ID: MUSIC 4 100 COMPUTERS HTTP://WWW.SEANKERR.AUCKLAND.AC.NZ/M4100 CALL FOR 100 ONLINE PERFORMERS SEAN KERR'S FIRST PERFORMANCE OF M4100 IS GOING TO HAPPEN ON JULY 9TH, NOON, NZ TIME @ THE GOVETT BREWSTER GALLERY, NEW PLYMOUTH, NEW ZEALAND, HTTP://WWW.GOVETTBREWSTER.COM. M4100 REQUIRES 100 ONLINE PERFORMERS TO CREAT THE EVENT. USING A FLASH MULTI-USER SERVER, ALL 100 ONLINE PERFORMERS WORK TOGETHER TO CREAT A SONIC AND VISUAL EVENT THAT IS LIVE MIXED BY SEAN KERR, AT THE GOVETT BREWSTER GALLERY AUDITORIUM IF YOU ARE INTERESTED IN PARTICIPATING IN THIS EVENT, PLEASE EMAIL YOUR DETAILS TO SEAN KERR [S.KERR at AUCKLAND.AC.NZ] M4100 IS COINCIDING WITH THE EXHIBITION 'WHAT COLOR DOES SOUND MAKE?' AND THE SOUND PERFORMANCE EVENT SOUND/BODIES @ THE GOVETT BREWSTER GALLERY. M4100 IS A HTTP://WWW.RHIZOME.ORG COMMISSION SEAN KERR HTTP://WWW.SEANKERR.NET From artwerks at slingshot.co.nz Sun Jul 2 12:59:23 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Mon, 3 Jul 2006 07:59:23 +1200 Subject: [Af_list] Fw: "Make some noise" for Amnesty International Fri 4 August Message-ID: <014901c69e12$04363860$0a1cb8cb@d400> Anyone fancy being pedantic about their request for some "noise"? Andrew ----- Original Message ----- To: Sent: Sunday, July 02, 2006 4:40 PM Subject: [NZsongs] "Make some noise" for Amnesty International Fri 4 August > Freedom Week -- Amnesty International's annual awareness and fundraising > week -- runs from 31st July - 6th August . Money collected on the streets > this year will support our crisis campaigning work, in particular our work > to stop human rights abuses in Darfur, Sudan. > > To help raise the profile of Freedom Week, and boost public donations, for > the first time this year, we're asking artists, buskers and performing > arts > students to give up half an hour or an hour of their time to busk on > Freedom Day, our street appeal day. > > In Auckland that's Friday 4th August (It's Thursday the 3rd in Wellington) > > We'd very much love you to help us find talented musicians to busk on the > streets of Auckland on Friday the 4th of August. Buskers do not need a > Council licence or permit to busk in Auckland -- But they are only are > allowed to perform for half an hour at a time, in one place. And only if > they have permission of the shop they are busking outside.... (i.e. you > have > to go in and ask the manager if it's OK, or try somewhere else). Also they > can't use amplified sound. > > We are asking buskers to email freedomweek at amnesty.org with their contact > details. They will then be put in touch with their local co-ordinator, > who > will issue them with the materials they'll need and support them on the > day. > > Amnesty International is a voluntary movement. Most of our work (and most > of > our fundraising) is undertaken by volunteer members. We accept no funding > from governments for our work investigating and campaigning against human > rights violations. Instead, we rely on donations from members and public. > > That?s why your support during Freedom Week is vital. I look forward to > working with talented, creative individuals such as yourself to make > Freedom > Week 2006 the most successful on record. Your contribution is truly > valued. > > Kind regards, > > Bridget Pipe-Fowler > Assistant Freedom Week co-ordinator > Amnesty International > bridget.pipe-fowler at amnesty.org.nz > (04) 496 96 16 > From stabbiesetc at yahoo.com.au Sun Jul 2 14:53:34 2006 From: stabbiesetc at yahoo.com.au (stefan geoffrey neville) Date: Mon, 3 Jul 2006 09:53:34 +1200 (NZST) Subject: [Af_list] pum dates Message-ID: <20060702215334.93025.qmail@web32803.mail.mud.yahoo.com> hey. i know some of yous will be in SF the same time as me?! heres my tour dates anyways. deep breath. give em a taste of kiwi etc... JULY. 11th. East village radio session. 6pm. 12th. Brooklyn, NY. Venue to be confirmed. 14th. providence,RI. BLDG 13 15th. Providence, RI. The annual as220 street party. 17th. Somerville, MA. PA?s lounge. with AREA C, and BLOOD MONEY. 19th. Florence, MA. Yod. with dredd foole. 20th. Rochester, NY. A|V space. 22nd. Livingston Manor, NY. Resort. 9.30pm. 23rd. Pittsburgh. tbc 25th. Ann Arbour, MI. Dreamland theatre. With Matt De Genarro. 26th. Chicago. Empty Bottle. With Zelienople and Matt De Genarro. 27th. Bloomington, IN. Landlocked. With Zelienople and Odawas. 28th. Indianapolis? AUGUST. 1st. Philadelphia. the boiler room. 3rd. Washington, DC. venue tbc. 6th. San Francisco, CA. with SKATERS and HORTICULTURAL COMPASS. venue tbc 8th. San Francisco, CA. the Make out room. With Chinatown Bakeries. 12th. San Fransisco, CA. Hotel Utah. With Badgerlore and No Doctors. 13th. Davis, CA. KDVS radio session. 3pm. 14th. Davis, CA. the bomb shelter. 20th. Portland,OR. Holocene with Ghosting, Bonus, and Grouper. 21st. Seattle,WA. Sunset tavern.tbc 23rd. Eugene, OR. With Ghosting and Bonus. 24th. Sacramento,CA. with Ghosting and Bonus. 25th. Oakland,CA. with Ghosting, Bonus and Axoltol. 26th. LA. Dangerous Curve. 30th. LA. Que Sera Send instant messages to your online friends http://au.messenger.yahoo.com -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060703/cd8500ea/attachment.html From artwerks at slingshot.co.nz Sun Jul 2 20:36:58 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Mon, 3 Jul 2006 15:36:58 +1200 Subject: [Af_list] Land in Motion Message-ID: <03de01c69e51$f0e44870$0a1cb8cb@d400> If you missed the feature on Phil Dadson in Wellington-based zine White Fungus, you can now find it on their website - in the articles section: http://www.whitefungus.com/ Andrew -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060703/56deb7e5/attachment.html From admin at audiofoundation.org.nz Mon Jul 3 13:58:28 2006 From: admin at audiofoundation.org.nz (Admin) Date: Tue, 04 Jul 2006 08:58:28 +1200 Subject: [Af_list] FW: Wellington musicians [and AK] support Indonesian earthquake benefit show In-Reply-To: <00c901c69e8e$6f7b3d10$91de61cb@keirenb6e0258b> Message-ID: Subject: Wellington musicians [and AK] support Indonesian earthquake benefit show Press release: skirted Records presents: Indonesian earthquake benefit show Where- Bodega: Room 101 When - Friday July 14 2006 A group of Wellington musicians [and 1 band from Palmerston North] have gathered together to use their talents to generate income to donate to house rebuilding projects in Sriharjo vilage housed within the Bantul region of Yogyakarta. The area was savagely hit by the earthquake on May 27, measuring magnitude 6.3, and claiming the lives of over 5000 people, and leaving an estimated 1.5 million people homeless. The show is happening in the downstairs bar of Bar Bodega, named Room 101. And performing on the evening are Twin Peeks [Hannah Simpson from Cherrys Gemstones], Black Pudding [from Palmy Nth], Hammondhead [The Chandeliers' keys man, Nigel Patterson], the avant-punk group mr sterile Assembly, and Onomatopoeia [double bassist Issac Smith's new trio]. The door price is $10 waged and $8 low/unwaged. The show commences at 9.45PM Simultaneously that evening, a similar event is taking place in Auckland at the Necropolis, again with all money being donated to the earthquake fund. For further information, questions, or donations, contact: Kieran Monaghan mr.sterile at paradise.net.nz or go to www.skirted.net Also, please contact me if you would like contact details for the Auckland show organisers. thanks skirted records www.skirted.net skirted in myspace http://www.myspace.com/skirtedrecords Dont hate the media, become the media http://indymedia.org.nz/ -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060704/703676f7/attachment.htm From damian at frey.co.nz Mon Jul 3 18:52:10 2006 From: damian at frey.co.nz (Damian Stewart) Date: Tue, 04 Jul 2006 13:52:10 +1200 Subject: [Af_list] microsound/electroacoustic/techno goings-on in asia Message-ID: <44A9C9CA.6080301@frey.co.nz> hey i'm off on my OE next year, and i'm intending on taking my laptop and mic and writing music in all of the places i end up in - which at the moment will be places that lie in a largely circuitous overland route between indonesia and germany, including indonesia, malaysia, vietnam, china, tibet, mongolia, turkey, bulgaria, romania, serbia, croatia, slovenia; possibly india and through iran, or possibly parts of russia and kazakhstan/ uzbekistan/ turkmenistan. no final dates or decisions yet.. now, it would be awesome to be able to hook up with the local ea/microsound/electronica/techno scene everywhere i go - assuming there is an ea/microsound/electronica/techno scene there of course. so, does anyone have any advice on how/where to make contact with these types of people before i get there? i'll be backpacking so it would be unspeakably amazing to be able to couchsurf as well... cheers damian -- f r e y live music with computers http://www.frey.co.nz From dr_rory_storm at yahoo.co.nz Mon Jul 3 22:57:16 2006 From: dr_rory_storm at yahoo.co.nz (Rory Storm) Date: Tue, 4 Jul 2006 17:57:16 +1200 (NZST) Subject: [Af_list] Giggles at Happy... In-Reply-To: Message-ID: <20060704055716.64191.qmail@web51504.mail.yahoo.com> Hi - I have a gig at Happy this thursday 6 July at Happy - it's accoustic singer/songwriter stuff but don't let that put you off.... see you there Rory Send instant messages to your online friends http://au.messenger.yahoo.com -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060704/c7316e45/attachment.htm From admin at audiofoundation.org.nz Tue Jul 4 13:28:10 2006 From: admin at audiofoundation.org.nz (Admin) Date: Wed, 05 Jul 2006 08:28:10 +1200 Subject: [Af_list] FW: property of stage manager In-Reply-To: <019501c69f4e$cb412ef0$5011f6d2@happy> Message-ID: this week on the corner of tory and vivian you can expect now: some snazzy humans, featuring chris palmer taylor taylor simon o'rorke and more wednesday - chris palmer playing thru more amps than you have thursday - relax with Anji Sami all the way from the south island with Rory Storm and Ryan Prebble friday - food, cleatus and the pleasing mummies: "Come and please Cleatus's mum with food. Eat the beat and shake that sweet meat inside the seat of your pants." saturday - hamilton comes to town: amy racecar, malenky robot with fighting the shakes and the henderson sunday 8pm- new sounds by: Lawrence English (aus) Jeph Jerman (usa) Greg Davis (usa) and Campbell Kneale and Antony Milton greg davis - http://www.autumnrecords.net or www.kranky.net Greg Davis is a musician based in Chicago. As an undergraduate at DePaul University in Chicago, Greg Davis studied classical and jazz guitar alongside composition and jazz studies. In 1997, he started his own label, Autumn Records, in order to put out his music and that of others. Several CDR releases later, Autumn Records relocated to Boston in 1999 and released the Autumnature compilation in May of 2001, which featured the likes of: Marumari, Hrvatski, Lexaunculpt, Cex, Colongib, Asterisk (aka Greg Davis), among others. At this time Greg was attending the New England Conservatory of Music in Boston, where he received his master's degree in composition in June 2001. Mouthmoth Records' Mothballs 7 inch series also featured several tracks by Greg (as Asterisk) and his performing duo, Parallel, with Don Mennerich. Greg was an active performer in the Boston area, playing many shows by himself and with Parallel. Greg returned to Chicago in August 2002. Greg's "Clouds as Edges" 7 inch single was released in October 2001 on Grounded Records. His debut CD, Arbor, was released in February 2002 on Carpark Records. Also, a Greg Davis & Don Mennerich split 7" was released in May 2002 on Autumn Records. Greg did an extensive seven week tour of the US in March and April 2002 and a four week tour of Europe in May and June 2002, all with friend and musical collaborator, Hrvatski (aka Keith Fullerton Whitman). On that European tour he recorded the material that became the Mort Aux Vaches CD on the Dutch radio program of the same name. Greg Davis released his second compact disc for Carpark in late 2003. Curling Pond Woods continues the integration of laptop processing and acoustic instrumentation that began on the Arbor album. As Bob Mehr wrote in the Chicago Reader: "He augments his signature symphony of gently plucked acoustic guitar and natural sounds ? water seems to be a favorite theme ? with touches of brass, woodwind, and pedal steel and even takes a couple rare lead vocal turns..". Beginning to work with an ensemble, Davis toured North America in spring 2004 playing material from the Curling Pond Woods album as part of Greg Davis (Group). A new piano piece by Davis called "Emptying" premiered at the Summer Institute for Contemporary Piano Performance at the New England Conservatory of Music in Boston, MA. The institute ran from June 21st ? 26th; Christian Wolff is the composer in residence and Ursula Oppens is the pianist in residence. An invitation to play at Sydney Australia's Sound Summit Festival alongside Matmos and Mike Paradinos was extended and so Greg Davis will be playing shows in Australia and New Zealand in October, 2004. The German Lux Nigra label will be released a limited edition 12" in Fall 2004. Somnia collects drone-oriented material Davis has been working over the last two to three years and includes a track, "Mirages (version 2)," recorded in spring 2004 using a schaaf punch card music box and computer. Each track features a single instrument (bowed psaltery, acoustic guitar, harmonica, fender rhodes, magnus chord organ) played by Davis and then filtered through a computer. The tones that come out of the process bear little immediate resemblance to the instrument of origin, taking on extended and diffuse forms of their own. Lux Nigra of Berlin Germany will release a companion 12" E.P. called Diaphonous. It contains the full length version of a track from Somnia plus two new pieces. Greg also started the Leaves CDR series on his Autumn Records which is devoted to field recordings and improvisations. These new releases continue to reveal the depth and diversity of Greg's musical world. Greg made his first trip to Australia in October 2004 to play at the Sound Summit festival in Newcastle and play at the Sydney Opera House in Sydney with Mu-ziq and Boombip. A North American tour supporting Somnia will follow in November 2004. Forthcoming releases include Yearlong, a collection of live improvisations with Keith Fullerton Whitman to be released on Carpark in January 2005, two duo CDs with Steven Hess, a collaboration with Sebastien Roux, and a number of compilation and remix appearances. Jeph Jerman born 1959 agana, guam i became interested in sound at a very early age and experimented with the first tape recorder i was given as a birthday present. there followed many years of playing commercial music in a large number of bands and orchestras, mostly in the western united states. during this time i also worked for several college radio stations, absorbing as much sound from around the world as i could. in 1983, founded the first of what would become many "more experimental" groups and began seriously working on my own soundwork. in 1986 began recording under the name hands to, eventually releasing far too many cassettes, albums and cds. around the same time the band blowhole was founded and was to last for almost ten years, spanning three different cities. moved to seattle washington in 1995 and fell in with the improvised music community there, eventually playing and recording with a large number of northwest luminaries. i believe that this is where i learned to listen, becoming less and less interested in music as a medium for self-expression. in 1996, began giving solo performances of very quiet acoustic sounds, using things found in nature as sound producers. 1999, founded animist orchestra, whose activities continue to the present day. in addition i build primitive acoustic musical instruments and design simple sound installations, and have begun working seriously on ambient films. lawrence english - www.room40.org Lawrence English is a writer, musician and media artist based in Brisbane, Australia. Working across a broad range of art forms, English's work is eclectic and characterises a long-term exploration of various themes - including audio/visual environments seen in his recent instalation work Ghost Towns. For over a decade English's audio explorations have sprawled across a range of areas. Sonically the work calls into question the eestablished relationships between approaches to sound and structure -traversing experimental soundscapes and free improvisation to processed beat works and concrete-influenced compostions, his back catalogue spans a dunamic array of frameworks. London's Time Out referred to his output as `ambient twisted soundscapes and challanging sonic scree' and U.S. sound journal Signal To Noise described English's work as `exrtaordinarily georgeous modern music concrete'. tuesday: acoustic pioneers - amid the din, elaine mclaughlin and matt hay with clint meech wednesday 8:30: last chance to see: !!!! (Jonny Marks - teachest bass/vocals, Alphabethead - turntables, John White - violin/vocals/perc and Misha Marks - Guitar and Percussion) and the Misha Marks Fourtet (Isaac Smith - Stringbass, Blair Latham - Clarinets/Saxophon, Misha Marks - Clasical Guitar and Rueben Bradley - Drumkit) _______________________________________ Happy corner Vivian and Tory Streets PO Box 9069 Wellington New Zealand +64 4 384 1965 www.happy.net.nz www.myspace.com/happybar Come with me, I will show you how to fly like a bird To join the Happy email list, contact: happymusic at paradise.net.nz For great music, listen to: The Zero Hour - 89FM Sundays 11pm - 1am -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060705/6be94885/attachment.htm From admin at audiofoundation.org.nz Tue Jul 4 13:34:35 2006 From: admin at audiofoundation.org.nz (Admin) Date: Wed, 05 Jul 2006 08:34:35 +1200 Subject: [Af_list] FW: [FLEET FM] World Cup Musical Clash In-Reply-To: <200607040801.k64814Mi014737@smarty.smartysite5.com> Message-ID: A WORLD CUP FINAL SOUND CLASH Basically what this involves is two bands made up of some of Auckland's top improv musicians representing each side playing in the World Cup Final. Weird I know, but it's gonna be choice. This Monday at 6 am the World Cup Final kicks off. It's happening at the King's Arms so as well as the bands there will also be cheap Guinness and breakfast being served. Don't fret if you are a true footy fan because as well as the music and the commentary will be coming through and the game will be projected onto a big screen. It costs 8 bucks to get in and doors open at 5 am. -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060705/b1f34364/attachment.html From artwerks at slingshot.co.nz Tue Jul 4 17:43:46 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Wed, 5 Jul 2006 12:43:46 +1200 Subject: [Af_list] Good Vibrations Message-ID: <027301c69fcc$14008140$9c34b8cb@d400> http://www.papesse.org/ Good Vibrations Visual arts and Rock music 26 May - 24 September 2006 Palazzo delle Papesse proudly announces its second exhibition of the year, entitled Good Vibrations. Visual arts and rock music. This group show explores the complex network of relations and reciprocal influences between visual arts and rock music that has characterised much of the artistic research and practise since the Sixties, giving birth to unusual collaborations and an intense phase of experimentation which resounds in the arts of today. The exhibit aims to illustrate this blending of genres and artistic languages, through the presentation of collaborative works between visual artists and musicians, artworks commissioned by musicians and artists to their counterpart (record sleeves, posters, logos, set and sound design), and several important pieces that somehow deal with Rock music and relate to Pop culture. Good Vibrations comprehensive - albeit not definitive - list of artworks includes: portraits of Rock icons by Robert Mapplethorpe and Elizabeth Peyton, Andy Warhol's Exploding Plastic Inevitable in collaboration with The Velvet Underground (filmed by Roland Nameth) and a large number of music-inspired pieces by artists such as Martin Creed, Jim Lambie or Tony Oursler - who is premiering in Europe the new installation Sound Digressions in Seven Colours - to cite a few. An entire section of the show will be devoted to the videoclips shot by visual artists during the last two decades. Also, a rich selection of documents will be exhibited, including record sleeves, studies and preparation drawings. In coincidence with the opening of the show, Giunti will be launching Marco Pierini's new book by the same title (Good Vibrations available in Italian and English), which offers a wider vision on the themes investigated by the exhibition, proposing perspectives and analysis impossible to be confined within the exhibition space. -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060705/da289d4b/attachment.htm From admin at audiofoundation.org.nz Wed Jul 5 03:35:31 2006 From: admin at audiofoundation.org.nz (Admin) Date: Wed, 05 Jul 2006 22:35:31 +1200 Subject: [Af_list] FW: [Xchange] Fwd: audio artists/musicians call for work - vague terrain 04: the body digital In-Reply-To: <7.0.1.0.1.20060705162700.01c89b88@hotkey.net.au> Message-ID: -- > >call for audio artists/musicians - vague terrain 04: the body digital > >Context: > >In his 1964 text "Understanding Media" media theorist & >future-caster Marshall McLuhan stated that electricity was an >extension of the nervous system. The next issue of Vague Terrain is >dedicated to continuing this line of thought and exploring both the >interface and friction between contemporary digital technology and >the body. Vague Terrain 04: the body digital will serve as a >catalog of new conceptions of the intersection between the physical >and digital realms, one in which the body is read as a dataset, >instrument, and host to new economies and discourses. > >The Call: > >Vagueterrain.net's fourth issue will be entitled "the body digital" >and we are currently seeking the work of audio artists and musicians >whose work deals with the interface between the body and >contemporary technology to showcase in this issue. Vague Terrain >04: the body digital will be published online in early September >2006 so work would need to be submitted by mid August. Vague >Terrain audio submissions generally consist of 30-40 minutes of >original sound/music which is distributed through our publication >via an author sanctioned creative commons license. > >Please see http://www.vagueterrain.net for more information about >the scope of our publication. > >If you are interested in contacting us regarding submitting audio >work to this issue, or have any questions please contact us via >submit at vagueterrain.net > >Thanks for your time! > >Greg Smith & Neil Wiernik >editors/curators >http://www.vagueterrain.net _thick.memoir.cableing.nost[||neur]algia.bloody_ http://www.hotkey.net.au/~netwurker/ http://www.livejournal.com/users/netwurker/ . | | | | | | | | | | | | | | (a) (c) (o) (u) (s) (t) (i) (c) ( ) (s) (p) (a) (c) (e) | | | | | | | | | | | | | | information&comunication channel | for net.broadcasters http://xchange.re-lab.net (Xchange) net.audio network xchange search/webarchive: http://xchange.re-lab.net/a/ From trudy at scanz.net.nz Wed Jul 5 20:36:10 2006 From: trudy at scanz.net.nz (trudy lane) Date: Thu, 6 Jul 2006 15:36:10 +1200 Subject: [Af_list] ADA@SCANZ - REGISTRATION CALL - 15-16 July, WITT Message-ID: Hi AF-listers, Here is the registration information for the upcoming ADA symposium in New Plymouth. All AF-listers are also more than welcome to join for the symposium, and/or we hope to see some of you this weekend at the events Andrew has been organizing for the What Sound Does A Colour Make? exhibition. all the best, // Trudy - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ADA at SCANZ AOTEAROA DIGITAL ARTS SYMPOSIUM Western Institute of Technology at Taranaki, New Plymouth 15- 16 July, 2006 We are now in the final stages of organizing the ADA symposium which will this year coincide with the SCANZ artist residency. Focuses for the symposium include creating intersection across international and national practices as well as the topics of Environmental Response and Connection/Disconnection. We would appreciate it if you could all respond to this registration call as soon as possible so that we can finalize our food arrangements in particular. The residency has been progressing well and we look forward to welcoming you to New Plymouth. In addition to the symposium sessions there is also a performance and presentation evening, and SCANZ exhibition opening at the Govett-Brewster Art Gallery on the Saturday night. SCHEDULE & INFORMATION The general schedule for the symposium is available online at the below URL. We will post further updates to the listing for the Workshop/Skill-sharing session both to ADA list and to this page, as well as repeat this registration information. http://www.scanz.net.nz/disc_symposium.html REGISTRATION The registration fee is $35 for the 2 days of the symposium. This fee includes some welcoming snacks, morning & afternoon teas, sunday lunch, & the skill-sharing workshops on sunday morning. Definite numbers for who is planning to come are needed in order to advise the caterers and people running the sunday workshops. In addition we are also organizing a saturday dinner and a sunday hangi meal. Please note these are not included in the registration fee and that there are limited spaces available, so it is advised to let us know as soon as possible. In order to register please send an email to g.fuller at unsw.edu.au answering the below questions. You can reply directly to this email, but just PLEASE BE CAREFUL TO NOT REPLY TO THE ADA LIST. Full Name: Preferred contact email: I wish to join for: 1. Saturday, Conference dinner - $25-30 pp. (Y/N) 2. Sunday, Hangi evening meal - $10-$25 pp. 6pm (Y/N) Final costs for the above two meals will be advised to all those who register. Unfortunately we will have no EFTPOS facilities at the premises, so require you to bring cash in order to complete your registration & meal bookings. ACCOMMODATION The easiest accommodation option is the on-campus student complex that the artists are also staying in. To book in here, please contact Dan either by phone or email. Orange Apartments On campus accommodation. ph: 06 968 3002 mb: 029 968 3002 daniel at edpac.co.nz $35 single room $50 double or twin room $10 shared bunk room (2ppl per room) There are also other options available in town such as Backpackers and a YMCA hostel. DRIVING & ARRIVAL In New Plymouth: ++ As you come into town on Highway 3 / Northgate, it's best to take this left-hand turn down Hobson St. Follow this to Hendrie Street. You can either park here, or follow the curving roadway leading off to the right from the end of Hendrie, which will take you to the accommodation unit parking. ++ From Hendrie St, follow the other WITT driveway that goes up the hill, and you will see the lecture theatre in front of you. The entrance is to the left. ++ Registration is at 12noon and will be at the entrance to the Lecture Theatre. Do not go to WITT's main / front entrance (20 Bell St). ++ Try and arrive to register by 12.30 at the latest so that we can process everybody and get the first session started. This includes allowing enough time to locate your rooms and drop off bags beforehand if staying at WITT. Thanks and we look forward to seeing you. ADA at SCANZ working team: Ian Clothier Trudy Lane Gillian Fuller Helen Varley Jamieson Janine Randerson Ian M. Clothier & Trudy Lane Co-organisers Solar Circuit Aotearoa New Zealand July 3-16 2006 http://www.scanz.net.nz scanz at scanz.net.nz SCANZ is supported by Creative New Zealand, TSB Trust, Western Institute of Technology at Taranaki, Govett-Brewster Art Gallery, Goethe Institute and the Moving Image Centre. -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060706/77398c73/attachment.htm From trudy at scanz.net.nz Wed Jul 5 20:43:00 2006 From: trudy at scanz.net.nz (trudy lane) Date: Thu, 6 Jul 2006 15:43:00 +1200 Subject: [Af_list] Fwd: Lawrence English, Greg Davis and Jeph Jerman: Monday July 10 New Plymouth References: <44AB83DA.8070304@umatic.nl> Message-ID: <6A52117E-1079-40F6-8E70-81080B99D074@scanz.net.nz> Hi again, There is also this event in New Plymouth, this coming monday. best, //trudy Begin forwarded message: > From: Derek Holzer > Date: July 5, 2006 9:18:18 PM GMT+12:00 > Subject: Lawrence English, Greg Davis and Jeph Jerman: Monday July > 10 New Plymouth > Interesting sound art/experimental music event next Monday night. I > don't have the exact address/time yet, but I will soon. > d. > > ------------------- > > Lawrence English, Greg Davis and Jeph Jerman > Monday July 10 2006, Matinee, New Plymouth > > This show brings together three sound artists: Lawrence English > (Australia), Greg Davis (USA) and Jeph Jerman (USA). Davis and > Jerman are > regular collaborators and are joined by English for this unique > tour. They > each explore a range of natural textures and field recordings, from > deeply > carved digital soundscapes to rich sonic environments created from the > most simple of tools. > > Greg Davis is a musician based in Chicago. As an undergraduate at > DePaul > University in Chicago, Davis studied classical and jazz guitar > alongside > composition and jazz studies. In 1997, he started his own label, > Autumn > Records, in order to put out his music and that of others. At this > time > Greg was attending the New England Conservatory of Music in Boston, > where > he received his master's degree in composition in June 2001. > www.autumnrecords.net > www.themilkfactory.co.uk/interviews/gdavisiw.htm > > > Jeph Jerman plays mostly unamplified objects with an incredible > control > and sublime ear. He became interested in sound at an early age, > experimenting with the first tape recorder he was given as a birthday > present. What followed was many years of playing commercial music in a > large number of bands and orchestras as well as working for several > college radio stations and absorbing as much sound from around the > world > as he could. In 1986 Jerman began recording under the name 'Hands To', > eventually releasing far too many cassettes, albums and CDs as well as > founding the band 'Blowhole'. He believes that this is where he > learned to > listen, becoming less and less interested in music as a medium for > self-expression. He gives solo performances using only natural found > objects (stones, shells, bones, driftwood, pine cones, etc), as > soundmakers. www.davidstanford.com/jerman > > > Lawrence English is a writer, musician and media artist based in > Brisbane, > Australia. For over a decade, English's audio explorations have > sprawled a > range of areas. Sonically, the work calls into question the > established > relationships between approaches to sound and structure - traversing > experimental soundscapes and free improvisation to processed beat > works > and concrete-influenced compositions, his back catalogue spans a > dynamic > array of frameworks. English runs the Room40 label and in recent > years has > performed and improvised with the likes of David Toop, Oren Ambarchi, > Marina Rosenfeld, DJ Olive, Philip Samartzis, Toshio Kajiwara, > Scanner, > Tetuzi Akiyama, Janek Schaefer and KK Null. > www.room40.org -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060706/853e34e4/attachment.html From derek at umatic.nl Wed Jul 5 22:41:11 2006 From: derek at umatic.nl (Derek Holzer) Date: Thu, 06 Jul 2006 17:41:11 +1200 Subject: [Af_list] Calling all NZ field recordists Message-ID: <44ACA277.7020704@umatic.nl> Hello New Zealand! Soundtransit.nl will be part of a group exhibition in the Govett-Brewster Gallery in New Plymouth which was organized by the SCANZ Artist Residency and New Media Workshop. The show opens on Saturday June 15 and runs for two weeks. We'd like to hear some environmental sounds from New Zealand in the project when it goes up, so if you are based in NZ or have recorded there in the past, please contact derek at umatic.nl for a login. best, d. ABOUT SOUNDTRANSIT SoundTransit is a collaborative, online community dedicated to field recording and phonography. In the ?Book? section of this site, you can plan a sonic journey through various locations recorded around the world. And in the ?Search? section, you can search the database for specific sounds by member artists from many different places. If you are a phonographer, you can also contribute your recordings for others to enjoy. The Creative Commons Attribution license encourages the sharing and reuse of all sounds on this website. Enjoy SoundTransit! LINKS http://soundtransit.nl/ http://www.govettbrewster.com/ http://www.scanz.net.nz/ -- derek holzer ::: http://www.umatic.nl ---Oblique Strategy # 60: "Don't be afraid of things because they're easy to do" From p-arcana at paradise.net.nz Thu Jul 6 19:31:12 2006 From: p-arcana at paradise.net.nz (PseudoArcana) Date: Fri, 07 Jul 2006 14:31:12 +1200 Subject: [Af_list] Swung and Bill Direen titles, + a new CD... In-Reply-To: Message-ID: <20060707023109.529BC107934C@smtp-2.paradise.net.nz> Swung. -'Voice and Key'. Swung is Auckland's Zoe Drayton. Besides her invaluable role as the chief archivist, promoter and all round lynchpin of the New Zealand 'new music' scene, Drayton is an active musician and composer in her own right. 'Voice and Key' is -as the name suggests- a collection of keyboard and voice works from the period 1996-2006. Each track is an entity unto itself. The 1st features a simple melancholy piano figure that is looped and cut up until it utterly fragments into a staccato drone, the 2nd sounds almost a found recording of private utterances, someone sitting at a piano in a cool summer room. Track 3 is a beautiful short and wordless "pop song", track 4 an abstract organ trajectory and track 5 a radically deconstructed lullaby. 'Voice and Key' is a extraordinarily intimate and beautiful work. It feels a privilege to be invited in to listen. 3"cdr. NZ$10. Bill Direen. -'17 Pianos'. Bill Direen (The Bilders etc) was one of the key figures of the Flying Nun era NZ music scene. Resident now in Paris for many years, where he has been focussing upon the writing of novels and plays, he has continued to write music and perform throughout Europe. 17 Pianos' was recorded in 1996- and features 17 piano improvisations in just under 20 minutes. The recordings are very raw- you can hear the reels of tape graunching around- and the playing a spontaneous reverie of melody and chaos. Bill writes: "The "Seventeen pianos" (piano pieces) were written in Berlin in 1995-1996. They were recorded on a hand-sized Panasonic cassette recorder, which I placed on top of the opened upright piano. The seventeen "pianos" are tied up, for me, with long nights creating a violent plot and inventing the winding voices that speak in << Wormwood >>, my first novel set in the art-student and criminal underworld of Berlin. Wee musical inventions (and a piano) that kept me sane". This is a limited edition of 25 copies with hand made (and painted, and varnished etc etc) quirky "erotic" (..?) covers made by Bill in his Paris flat. 3"cdr. NZ$10. 4 copies left. Also have this just out. Dialing In. -'Cows In Lye'. Dialing In is the ecstatic roaring psychedelic drone project of Seattle based sound artist Reita Piecuch. Utilising the natural acoustics of a series of reverberant spaces she weaves together super saturated soundscapes by recording in one environment, playing back in another, and then re-recording this recording playing back in yet another environment (etc..). On 'Cows in Lye' the original sound sources range from loops of field recordings from a trip to India, piano, and the shifting drones of a "Shruti Box" (electronic Tamboura). One track also features a long stream of consciousness vocal performance from avant-crooner 'Herb Diamante'..! (ex Skullflower/Vibracathedral O) After a trek with recording gear through the caves, cathedrals and bunkers of Seattle these ingredients are transformed into huge and sublimely distorted quasi-melodic dreamscapes. The album lifts off with an ecstatic roar and the intensity doesn't let up until one is released exultant in the green flash of a setting sun. CD NZ$20 Antony Milton/ PseudoArcana PO Box 24409 Wellington 6142 New Zealand http://www.pseudoarcana.com/ New releases. PseudoArcana: Dialing In. -'Cows in Lye' CD. The Lost Domain. - 'Palace' CD! Swung. -'Voice and Key' 3"cdr Bill Direen.- '17 Pianos'. 3" cdr (limited) Seedy R!: Peter Wright. -'unvarnished, untreated, unzipped'. XNOBBQX. -'Blues'. -----Original Message----- From: af_list-bounces at list.audiofoundation.org.nz [mailto:af_list-bounces at list.audiofoundation.org.nz] On Behalf Of af_list-request at list.audiofoundation.org.nz Sent: Friday, 7 July 2006 7:07 a.m. To: af_list at list.audiofoundation.org.nz Subject: af_list Digest, Vol 3, Issue 6 Send af_list mailing list submissions to af_list at list.audiofoundation.org.nz To subscribe or unsubscribe via the World Wide Web, visit http://list.audiofoundation.org.nz/listinfo.cgi/af_list-audiofoundation.org. nz or, via email, send a message with subject or body 'help' to af_list-request at list.audiofoundation.org.nz You can reach the person managing the list at af_list-owner at list.audiofoundation.org.nz When replying, please edit your Subject line so it is more specific than "Re: Contents of af_list digest..." Today's Topics: 1. ADA at SCANZ - REGISTRATION CALL - 15-16 July, WITT (trudy lane) 2. Fwd: Lawrence English, Greg Davis and Jeph Jerman: Monday July 10 New Plymouth (trudy lane) 3. Calling all NZ field recordists (Derek Holzer) ---------------------------------------------------------------------- Message: 1 Date: Thu, 6 Jul 2006 15:36:10 +1200 From: trudy lane Subject: [Af_list] ADA at SCANZ - REGISTRATION CALL - 15-16 July, WITT To: Audio Foundation List Cc: Gillian Fuller Message-ID: Content-Type: text/plain; charset="us-ascii" Hi AF-listers, Here is the registration information for the upcoming ADA symposium in New Plymouth. All AF-listers are also more than welcome to join for the symposium, and/or we hope to see some of you this weekend at the events Andrew has been organizing for the What Sound Does A Colour Make? exhibition. all the best, // Trudy - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ADA at SCANZ AOTEAROA DIGITAL ARTS SYMPOSIUM Western Institute of Technology at Taranaki, New Plymouth 15- 16 July, 2006 We are now in the final stages of organizing the ADA symposium which will this year coincide with the SCANZ artist residency. Focuses for the symposium include creating intersection across international and national practices as well as the topics of Environmental Response and Connection/Disconnection. We would appreciate it if you could all respond to this registration call as soon as possible so that we can finalize our food arrangements in particular. The residency has been progressing well and we look forward to welcoming you to New Plymouth. In addition to the symposium sessions there is also a performance and presentation evening, and SCANZ exhibition opening at the Govett-Brewster Art Gallery on the Saturday night. SCHEDULE & INFORMATION The general schedule for the symposium is available online at the below URL. We will post further updates to the listing for the Workshop/Skill-sharing session both to ADA list and to this page, as well as repeat this registration information. http://www.scanz.net.nz/disc_symposium.html REGISTRATION The registration fee is $35 for the 2 days of the symposium. This fee includes some welcoming snacks, morning & afternoon teas, sunday lunch, & the skill-sharing workshops on sunday morning. Definite numbers for who is planning to come are needed in order to advise the caterers and people running the sunday workshops. In addition we are also organizing a saturday dinner and a sunday hangi meal. Please note these are not included in the registration fee and that there are limited spaces available, so it is advised to let us know as soon as possible. In order to register please send an email to g.fuller at unsw.edu.au answering the below questions. You can reply directly to this email, but just PLEASE BE CAREFUL TO NOT REPLY TO THE ADA LIST. Full Name: Preferred contact email: I wish to join for: 1. Saturday, Conference dinner - $25-30 pp. (Y/N) 2. Sunday, Hangi evening meal - $10-$25 pp. 6pm (Y/N) Final costs for the above two meals will be advised to all those who register. Unfortunately we will have no EFTPOS facilities at the premises, so require you to bring cash in order to complete your registration & meal bookings. ACCOMMODATION The easiest accommodation option is the on-campus student complex that the artists are also staying in. To book in here, please contact Dan either by phone or email. Orange Apartments On campus accommodation. ph: 06 968 3002 mb: 029 968 3002 daniel at edpac.co.nz $35 single room $50 double or twin room $10 shared bunk room (2ppl per room) There are also other options available in town such as Backpackers and a YMCA hostel. DRIVING & ARRIVAL In New Plymouth: ++ As you come into town on Highway 3 / Northgate, it's best to take this left-hand turn down Hobson St. Follow this to Hendrie Street. You can either park here, or follow the curving roadway leading off to the right from the end of Hendrie, which will take you to the accommodation unit parking. ++ From Hendrie St, follow the other WITT driveway that goes up the hill, and you will see the lecture theatre in front of you. The entrance is to the left. ++ Registration is at 12noon and will be at the entrance to the Lecture Theatre. Do not go to WITT's main / front entrance (20 Bell St). ++ Try and arrive to register by 12.30 at the latest so that we can process everybody and get the first session started. This includes allowing enough time to locate your rooms and drop off bags beforehand if staying at WITT. Thanks and we look forward to seeing you. ADA at SCANZ working team: Ian Clothier Trudy Lane Gillian Fuller Helen Varley Jamieson Janine Randerson Ian M. Clothier & Trudy Lane Co-organisers Solar Circuit Aotearoa New Zealand July 3-16 2006 http://www.scanz.net.nz scanz at scanz.net.nz SCANZ is supported by Creative New Zealand, TSB Trust, Western Institute of Technology at Taranaki, Govett-Brewster Art Gallery, Goethe Institute and the Moving Image Centre. -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060706/77398c73/atta chment.html ------------------------------ Message: 2 Date: Thu, 6 Jul 2006 15:43:00 +1200 From: trudy lane Subject: [Af_list] Fwd: Lawrence English, Greg Davis and Jeph Jerman: Monday July 10 New Plymouth To: Audio Foundation List Message-ID: <6A52117E-1079-40F6-8E70-81080B99D074 at scanz.net.nz> Content-Type: text/plain; charset="us-ascii" Hi again, There is also this event in New Plymouth, this coming monday. best, //trudy Begin forwarded message: > From: Derek Holzer > Date: July 5, 2006 9:18:18 PM GMT+12:00 > Subject: Lawrence English, Greg Davis and Jeph Jerman: Monday July > 10 New Plymouth > Interesting sound art/experimental music event next Monday night. I > don't have the exact address/time yet, but I will soon. > d. > > ------------------- > > Lawrence English, Greg Davis and Jeph Jerman > Monday July 10 2006, Matinee, New Plymouth > > This show brings together three sound artists: Lawrence English > (Australia), Greg Davis (USA) and Jeph Jerman (USA). Davis and > Jerman are > regular collaborators and are joined by English for this unique > tour. They > each explore a range of natural textures and field recordings, from > deeply > carved digital soundscapes to rich sonic environments created from the > most simple of tools. > > Greg Davis is a musician based in Chicago. As an undergraduate at > DePaul > University in Chicago, Davis studied classical and jazz guitar > alongside > composition and jazz studies. In 1997, he started his own label, > Autumn > Records, in order to put out his music and that of others. At this > time > Greg was attending the New England Conservatory of Music in Boston, > where > he received his master's degree in composition in June 2001. > www.autumnrecords.net > www.themilkfactory.co.uk/interviews/gdavisiw.htm > > > Jeph Jerman plays mostly unamplified objects with an incredible > control > and sublime ear. He became interested in sound at an early age, > experimenting with the first tape recorder he was given as a birthday > present. What followed was many years of playing commercial music in a > large number of bands and orchestras as well as working for several > college radio stations and absorbing as much sound from around the > world > as he could. In 1986 Jerman began recording under the name 'Hands To', > eventually releasing far too many cassettes, albums and CDs as well as > founding the band 'Blowhole'. He believes that this is where he > learned to > listen, becoming less and less interested in music as a medium for > self-expression. He gives solo performances using only natural found > objects (stones, shells, bones, driftwood, pine cones, etc), as > soundmakers. www.davidstanford.com/jerman > > > Lawrence English is a writer, musician and media artist based in > Brisbane, > Australia. For over a decade, English's audio explorations have > sprawled a > range of areas. Sonically, the work calls into question the > established > relationships between approaches to sound and structure - traversing > experimental soundscapes and free improvisation to processed beat > works > and concrete-influenced compositions, his back catalogue spans a > dynamic > array of frameworks. English runs the Room40 label and in recent > years has > performed and improvised with the likes of David Toop, Oren Ambarchi, > Marina Rosenfeld, DJ Olive, Philip Samartzis, Toshio Kajiwara, > Scanner, > Tetuzi Akiyama, Janek Schaefer and KK Null. > www.room40.org -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060706/853e34e4/atta chment-0001.html ------------------------------ Message: 3 Date: Thu, 06 Jul 2006 17:41:11 +1200 From: Derek Holzer Subject: [Af_list] Calling all NZ field recordists To: af_list at list.audiofoundation.org.nz Message-ID: <44ACA277.7020704 at umatic.nl> Content-Type: text/plain; charset=windows-1252; format=flowed Hello New Zealand! Soundtransit.nl will be part of a group exhibition in the Govett-Brewster Gallery in New Plymouth which was organized by the SCANZ Artist Residency and New Media Workshop. The show opens on Saturday June 15 and runs for two weeks. We'd like to hear some environmental sounds from New Zealand in the project when it goes up, so if you are based in NZ or have recorded there in the past, please contact derek at umatic.nl for a login. best, d. ABOUT SOUNDTRANSIT SoundTransit is a collaborative, online community dedicated to field recording and phonography. In the ?Book? section of this site, you can plan a sonic journey through various locations recorded around the world. And in the ?Search? section, you can search the database for specific sounds by member artists from many different places. If you are a phonographer, you can also contribute your recordings for others to enjoy. The Creative Commons Attribution license encourages the sharing and reuse of all sounds on this website. Enjoy SoundTransit! LINKS http://soundtransit.nl/ http://www.govettbrewster.com/ http://www.scanz.net.nz/ -- derek holzer ::: http://www.umatic.nl ---Oblique Strategy # 60: "Don't be afraid of things because they're easy to do" ------------------------------ _______________________________________________ af_list mailing list http://list.audiofoundation.org.nz/listinfo.cgi/af_list-audiofoundation.org. nz End of af_list Digest, Vol 3, Issue 6 ************************************* -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.385 / Virus Database: 268.9.8/380 - Release Date: 30/06/2006 From adam at xs4all.nl Thu Jul 6 19:53:01 2006 From: adam at xs4all.nl (adam) Date: Fri, 7 Jul 2006 04:53:01 +0200 Subject: [Af_list] want to perform remotely to ISEA? Message-ID: <20060707025301.GJ32728@xs4all.nl> hi, I am organising a remote symposium for ISEA in California in August. I was wondering if anyone is interested in performing remotely for the event (details below). adam ISEA (International Symposium on Electronic Art)2006, an international conference held in conjunction with ZeroOne San Jose: A Global Festival of art on the Edge, will be held in San Jose, CA, August 7-13 2006. Both events are "situated at the critical intersection of art and technology." ISEA2006 re:mote is a symposium within ISEA2006 and is issuing a Call for Proposals. ISEA2006 re:mote, August 10-12, 2006 International new media art discourse is stimulated by festivals and events like ISEA2006 which form temporary cultural centers to represent, present and discuss networked and digital technologies. However by forming temporary centers we also tacitly create a notion of a periphery - with temporary centers also come temporary peripheries. In new media culture this is a paradox as much new media art, theory, and discourse reflects on the network itself and the elusiveness and redundancy of centers and peripheries. ISEA2006 re:mote attempts to dissuade us from imposing these distinctions by providing a platform for artists, commentators, curators, performers and theorists to participate in ISEA 2006 via online and pre-recorded media. ISEA2006 re:mote Open Call ISEA2006 re:mote is inviting media spaces and individual artists, theorists, and curators from around the world to speak or perform via remote technologies to the audience at ISEA. Presentations to be directed at the four themes of ISEA 2006. Participants are invited to present or perform on topics included within the ISEA symposium, and onsite audience interaction with the presenters is also encouraged. ISEA re:mote will focus on presenting media spaces and people that would otherwise be excluded from presenting their work at ISEA due to financial, political, or logistical reasons. The length of each presentation can be negotiated, however, for now we have set the maximum time limit of 20 minutes. Technologies used will be up to each presenter, the premise is that the technologies should be easy for you to use and access and ISEA2006 re:mote will manage the corresponding technology requirements as much as possible onsite at ISEA2006. Live and pre-recorded material can be included. Live presentations could use any available technlogies including voice technologies such as Skype/OpenWengo/Gizmo/Linphone/Ekiga or other softphones, audio or video streams, video conferencing with softwares like ichatAV/Ekiga/Skype/OpenWengo, web cams, shared desktops using softwares like VNC/RemotePC or Remote Desktop, text chats such as irc or webchats, avatar environments, gaming environments, or even the telephone! In situations where your available bandwidth is limited or restricted, delivery of digital presentation material (audio/video) can be delivered electronically or posted by traditional mail. In all situations online presence of the presenters would be beneficial, this may take the form of IM, irc or other text based chat technologies if 'realtime' audio or video communications are not possible. Creative use of remote presentation technologies is encouraged! Time slots have to be negotiated, but we are willing to bend as much as we can to include as many people as possible from various time zones. Unfortunately there are no honoraria available for this event. ISEA2006 will feature four themes: Interactive City, Community Domain, Transvergence, and Pacific Rim. Please see the following links for further information on each on the themes: Transvergence http://01sj.org/content/view/25/71/ Interactive City http://01sj.org/content/blogcategory/23/68/ Community Domain http://01sj.org/content/view/23/69/ Pacific Rim http://01sj.org/content/blogcategory/25/70/ All proposals need only be a short paragraph outlining what you would like to present, a short bio (one paragraph), and the software, technology, or other delivery process you would like to use for the presentation. Please email this information to Adam Hyde at : adam at xs4all.nl ISEA2006 re:mote is a collaboration between ISEA2006 ( http://01sj.org/ ) and Adam Hyde ( http://www.xs4all.nl/~adam ) and is based on the re:mote series of events: re:mote auckland - organised by r a d i o q u a l i a and ((ethermap http://www.remote.org.nz/ re:mote regina - organised by r a d i o q u a l i a and soil media lab http://soilmedia.org/remote/ ======================================= -- Adam Hyde ~/.nl selected projects http://www.xs4all.nl/~adam the streaming suitcase http://www.streamingsuitcase.com r a d i o q u a l i a http://www.radioqualia.net Free as in 'media' email : adam at xs4all.nl mobile : + 31 6 186 75 356 (Netherlands mobile) From samukun at gmail.com Fri Jul 7 04:08:58 2006 From: samukun at gmail.com (Sam Hamilton) Date: Fri, 7 Jul 2006 23:08:58 +1200 Subject: [Af_list] fps helpers Message-ID: <19ccf87f0607070408r3ccfeeaco853257c90271de8b@mail.gmail.com> hi AF people on the 18th and 20th we are having our brillient huge brimming Live Cinema Events! "fps". unfortunately we dont actually have a lot of time to set it all up. soooo.... this is a call out for some people to volunteer a bit of there time to come and help up us out a bit down in the Winter Gardens in the Civic building on Queen St what we need is a few lovely people to come down for how ever much time they can between 9am and 6:30 on tuesday the 18th and thursday the 20th to simply help out with all the little odd jobs that we are going to find creeping up on us. at the moment all we can offer in return is free entry into the event and of coarse our infinate gratitude, and maybe even a beer. if you think you have a few hours you could spare on these days please let me know asap cheers Sam and Phil -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060707/f4755075/attachment.htm From artwerks at slingshot.co.nz Tue Jul 11 13:30:48 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Wed, 12 Jul 2006 08:30:48 +1200 Subject: [Af_list] Greg Davis and Jeph Jerman talk at ARTSPACE tonight Message-ID: <04a001c6a528$e5912f50$2f25b8cb@d400> Alt.music: Sound trio to tour New ZealandJust a quick reminder that Greg and Jeph will be doing a bit of a show-and-tell tonight, 6pm at ARTSPACE - free. This is a unique opportunity to meet the artists and hear about their distinctive sound environments. If you missed last night's mesmerising set of organic improvisations, be sure to catch this session. Regards, Andrew ----- Original Message ----- From: ARTSPACE To: Artspace NZ Sent: Thursday, June 29, 2006 3:17 PM Subject: Alt.music: Sound trio to tour New Zealand Sound trio to tour New Zealand An Alt.music presentation in association with ARTSPACE and Room40 Lawrence English, Greg Davis, Jeph Jerman and Michael Morley $10, Tuesday July 11 2006, doors 7pm, starts 8pm ARTSPACE, 300 K' Rd, Auckland Greg Davis and Jeph Jerman free artist talk, 6pm, ARTSPACE, Weds July 12 NZ tour dates: 07.07.2006 Dunedin Public Art Gallery 08.07.2006 The Physics Room, Christchurch 09.07.2006 Happy, Wellington 10.07.2006 New Plymouth (TBC) 11.07.2006 ARTSPACE, Auckland Alt.music brings together three sound artists Lawrence English (Australia), Greg Davis (USA) and Jeph Jerman (USA). Davis and Jerman are regular collaborators and are joined by English for this unique tour. They each explore a range of natural textures and field recordings, from deeply carved digital soundscapes to rich sonic environments created from the most simple of tools. Also playing is Michael Morley (Dunedin) who last played Alt.music as a member of pioneering noise group The Dead C. Greg Davis is a musician based in Chicago. As an undergraduate at DePaul University in Chicago, Davis studied classical and jazz guitar alongside composition and jazz studies. In 1997, he started his own label, Autumn Records, in order to put out his music and that of others. At this time Greg was attending the New England Conservatory of Music in Boston, where he received his master's degree in composition in June 2001. www.autumnrecords.net www.themilkfactory.co.uk/interviews/gdavisiw.htm Jeph Jerman plays mostly unamplified objects with an incredible control and sublime ear. He became interested in sound at an early age, experimenting with the first tape recorder he was given as a birthday present. What followed was many years of playing commercial music in a large number of bands and orchestras as well as working for several college radio stations and absorbing as much sound from around the world as he could. In 1986 Jerman began recording under the name 'Hands To', eventually releasing far too many cassettes, albums and CDs as well as founding the band 'Blowhole'. He believes that this is where he learned to listen, becoming less and less interested in music as a medium for self-expression. He gives solo performances using only natural found objects (stones, shells, bones, driftwood, pine cones, etc), as soundmakers. www.davidstanford.com/jerman Lawrence English is a writer, musician and media artist based in Brisbane, Australia. For over a decade, English's audio explorations have sprawled a range of areas. Sonically, the work calls into question the established relationships between approaches to sound and structure - traversing experimental soundscapes and free improvisation to processed beat works and concrete-influenced compositions, his back catalogue spans a dynamic array of frameworks. English runs the Room40 label and in recent years has performed and improvised with the likes of David Toop, Oren Ambarchi, Marina Rosenfeld, DJ Olive, Philip Samartzis, Toshio Kajiwara, Scanner, Tetuzi Akiyama, Janek Schaefer and KK Null. www.room40.org Michael Morley Dunedin musician and artist Michael Morley is a member of The Dead C, Gate, The Lavender Head and The Fuck Chairs. Earlier, in the 1980s, Morley was a member of Wreck Small Speakers On Expensive Stereos. Morley founded the Precious Metal label sometime in the late 1980s to document, first on cassette and later LP and CD, his own work as Gate. Most of the releases on Precious Metal were limited to very small quantities. He has also recorded and played live with Lee Ranaldo, Keiji Haino, Zeena Parkins and many more. Morley teaches at Otago Polytechnic School of Art in Dunedin. Alt.music is an ongoing series of events, regularly bringing a vital injection of contemporary sound art from around the world to Auckland. Founded by Auckland gallery ARTSPACE and now organised in conjunction with the Audio Foundation, Alt.music began as an international festival of experimental music and sound art in 2001, followed by successive festivals in 2002 and 2004. Previous Alt.Music artists include Keith Fullerton Whitman, Peter Rehberg, Pan Sonic, Tetuzi Akiyama, Jon Rose, Voice Crack, Sachiko M, Francisco Lopez, Pierre Bastien, Oren Ambarchi, Alan Licht, Richard Nunns and the Dead C. Alt.music is supported by ARTSPACE and Kolumbard. For more information on this event please contact Andrew Clifford - artwerks at slingshot.co.nz ARTSPACE Level 1, 300 Karangahape Road, Newton PO Box 68418, Newton, Auckland, New Zealand phone +64 9 3034965 fax +64 9 3661842 artspace at artspace.org.nz http://www.artspace.org.nz HOURS Tuesday - Friday 10-6 / Saturday 11-4 ARTSPACE is a charitable trust whose mission is to present cutting edge contemporary art. ARTSPACE receives major public funding from Creative New Zealand. Join the crusade, become an ARTSPACE member. If you no longer wish to receive information about ARTSPACE or are receiving these emails in error firstly may we apologise. If you reply to this message with "REMOVE" in the subject line we will immediately remove your contact information from our database. -------------------------------------------------------------------------------- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.394 / Virus Database: 268.9.6/378 - Release Date: 28/06/2006 -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060712/6c59e2b4/attachment.html From admin at audiofoundation.org.nz Tue Jul 11 14:32:10 2006 From: admin at audiofoundation.org.nz (Admin) Date: Wed, 12 Jul 2006 09:32:10 +1200 Subject: [Af_list] FW: no no chips In-Reply-To: <016c01c6a49e$722ba9d0$0100007f@happy> Message-ID: ---------- From: HAPPY Reply-To: HAPPY Date: Tue, 11 Jul 2006 15:53:16 +1200 To: HAPPY Subject: no no chips Tuesday 11th july (8pm koha) - Acoustic Pioneers Good afternoon all you lovely lads and ladies! This week at Acoustic Pioneers we have a mix of music and word, from the small scale to the very large. Its going to be a jam packed evening. Matt Hay with Clint Meech Word Collective - Craig Ireson and Andrew Savage Amid the Din Elaine McLaughlin We look forward to entertaining you again tomorrow night at Happy, corner of Tory and Vivian streets. Koha entry from 8pm. Arohanui, Jessie and Gina Wednesday 12th july (8.30 $10/$5) is your last chance for: !!!! (Jonny Marks - teachest bass/vocals, Alphabethead - turntables, John White - violin/vocals/perc and Misha Marks - Guitar and Percussion) and the Misha Marks Fourtet (Isaac Smith - Stringbass, Blair Latham - Clarinets/Saxophon, Misha Marks - Clasical Guitar and Rueben Bradley - Drumkit) Thursday 13th july - Zombie Fuck, Peneloping and Volcana Friday 14th July ($10/$5) - Niko NeZna, Jacques Rebrellion and Wellingtron Saturday 15th July - Rock and Roll Machine (AK) with The Evils and Cherry tuesday 18th July - some snazzy humans - impovrished mucus wednesday 19th july - Sara Kolster (NL) & Derek Holzer (USA)'s resonanCITY performance and MING (Campbell Kneale) ?resonanCITY? is a performance created from field recordings, found objects, photography and video collected in various locations around the world. Using these sounds, objects and images, Sara Kolster and Derek Holzer create a live audiovisual improvisation which amplifies and transforms the smallest and most unnoticed details. The result--a live cinema performance something between a dream and a road-trip. ?ResonanCITY? has been performed live in Holland, Brasil, France, Austria, the USA, Canada, Serbia, the BalticStates and at the Transmediale 05 in Berlin. ?resonanCITY? also took the Second Prize at the 11th International WRO Media Art Biennale in Wroclaw, Poland in May 2005. Ming is like Kneale's most famous incarnation Birchville Cat Motel but more experimental than BCM allowing Kneale to try out different things... like dance music, or black metal or superquiet acoustic minimalism. BIOGRAPHIES Derek Holzer [USA 1972] is a sound artist with a background in radio, webstreaming and environmental recording. His work focuses on capturing and transforming small, unnoticed sounds from various natural and urban locations, networked collaboration strategies, experiments in improvisational sound and the use of free software such as Pure-Data. He has released tracks under the Nexsound, Sirr, and/OAR and Gruenrekorder labels, and has co-initiated several internet projects for field recording and collaborative soundscapes including Soundtransit.nl. "One of the central concepts of my work is that every object and space around us is a recorder. Each one has collected the resonances of its surroundings for as long as it has existed. You could call it an acoustic version of particle physics or genetics, because the idea remains the same--in the smallest details you will find a representation of the greater whole. My task as a sound artist is often just to listen, and to listen very closely, to the histories hidden inside our everyday world." Sara Kolster [NL 1978] is a video and media artist with a background in web / graphical design and web-based projects. The focus of her work shifted more towards video and film; capturing details from urban locations, visualizing fragments of stories of these environments. She uses different strategies, from time-based media (video, film) to appropriated research methods belonging to different observational disciplines (journalism, documentary & archeology). Recently, her work concentrates on the integration of sound and image, using different techniques - from medium format slides, 16 & 35 millimeter film and video to database-systems, live processing programs such as Pure-Data and web-interfaces. " I choose my images carefully, with a main focus on details and close-ups. The camera observes, looking for stories behind objects and locations. In my work, i emphasize the uninhabitated environment in which human appearance seems to be even more accentuated. This environment, obviously designed by humans, shows inevitably their traces. Questions as, who lived there or what has happened, i leave to be answered by the viewer." LINKS http://www.umatic.nl/info_derek.html http://www.umatic.nl/info_sara.html http://www.soundtransit.nl http://www.sarako.net/performance.html http://nexsound.org/ns22.html http://karosta.edworks.net/ thursday 20th july - Libra Accord, Bonanza and Grusome friday 21st july - Lawrence Arabia and Holiday With Friends saturday 22nd july - option 3 fundraiser - urban tramper, lego breaks, spartacus r, elly + dj sunday 23rd - manimanima tuesday 25th - acoustic pioneers - wellingtons actually acoustic acoustic show _______________________________________ Happy corner Vivian and Tory Streets PO Box 9069 Wellington New Zealand +64 4 384 1965 www.happy.net.nz www.myspace.com/happybar Come with me, I will show you how to fly like a bird To join the Happy email list, contact: happymusic at paradise.net.nz For great music, listen to: The Zero Hour - 89FM Sundays 11pm - 1am -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060712/714d1266/attachment.htm From artwerks at slingshot.co.nz Tue Jul 11 14:33:10 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Wed, 12 Jul 2006 09:33:10 +1200 Subject: [Af_list] Shine on... Message-ID: <04c701c6a531$9c0d84b0$2f25b8cb@d400> Sad news just in... http://arts.guardian.co.uk/news/obituary/0,,1817952,00.html I'm sure I'm not the only person on this list who enjoys their early-period improvised freak-outs. Trivia note for AFers: All the obit's mention Syd's radical guitar techniques, playing with a zippo lighter and ballbearings. None mention the fact that this was learned from hanging out in the studio with improv legends AMM, who shared management with Pink Floyd for a brief period. Andrew -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060712/6fdab613/attachment.html From samukun at gmail.com Tue Jul 11 18:15:04 2006 From: samukun at gmail.com (Sam Hamilton) Date: Wed, 12 Jul 2006 13:15:04 +1200 Subject: [Af_list] gigs for giggles till you spill you wiggles Message-ID: <19ccf87f0607111815t107ebfccre88048de42eb3375@mail.gmail.com> hi people (you) just to anchor your drifting interests to the now and here. tomorrow night (thursday)!!!!!!!!!!!!!!!!! at the Wine Cellar!!!!!!!!!!!!! fair welling some very nice person indeed, these frequencies, which you very well need, will be brought to you by: // Golden Crone - bass and treble // Sam Hamilton - mids its free as a bee so buzz along and rock your socks off. plus: next week during the film festivals peek dont forget to let "fps" make you wet oh gee you'll be higher than a tree ("fps", i promise will not have any poetry at least not from me or my brain the size of a pea) then oh boy july the 21st at the Odeon in support of Dudley Benson me Sam Hamilton will play probably the most slumbersome ripples of carefree referenceless dimples to carry you standards away tumblingstrain the insulting poetic pain -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060712/d1964e92/attachment.html From trudy at scanz.net.nz Tue Jul 11 19:50:39 2006 From: trudy at scanz.net.nz (trudy lane) Date: Wed, 12 Jul 2006 14:50:39 +1200 Subject: [Af_list] ADA@SCANZ - REGISTRATION REMINDER References: Message-ID: Hi ADAers & AFers, Please register as soon as possible if you are planning to come down for ADA at SCANZ symposium. We need final numbers by tomorrow morning to give to the caterers & restaurant. Simply email Gillian Fuller - g.fuller at unsw.edu.au - and answer the below questions. The registration fee is $35 for the 2 days of the symposium. There is accommodation availble for $10 per night. More information is available here: http://www.scanz.net.nz/disc_symposium.html It has been a very warm and productive energy here over the residency, with alot happening amongst a widely varied set of practices, and we hope to share some of that energy and those ideas with as many NZ practitioners as can possibly make it here this weekend. Thanks Emil & Damian for their kind words & welcome visit :). best, //trudy - - - - - - - - - - - - - - - - - - - - - - - - - - - 8< - - - - - - - - - - - - - - - - - - - - - - - - - - - Full Name: Preferred contact email: I wish to join for: 1. Saturday, Conference dinner - $25-30 pp. (Y/N) 2. Sunday, Hangi evening meal - $10-$25 pp. 6pm (Y/N) Begin forwarded message: > From: trudy lane > Date: July 6, 2006 2:07:12 PM GMT+12:00 > To: Aotearoa Digital Arts > Cc: Gillian Fuller > Subject: [Ada_list] ADA at SCANZ - REGISTRATION CALL - 15-16 July, WITT > > > > ADA at SCANZ > AOTEAROA DIGITAL ARTS SYMPOSIUM > Western Institute of Technology at Taranaki, New Plymouth > 15- 16 July, 2006 > > We are now in the final stages of organizing the ADA symposium > which will this year coincide with the SCANZ artist residency. > Focuses for the symposium include creating intersection across > international and national practices as well as the topics of > Environmental Response and Connection/Disconnection. > > We would appreciate it if you could all respond to this > registration call as soon as possible so that we can finalize our > food arrangements in particular. The residency has been progressing > well and we look forward to welcoming you to New Plymouth. In > addition to the symposium sessions there is also a performance and > presentation evening, and SCANZ exhibition opening at the Govett- > Brewster Art Gallery on the Saturday night. > > > > SCHEDULE & INFORMATION > > The general schedule for the symposium is available online at the > below URL. We will post further updates to the listing for the > Workshop/Skill-sharing session both to ADA list and to this page, > as well as repeat this registration information. > http://www.scanz.net.nz/disc_symposium.html > > > > REGISTRATION > > The registration fee is $35 for the 2 days of the symposium. This > fee includes some welcoming snacks, morning & afternoon teas, > sunday lunch, & the skill-sharing workshops on sunday morning. > Definite numbers for who is planning to come are needed in order to > advise the caterers and people running the sunday workshops. > > In addition we are also organizing a saturday dinner and a sunday > hangi meal. Please note these are not included in the registration > fee and that there are limited spaces available, so it is advised > to let us know as soon as possible. > > In order to register please send an email to g.fuller at unsw.edu.au > answering the below questions. You can reply directly to this > email, but just PLEASE BE CAREFUL TO NOT REPLY TO THE ADA LIST. > > > Full Name: > > Preferred contact email: > > > I wish to join for: > > 1. Saturday, Conference dinner - $25-30 pp. (Y/N) > > 2. Sunday, Hangi evening meal - $10-$25 pp. 6pm (Y/N) > > > Final costs for the above two meals will be advised to all those > who register. Unfortunately we will have no EFTPOS facilities at > the premises, so require you to bring cash in order to complete > your registration & meal bookings. > > > > > ACCOMMODATION > > The easiest accommodation option is the on-campus student complex > that the artists are also staying in. To book in here, please > contact Dan either by phone or email. > > Orange Apartments > On campus accommodation. > ph: 06 968 3002 > mb: 029 968 3002 > daniel at edpac.co.nz > > $35 single room > $50 double or twin room > $10 shared bunk room (2ppl per room) > > There are also other options available in town such as Backpackers > and a YMCA hostel. > > > > DRIVING & ARRIVAL > > In New Plymouth: > > ++ As you come into town on Highway 3 / Northgate, it's best to > take this left-hand turn down Hobson St. Follow this to Hendrie > Street. You can either park here, or follow the curving roadway > leading off to the right from the end of Hendrie, which will take > you to the accommodation unit parking. > > ++ From Hendrie St, follow the other WITT driveway that goes up the > hill, and you will see the lecture theatre in front of you. The > entrance is to the left. > > ++ Registration is at 12noon and will be at the entrance to the > Lecture Theatre. Do not go to WITT's main / front entrance (20 Bell > St). > > ++ Try and arrive to register by 12.30 at the latest so that we > can process everybody and get the first session started. This > includes allowing enough time to locate your rooms and drop off > bags beforehand if staying at WITT. > > > > > > Thanks and we look forward to seeing you. > > ADA at SCANZ working team: > > Ian Clothier > Trudy Lane > Gillian Fuller > Helen Varley Jamieson > Janine Randerson > > > > > > > Ian M. Clothier & Trudy Lane > Co-organisers > Solar Circuit Aotearoa New Zealand July 3-16 2006 > http://www.scanz.net.nz > scanz at scanz.net.nz > > SCANZ is supported by Creative New Zealand, TSB Trust, Western > Institute of Technology at Taranaki, Govett-Brewster Art Gallery, > Goethe Institute and the Moving Image Centre. > > > > > _______________________________________________ > Ada_list mailing list > Ada_list at list.waikato.ac.nz > http://aotearoadigitalarts.org.nz/ -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060712/f410e35b/attachment-0001.htm From admin at audiofoundation.org.nz Wed Jul 12 14:14:40 2006 From: admin at audiofoundation.org.nz (Admin) Date: Thu, 13 Jul 2006 09:14:40 +1200 Subject: [Af_list] Sounz admin position Message-ID: ARTS ADMINSTRATION POSITION SOUNZ,the Centre for New Zealand Music (www.sounz.org.nz)is investigating the creation of a 30-40 hour a week position in our Wellington office for 9-12 months.The person would be involved in a range of activities including retailing,financial transactions, reception,and providing information about music by New Zealand composers. We are looking for job seekers with the following skills: ? Good computer and database skills ((preferably Macintosh) ? Financial administration experience (preferably with Moneyworks) ? An affinity with classical music ((especially NZ music) ? Musical training and qualifications would be an advantage ? Good communication and writing skills ? Retail and//or library experience Hourly rate:$13-$15 per hour depending on experience. We would be interested to hear from potential candidates, particularly those registered with WINZ as a job seeker. For further information and a job description please email: admin at sounz.org.nz or phone Liesbeth Kok on 801 8602 Closing date for applications:5pm,Tuesday 25th July 2006 From trudy at scanz.net.nz Wed Jul 12 17:31:04 2006 From: trudy at scanz.net.nz (trudy lane) Date: Thu, 13 Jul 2006 12:31:04 +1200 Subject: [Af_list] ADA@SCANZ - WORKSHOPS References: Message-ID: <549CBB01-6B26-4215-B5C2-BD2BC1C3B6E7@scanz.net.nz> Hi All, Below are outlines for the workshops that will be offered by SCANZ artists on sunday morning. This is to give you some heads-up to see what you might be interested in doing, as we will be asking you to let us know as you arrive. Some workshops will be operating concurrently however, so please check their start times. best, //trudy p.s. Andrea Polli's application DataReader software (which works with MAX/MSP to create sonifications of live tabular scientific data) is also a workshop possibility and something that can be discussed with the artist. SUNDAY MORNING WORKSHOPS 9.30AM - 12.30PM ELECTRONICS FOR THE INTIMIDATED Diana Burgoyne - 90mins, max 6-10 ppl - 9.30am Learn to play the banana. Or make a fruit orchestra. An introduction to creative electronics and energies. / / / Bring: 9v battery, and a fruit (or vege). Electronic kit can be bought for NZ$15 if you wish to keep. STEREOPHONIA Jim Bell - 30mins - 9.30am Stereo Microphone techniques / / / Bring: Any audio media recording device. GPS FOR THE HAPPILY LOST Steve Durie & Bruce Gardner - 45mins - 10.15am Learn the ins & outs and ups & downs of capturing GPS data and it's applications. Possible crazy camera tracking trips. / / / Bring: your body, your eyes and your laptop are optional. STREAMING MEDIA Adam Hyde - 90mins max - 11am Learn how to send a live audio and/or video stream across the internet on any platform. / / / Bring: your laptop. software setup is included. GOOGLE MAP HACKS Andrea Polli - 90mins - 11am Learn how to do a google map hack and about sound mapping projects including the New York Sound Map Project - . / / / Bring: your laptop. Add your mp3's and images optional. PUREDATA VISUAL/AUDIO Derek Holzer & Sara Kolster - 3 hours - 9.30am A basic introduction to puredata software, with a show & tell session of video and audio performance interfaces Sara and Derek have developed. Session includes time for questions. / / / Bring: your laptop. installation in. Blank CDs for a copy of patches and tutorials. / / / Installation info: Stuff that should be on the machines: - OSX.4 - pd 0.38-extended [http://prdownloads.sourceforge.net/pure-data/ Pd-0.38.4-extended.dmg] - jack OSX [http://prdownloads.sourceforge.net/jackosx/JackOSX. 0.74.pkg.zip?download] - Optional: - X11 [OSX install cd's] _______________________________________________ Ada_list mailing list Ada_list at list.waikato.ac.nz http://aotearoadigitalarts.org.nz/ From sammmw at gmail.com Wed Jul 12 17:51:51 2006 From: sammmw at gmail.com (samantha whetton) Date: Thu, 13 Jul 2006 12:51:51 +1200 Subject: [Af_list] Craftwerk - arts, crafts adn music fair Message-ID: <500bba890607121751q7827cc79g9e8ddf6b52eb76a6@mail.gmail.com> Hi We are looking for people who are keen to have stalls (3rd August) these can either be run by one person or by a collective or group. Stalls will cost $15, you will get a table and chair/s for the evening to display and sell your work from. To apply, please send through a brief proposal for your stall and some images of your/collective work, if you have any available. There will also be a table for band merchandise, so if any of you are in, or know anyone who is in a band that have some merchandise they'd like to sell please email us with details of your merchandise and band. The band merch table will be free of charge. When applying please be aware that we are trying to create an alternative to your average arts and crafts market, we want to give people the chance to buy and sell wares that wouldn't . We are looking for innovative, imaginative and funnnnn stall holders to help us make Craftwerk something really exciting for everyone! Anyone who is interested in being kept up to date with the latest Auckland Craftwerk info please send an email with "craftwerk mailing list" in the subject line. And finally..... Please forward this call out info on to anyone you know who might be interested!! Please send all applications and queries to sam at craftwerk.co.nz By, Sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060713/9a67aedb/attachment.html From artwerks at slingshot.co.nz Wed Jul 12 18:32:01 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Thu, 13 Jul 2006 13:32:01 +1200 Subject: [Af_list] Fw: Jazz'n'Family Alt TV !! Message-ID: <012801c6a61c$24a4c0f0$2505b8cb@d400> I'm sure some people on this list will be interested in this. Elizabeth is definitely interested in the outer limits of what can be defined as jazz and I know some of us occasionally might meet that description so get in touch and send her some footage. Andrew ----- Original Message ----- From: elizabeth klein Sent: Wednesday, July 05, 2006 10:12 PM Subject: Jazz'n'Family Alt TV !! Good Evening Compadres! I am writing to let you all know about the latest developments for the Jazz'n'Family TV programme which I am currently directing and will be presenting on Alt TV. Joining me in the studio on the soul-jazz tip will be DJ Rohan Sinclaire from Fleet FM and prior to that Base FM. Beginning in early August '06 Jazz'n'Family will be on your telly every Sunday evening at 6pm for a whole hour! - So...synchronise those digital watches and cell phone alarm clocks to remind you!I will be sure to let you all know closer to the time the date for the first broadcast from the alt TV studio in Auckland city. I hope you will all tune in and get a chance to see and hear some jazz (fusion) music videos and documentary clips that set the standard!! As for all of you musicians, journalists, documentary makers and Jazz'n'Family, please do be in touch if you'd like to contribute to Jazz'n'Family or would like to direct my attention to Jazz gigs (soul-funk-hip-hop-fusions included)! I am intending to gather as much footage of our beautiful and thriving local jazz-influenced community as possible! For those of you, who are receiving this news across the seas yonder, absolutely let us know about your Jazz happenings. This show is local and international. 1worldunite! Please send all contributions and letters to: Elizabeth Klein Alt TV -Jazz'n'Family PO BOX 68- 598 Newton Auckland 1145 Thank you so much to all of you who have, and are assisting me build the foundations of Jazz'n'Family. Your enthusiasm, ideas, solutions and questions have been warmly received. I have felt lucky to have such a warm response and support from you all. Below is the profile of the show which will be on the alt TV website in the near future. So...sneak preview below! The Jazz Radar is ON and buzzing you know it!! Warm thanks & Best, Elizabeth Klein m. +64 21.651.219 f. +64 9 368.5523 e. elizabethklein.alt.tv at gmail.com www.alttv.co.nz Jazz'n'Family Alt TV Jazz'n'Family is a nu programme on Alt starting in early August 06 which will bring together the South Pacific jazz community whilst keeping in touch with the global jazz movement. This jazz show will zoom in on soul jazz as well while honouring all that is traditional and historical. Elevating and shining, this is "more than jus biz". Teasing all those scientists of soul-jazz from their home studios to the Alt studios this is a jazz journo's dream! You can anticipate mad live jam sessions, interviews, reviews,tributes, doco samples, and ofcourse soul-jazz music vids for your 1 time mind. This show is dedicated to the memory of John Coltrane. The show will be directed and presented by Elizabeth Klein. Rohan Sinclaire will be spinning the decks supreme on set and assisting behind the scenes with post-production and communications. Elizabeth Klein is freelance journalist and musician who began broadcasting with Bfm in 2001. After 4 awesome years with the Bfm specialty Jazz Show as a broadcaster and DeeJay Elizabeth is joining the alt tv crew! Elizabeth sings soul jazz and DJ's when she can actually carry those heavy crates from A-B. You wouldn't beleive just how heavy 1 crate of records is till you try. A man of many talents and even more musical tastes Rohan Sinclair taught himself the art of DJing in a garage in Grey Lynn over 10 years ago. Many crates later Mr Sinclair, a founding member of Fleet FM, hosts The Super Heavy Pressings Show which showcases an eclectic mix of Jazz and Soulful pickings for your ears. Not one to snob the airwaves Rohan has also hosted a show on Base FM. J azz'n'Family comes to you with a whole lotta aroha! Tune in and buzzz out with Elizabeth & Rohan early August. Jeeeaaaah! -------------------------------------------------------------------------------- -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060713/7c58d6b2/attachment.htm From admin at audiofoundation.org.nz Thu Jul 13 14:07:40 2006 From: admin at audiofoundation.org.nz (Admin) Date: Fri, 14 Jul 2006 09:07:40 +1200 Subject: [Af_list] Music Library Assistant - part time Message-ID: Wellington http://tbi.co.nz/tbi/viewjob/3041 Do you have a wide-ranging knowledge and appreciation of music, especially New Zealand and popular contemporary music? Radio New Zealand has a vacancy in its Wellington Music Library that involves researching and cataloguing. You will also interpret and facilitate producer?s musical requirements for Radio New Zealand programmes. Key Skills Sought: Strong computer, research skills, an eye for detail and accuracy Organisation: Radio New Zealand From zoe at audiofoundation.org.nz Thu Jul 13 14:40:32 2006 From: zoe at audiofoundation.org.nz (Zoe Drayton) Date: Fri, 14 Jul 2006 09:40:32 +1200 Subject: [Af_list] amp advice Message-ID: hey all i'm looking at getting one of those cute mini amps...possibly the VOX DA5 or Roland Minicube. Anyone out there had any experience with these? Looking to run my violin through this... advice would be very welcome before buying thanks Zoe From artwerks at slingshot.co.nz Thu Jul 13 16:00:22 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Fri, 14 Jul 2006 11:00:22 +1200 Subject: [Af_list] Fw: reminder - artists' talk at St Paul St Gallery Message-ID: <033a01c6a6d0$1f89c9d0$2505b8cb@d400> I haven't seen the exhibition [The Inconceivable] yet so I don't know in what sense they're using the term silence, but these might be of interest to AFers in Auckland... Andrew ----- Original Message ----- From: Leonhard Emmerling Sent: Friday, July 14, 2006 10:53 AM Subject: reminder - artists' talk at St Paul St Gallery Ronnie van Hout will talk about his artist?s practice on Friday, July 14, 6 p.m. (Today Night) Christine Berndt will give a talk ?When does silence take over?? about the background of her work ?The Letter of the Jewish Woman? on Tuesday, July 18, 5 p.m. Dr Tina Engels-Schwarzpaul and Natalie Robertson will give a talk ?Silence and forgetting? on Wednesday, July 26, 6 p.m. Dr Mark Jackson will give a talk ?Remnants ? Testimony? on Wednesday, August 2, 6 p.m. All talks will be held at St Paul St Gallery, Gallery One, 34 St Paul St. -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060714/12875148/attachment.html From skiosk at iconz.co.nz Thu Jul 13 18:41:50 2006 From: skiosk at iconz.co.nz (Jim Gardner) Date: Fri, 14 Jul 2006 13:41:50 +1200 Subject: [Af_list] GPS + MAX integration Message-ID: As the topic of using GPS data for audio purposes has come up on the AF list recently, I thought some of you might be interested in this message that's just appeared on the Max/MSP list: > >From: jose manuel berenguer >Subject: Re: [maxmsp] GPS + MAX integration >Date: Fri, 14 Jul 2006 02:52:48 +0200 >To: maxmsp at cycling74.com > >hello Marc > >El 13/07/2006, a las 22:21, Marc Couroux escribi?: > >>Hi >> >>I'm looking for information on how to integrate GPS devices with MAX-MSP - >>are there converters / patches which exist to >>make the linkage? Is there available >>documentation on this integration? >> >>Any help would be most welcome! >> > >some time ago i wrote a patch to decode GPS >information incoming at some serial port, as >described in : > >http://www.garmin.hu/data/gps18_technicalspecification.pdf > >the patch is too big to be sent to the list. it can be found at > >http://www.sonoscop.net/jmb/pub/gps > >jose manuel berenguer >jmbeal at telefonica.net >+34932857046 >+34696538403. http://www.sonoscop.net/jmb/ >jmberenguer at sonoscop.net >+34933064128. http://www.sonoscop.net/ > -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060714/c82600d8/attachment.html From skiosk at iconz.co.nz Thu Jul 13 22:59:50 2006 From: skiosk at iconz.co.nz (Jim Gardner) Date: Fri, 14 Jul 2006 17:59:50 +1200 Subject: [Af_list] more on GPS + MAX integration Message-ID: A little more on the GPS thread... >Date: Thu, 13 Jul 2006 21:17:33 -0700 >From: "Dave Leith" >To: maxmsp at cycling74.com >Subject: Re: [maxmsp] GPS + MAX integration > >This might be a person to talk to as he built a pd external to >interface GPS with PD > >http://m.ash.to/@/@/Pd/Externals > >The following describes an interesting project how GPS was used > >http://danubepanorama.net/en/Doc/Technology > >Hope this helps >D > -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060714/f1d806a4/attachment.htm From samukun at gmail.com Sat Jul 15 03:27:29 2006 From: samukun at gmail.com (Sam Hamilton) Date: Sat, 15 Jul 2006 22:27:29 +1200 Subject: [Af_list] record store ideas Message-ID: <19ccf87f0607150327k5836f547kae3786a7bfe92dee@mail.gmail.com> hi AF some of you i may have spoken to about this idea already but im now interested to put it out there and hear from a larger number of people, or the "community" if you will as the idea of opening an actual physic record shop to me relates rather closely to the idea of community. anyway, as you all know there are no records store left in auckland which is simply fucking embarrassing. "come to auckland, NZ's largest city and go to......real groovy, hurray....ahhh cough" so, there i have been generating with some others about opening a shop. i have worked in 3 record stores in central auckland, mostly all quite great shops which really should still be here. the one thing that killed them (other than some slightly silly management maybe) is overheads. rent is something we have seen not just close almost a dozen record stores in the last 5 years but also small niche hubs right through the cultural spectrum. after thinking about it with every part of my wee brains energy i realised in order or run a commercially functioning (not successful, just functioning) record store then it will have to some how have no overheads. inspired by tokyo's famous garage stores, record shop/selves, shops to small only one person can fit in the shop at a time. i also realised you cant be fussy with space. at the moment i am plotting with rohan of the wine cellar about opening it in the wine cellar during the day while the wine cellar is closed and running the wine cellar as a cafe during those hours. it would kind of be like a traveling circus record store we would roll out during the day and pack up into the closet at night. what im most interested in hearing about though is not so much how to run a shop as i feel without to much arrogance i know enough in that department. its more the other side of the coin, customers, or as most of them will turn out to be, the community. one of the reasons i wont to open an actual space rather than say a mail order distribution website is that it would end up being shaped purely by my interests and what i like, were as, to a degree, a physical space is much more open to being shaped by other people which can mean that it starts to function in a great number of ways other than just a source for products by people who know were to get it and how to find out about it. for one i would aim to stock almost anything ( im saying this know anyway) local, even if i think its absolutely fuck shit music, its still cool for them to have a place that will actually stock it and not treat you like maggots like groovy do (insults inspired by a resent story told to me by a friend who after being told none of there Cd's had sold asked for them back only to find out 5 of them had actually sold. makes me feel a lot of love for the music community that does oh yeah.) a mail order cant function like a record store can. i guess what intentions are starting to become clear here are that im not so much interested in simply stocking music i like for others who have similar musical taste as i am im creating an independent musical resource centre for auckland cities well deserving musical scenes. another thing i sense in auckland, specially in some parts of the experimental music community, is a drifting of attention and interest into whats happening over sea's, which i know there are alot of strong connections to but i sense sometimes this drift can happen as a result of there sometimes being no real active anchor to weight peoples attention to whats happening here right in there back fucking lawns. another thing which i notice is how amazingly original, open minded and active smaller communities in smaller towns where people don't have the luxury of being narrow about there tastes are. it blows my mind sometimes when i meet someone who is into some radical form of music or sound and is ONLY into that an NOTHING else. specially when what they are listening surely must be the result of quite alot o listening and development in ones taste. how does one expand ones aural interests only to squeeze it back into a hole again?. anyway to bring that back to the idea of a music shop. cross pollination between scenes or musical forms is healthy, if not essential in some respects. but if there isn't a platform for them to exchange these ideas, or at least stand in the same fucking room together, or in this case browse record bins in the same shop together. maybe i could put it all in alphabetical order so people are forced not to be exclusive with there browsing unless there biased about the alphabet. hehe, wouldn't that be funny "im only into bands that start with the letter g" so, idea - open shop in wine cellar (go hassle rohan about it if you get a chance) - stock lots of local and nz stuff (keep the gates of variety open, we all live in the same city, see thats something we have in common already (sorry to those who don't live in auckland, but you get the point)) plus way to much more to list here without serious complaints. anyway just an idea sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060715/894aa490/attachment.html From odforce at yahoo.com.au Sat Jul 15 14:58:12 2006 From: odforce at yahoo.com.au (p. .w) Date: Sat, 15 Jul 2006 14:58:12 -0700 (PDT) Subject: [Af_list] Rafli stig est ol3Iss u11 In-Reply-To: Message-ID: <20060715215812.42632.qmail@web36513.mail.mud.yahoo.com> > Message: 1 > Date: Sat, 15 Jul 2006 22:27:29 +1200 > From: "Sam Hamilton" > Subject: [Af_list] record store ideas > To: af_list at list.audiofoundation.org.nz > anyway just an idea > > sam it'll be a monumental one if it happens hands up those of you who thought it may have been them who told sam the sad real groovy story.. are we doing the mexican wave? now RG are a nationwide chain they have the ability to loose anything at anytime ;) pw __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com From crude696 at yahoo.co.nz Sat Jul 15 21:21:10 2006 From: crude696 at yahoo.co.nz (Matthew Middleton) Date: Sun, 16 Jul 2006 14:21:10 +1000 (EST) Subject: [Af_list] crude - anytime, anywhere Message-ID: <20060716042110.20984.qmail@web33311.mail.mud.yahoo.com> hello af, A little bit of crude pushing here but hey!..it's all about audio now init. WELL, I've decided to go right ahead and put the entire crude opus for sale as data. So you can buy them (that's right - you can....'buy' them) and you get a link direct to yer email. Here are the details: http://crude.co.nz/data%20sales%202006-2015.htm but of course, this descent into 'sales' sure ain't the end for free crude : http://crude.co.nz/Audio%20Suite.htm see y'all in Octember! yeeeeeeeeeeeeehaaa PS: Sam your store idea sounds fantastic. You have my support, allbeit ethereal. --------------------------------- The LOST Ninja blog: Exclusive clues, clips and gossip. -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060716/bc70971b/attachment.htm From turnstyle at obscure.co.nz Sun Jul 16 04:02:27 2006 From: turnstyle at obscure.co.nz (86) Date: Sun, 16 Jul 2006 23:02:27 +1200 Subject: [Af_list] Ak - visiting request In-Reply-To: <03de01c69e51$f0e44870$0a1cb8cb@d400> References: <03de01c69e51$f0e44870$0a1cb8cb@d400> Message-ID: <44BA1CC3.8060907@obscure.co.nz> A very strange request .. .. but I am going to be in AK for three night stuck in a hotel. (somewhere downtown) I have a mini mac which I was going to take with me .. I was wondering if anyone in AK could loan me a screen and keyboard. Yes .. strange request .. maybe just a screen, I can travel my keyboard but not my CRT. (or maybe ... ) Anyway .. I am willing to trade ' stickers, chocolate and a coffee. mail me . or txt. 0275606012 Otherwise any noise events I could attend before 10am or after 2am ?? oh and check out the latest speakeasy www.psurkit.net love to AF .simon From samukun at gmail.com Sun Jul 16 16:47:03 2006 From: samukun at gmail.com (Sam Hamilton) Date: Mon, 17 Jul 2006 11:47:03 +1200 Subject: [Af_list] af_list Digest, Vol 3, Issue 12 In-Reply-To: References: Message-ID: <19ccf87f0607161647s59a61ee5o395a7e4c6560cecc@mail.gmail.com> hi AF guess what! fps starts tomorrow!!!!!!!! thats the Live Cinema Program being hosted by the auckland international film festival tuesday 18th and thursday 20th at the winter gardens in the Civic building at 7pm specially prepared performances, films and sounds to astound your skull! with: the Celluloid Orchestra Lovely Midget Alex Montieth, Sean Kerr and Clinton Whatkins Nova Paul with Rachel Shearer then Greg Wood and is team Popular Productions with Dean Roberts Nigel Wright with Nest Sam Hamilton and Eve Gordon tumblnigstrain -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060717/6734b9b0/attachment.html From admin at audiofoundation.org.nz Sun Jul 16 20:14:56 2006 From: admin at audiofoundation.org.nz (Admin) Date: Mon, 17 Jul 2006 15:14:56 +1200 Subject: [Af_list] =?iso-8859-1?q?FW=3A_=5BAda=5Flist=5D_PhD_studentship?= =?iso-8859-1?q?=2C_Sonic_Arts_Research_Centre=2C_Queen_=92_s_Unive?= =?iso-8859-1?q?rsity_Belfast?= In-Reply-To: <6.2.3.4.2.20060717135303.041fab40@pop3.2day.com> Message-ID: ---------- From: nzdancenews Date: Mon, 17 Jul 2006 13:54:12 +1200 To: ada_list at list.waikato.ac.nz Subject: [Ada_list] PhD studentship, Sonic Arts Research Centre, Queen?s University Belfast >Sonic Arts Research Centre >School of Music & Sonic Arts >Queen?s University Belfast > >Interactive Soundscape Design > >The Sonic Arts Research Centre (SARC - >http://www.sarc.qub.ac.uk) >and HP are pleased to announce a PhD studentship >resulting from their ongoing research >partnership. One award is available to undertake >PhD study in the area of Interactive Soundscape >Design. The overall goal of this work is to >explore and better understand sound design and >perception in the context of Mediascape design >and delivery (www.mobilebristol.com). The award >covers university fees for three years as well >as a student stipend of ?12,300 in the first >year, rising to ?12,900 in the third year. The >award also includes a small amount of funding >for travel to conferences and workshops related >to the field of research. The scholarship is >available to Home, EU and International applicants. >Applicants for the post should have or expect to >obtain, a minimum of a 2:1 honours degree (or >equivalent) in music technology, sonic arts or >related discipline. This studentship should >appeal to students with a good understanding of >acoustics, aural perception and some experience >of sound design, as well as having a strong >interest in pervasive computing and locative media. > >To find out more, contact: > >Dr. Pedro Rebelo > >Sonic Arts Research Centre > >Tel: +44 (0)28 9097 5406 > >Fax: +44 (0)28 9097 4828 > >email: P.Rebelo at qub.ac.uk > >To apply, please send your CV and a cover >letter, in electronic form to: k.shilliday at qub.ac.uk > >You will also need to complete and submit the >Admissions Application Form which can be downloaded from: >http://www.qub.ac.uk/directorates/AcademicSt udentAffairs/AdmissionsOffice/FileStore/Filetoupload,26009,en.pdf > > >The closing date for receipt of applications is Friday 21st July 2006. > > >http://www.sarc.qub.ac.uk http://aotearoadigitalarts.org.nz/ From artwerks at slingshot.co.nz Mon Jul 17 12:21:23 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Tue, 18 Jul 2006 07:21:23 +1200 Subject: [Af_list] Fw: White Wyatt Message-ID: <04a801c6a9d6$31a5e910$1013b8cb@d400> ----- Original Message ----- To: > [Do you know what "Wyatting" is? ...] > > WYATTING: > A newish phenomenon in British pubs is the device dubbed the "infinite > jukebox", one connected to the Internet and so capable of playing tens of > thousands of tracks. Some pranksters subvert the machines by choosing > avant-garde tracks to disrupt the conviviality and stop others from > playing > the same pop tracks over and over. The favourite tracks among the > exponents > of this cruel cultural warfare > include Brian Eno's ambient music Thursday Afternoon, anything by Philip > Glass, and Robert Wyatt's Dondestan, hence the name. The idea was > mentioned > in a New York Times article by Wendy McClure and then picked up by blogger > Simon Reynolds and by others, though the name is said to have been coined > by schoolteacher Carl Neville of South London, who described it as "the > cowardly white muso boys anonymous attempt at provocation and civil > disobedience". > - Michael Quinion > -------------------------------------------------- From admin at audiofoundation.org.nz Mon Jul 17 14:27:56 2006 From: admin at audiofoundation.org.nz (Admin) Date: Tue, 18 Jul 2006 09:27:56 +1200 Subject: [Af_list] what would you like to see being taught? Message-ID: hey people Just out of interest...and for future reference if it ever happens if a tertiary institution decided to include sound/noise whatever as part of their programme - what would you as the community who might be taking this or teaching on it want to see in this? the history of what's happened in NZ or internationally? technical stuff? compositional approachs? shouldn't be done cos it would ruin an underground integrity? From derek at umatic.nl Mon Jul 17 21:34:08 2006 From: derek at umatic.nl (derek holzer) Date: Tue, 18 Jul 2006 06:34:08 +0200 (CEST) Subject: [Af_list] Derek Holzer/Sara Kolster + Ming (Campbell Kneale): Wellington Message-ID: <50754.222.154.72.215.1153197248.squirrel@webmail.ideeel.nl> Derek Holzer & Sara Kolster [Umatic.nl] + Ming (Campbell Kneale) [Celebrate Psi Phenomenon/Battlecruiser] play live on Wednesday, July 19th at Happy Bar in Wellington Happy Bar: corner of Tory and Vivian St's - Wellington NZ http://myspace.com/happybar Derek Holzer (sound) & Sara Kolster (visuals) [Umatic.nl] Performance: resonanCITY http://www.umatic.nl Many sounds and images in our everyday lives slip past our notice simply because they are too small, or because we lack the proper receivers to pick them up. The resonanCITY performance is created from field recordings, found objects, photography and video collected in various locations around the world. Using these sounds, objects and images, Sara Kolster and Derek Holzer create a live audiovisual improvisation which amplifies and transforms the smallest and most unnoticed details. The result--a live cinema performance something between a dream and a roadtrip. Campbell Kneale: Ming [Celebrate Psi Phenomenon/Battlecruiser] http://www.cpsip.co.nz/ "Ming is just like Birchville Cat Motel just with a different name. To confuse people. I don't know why. Ming is a bit more experimental than BCM...I can try out different things... like dance music, or black metal or superquiet acoustic minimalism..." C.K. From damian at frey.co.nz Mon Jul 17 18:17:14 2006 From: damian at frey.co.nz (Damian Stewart) Date: Tue, 18 Jul 2006 13:17:14 +1200 Subject: [Af_list] experimental musician in beirut, lebanon blogs about 'israel's right to defend itself' Message-ID: <44BC369A.3040402@frey.co.nz> http://mazenkerblog.blogspot.com/ pass it on -- f r e y live music with computers http://www.frey.co.nz From damian at frey.co.nz Mon Jul 17 17:52:59 2006 From: damian at frey.co.nz (Damian Stewart) Date: Tue, 18 Jul 2006 12:52:59 +1200 Subject: [Af_list] what would you like to see being taught? In-Reply-To: References: Message-ID: <44BC30EB.2060102@frey.co.nz> Admin wrote: > hey people > Just out of interest...and for future reference if it ever happens > > if a tertiary institution decided to include sound/noise whatever as part of > their programme - what would you as the community who might be taking this > or teaching on it want to see in this? > > the history of what's happened in NZ or internationally? > > technical stuff? techno! .. umm, i have really enjoyed studying electroacoustic music, sorry Sonic Arts up at Vic - i've found it great to be exposed to things that i wouldn't otherwise know or hear about, and sitting through (sometimes against my will or interest) some long, 30 minute excursions in academia has been valuable, even if i'm not going to go there myself. the technical teaching has been limited to 'this is this thing, it kinda works like this, go play with it' - fairly low key and shallow, with emphasis on experimentation and figuring it out for ourselves. the tutors seem to have the approach that it's better to listen to music and talk about it than to learn how the tools work - learn the art and the craft will follow, perhaps? i would like to see much, much more musically and contextually varied content (90% of what we hear comes from an academic context) - to my mind techno, pop, dance music, and film scores are every bit as interesting as academic stuff, but in our course we have glanced at them at best. > compositional approachs? i'm not sure it's possible to teach compositional approaches. if you engage with some theory, then a compositional approach often presents itself out of (or in reaction to) the theory; but for me at least it has to be a personal response, and (importantly but frustratingly) i must never have used that exact approach before. a performance component. the school is starting a electronic music performance paper next year or the year after which looks interesting, but we look at it entirely from a compositional perspective. > shouldn't be done cos it would ruin an underground integrity? no, that's just silly. interesting question, thanks. -- f r e y live music with computers http://www.frey.co.nz From transient at darcy.co.nz Tue Jul 18 04:00:35 2006 From: transient at darcy.co.nz (transient@darcy.co.nz) Date: Tue, 18 Jul 2006 04:00:35 -0700 (PDT) Subject: [Af_list] New Sam Hamilton release on Transient Recordings/Tumbling Strain Message-ID: <34270.210.246.8.120.1153220435.squirrel@webmail.darcy.co.nz> Hello everyone I am pleased to announce a great new Sam Hamilton CDR. The Transient copies will not be available until next week (see http://darcy.co.nz/transient/ or just email me), but the Tumbling Strain copies (yep, it's a split-label dealy) are available from Sam now now now!! (email samukun at gmail.com ). You'll find my catalogue description below. Ben TR 007 SAM HAMILTON - The Borders of the Garden Paths Are Overgrown CDR $12 NZ The unofficial Mayor of Auckland City has created a real pleasure garden of the mind with this new work (co-released with the artist?s own Tumbling Strain label). Sam is one of the most gifted sound artists working in New Zealand today and this is yet another fascinating example of the eclectic, restless approach and extraordinary sense of structure that made the ?Low Hill? 3? such a stunner. At once highly personal and earth-bound, yet totally out of its skull in the most magical way, at times this sounds as if the guitar, piano and electronics are gently playing themselves while the composer is off sleeping under a tree somewhere. Dreamy and joyous! (27 minutes, hence ?mid-price?). From artwerks at slingshot.co.nz Tue Jul 18 15:25:39 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Wed, 19 Jul 2006 10:25:39 +1200 Subject: [Af_list] Fw: The Graying of the Record Store Message-ID: <07b801c6aab9$19ed94b0$1013b8cb@d400> ----- Original Message ----- To: >From the New York Times: http://www.nytimes.com/2006/07/16/fashion/sundaystyles/16store.html?_r=1&oref=slogin&pagewanted=all The Graying of the Record Store By ALEX WILLIAMS Published: July 16, 2006 So this is an evening rush? On a recent Monday, six people - soon enough four, then two - were browsing the bins of compact discs at Norman's Sound and Vision, a music store on Cooper Square in Manhattan, around 6 p.m., a time that once constituted the daily rush hour. A decade ago, the number of shoppers might have been 20 or 30, said Norman Isaacs, the owner. Six people? He would have had that many working in the store. "I used to make more in a day than I probably make in a week now," said the shaven-headed Mr. Isaacs, 59, whose largely empty aisles brimming with punk, jazz, Latin music, and lots and lots of classic rock have left him, many afternoons, looking like a rock 'n' roll version of the Maytag repairman. Just as troubling to Mr. Isaacs is the age of his clientele. "It's much grayer," he said mournfully. The neighborhood record store was once a clubhouse for teenagers, a place to escape parents, burn allowances and absorb the latest trends in fashion as well as music. But these days it is fast becoming a temple of nostalgia for shoppers old enough to remember "Frampton Comes Alive!'' In the era of iTunes and MySpace, the customer base that still thinks of recorded music as a physical commodity (that is, a CD), as opposed to a digital file to be downloaded, is shrinking and aging, further imperiling record stores already under pressure from mass-market discounters like Best Buy and Wal-Mart. The bite that downloading has taken out of CD sales is well known - the compact disc market fell about 25 percent between 1999 and 2005, according to the Recording Industry Association of America, a trade organization. What that precipitous drop indicated by the figures doesn't reveal is that this trend is turning many record stores into haunts for the gray-ponytail set. This is especially true of big-city stores that stock a wider range of music than the blockbuster acts. "We don't see the kids anymore," said Thom Spennato, who owns Sound Track, a cozy store on busy Seventh Avenue in Park Slope, Brooklyn. "That 12-to-15-year-old market, that's what's missing the last couple of years." Without that generation of buyers, the future looks bleak. "My landlord asked me if I wanted another 10-year lease, and I said no," Mr. Spennato said. "I have four years left, then I'm out." Since late 2003, about 900 independent record stores have closed nationwide, leaving about 2,700, according to the Almighty Institute of Music Retail, a marketing research company in Studio City, Calif. In 2004, Tower Records, one of the nation's largest chains, filed for bankruptcy protection. Greta Perr, an owner of Future Legends, a new and used CD store on Ninth Avenue in Hell's Kitchen, said that young people never really came back to her store after the Napster file-sharing upheaval of the late 90's; she has responded by filling her windows with artists like Neil Young and Bruce Springsteen. "People come in and say: 'I remember when I was 20, Steve Miller's second record came out. Can I get that?' " she said. Industry statistics bear out the graying of the CD-buying public. Purchases by shoppers between ages 15 and 19 represented 12 percent of recorded music in 2005, a decline from about 17 percent in 1996, according to the Recording Industry Association. Purchases by those 20 to 24 represented less than 13 percent in 2005, down from about 15 percent. Over the same period, the share of recorded music bought by adults over 45 rose to 25.5 percent, from 15 percent. (The figures include CD's and downloaded songs, with CD's still an overwhelming share of the market in recorded music, 87 percent, in 2005.) The dominance of older buyers is especially evident at smaller independent stores in metropolitan areas, where younger consumers tend to be more tech-oriented and older music fans tend to be more esoteric in their tastes, said Russ Crupnick, an analyst with the NPD Group, a market research firm. At Norman's, which is 15 years old and just around the corner from New York's epicenter of punk, St. Marks Place, shoppers with nose rings and dewy cheeks are not unknown. But they may only be looking to use the automatic teller machine. A pair of teenagers - he with ink-black dyed hair, and she in ragged camouflage shorts - wandered in one evening recently and promptly froze in the doorway, stopped in their tracks by an Isaac Hayes cut from the 70's. They had the confused looks of would-be congregants who had stumbled into a church of the wrong denomination; they quickly shuffled off. Most of Norman's other customers were old enough to remember eight-track tapes. Steven Russo, 53, for instance, was looking for jazz CD's. Mr. Russo, a high school teacher in Valley Stream, N.Y., said that he values the store for its sense of camaraderie among cognoscenti as much as its selection. "It's the ability of people to talk to people about the music, to talk to personnel who are knowledgeable," he said. Richard Antone, a freelance writer from Newark whose hair was flecked with silver curls, said his weekly trip to the store is a visual experience as well as an auditory one. "I remember how people admired the artwork on an album like 'Electric Ladyland' or 'Sgt. Pepper' as much as the music," he said. The lost generation of young shoppers - for whom a CD is a silvery disc on which you burn your own songs and then label with a black marker - will probably spell doom for Norman's within the next five years, said Mr. Isaacs, the owner. Several of his downtown competitors have already disappeared, he said. Some independent owners are resisting the demographic challenges. Eric Levin, 36, who owns three Criminal Records stores in Atlanta and oversees a trade group called the Alliance of Independent Media Stores, representing 30 shops nationally, said that businesses losing young customers are "dinosaurs" that have done nothing to cater to the new generation. Around the country, he said, shops like Grimey's in Nashville, Shake It Records in Cincinnati and Other Music in New York are hanging on to young customers by evolving into one-stop hipster emporiums. Besides selling obscure CD's and even vinyl records, many have diversified into comic books, Japanese robot toys and clothing. Some have opened adjoining nightclubs or, in Mr. Levin's case, coffee shops. "Kids don't have to go to the record store like earlier generations," Mr. Levin said. "You have to make them want to. You have to make it an event." But diversification is not always an option for smaller stores with little extra space, like Norman's. Mr. Isaacs's continued survival is due in part to a side business he runs selling used CD's on Amazon and eBay. He buys them from walk-in customers who are often dumping entire collections. Unlike the threatened independent bookstore, with its tattered rugs, dusty shelves and shedding cats, indie record stores in danger of disappearing do not inspire much hand-wringing, perhaps because they are not as celebrated in popular imagination as the quaint bookshop. (Record geeks can claim only "High Fidelity,'' the book and movie, as a nostalgic touchstone.) Still, the passing of such places would be mourned. Danny Fields, the Ramones' first manager, points out that visiting Bleecker Bob's on West Third Street in the late 70's was "like experiencing the New York music scene" in miniature - it was a cultural locus, a trading post for all the latest punk trends. "Dropping into Bleecker Bob's was like dropping into CBGB's," he said. (You can still drop into Bleecker Bob's.) Dave Marsh, the rock critic and author of books on popular music, noted that rockers like Jonathan Richman and Iggy Pop honed their edgy musical tastes working as record store clerks. "It's part of the transmission of music," said Mr. Marsh, who recalls being turned on to cult bands like the Fugs and the Mothers of Invention by the clerks at his local record store in his hometown, Waterford, Mich. "It seems like you can't have a neighborhood without them." From samukun at gmail.com Tue Jul 18 15:59:27 2006 From: samukun at gmail.com (Sam Hamilton) Date: Wed, 19 Jul 2006 10:59:27 +1200 Subject: [Af_list] teaching Message-ID: <19ccf87f0607181559r1d72166dna747e701358b2787@mail.gmail.com> hi zoe out of that list anyway i would point a finger at compositional approaches for a couple of reasons. it will nock to "real" composers of there pedestals. plus like 'technical stuff', compositional approaches would offer alot of things back to whoever attends the class as alot of the fields of compositional approaches that spring to mind when thinking about what people involved in 'sound/noise', even the historic ones all have this great sort of open endedness to them, not like there not finished or anything, more like by answering one question they present 10 more questions. i like the idea of presenting a class of students with a whole not of open ends of which they can then go and expand on, shit that's what I've been doing for the last..... well since i started making my music. its strikes me that that might also explain why this sort of music has been on such a crazily fast expanding development for decades, people are reinventing the parameters constantly and there not doing on there own. its strikes me as strange when i think about it that the closed thing to teaching this kind of music in university is art schools (i haven't actually been to one so cant actually say) because they simply support more activity and i feel this kind of music is far more alive than almost any other form, just in the way that its always glowing, changing, expanding and morphing like its a living organism. from what i experienced normal music school create this great big fucking uncrossable gap between history and the present which i think isn't a good relationship for any young person wonting to get involved with this music, they are doomed to forever feel like under achievers who will never be as great as some dead asshole. super good idea though, i think most importantly to me anyway, any sound/noise schooling thing should be fun and get people into making stuff rather than just knowing lots about it, or merging those two things maybe. sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060719/64c7b5ca/attachment.htm From samukun at gmail.com Tue Jul 18 17:55:47 2006 From: samukun at gmail.com (Sam Hamilton) Date: Wed, 19 Jul 2006 12:55:47 +1200 Subject: [Af_list] fps tickets selling out ad thomas koner Message-ID: <19ccf87f0607181755r462a76a9o44104a9d0574d701@mail.gmail.com> hi all last night we sold out the fps show completely. there are still tickets available for thursday but if its going to be anything like tuesday door sales will go pretty quickly. i would recomend if you wont to guarantee your self a seat booking would be a good idea. you can do this through ticketek or the Civic or any other festival venue. if its anything like last night its going to be an amazing show!!!! also on a similar note, Thomas Koner is performing live in the same place (Civic Winter Garden) at 6:45 to his own video works which i think is going to be pretty damn stunning to!. catch ya. Sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060719/c366d800/attachment.htm From skiosk at iconz.co.nz Tue Jul 18 20:17:36 2006 From: skiosk at iconz.co.nz (175 East) Date: Wed, 19 Jul 2006 15:17:36 +1200 Subject: [Af_list] Stroma concert in Wellington this Thursday Message-ID: Hello 175 East Wellington list people Our good friends Stroma will be performing in Wellington tomorrow (Thursday) The programme looks like a good'un: LUMEN Music at the speed of light. 20 July 2006, Ilott Concert Chamber, 8pm Conducted by Hamish McKeich Programme (please note programme differs from that previously advertised) Helen Bowater * Lumen (world premiere) Gy?rgy Kurt?g - Kro? Gy?rgy in Memoriam Sofia Gubaidulina * Concordanza John Young * Arrivederci (world premiere) Karlheinz Essl * Entsagung Alfred Schnittke * Dialogue for Cello & Chamber Ensemble A link to Ticketek's site can be found on this page: http://stroma.wellington.net.nz/futureconcerts.html If you want to be removed from this list or would like us to use a different e-mail address to contact you, please e-mail us at From samukun at gmail.com Wed Jul 19 15:14:49 2006 From: samukun at gmail.com (Sam Hamilton) Date: Thu, 20 Jul 2006 10:14:49 +1200 Subject: [Af_list] grey is the place Message-ID: <19ccf87f0607191514v30eee62clfc3b49916990295b@mail.gmail.com> hi andrew thanks for the warning. i have worked in a few records stores who have all witnessed the similar changes. in response, most of the the shops listed were shops that hve had to 'go through' those shifts in the recorded music industry and econemy, i think a new shop would have to not adapt to a new climate of musical consumption but be born out of it in a way or at least concieved with more of a conciousness of the ways in which things work now. its like making music for a lathe cut record now and how the consideration for the medium is so much more a part of the compositional process as when it was first being used it was simply a means to get stuff out. in clear terms though, im not in it for the money. but i also now that money is needed to make anyhting like this work but then i also now instead of trying to make money to pay for what it needs i can work to try and take away the need if you know what i mean. im also planning to set i up in a way that there is a test period and at any stage if it really, really is killing me then i can pull the plug. there are so many aspects to why i think it can actually work out. for one auckland has proven it is starved of uniqueness, the wine cellar a place that has gone completely against th grain of comercial bar running has been well used for its uniqueness. i expect a bit of work on my ass but i think its not an issue on personal gain, even if it runs at a loss all i wont is for it to run as communal centralisation. anyway bye ybe sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060720/95f21878/attachment.html From fiffdimension at hotmail.com Wed Jul 19 22:33:02 2006 From: fiffdimension at hotmail.com (David Edwards) Date: Thu, 20 Jul 2006 17:33:02 +1200 Subject: [Af_list] after QLD / record store In-Reply-To: Message-ID: Hey there, I'm back from Queensland, had a great time playing my first international gig at the Liquid Architecture festival in Brisbane. So nice to have a couple of hundred people in the audience and get paid for a change! Next major project I'm working on is two different shows for Dunedin Fringe Festival. I'm doing a solo set in Lines of Flight and also putting together a musical theatre show called 'the Ballad of William Knife' which is set in the 19th century just for the sake of challenging myself. There's an interview with me up at http://www.digitalisindustries.com/foxyd/feature_detail.php?id=179 Regarding Sam's idea of a record store in Auckland - sounds great in principle but do people actually buy underground albums? Has anyone here managed to sell enough copies to make a profit on any of your works? If so, how did you do it? And does the digital download age make it harder than ever to sell physical albums? Dave www.fiffdimension.co.nz _________________________________________________________________ Need more speed? Get Xtra Broadband @ http://jetstream.xtra.co.nz/chm/0,,202853-1000,00.html From transient at darcy.co.nz Thu Jul 20 02:52:24 2006 From: transient at darcy.co.nz (transient@darcy.co.nz) Date: Thu, 20 Jul 2006 02:52:24 -0700 (PDT) Subject: [Af_list] record store In-Reply-To: References: Message-ID: <61580.210.246.14.72.1153389144.squirrel@webmail.darcy.co.nz> "sounds great in principle but do people actually buy underground albums?" I dunno, ask Richard Francis about ACROMA http://www.cmr.co.nz/acroma/ . I suspect that the imported stuff sells a lot more because here in NZ it is more "rare" than the work of a local artist, and that impression of scarcity sells. It does for me anyway: I tend to prioritise purchases in terms of "if I don't buy this today will it be here when I come back tomorrow/next week/next month?". By nature of their local-ness local releases appear more abundant and are therefore more likely to be taken for granted .... "Ehh, I'll pick it up one day" (except now even CDs by The Clean are appearing at Real Groovy {Auckland RG anyway, which is the scummiest one} for $50 with "Now Deleted" stickers). As much as I dislike the idea of strategically small limited editions I guess that is a way to create that sense of urgency around a release (and it certainly must beat making trips to get piddly numbers of extra covers printed every time you run out of copies). Anyway, I think the key with Sam's shop idea is that you're not RELYING on making money from selling obscure music. The idea of making The Wine Cellar a daytime cafe (.... which also happens to sell CDs and records) would solve that. With 90% of the population being raging coffee addicts you couldn't go wrong. Or I dunno, have a meth lab out the back or SOMETHING that is gonna make money. Re making profit off releases: I suspect most of the people on this list who have made money off releases haven't really "done" anything to make that happen, except just sticking around doing good work and treating it as a loss-making hobby long enough for the world to get around to paying attention. Sure you can "put yourself out there" (hate that phrase!!) but you can't control trends and make influential people give you good reviews etc. How do you get that dream job? How do you get asked out to the prom by that dreamboat Josh from algebra class? Maybe these are questions for Tony Robbins. Ben From malcolmg at ihug.co.nz Fri Jul 21 01:07:59 2006 From: malcolmg at ihug.co.nz (greg and jenny) Date: Fri, 21 Jul 2006 20:07:59 +1200 Subject: [Af_list] Greg Malcolm Norway Sweden dates Message-ID: <003101c6ac9c$ca29cad0$45aa6dcb@gregory> Hi Greg Malcolm here ..Dont know if any af list readers are in the region of Norway but just in case.... In a few days I head to Norway for a 3-week tour, which also includes dates in Sweden. I'll post the itinerary below. 28/29: Safe as Milk festival haugesund http://www.safe-as-milk.org/ Wed 2: Bergen Klubb Pilota http://www.pilota.fm/indeksside.htm Fri 4: Stavanger www.touscene.com Tue 8: Oslo, BL?:four solo guitar performances with Ivar Grydeland / Anders Hana /Ketil Gutvik Fri 11/8 , Stockholm Ugglan with Voice of the Seven Woods Sat12/8, G?teborg Kulturhuset Underjorden with Voice of the Seven Woods http://www.kningdisk.com/ Sun 13: Oslo, Sound of MU I ll try to update my site with news of how the tour is going as I go http://homepages.ihug.co.nz/~malcolmg/ -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060721/618c4d7b/attachment.html From damian at frey.co.nz Sat Jul 22 16:08:51 2006 From: damian at frey.co.nz (Damian Stewart) Date: Sun, 23 Jul 2006 11:08:51 +1200 Subject: [Af_list] last minute notice: bleep workshop #2: circuit bending TODAY at 4pm Message-ID: <44C2B003.1060206@frey.co.nz> the second bleep workshop is this afternoon (Sunday) at 4pm on dixon st, wellington (text/ph 027 305 4107 for the exact address). bring a circuit to bend - something *battery powered* that makes kind of interesting sound, and that (this is important) you don't mind if it gets destroyed. circuit bending is the art of short-circuiting sound-making devices, and the survival of the circuit is not guaranteed :-) http://www.frey.co.nz/bleep for more info arohanui d -- f r e y live music with computers http://www.frey.co.nz From turnstyle at obscure.co.nz Sat Jul 22 23:46:53 2006 From: turnstyle at obscure.co.nz (86) Date: Sun, 23 Jul 2006 18:46:53 +1200 Subject: [Af_list] what would you like to see being taught? In-Reply-To: <44BC30EB.2060102@frey.co.nz> References: <44BC30EB.2060102@frey.co.nz> Message-ID: <44C31B5D.9030809@obscure.co.nz> >> if a tertiary institution decided to include sound/noise whatever as part of >> their programme - what would you as the community who might be taking this >> or teaching on it want to see in this? To teach something like this, I think you would have to opportunity to take a very different approach to sound. I think exploring listening is important. Looking at what sound means to culture, to societies, to establishment. How sound is regarded in our environment. and .. that marvelous sound vs noise question. >> the history of what's happened in NZ or internationally? (Len Lye!!!) I used to think history was crap . but as I get older I get sick of hearing the same things over and over .. mostly because people lack a sense of history. So my current ' take ' is that history is important for context but not definition. I think people need to know what has gone before so they can keep some perspective .. I have also found history a strong motivation & inspiration. However I reject history when it is used as an anchor. In direct relationship to a sound/noise course would be the technical history of sound capture & playback. (I was reminded recently that the gramophone was invented just over 100 years ago. So the culture of capturing and reproducing sound is still very young, compared to the the history of say musical instruments .. ..... ) >> technical stuff? uber important ' Frankly I'm sick of Arts students connecting warehouse toys to speakers and calling it sound art! I don't pretend to be a chef even though I cook well, I don't call my self a builder even though I can use a hammer, because I respect the knowledge and skills it takes to be a professional in these areas. Anyway I think it is deeply important for anyone wishing to work with sound that they have a strong foundation of knowledge in all facets of sound. Technical training in sound should cover broad areas, from Physics, Electronics, Acoustics, Digital Signal Processing, Recording, Reproduction .. etc etc All this is separate from the biological process of listening, how we hear? what we hear? what we don't hear? .. etc etc And also separate to our psychological relationships with sound. Sound as communication, sound as healing device, sound as spectrum of nature. I don't think compositional elements are that important with any teaching of Sonic Arts. Composition remains the domain of classical music and its institutes. For me the study of sound & noise is related to the study of all the elements that define & become sound and noise. (Earthquake = 1 <> 4htz) I would imagine courses that allowed students to understand their subject then, set them into spaces where they could explore their own expression. The area of sound & noise that we are wandering around in, is such an immense and undefined area, a veritable black hole of understanding. Do you want to make interesting noise? Do you want to fix the Sydney Opera House? Do you want build sonic sculptures? Do you want to make PA's sound different? Do you want to express the sound of light bulbs? Do you want to make sound tracks for subways? Do you want to redefine the paradigm of home stereo? Do you want to make grown men cry? Do you want pop music to burn to the ground? Do you want to connect humanity to the source vibration? .. I keep thinking I would like to study this stuff .. but then I think I would have more fun teaching it .. because nearly every senior person I know in the sound world has basically told me that what I want to do is impossible, stupid or wrong! At the bottom line, I think any sound & noise course would be fundamentally about listening. About how to be aware of sound. Because realistically this is the only place that a student could start from, everything after is just a tool to express what they hear. Currently I can go to lots of schools to learn about 'sound', and none of them will teach me how to truly listen. They will train my ear, but only to what I am supposed to hear, not what I can hear. .. I do know that the Wellington School of Music is looking to expand it's program to include Sonic Arts .. but be aware this is being driven by the needs of the digital entertainment industry. The big push for institutes is to produce people who can produce 3D sound environments for computer games and DVD's. While this is cool stuff in its own right it I believe it would color the teaching you could receive. I would like to see a NZ institute support research into sound and our environment, sound and our experience as humans. I think there is a lot going in sound that can directly influence our experience of reality and the growth of human consciousness, however this is not a profitable business. .simon ------------------------------- www.obscure.co.nz & www.psurkit.net ------------------------------ m. +64 275 606012 From turnstyle at obscure.co.nz Sun Jul 23 00:24:13 2006 From: turnstyle at obscure.co.nz (86) Date: Sun, 23 Jul 2006 19:24:13 +1200 Subject: [Af_list] record store In-Reply-To: <61580.210.246.14.72.1153389144.squirrel@webmail.darcy.co.nz> References: <61580.210.246.14.72.1153389144.squirrel@webmail.darcy.co.nz> Message-ID: <44C3241D.4010703@obscure.co.nz> > "sounds great in principle but do people actually buy underground albums?" Whats wrong with a download shop ? We have a site setup and ready to go ' with all parts working. CC accounts the lot .. all it needs is content and perhaps some graphical design expansion . oh . and management. [if you are interested .. contact obscure] Seriously . I would have thought that on-line is the only way to go now days. You can offer downloads, and the ability to buy physical copies. Then an artist can make money of the tracks, or the object. Actually I would just encourage artists to offer music for free on-line, and develop an audience for their live performance, where they can take cash and not invite mr.tax to the party. I thought the idea of a hub building around a physical space was also mildly obsolete. How many people on the list who live in AK, see each other? Its difficult either way .. as a forum this list did not work. As a mailing list it seems to be progressing. An on-line digital shop may not work, but a free net label site might attract people to discover the scene. The AF site could be served in this way. I have collected and listened to all the remixes that have been posted on the site .. which is all music from artists I would have never listened to in any other way. mm . thoughts btw. Sam people are still downloading Postmoderncore podcasts!! 540 hits /audio/postmoderncore004.mp3 .. thats just in July .. so for starters if you want people to hear your music I could suggest you put it on psurkit .. for free, but I did that already, and it sounds like I'm repeating myself. repeating myself. repeating myself. .simon repeating myself .. http://psurkit.net is very supportive of abstract audio .. etc From turnstyle at obscure.co.nz Sun Jul 23 00:53:20 2006 From: turnstyle at obscure.co.nz (86) Date: Sun, 23 Jul 2006 19:53:20 +1200 Subject: [Af_list] Obscure Video In-Reply-To: <44C31B5D.9030809@obscure.co.nz> References: <44BC30EB.2060102@frey.co.nz> <44C31B5D.9030809@obscure.co.nz> Message-ID: <44C32AF0.60700@obscure.co.nz> While . I'm at it . Obscure Video is up and running .. New clips up now from Shortcircuit & Greenmatics . . If anyone has any video ' we are happy to host. So forget get over Myspace and keep it homegrown with Obscure. .simon From artwerks at slingshot.co.nz Sun Jul 23 00:54:07 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Sun, 23 Jul 2006 19:54:07 +1200 Subject: [Af_list] Doco's Message-ID: <025501c6ae2d$2d9ea1d0$e009b8cb@d400> Some of you may have material gathering dust under your bed that could possibly get an outing here... Andrew ----- Original Message ----- To: NEW HOMEGROWN DOCUMENTARY CHANNEL TO LAUNCH ON SKY: SKY Television and Richard Driver - the driving force behind Visionary TV - are pleased to announce that the Documentary Channel will launch in November 2006. The new channel will be available to all SKY digital subscribers, representing 43% of all television homes nationwide. The New Zealand produced Documentary Channel aims to provide discerning SKY viewers with the very best of home-grown and international documentaries. Content for the Documentary Channel will be sourced from the existing substantial library of New Zealand documentaries as well as established and respected international and festival sources. The channel will also provide a welcome platform for local documentary makers, many of whom now have a substantial back-catalogue of previously well-received documentaries that viewers will be delighted to have the opportunity to see again, alongside quality documentaries sourced internationally that in many cases have seldom been seen in New Zealand outside of the festival circuit. The Documentary Channel will offer viewers a choice of programming that is distinct from SKY's established factual channels by offering content with a strong contemporary focus on people and popular culture. The channel will also focus on broadly themed, critically acclaimed, and award winning works from established master documentary makers. --------------------------------------------------- From artwerks at slingshot.co.nz Sun Jul 23 01:10:44 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Sun, 23 Jul 2006 20:10:44 +1200 Subject: [Af_list] Fw: Starry night Message-ID: <02db01c6ae2f$7f9f9aa0$e009b8cb@d400> >From Mike Cooper... ----- Original Message ----- Sent: Sunday, July 23, 2006 6:08 AM > Hi - go here quick - my friend Mazen in Beirut - > http://www.muniak.com/mazenkerbaj.html > > cooper > From hertzz at gmail.com Sun Jul 23 01:57:25 2006 From: hertzz at gmail.com (Nigel Wright) Date: Sun, 23 Jul 2006 20:57:25 +1200 Subject: [Af_list] what would you like to see being taught? In-Reply-To: <44C31B5D.9030809@obscure.co.nz> References: <44BC30EB.2060102@frey.co.nz> <44C31B5D.9030809@obscure.co.nz> Message-ID: <17d276b00607230157n39e9cabfg8d3e9e1bf2a055c6@mail.gmail.com> >Frankly I'm sick of Arts students connecting warehouse toys to speakers >and calling it sound art! > >I don't pretend to be a chef even though I cook well, I don't call my self a >builder >even though I can use a hammer, because I respect the knowledge and skills >it takes to be a professional in these areas. > >Anyway I think it is deeply important for anyone wishing to work with sound >that they have a strong foundation of knowledge in all facets of sound. Yeah? Well frankly I'm sick of people telling me I'm not a musician because I can't read music/can't tell if my guitar is out of tune/can't play the solo to november rain. I think the beautiful thing about people working with experimental audio is that most of them don't have a strong foundation of knowledge in all facets of sound. It's just not needed. You are applying rules formulated sometime ago about professionalism and mastery of craft to an artform that is better off without them. People aren't respecting the knowledge and skills it takes to be a professional in whatever areas and thats great! -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060723/8468597c/attachment.html From artwerks at slingshot.co.nz Sun Jul 23 00:56:38 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Sun, 23 Jul 2006 19:56:38 +1200 Subject: [Af_list] FW: Australia Council New Media Scoping Study Message-ID: <025c01c6ae2d$88118a10$e009b8cb@d400> Anyone with an interest or involvement in with Australian activities will find this of interest... Andrew ----- Original Message ----- To: "acma mailing list" Sent: Saturday, July 15, 2006 2:31 PM Subject: [Acma-l] FW: Australia Council New Media Scoping Study > HI all, 'reckon there're a few on this list with a stake in this one? > > Rod. > > -----8<------- > > Dear colleague, > > The Australia Council for the Arts has released a discussion paper for > consideration and comment by interested new media artists, arts > organisations and arts stakeholders. > > The paper may be downloaded at this URL: > http://www.ozco.gov.au/news_and_hot_topics/hot_topics/new_media_scoping_study_discussion_paper_released/ > > > Please note the closing date for written submissions is 3 August 2006. > These can be lodged at nmascopingstudy at ozco.gov.au > > We would appreciate you forwarding this email to anyone you think may > be interested in responding. > > Background > > The discussion paper forms the basis for responses about the future of > new media art practice in Australia. These responses will be sought > through written submissions and a series of focus groups to be held in > five captial cities. > > The paper aims to provoke responses. This means there are some > contradictory points of view within the paper designed to assist people > in thinking about the range of issues a 'scope' of the new media sector > can cover. > > Readers may well identify some gaps in the scope presented in the > discussion paper. Our aim is to provoke responses in order to address > such gaps, and build an understanding about what key issues should form > the basis for strategic development in the coming years. > > The discussion paper has been developed by Dr Elaine Lally of the > University of Western Sydney's Centre for Cultural Research in > consultation with the New Media Arts Scoping Study Advisory Group. > > Invitation to Respond > Individuals artists, arts organisations and other parties interested in > the development of new media art in Australia are invited to respond to > the discussion paper. > > When drafting written submissions respondents are asked to structure > their responses against the discussion paper or the three outcomes of: > > *Short-term initiatives that can be implemented to have immediate > effect on gaps. > *Further research projects to address gaps in existing knowledge about > new media art practice. > *Long range initiatives that address the sustainability of new media > practice in Australia > > Written submission can be emailed to the Australia Council - > nmascopingstudy at ozco.gov.au or posted to New Media Art Scoping Study, > PO Box 788, Strawberry Hills, NSW 2012. > > The closing date for written submissions is 3 August 2006. > > The New Media Art Scoping Study Report will be presented to the Council > at its September meeting. The Council will respond to the > recommendations of the Scoping Study and these will be made public after > the meeting, along with the final New Media Art Scoping Study Report. > > The New Media Art Scoping Study is managed through the Inter-Arts > Office at the Australia Council for the Arts. It is led by Andrew > Donovan, Director of the Inter-Arts Office. > > > Andrew Donovan > Director > Inter-Arts Office > Australia Council for the Arts > > Tel: 02 9215 9124 > Fx: 02 9215 9161 > Toll free: 1800 22 69 12 > Web: www.ozco.gov.au/inter-arts > > _______________________________________________ > creativity-cognition mailing list > creativity-cognition at it.uts.edu.au > http://discuss.it.uts.edu.au/mailman/listinfo/creativity-cognition > > > ____________________________________________________ > Acma-l Mailing List > http://list.waikato.ac.nz/mailman/listinfo/acma-l > ACMA Web site http://www.acma.asn.au/ > > From achirnside at gmail.com Sun Jul 23 02:51:28 2006 From: achirnside at gmail.com (Angeline Chirnside) Date: Sun, 23 Jul 2006 21:51:28 +1200 Subject: [Af_list] what would you like taught Message-ID: <109772670607230251x6ae88ea1j45a9c613537f33a0@mail.gmail.com> >*Frankly I'm sick of Arts students connecting warehouse toys to speakers *>*and calling it sound art! *>* *>*I don't pretend to be a chef even though I cook well, I don't call my self *a >builder >*even though I can use a hammer, because I respect the knowledge and skills *>*it takes to be a professional in these areas. *>* *>*Anyway I think it is deeply important for anyone wishing to work with sound *>*that they have a strong foundation of knowledge in all facets of sound. * Yeah? Well frankly I'm sick of people telling me I'm not a musician because I can't read music/can't tell if my guitar is out of tune/can't play the solo to november rain. I think the beautiful thing about people working with experimental audio is that most of them don't have a strong foundation of knowledge in all facets of sound. It's just not needed. You are applying rules formulated sometime ago about professionalism and mastery of craft to an artform that is better off without them. People aren't respecting the knowledge and skills it takes to be a professional in whatever areas and thats great! >>>>>>>>>>>>Can I just add that I have actually seen Nigel tune a guitar with only his taringas to guide him *gasp* so it is extra noble of him to be defending what should be teeth-peelingly, boringly obvious. Nevermind the personal investment that I might have in people standing up for such art-school dilettantism as described, with the toys etc. While I would never deny anyone the right to submit posts with such inconsistent internal logic, as that is the meat and three veg of internet forum discussion, it's hard for me to stay on board with someone who first rails against a perceived overly prescriptive music syllabus and then gets his knickers in a twist about people not respecting instutionalised 'professions'. "that marvelous sound vs noise question" is an annoying binary, and teaching listening seems to me to be as much about acculturation as learning to change sounds into abstract symbols (as for musical scores) and them playing them back. Perhaps what bugs me most about this post is not the many nice things that are being said, but the spirit of the 'you can't learn anything at school' type point of view. Clearly, the people most keen on this point of view take great pride in their ability to think 'outside the square' and 'for themselves', so it should be obvious to them that school as a total learning environment is a bulls*** idea perpetuated by the restrictive capitalist, masculinist governing forces that control our lives (man). You don't learn everything at school, and there are plenty of ways to learn things outside an institution. If you choose to use an institution as a means of gaining knowledge, well bravo to you for somehow having already figured out that the authority it purports to have on the area you are wishing to learn is NOT absolute. Clearly, much of the most worthwhile information is available through non-institutional means, and it will continue to be so, and it will continue to be accessible to interested parties who may not make the weird arbitrary cut necessary to get into various schools. Also, let the record show that this started off as a direct reply and then I took up a rhetorical hobby horse. Sorry. -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060723/9a951041/attachment.html From transient at darcy.co.nz Sun Jul 23 04:22:26 2006 From: transient at darcy.co.nz (transient@darcy.co.nz) Date: Sun, 23 Jul 2006 04:22:26 -0700 (PDT) Subject: [Af_list] record store In-Reply-To: References: Message-ID: <7396.210.246.13.83.1153653746.squirrel@webmail.darcy.co.nz> "Download shop"? "CC accounts"?[???] "Online is the only way to go"? I want records and CDs and CDRs and tapes!! And I want to be able to walk into a place and pick them up and look at them. That's why Real Groovy get such a ridiculous percentage of my income. That's why I still have about 20 un-listened-to albums sitting on my hardrive from when I used Soulseek 18 mnths - 2 yrs ago. That's why I groaned slightly when I saw that this great-sounding new Bruce Russell album is a free download on Mattin's website/label, with physical copies available "only if you must" kind of thing. Clearly I am a luddite and Simon is a tech-head, but I'm sure there are others out there like me. I don't buy all this stuff about "all the kids are downloading these days" (and remember "brn & get brnt"? Wasn't that a hilarious campaign?). I think it was in the current Listener I saw an article about the huge increases in sales of vinyl and about Real Groovy having to strengthen their warehouse or something to accomodate these huge shipments of vinyl. The downloading/net label things has value for sure but personally I'd much rather have the physical artifact than the files sitting in a folder. Ben From damian at frey.co.nz Sun Jul 23 16:03:58 2006 From: damian at frey.co.nz (Damian Stewart) Date: Mon, 24 Jul 2006 11:03:58 +1200 Subject: [Af_list] what would you like to see being taught? In-Reply-To: <17d276b00607230157n39e9cabfg8d3e9e1bf2a055c6@mail.gmail.com> References: <44BC30EB.2060102@frey.co.nz> <44C31B5D.9030809@obscure.co.nz> <17d276b00607230157n39e9cabfg8d3e9e1bf2a055c6@mail.gmail.com> Message-ID: <44C4005E.40605@frey.co.nz> Nigel Wright wrote: > I think the beautiful thing about people working with experimental audio > is that most of them don't have a strong foundation of knowledge in all > facets of sound. It's just not needed. You are applying rules formulated in my circuit bending workshop yesterday there were a few cases the people with less knowledge were able to make more interesting bends... it was almost as if the theoretical knowledge got in the way of the naive experimentation, and closed off some alleyways. it is (was) a general rule amongst studio engineers that if you were using an EQ you'd never boost, you'd always cut. in order to make a lot of the noises that have become commonplace in techno/electronica, you need to use your EQ to boost a signal. if you don't know what you're not supposed to do you're more likely to do it. i like the fact that sound artists get up on stage with toys they've bought from the warehouse because they show me how to do things with cheap basic tools that i would never think to do. my entire training up at victoria has been on ultra-hifi equipment, and without exception all of the music we have listened to has been made by people with ultra-hifi equipment who were using it 'properly'. there's a huge amount of elitism built in right there - if it's all about the hifi then only people with access to hifi (ie, with money) will be able to participate. that sucks. -- f r e y live music with computers http://www.frey.co.nz From jeffimprov at hotmail.com Sun Jul 23 17:33:52 2006 From: jeffimprov at hotmail.com (jeff henderson) Date: Mon, 24 Jul 2006 00:33:52 +0000 Subject: [Af_list] af_list Digest, Vol 3, Issue 18 In-Reply-To: Message-ID: couple o things... >Philip Samartzis runs a sound / noise/ art course in Melbourne, I found him >to be very interesting... philipsamartzis.com >a while ago there were some posts about a minimalist dub track that sounded >interesting, any more info? I couldn't find the post again in the >archives... >anyone know much about augmented reality and the developments of such >technology in relation to sound? Clarke _________________________________________________________________ Check out the latest video @ http://xtra.co.nz/streaming From samukun at gmail.com Sun Jul 23 18:08:07 2006 From: samukun at gmail.com (Sam Hamilton) Date: Mon, 24 Jul 2006 13:08:07 +1200 Subject: [Af_list] teaching subjects and record store. Message-ID: <19ccf87f0607231808m265b173byb1674962e01c8551@mail.gmail.com> well there seem to be plenty of ideas about what should be taught, some good ideas to. one thing that i think might work is to possibly invite people to actually write a mock proposal for specific subject tutorials or something, there is a lot of wealth to draw from here and to use it all the parameters are going to have to be pretty expansive. anyway a few replies to simon on a few things he said. >At the bottom line, I think any sound & noise course would be fundamentally >about listening. About how to be aware of sound. Because realistically this is >the only place that a student could start from, everything after is just a tool to >express what they hear. there are a few things a agree with, this one in particular is a very good starting point!. >An on-line digital shop may not work, but a free net label site might attract >people to discover the scene. The AF site could be served in this way. thats true as chips, but there is a giant portion missing out. as a net label can expand an audience pretty much globally its affect within a localised area is greatly weakened from that expansion. this is the part of physical space can fill. >I thought the idea of a hub building around a physical space was also >mildly obsolete. How many people on the list who live in AK, see each other? this is fucking ridiculous. have we abandoned our physical bodies yet? and yes i see a great deal of the people on this list and would like to see and talk with more of them if i can. currently there are few places this can happen. a list works because for discussions because there is better access for people. there is alot that falls through the gaps. im not on a stampede against the Internet, net labels, email digests and net distributions. but there are enough of them and there are not enough physical spaces to balance them out. >Whats wrong with a download shop ? nothing is wrong with download shops, i never said there was anything wrong, whats wrong with physical shops. >I don't think compositional elements are that important with any teaching of >Sonic Arts. Composition remains the domain of classical music and its institutes. as soon as you intentionally commit a piece of audio to any sound documenting medium you have exercised compositional process's. composition should be taken from the clutches of the classic institutes. >Anyway I think it is deeply important for anyone wishing to work with sound >that they have a strong foundation of knowledge in all facets of sound. the only problem i find hear is that it seems to exclude people without a deep knowledge of history from accessing or practicing "sound art". its like cnz saying "you cant get funding unless you have funding history". "sound art" should be accessible to anyone without a sprinkle of knowledge about its history. you can't criticise art students for being exploratory, i think its healthy as to develop a taste for underdeveloped, unrefined music made with warehouse toys jammed into speakers, you certainly wouldn't find that behavour in the classicly music department and isn't that what this decussion is about, filling the gaps that have been skipped by the music department. did you start of making highly refined concise sound music?, i for one didn't, and still dont alot of the time, history should not always be something we use to inform our expressions. how can something be "old" anyway, something you have seem before, yeah, where? was it really exactly the same? should sound art always be new?, well that's obviously imposable. i feel these discussions might head into some mighty spaghetti like problems. its going to be interesting for sure. sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060724/753c7324/attachment.html From damian at frey.co.nz Sun Jul 23 18:58:53 2006 From: damian at frey.co.nz (Damian Stewart) Date: Mon, 24 Jul 2006 13:58:53 +1200 Subject: [Af_list] af_list Digest, Vol 3, Issue 18 In-Reply-To: References: Message-ID: <44C4295D.5050908@frey.co.nz> jeff henderson wrote: >> a while ago there were some posts about a minimalist dub track that sounded >> interesting, any more info? I couldn't find the post again in the >> archives... probably maurizio? >> anyone know much about augmented reality and the developments of such >> technology in relation to sound? for my work i'm working on computer vision stuff which is a significant part of augmented reality. i've built tabletop interfaces with two manipulators that allow a performer to control pitch and volume based on the proximity of their hand to the centre of a circle, like a theremin. the detection is done using an overhead camera, the circle graphics and animation are projected from a pair of overhead projectors. -- f r e y live music with computers http://www.frey.co.nz From samukun at gmail.com Sun Jul 23 19:13:29 2006 From: samukun at gmail.com (Sam Hamilton) Date: Mon, 24 Jul 2006 14:13:29 +1200 Subject: [Af_list] somethnig positive Message-ID: <19ccf87f0607231913y591e1250u218fad64e1726f5e@mail.gmail.com> well i thought that yeah it would be nice to say something positive to. school. well, i never studied at university so i don't have the hands on experience needed to really criticise it as an institution or anything else. i think any new department in sound/noise at a university would be pretty fucking chaotic. its already rather chaotic just discussing it. angeline, i agree more with alot you said that what i last said although, i doubt any department or course run by most of the people who seem to be getting roped in or at least are being asked for imput could hardly manage to keep up with the rest of the academic structures, even if they tried. i think its more likely to become its own identity rather than be doomed to be behind the "real" movements in these musics like most other arts institutes seem to do, i think thats something that should be avoided, by which means i don't know but i think its possible. i think it would be near impossible to run this coarse with severely neglecting and excluding some part of the "sound/art misuc noiseawahtever" world if it didn't cover absolutely everything (considering conventional music school covers so little it constitutes nothing at all). the shear magnitude of that idea is practically absurd. its pretty much teaching "anteing at all" and i doubt an institution would like that, but i think thats fucking awesome, i'd love to go to a music school that was completely confused about its aims and rules that was always badly contradicting its self. i think if there is alot of friction and disagreement with this project then it means its something organic and living. bring in a bunch of students and a project like that is bound to end up in places very much un-predicted. giving the department just as much a chance to learn, grow and be taught as the students are. but would it be possible to set it up like that? have numerous subjects, papers whatever, taught by who is willing to make the proposal to teach it?. that way the directorial negation of what is taught becomes democratic and gives anyone a chance to at least present a facet of "sound/noise" determined by the practitioner who presents it. this gives non academics a chance to contribute to what the institute classify as that department? sorry if these thoughts make little sense, im writing as they come and as usual there coming from strange angles. positiveness,......fuck yeah what a fucking amazing idea! the more conflict russled up by it the better, but i would point out that we are still all in the same boat, even if we don't agree or see each other in real life. this list contains a great number of very diverse minds but assentially we are all on the same list adressing each others ideas. anyway going to have coffee with a me buddy sally. catch ya sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060724/01bdec39/attachment.html From turnstyle at obscure.co.nz Sun Jul 23 23:23:11 2006 From: turnstyle at obscure.co.nz (86) Date: Mon, 24 Jul 2006 18:23:11 +1200 Subject: [Af_list] teaching subjects In-Reply-To: <19ccf87f0607231808m265b173byb1674962e01c8551@mail.gmail.com> References: <19ccf87f0607231808m265b173byb1674962e01c8551@mail.gmail.com> Message-ID: <44C4674F.5050508@obscure.co.nz> > Anyway I think it is deeply important for anyone wishing to work with > sound that they have a strong foundation of knowledge in all facets of sound. Essentially I am just jealous of those studying sound art or practicing it in a school environment. My path is committed in a different direction nowadays, so while the possibility exists to study in existing departments, or in developing departments .. it would mean abandoning current projects, like my business. On this basis though I would whole heartedly support any school that started courses in Sonic Arts, Noise, Sound .. etc .. the future is important !! .. The hyper critical part of me, does have hum in my speakers about people who mess around with sound like they would with cut & paste art. I applaud anyone giving things a go ! .. but I feel its currently trendy for people to dabble in sound as a artistic medium .. and it irks me to see works produced that are more about toying with the medium than really understanding the medium and exposing the form. The deep end of Sonic Art is pushing the boundaries of what we know about physical space. In that aspect there is probably a difference in what we are talking about. Some of you might have trouble being recognized as a musician, because you don't play in tune. I don't even make music, sounds or noises. I work with sound, the physical production of sound waves in space. What does this make me? An Engineer? A Sculptor? An Architect? An Artist? I suppose many on the list are into alternative noise based sound, and looking for learning environments where you can explore "music" outside classical convention. As this is a challenge enough .. where would you explore sound reproduction outside the convention of stereo, or industry accepted 5.1 surround. Here is a system in the UK ' // http://outboard.co.uk/pages/timax.htm [.. control of Haas-based psychoacoustics offers unparalleled audio imaging solutions and real live surround sound in any performance or presentation space.] This is a fairly unique system, and basically in the dimension or at least the reality that I believe people should be thinking with, in terms of audio innovation. Personally I don't think it is enough to develop courses that would teach sound/noise concepts alone. To develop the practice of alternative sound, I would like to see a course that looked at sound beyond any conventional boarder that exists. There is a unique opportunity here for NZ to develop schools, courses, departments that explore this new paradigm of multi-media / inter-media / sonic / noise / sound / surround / art / performance .. stuff. It's a huge bubble ' that to me is really about a continued exploration into the human experience & its expression, enabled by our relationship with technology. Anyway this page has links to pretty much every institute in the world where you could maybe study sound/noise .. etc. Its probably worth answering the question by visiting what already exists. http://www.sara.uea.ac.uk/ // From turnstyle at obscure.co.nz Mon Jul 24 01:03:24 2006 From: turnstyle at obscure.co.nz (86) Date: Mon, 24 Jul 2006 20:03:24 +1200 Subject: [Af_list] teaching subjects In-Reply-To: <44C46D61.5060301@postmoderncore.com> References: <19ccf87f0607231808m265b173byb1674962e01c8551@mail.gmail.com> <44C4674F.5050508@obscure.co.nz> <44C46D61.5060301@postmoderncore.com> Message-ID: <44C47ECC.9070006@obscure.co.nz> > Why not mess around with sound in a casual fashion? > By saying you can't > do this, you're cutting off another compositional strategy. Starting to > behave like sound art is some holy thing that must be treated with > respect, it seems to me this will limit the ways you'll think about it. I totally understand about 'playing' around with sound, and completely enjoy mucking around with the stuff myself. What I don't understand is why sound should be treated in a frivolous fashion. Try talking to a deaf person, and gaining an understanding of life without sound .. Sound is a significant part of the human experience .. what is not to respect about this, especially if you are trying to innovate or abstract this experience. I am a heavy critic, I need excellence, everything else is just boring. Honesty is the best sound I ever heard. Thats what we should be teaching. http://obscure.co.nz/profiles/turnstyle From samukun at gmail.com Mon Jul 24 05:48:56 2006 From: samukun at gmail.com (Sam Hamilton) Date: Tue, 25 Jul 2006 00:48:56 +1200 Subject: [Af_list] area 26 vacancy Message-ID: <19ccf87f0607240548v251b7b6s84bb6ac7ee555c5@mail.gmail.com> hello AF peeps there is a flat mate moving out of our house in st kevins arcade K'rd. he is moving into the greater wider world. anyway from the 8th of august we will need another person to fill the room. if you think you might like to live in a lovely place with 5 others (sounds like alot but it works quite well) please give me a bell on 021 032 1842 or give me and email. the room is $120 plus expenses which aren't that much cause there are a lot of people to divide it by. there is also no bond. anyway if your interested or know anyone who is? sorry if this is an inopropriate notice for the AF list. there isn;t really any excuse i know. sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060725/4d1843b5/attachment.htm From samukun at gmail.com Mon Jul 24 07:47:02 2006 From: samukun at gmail.com (Sam Hamilton) Date: Tue, 25 Jul 2006 02:47:02 +1200 Subject: [Af_list] Piano Piece for a Particular Distance Message-ID: <19ccf87f0607240747w12164b1ay94abb74eea4c2de8@mail.gmail.com> hi AF i've just finished a new little cdr release called Piano Piece for a Certain Distance. its a recording made 2 years ago of a piano being moved a few kilometres down the road. it is in an addition of 12 and there is only 7 left, please email me if you would like a copy there isn't really a price so you can simply make an offer. i quite like it but i think its one for the shelf rather than the frequently listened to pile, its kinda boring. i've included the notes that go with the cdr here. Piano Piece for a Particular Distance (from Symond St to St Kevin's Arcade) Recorded Oct 2004 Auckland NZ. 33 mins The same way all sounds travel from one point in time another point in time, so does it travel from one point in space to another point in space. This piece of music for a moved piano intends to explore the distance from one physical place to another and the travelling involved between these places as a compositional tool in its self. Using a 2 channel tape recorder (the only portable thing I had at the time), one shitty dynamic mic and one contact microphone, the help of Eve Gordon, Ben Cragg and Matthew Brennan, I recorded an upright piano being moved on a small trolley roughly about 2 kilometres. The dampener pedal on the piano was jammed open with the intention of making the strings free to resonate and sound off from the clatter of being rolled down the street. Unfortunately the strings were rather inactive. instead the recording is a rough mix of clattering wood and wheels bouncing around the inside of the wooden body with varying rhythms and textures depending on what surface the ground is, what speed we are moving at and which mic is most dominant at the time. There are also varying structural developments from stopping at traffic lights and what not. The piece has various conceptual underpinnings, some fanciful some moderately serious. I do consider the recording a bit of a homage to all the great piano mistreatments like piano burnings, nailing the keys down, burying them in the garden, dropping them in a lake, hitting them with an umbrella, preparing then or simply bashing the shit out of one with a sledge hammer. The piano has been used over and over again in avante garde practice as a symbol of the 'classical' doctrine and the overcoming of it. This is my addition to the long list of absurd piano mistreatments, or to the great people who have so wonderfully mistreated them. There was minimal as possible editing done to the recording from the original cassette. I think the recording works quite well played rather quietly, almost as background sound, but whatever tickles your fancy is fine. sam hamilton samukun at gmail.com -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060725/cdda3f8d/attachment.htm From joel at naturestrip.com Mon Jul 24 09:55:27 2006 From: joel at naturestrip.com (joel stern) Date: Tue, 25 Jul 2006 02:55:27 +1000 Subject: [Af_list] Fw: resonance Message-ID: <019501c6af41$f98cb100$0701a8c0@joelone> Guardian Unlimited Arts | Arts features | Sounds eccentric Sign in ? Register Go to: Guardian Unlimited homeUK newsWorld newsComment is free blogNewsblog----------------------Archive searchArtsBooksBusinessEducationGuardian.co.ukFilmFootballJobsLife and healthMediaGuardian.co.ukMoneyThe ObserverPoliticsScienceShoppingSocietyGuardian.co.ukSportTalkTechnologyTravelBeen there----------------------AudioEmail servicesSpecial reportsThe GuardianThe northernerThe wrap----------------------Advertising guideCrosswordEvents / offersFeedbackGameszoneGarden centreInformationGNL press officeGuardianFilmsHeadline serviceHelp / contactsLiving our valuesNewsroomNotes & QueriesReader OffersSoulmates datingStyle guideSyndication servicesTravel offersTV listingsWeatherWeb guidesWorking for us----------------------Guardian WeeklyMoney ObserverPublic Read today's paper ? Jobs Search: Guardian Unlimited Web Home Culture Vulture blog Live reviews Art Dance Classical Special reports Help News Film & Music weekly CD reviews Jazz Theatre Rock/pop Picks of the week Podcasts Search Arts Recent features Interview: Carlos Acosta Jason Elliot on the V&A's Jameel Gallery of Islamic Art Martin Sixsmith on Shostakovich When Harry met Stein Sounds eccentric Review: And They All Sang by Studs Turkel Reviews: Freight Train Graffiti, Writers United, Wall and Piece and Graffiti Brasil Sounds eccentric A study in sexual violence Rave new world Let's do the multi-storey car park Straight to video Sounds eccentric David Stubbs tunes in to Resonance FM and wonders why more radio stations don't have shows with Finnish avant rock, pensioners selling old wigs or the sound of ice melting Saturday July 15, 2006 The Guardian Open air ... Resonance FM's cramped central London studio Its oldest presenter is a 73-year-old ex-bank robber, its youngest a 15-year-old schoolboy. Its programmes span the outer reaches of music, sound art, polemic and comedy. It has no problem with being deadly earnest and deadly funny. "My favourite Resonance moment was Stewart Lee interviewing 'the Ice Man', who melted a block of ice in the studio," recalls Resonance fan and co-creator of Father Ted, Arthur Matthews. "This took quite a while, as he wasn't allowed to use any naked flames for safety reasons. Recently I tuned in, and was greeted by a sound that was just really noise. That really is the best way to describe it - 'noise'. Obviously preferable to James Blunt." It boasts a raft of celebrity fans, including Jonathan Ross, Suggs of Madness and Janet Street-Porter, even Vic Reeves ("Resonance FM provides a vital community service - a radio station on which you can play records by Henry Cow without being looked at askance," he enthuses). Yet it represents a vast underworld of cultural activity, bustling and thriving many strata below the mainstream world of semi-hip celebdom. Article continues -------------------------------------------------------------------------- -------------------------------------------------------------------------- Resonance FM (www.resonancefm.com) is the sort of station you imagine the corporates and market researchers who dictate the drearily breathless glut of conventional radio programming would have snuffed out a long time ago. Its current programme director, Ed Baxter, helped set up the station in 2002, primarily to offer a much-needed outlet for experimental music, as well as to expand the idea of what radio can be, other than a medium for heavy rotation of Coldplay and selling greenhouses. Baxter rejects both the "ghastly mishmash of nostalgia and postmodern drivel" that constitutes contemporary radio, as well as the "ingrained habits" into which it's fallen. "Typically, the rhythm of a radio station is grasped in terms of its traffic reports, weather forecasts, adverts, time signals and repetitive news. But these aren't givens, and Resonance has dispensed with them." Resonance FM now broadcasts 24 hours a day and has 100,000 listeners in London, with perhaps half as many again listening worldwide via its website. It's looking to expand further, hence an appeal to update its aerial. That it has hung onto its FM status is a sign that, against all expectations, it has become a fixture of London life rather than a listener-hostile exercise in deluded cultural idealism. This is especially unlikely given the traditional and painfully hoary British mistrust of anything that smacks of "pretentiousness", a brickbat occasionally lobbed at the station. Yet, even those who find avant-garde experimentalism a tad cryptic find themselves seduced by its adventures in sound. As one listener posted on a chatboard, "there's something oddly calming about listening to 30 minutes of someone walking around Beijing market with a tape recorder, humming to themselves". Much of Resonance's output is musical, with programmes made by and for those whose passion for, and knowledge of, specialist music escapes the all-embracing net of marketing considerations and commodification. Rhythm Incursions is a celebration of the sub-atomic world of dub, hip-hop and broken beats, featuring the unjustly obscure likes of Sixtoo and DJ Flak. Music magazine the Wire's Adventures In Modern Music is a weekly showcase for the sort of music (Japanese improv, Finnish avant rock, new weird America, to label but a fraction of its scope) which will simply never cross over, which collectively represents a parallel universe of activity. Often, the presenters represent a perturbing antidote to the slick, velvet gurgle of Capital, Virgin, etc. Savage Pencil, aka Edwin Pouncey, is a case in point; his ashen, deadpan delivery makes the late John Peel sound like the still-alive Mike Reid by comparison. Yet this belies his superhuman, encyclopaedic knowledge of rock, outer rock and all points beyond. Sometimes, as befits the emphasis on enthusiasm rather than professionalism, there are odd moments of dead air which would have the average radio producer tearing their hair out and screaming for someone to insert a drum'n'bass-driven jingle or something, anything. Yet these little inadvertent glimpses into the void actually help make Resonance what it is: radio that presents an existential challenge to the listener. The "non-musical" programming of is often just as bizarre and impressive. There's Midnight Sex Talk, which recently featured a discussion on anal sex in which contributor Al Needham decried the practice among heterosexuals, coining the immortal phrase "a rooster tail of shit". This is the profane wing of Resonance to match its more sacred intentions. It's provided, too, for the surrealist tales of The Hooting Yard, whose narrative reminds of Max Ernst engravings gone Bonzo Doo-Dah: "At long last, Dr Calicagcag drew back the 14 bolts on his door... the good Doctor was wearing a rhinoceros mash of beaten bronze." There is anti-globalisation polemic, delivered by bilious American Max Kaiser, on The Truth About Markets. Meanwhile, fairly high-profile stars of comedy have pitched in. These include Stewart Lee and Arthur Matthews, who has contributed to the nature show Creature Curious "pretending to be various creatures such as anteaters", as he puts it. Julia Davis of Nighty Night and Jessica Stevenson appeared on the Clear Spot section with June Loves Janet, improvised dialogues between a brittle, psychological pair of women seeking therapy through literature and American psychobabble. Kevin Eldon, meanwhile, ubiquitous comedy sidekick to Steve Coogan, Lee & Herring and others, has performed his own series of monologues, including one delivered in a violent rehash of GCSE French. "Resonance is something to be thankful for," says Eldon. "You can tune in to hear birdsong, people hitting railings with dolls, pensioners selling old wigs, Sumatran chicken slaughtering percussion or a lecture on nipples. And that's only on a Tuesday morning. The studio is a tiny little room with a single glazed window, the sill of which is haunted by disreputable pigeons. The carpet is sort of worn into the floorboards. It's my favourite studio." Despite the diversity of its programming, its hilarity and occasional forays into the whimsical and preposterous (the summer schedule features a new series called Rock'n'Roll Fishing, in which, each week, a band such as the Young Knives go fishing with presenter Doug Whittaker), Ed Baxter is not afraid to bandy terms like art. "Radio art is what I say it is," he said recently, though he meant to convey that the station is still finding its feet in that respect. A further effort to realise this notion will be Radio Gallery, which promises to treat its one-hour slots as "exhibition space ... the broadcast is not discussion about art, it is the art". He compares Resonance with the squat culture of the 1970s and 1980s, describing it as a "lateral" phenomenon, in which people share their obsessions and enthusiasms, as opposed to a "vertical" one in which radio is a mere springboard to becoming a TV presenter or reality TV host. Resonance is, in short, a bracing, occasionally jarring but mostly jolting antidote to modern media life. As Robert Wyatt, grand old countercultural doyen and patron of Resonance, who once described his political inclination as "traitor", says, "What's extraordinary about [Resonance] is that such a sensible and entertaining use of the airwaves should be such an extraordinary thing." ? Go to Resonancefm.com or 104.4FM in London -------------------------------------------------------------------------- Printable version | Send it to a friend | Save story Privacy policy | Terms & conditions | Advertising guide | A-Z index | About this site Guardian Unlimited ? Guardian Newspapers Limited 2006 -------------------------------------------------------------------------------- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.394 / Virus Database: 268.9.10/385 - Release Date: 11/07/2006 -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060725/ac41bec1/attachment-0001.htm -------------- next part -------------- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.394 / Virus Database: 268.10.4/396 - Release Date: 24/07/2006 From artwerks at slingshot.co.nz Mon Jul 24 16:44:53 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Tue, 25 Jul 2006 11:44:53 +1200 Subject: [Af_list] Fw: Another form of interactivity with sound... Message-ID: <074801c6af7b$2a3eba30$e009b8cb@d400> I couldn't resist sharing this gem just in from Warren Burt on the ACMA list... Andrew ----- Original Message ----- To: "Acma List" > Greetings acmoids: > > I almost hesitate to send this to the list - because of the slightly > adult content involved - but the ibuzz company has made a sex aid that > plugs into any 3.5 mm headphone socket, so you can use any music you > like as a sexual stimulant. The technology looks crude, but it may be > the harbinger of things to come. Wasn't it Aldous Huxley in Brave New > World who predicted things like this? > > ONLY go to this website if you won't be upset by the slightly adult > content....(don't worry it's not pornographic, but the product IS shown > clearly) > > www.ibuzzusa.com > > And how does this relate to those who say that music is a pure > intellectual activity???? And what is the official position of NIME on > this? > > Cheers, > > Warren > > ____________________________________________________ > Acma-l Mailing List > http://list.waikato.ac.nz/mailman/listinfo/acma-l > ACMA Web site http://www.acma.asn.au/ > > From samukun at gmail.com Mon Jul 24 17:20:36 2006 From: samukun at gmail.com (Sam Hamilton) Date: Tue, 25 Jul 2006 12:20:36 +1200 Subject: [Af_list] i play shitty untuned msuic through cucumbers for speakers Message-ID: <19ccf87f0607241720k2b370d7fjdcb701a72d11a907@mail.gmail.com> hey if people have to us this ultra hi fi system, which im sure is pretty amazing and sounds incredible, in order to be abel to make 'innovative' music sound (by the way, you use sound waves in space that SOUND to. in a lot of cases there are terms that can misrepressent intentions but i think people on this list have a clear idea of the difference between matter and meaning) then as far as i know virtually %95 of the people on this list, infact %95 of the people making innovative music in NZ that i know of wouldn't be making anything at all. im sorry but your attitude reminds me of dealing with jocks at the rock shop. sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060725/23ca27ff/attachment.htm From hertzz at gmail.com Mon Jul 24 17:34:42 2006 From: hertzz at gmail.com (Nigel Wright) Date: Tue, 25 Jul 2006 12:34:42 +1200 Subject: [Af_list] i play shitty untuned msuic through cucumbers for speakers In-Reply-To: <19ccf87f0607241720k2b370d7fjdcb701a72d11a907@mail.gmail.com> References: <19ccf87f0607241720k2b370d7fjdcb701a72d11a907@mail.gmail.com> Message-ID: <17d276b00607241734l6cda1864xd682d3cd76833276@mail.gmail.com> What are you talking about Sam? You DO need a custom les paul autographed by Gene Simmons with nickel wound heavy gauge strings and flames painted up the neck in order to play guitar. Well at least I do. To sort of repeat myself and stress a point :You don't need shit to make sound (including knowledge) And nor should you place it on some kind of elitist pedestal. Anyway, my sound is better than all of yours, because I know about 5th order harmonics and the resonant frequency of hipsters. On 7/25/06, Sam Hamilton wrote: > > > > hey > if people have to us this ultra hi fi system, which im sure is pretty > amazing and sounds incredible, in order to be abel to make 'innovative' > music sound (by the way, you use sound waves in space that SOUND to. in a > lot of cases there are terms that can misrepressent intentions but i think > people on this list have a clear idea of the difference between matter and > meaning) then as far as i know virtually %95 of the people on this list, > infact %95 of the people making innovative music in NZ that i know of > wouldn't be making anything at all. > > im sorry but your attitude reminds me of dealing with jocks at the rock > shop. > > > sam > > _______________________________________________ > af_list mailing list > > http://list.audiofoundation.org.nz/listinfo.cgi/af_list-audiofoundation.org.nz > > -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060725/ab174282/attachment.html From adam at xs4all.nl Mon Jul 24 17:39:14 2006 From: adam at xs4all.nl (adam) Date: Tue, 25 Jul 2006 02:39:14 +0200 Subject: [Af_list] i play shitty untuned msuic through cucumbers for speakers In-Reply-To: <17d276b00607241734l6cda1864xd682d3cd76833276@mail.gmail.com> References: <19ccf87f0607241720k2b370d7fjdcb701a72d11a907@mail.gmail.com> <17d276b00607241734l6cda1864xd682d3cd76833276@mail.gmail.com> Message-ID: <20060725003914.GL40320@xs4all.nl> ooo.....dems fighting words i wonder if actually there might be an interesting point that you both offer that wont result in a boring flame war...i think there might be, but maybe im just getting old...how about an attempt from both of you to actually try and discuss this as it could be interesting... adam ..on Tue, Jul 25, 2006 at 12:34:42PM +1200, Nigel Wright wrote: > What are you talking about Sam? You DO need a custom les paul autographed by > Gene Simmons with nickel wound heavy gauge strings and flames painted up the > neck in order to play guitar. Well at least I do. > > > To sort of repeat myself and stress a point :You don't need shit to make > sound (including knowledge) And nor should you place it on some kind of > elitist pedestal. > > Anyway, my sound is better than all of yours, because I know about 5th order > harmonics and the resonant frequency of hipsters. > > > > > > > On 7/25/06, Sam Hamilton wrote: > > > > > > > >hey > >if people have to us this ultra hi fi system, which im sure is pretty > >amazing and sounds incredible, in order to be abel to make 'innovative' > >music sound (by the way, you use sound waves in space that SOUND to. in a > >lot of cases there are terms that can misrepressent intentions but i think > >people on this list have a clear idea of the difference between matter and > >meaning) then as far as i know virtually %95 of the people on this list, > >infact %95 of the people making innovative music in NZ that i know of > >wouldn't be making anything at all. > > > >im sorry but your attitude reminds me of dealing with jocks at the rock > >shop. > > > > > >sam > > > >_______________________________________________ > >af_list mailing list > > > >http://list.audiofoundation.org.nz/listinfo.cgi/af_list-audiofoundation.org.nz > > > > > _______________________________________________ > af_list mailing list > http://list.audiofoundation.org.nz/listinfo.cgi/af_list-audiofoundation.org.nz -- Adam Hyde ~/.nl selected projects http://www.xs4all.nl/~adam the streaming suitcase http://www.streamingsuitcase.com r a d i o q u a l i a http://www.radioqualia.net Free as in 'media' email : adam at xs4all.nl mobile : + 31 6 186 75 356 (Netherlands mobile) From admin at audiofoundation.org.nz Mon Jul 24 18:17:30 2006 From: admin at audiofoundation.org.nz (admin@audiofoundation.org.nz) Date: Mon, 24 Jul 2006 18:17:30 -0700 (PDT) Subject: [Af_list] hmmm Message-ID: <50647.219.89.161.13.1153790250.squirrel@webmail.audiofoundation.org.nz> glad that discussion is happening here, its been quiet. i think you all have a point, and its been helpful to have input about this idea of what could be taught. i guess i was never thinking about this being taught in a music school context...perish the thought! Actually more in an art school context if anything, maybe as an outreach package by AF. Personally i think any form of making is valid, whether its cucumber or high tech whatever...to me, its the making thats important not how its made or what its made with. z From turnstyle at obscure.co.nz Mon Jul 24 18:45:21 2006 From: turnstyle at obscure.co.nz (86) Date: Tue, 25 Jul 2006 13:45:21 +1200 Subject: [Af_list] i play speakers In-Reply-To: <19ccf87f0607241720k2b370d7fjdcb701a72d11a907@mail.gmail.com> References: <19ccf87f0607241720k2b370d7fjdcb701a72d11a907@mail.gmail.com> Message-ID: <44C577B1.5010608@obscure.co.nz> > hey > if people have to us this ultra hi fi system, which im sure is pretty > amazing and sounds incredible, in order to be abel to make 'innovative' > music sound Hey . Sam & the list .. I apologies if I am offending people. The original question was .. > if a tertiary institution decided to include sound/noise whatever as part of > their programme - what would you as the community who might be taking this > or teaching on it want to see in this? My aspirations are towards enabling students to have access to technology and concepts of sound that exist outside the realms of conventional audio. It would be about an environment that enabled all facets audio abstraction to be explored, investigated and expanded. My concern is that people with a passing interest in sound are producing works defined as Sound Art (?). While committed sound artists are producing similar works the get combined into the same generic basket. Any type of institute that helped to recognize, champion and progress the specific attributes of working with sound in unconventional formats would be excellent. Part of my attitude is to protect the Art Form that is Sound/Noise and identify it away from, classical music studies, media studies, studio production practices. Currently to study sound/noise subjects, you have motivate yourself in these directions through existing course structures. ie. Attend Music School and adapt or refine project briefs in the directions you want. Or attend Engineering School and specialize in Applied Acoustic, focusing on your own abstracted interests. I believe there is enough depth with in our extend field of interest in Sound/Noise to warrant it's own department. Certainly this would have connections and affiliations with the many other aspects of study into Sound/Noise, but remain free to define it's own path of teaching separate from existing curriculum. .. I don't completely understand tertiary institutes, but most people I know who have attended to explore their particular bent in audio, have struggled in order to gain the learning they are seeking. The reason I have strong ideas about Audio and what should be presented, is only because the status quo of music & audio worlds is that anything outside the norm is dismissed or rejected. There exists very broad realms of possibility with Audio that most people are not aware of because there are very few places that you can be exposed to it. I would suggest that most people on this list are highly self motivated and confident in seeking out their own knowledge with audio. For less adventurous people it can be difficult to find out anything other than standardized information about sound. For these reason I would like to see Teaching that exposed students to the broad realms of sound/noise potential, and supported their initiatives weather it be high tech or low tech. Sam, I am fairly sure that you would love to circuit bend in 3D if you were able. I would not like to see a sound/noise course that was limited to stereo or mono. As much as I would not like to see a sound/noise course that was limited to any format that currently dictates the realms of popular sound & music. viva the Audio Foundation .simon From damian at frey.co.nz Mon Jul 24 19:10:17 2006 From: damian at frey.co.nz (Damian Stewart) Date: Tue, 25 Jul 2006 14:10:17 +1200 Subject: [Af_list] i play shitty untuned msuic through cucumbers for speakers In-Reply-To: <19ccf87f0607241720k2b370d7fjdcb701a72d11a907@mail.gmail.com> References: <19ccf87f0607241720k2b370d7fjdcb701a72d11a907@mail.gmail.com> Message-ID: <44C57D89.9000209@frey.co.nz> Sam Hamilton wrote: > music sound (by the way, you use sound waves in space that SOUND to. in at thomas koener's performance last night the room was buzzing (the covers over the airconditioning mainly). couple of people asked afterwards if he made the buzz of the room part of the performance, but he kind of didn't answer the question, which was a pity. in a lot of ways the question and answer session after the performance was better than the performance itself.. how did fps go? -- f r e y live music with machines http://www.frey.co.nz From damian at frey.co.nz Mon Jul 24 23:07:01 2006 From: damian at frey.co.nz (Damian Stewart) Date: Tue, 25 Jul 2006 18:07:01 +1200 Subject: [Af_list] i play speakers In-Reply-To: <44C577B1.5010608@obscure.co.nz> References: <19ccf87f0607241720k2b370d7fjdcb701a72d11a907@mail.gmail.com> <44C577B1.5010608@obscure.co.nz> Message-ID: <44C5B505.3030000@frey.co.nz> 86 wrote: > My concern is that people with a passing interest in sound are producing works > defined as Sound Art (?). While committed sound artists are producing similar > works the get combined into the same generic basket. i think if someone cares enough about sound to be bothered to produce artwork that they want to call 'sound art' (which will inevitably take a lot of time, a lot of effort, will be probably ignored by practically everyone, and they won't get paid for it) then you can't really call it a 'passing interest'. > I don't completely understand tertiary institutes, but most people I know who have > attended to explore their particular bent in audio, have struggled in order to gain > the learning they are seeking. that's part of the idea of going. one of the things i have enjoyed most about studying ea has been being forced to examine things i would normally ignore through prejudice. while it is true that often i find my prejudice to be correct, just as often i find it to not be so; and even in discovering and quantifying the reasons for my prejudice i can learn things which i can then apply elsewhere. being forced to look at and acknowledge and even find merit in things outside my ordinary circle of taste is very valuable. tertiary education isn't (or shouldn't be) so much a chance to soak up other people's ideas as it is a chance to let other people's ideas hit your ideas (and hit other people's ideas with yours) and see what kind of resonances they make. > I would not like to see a sound/noise course that was limited to stereo or mono. > As much as I would not like to see a sound/noise course that was limited to any > format that currently dictates the realms of popular sound & music. the (prestigious, academic) IRCAM in France has a rig of 24 speakers arranged in a sphere for 24-channel ambisonic diffusion of music. most cinema setups have at least 6 channels (although arranged fairly ridiculously, as the ambisonic crowd has much to speak of). -- f r e y live music with machines http://www.frey.co.nz From samukun at gmail.com Tue Jul 25 00:47:04 2006 From: samukun at gmail.com (Sam Hamilton) Date: Tue, 25 Jul 2006 19:47:04 +1200 Subject: [Af_list] apology Message-ID: <19ccf87f0607250047s2a4748d2wa93ed2241f8f4fe2@mail.gmail.com> hi im going to apologise for the last post i made to the list in response to simon. i did not intend to go over the rails like that i did, the words i wrote i think are more the result of my nerves being a little frayed of late and of having an over loaded brain. i did not intend to react so angrily about an issue i otherwise consider to be a matter of taste and interests not an issue of whats right or wrong or whats more important than the other. simon, although our ideas do not necessarily work together i hope they do not have to conflict either. there is room on this list for everyone's ideas and i hope that it can continue to function for as many varying view points from as many varying artists and practitioners as possible and to give them equal representation. my apologies sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060725/74f79af0/attachment.htm From samukun at gmail.com Tue Jul 25 01:35:51 2006 From: samukun at gmail.com (Sam Hamilton) Date: Tue, 25 Jul 2006 20:35:51 +1200 Subject: [Af_list] af_list Digest, Vol 3, Issue 19 In-Reply-To: References: Message-ID: <19ccf87f0607250135m2fb4b402yd317c1b98f7dd51a@mail.gmail.com> reading about all the views and ideas that are being brought up as a result of the teaching issues seems to really show how absolutely huge the umbrella of experimental music/sound/noise etc is. it seems to that this idea of it becoming taught in the university is the first real legitimisation this form of creative sound practice would have ever had in this country and i get the feeling this is making people feel nervous maybe that it might grossly misrepresent what they as noise artists might consider noise to be, which due to the fact that to represent it fully would mean basically encompassing enough varying ideas to rebuild the great wall of china. the last thing any artist or practitioner of a particular form that uses a particular title, description or language to identify there work/practice wont's an institution going and muddling up those titles and descriptions making it hard for you to use those tags without being misunderstood. specially because publicly and historically the institution is always right (not actually true, but publicly it is). there are ways of avoiding these problems. one is to be careful not to let the coarse be represented stylistically. Noise, contemporary music, sonic architecture i feel have to much baggage, the only one that comes close to being representative to as many practices as possible is 'sound art' and even then that has become a title in its self. i guess also you have to be careful not to make it to broad so that it focuses on the creative practices of contemporary sound production as there are already institutes setup for teaching sound engineering, acoustics and what not. i don't know much about how universities function having not studied at one but one system that might work for the coarse is to involve as many different practicing individuals from varying aspects of the sound world, even just a little bit, make sure the coarse is not shaped by a few individuals but a democracy of people representing different parts of the whole. surely a compromise for the possibly of misrepresenting a part of the creative sound gamut is to make sure that the misrepresented party gets a chance to represent its self as well. this also gives the students a chance to figure out which avenue suits there interests best rather than simply disagreeing with the whole thing. as i say i don't know much about how university works but i think this coarse should decide on its own ways of functioning and methods of interaction with pupels and practicianers. i dread the idea in art schools of judging an individuals own personal artistic expression in an academic scale of good or bad or fail or pass, A+ or F. its like telling someone they can't enjoy life because there not vary good at it. anyway, i think thats my thoughts spent sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060725/b2b60c4a/attachment.htm From samukun at gmail.com Tue Jul 25 01:35:51 2006 From: samukun at gmail.com (Sam Hamilton) Date: Tue, 25 Jul 2006 20:35:51 +1200 Subject: [Af_list] af_list Digest, Vol 3, Issue 19 In-Reply-To: References: Message-ID: <19ccf87f0607250135m2fb4b402yd317c1b98f7dd51a@mail.gmail.com> reading about all the views and ideas that are being brought up as a result of the teaching issues seems to really show how absolutely huge the umbrella of experimental music/sound/noise etc is. it seems to that this idea of it becoming taught in the university is the first real legitimisation this form of creative sound practice would have ever had in this country and i get the feeling this is making people feel nervous maybe that it might grossly misrepresent what they as noise artists might consider noise to be, which due to the fact that to represent it fully would mean basically encompassing enough varying ideas to rebuild the great wall of china. the last thing any artist or practitioner of a particular form that uses a particular title, description or language to identify there work/practice wont's an institution going and muddling up those titles and descriptions making it hard for you to use those tags without being misunderstood. specially because publicly and historically the institution is always right (not actually true, but publicly it is). there are ways of avoiding these problems. one is to be careful not to let the coarse be represented stylistically. Noise, contemporary music, sonic architecture i feel have to much baggage, the only one that comes close to being representative to as many practices as possible is 'sound art' and even then that has become a title in its self. i guess also you have to be careful not to make it to broad so that it focuses on the creative practices of contemporary sound production as there are already institutes setup for teaching sound engineering, acoustics and what not. i don't know much about how universities function having not studied at one but one system that might work for the coarse is to involve as many different practicing individuals from varying aspects of the sound world, even just a little bit, make sure the coarse is not shaped by a few individuals but a democracy of people representing different parts of the whole. surely a compromise for the possibly of misrepresenting a part of the creative sound gamut is to make sure that the misrepresented party gets a chance to represent its self as well. this also gives the students a chance to figure out which avenue suits there interests best rather than simply disagreeing with the whole thing. as i say i don't know much about how university works but i think this coarse should decide on its own ways of functioning and methods of interaction with pupels and practicianers. i dread the idea in art schools of judging an individuals own personal artistic expression in an academic scale of good or bad or fail or pass, A+ or F. its like telling someone they can't enjoy life because there not vary good at it. anyway, i think thats my thoughts spent sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060725/b2b60c4a/attachment.html From artwerks at slingshot.co.nz Tue Jul 25 03:07:49 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Tue, 25 Jul 2006 22:07:49 +1200 Subject: [Af_list] Fw: Free "Laureate" Artist events, this Wed-Fri Message-ID: <0df801c6afd2$2f7ef440$e009b8cb@d400> Sorry about short notice... There are a few people involved in this that might interest AFers... ----- Original Message ----- Arts Foundation "Laureates On Stage" events: Auckland, 26 - 28 July You are invited to attend one of the free "Laureates On Stage" events being held at the Auckland Art Gallery THIS week, featuring: Wednesday 26 July John Psathas Peter Peryer Phil Dadson Thursday 27 July Bill Manhire John Psathas Peter Peryer Friday 28 July Gaylene Preston Jack Body Humphrey Ikin There are two sessions per day - at 10:30am and 1:30pm. All sessions are free to attend, and last one hour. Arts Foundation Laureates are our most celebrated performers, writers, film makers and visual artists. The "Laureates On Stage" programme offers a unique opportunity for people to see and hear these artists discuss their craft - where their ideas come from and how they give them form. At each event, the Laureate artists will present some of their work and then a chairperson (Oliver Driver or Russell Brown) will lead them in discussion about their particular art form and the arts generally in NZ. The "Laureates On Stage" programme is offered in conjunction with the Auckland Art Gallery exhibition "Tribute: Visual Artists Celebrated by The Arts Foundation of New Zealand" (July 1- August 20). Below are a few relevant artist biographies and further information on the events. For further information, please contact: Roger Taberner, Auckland Art Gallery 09 307 7728 or 09 307 7727 roger.taberner at aucklandcity.govt.nz Tribute Visual Artists Celebrated by the Arts Foundation of New Zealand July 1 - August 20 New Gallery c o r n e r o f L o r n e a n d W e l l e s l e y S t r e e t s Auckland Art Gallery Toi o Tamaki is thrilled to be working with the Arts Foundation of New Zealand on Tribute. An exhibition that draws together 16 visual arts Icons and Laureates for the first time in one show. Throughout history artists have been supported by people who cherish creativity. Some of the best art has resulted from the contribution of patrons - Michelangelo would not have painted the Sistine Chapel ceiling without a committed supporter. The Arts Foundation of New Zealand, founded by a group of dedicated arts patrons, aims to reward excellence in all art forms - dance, film, literature, music, performance and the visual arts. The Arts Foundation bestows two types of awards: Icons are artists recognised for a lifetime achievement. These local pioneers have contributed to New Zealand's cultural identity and their unique voices echo around the world. Laureates are prime movers in New Zealand art, flag-bearers rising to international prominence. Their existing work is resonant and their future work eagerly awaited. These award winners are a group of New Zealand's most recognised visual artists and Tribute provides a cross section of our best examples of contemporary art. Icons: Len Castle (potter), Pakariki Harrison (carver), Ralph Hotere (visual artist), Milan Mrkusich (visual artist), Diggeress Te Kanawa (weaver). Laureates: Phil Dadson (intermedia artist), Neil Dawson (sculptor), Warwick Freeman (jeweller), Humphrey Ikin (furniture maker), Derek Lardelli (Ta Moko artist), Julia Morison (visual artist), Michael Parekowhai (visual artist), Peter Peryer (photographer), John Pule (writer, visual artist), Ann Robinson (glass sculptor), Ronnie van Hout (visual artist). Phil Dadson is an intermedia artist, whose essentially soundbased works, take many forms? performances solo and with his group From Scratch founded in 1974. He makes videos, installations that crunch underfoot or surprise you with singing skulls and talking drums, radio works, sound sculptures & experimental musical instruments such as the SpidaNebula, Zitherum, Nundrum, Gloopdrum & songstones? compositions, graphic scores and sound stories. John Psathas is a composer who was born in 1966 and grew up in Taumaranui and Napier. He left high school early to study composition and piano at Victoria University, supporting himself partly by playing regular gigs in a jazz trio. John now lectures at Victoria University and continues to fulfil a busy schedule of commissions. He has established an international profile and receives regular commissions from New Zealand and overseas. A highlight of his career so far, has been being commissioned to write the opening ceremony music and anthems for the Athens Olympics. Jack Body is a composer who studied at Auckland University, in Cologne and at the Institute of Sonology, Utrecht. Since 1980 he has lectured at the School of Music, Victoria University of Wellington. His music covers most genres, including solo and chamber music, orchestral music, musictheatre, music for dance and film as well as electroacoustic music. A fascination with the music and cultures of Asia, particularly Indonesia, has been a strong influence on his music. http://www.aucklandartgallery.org.nz/exhibitions/0607tribute.asp -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060725/1b373500/attachment.htm From admin at audiofoundation.org.nz Tue Jul 25 13:37:55 2006 From: admin at audiofoundation.org.nz (Admin) Date: Wed, 26 Jul 2006 08:37:55 +1200 Subject: [Af_list] FW: ding! goes your microwave. you should really get rid of that thing, it's bad for you, get a nice cast iron fry pan. In-Reply-To: <01d001c6afc7$6038dd90$ad12f6d2@happy> Message-ID: HAPPY wednesday 26th - bleep performance #2 - bend those circuits!!! bend them! go on! bend! i said bend! BEND! thursday 27th - onamatapaea and food, what can i possibly say that hasn't already been said? saturday 29th - closed for a private function - that many of you are probably invited to anyway, Niko Ne Zna are playing so it'll be worth crashing it, but you didn't hear that from me eh? sunday 30 - manimanima tuesday 1st august - some snazzy humans - the possibilities are endless wednesday 2nd - 7pm - Johnny Scape's spoken word/poetry slam and The Actualities thursday 3rd - Latest Trend, Peneloping and Vorn try not to pop your bubble friday 4th - luxury liner, last chance to strut your funky stuff to the liner for a couple of months, dont miss out or you'll be sorry. saturday 5th - Village of the Idiots / JonnyMarksathon sunday 6th - manimanima mani manima manimanima mani mani ma tuesday 8th - acoustic pioneers: Thomas Oliver with Steven Moodie, Andrew Moore and Lunafish _______________________________________ Happy corner Vivian and Tory Streets PO Box 9069 Wellington New Zealand +64 4 384 1965 www.happy.net.nz www.myspace.com/happybar Come with me, I will show you how to fly like a bird To join the Happy email list, contact: happymusic at paradise.net.nz For great music, listen to: The Zero Hour - 89FM Sundays 11pm - 1am -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060726/f6dac352/attachment.html From artwerks at slingshot.co.nz Tue Jul 25 13:59:50 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Wed, 26 Jul 2006 08:59:50 +1200 Subject: [Af_list] Recommmended exhibition in Auckland Message-ID: <0ef101c6b02d$456d5d90$e009b8cb@d400> Hola, http://www.nzherald.co.nz/section/6/story.cfm?c_id=6&objectid=10392966 http://www.jensengallery.com/ And he has a really damn comprehensive website: http://www.tonyoursler.com/ Andrew -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060726/f8639413/attachment.html From dave90 at gmail.com Tue Jul 25 14:39:50 2006 From: dave90 at gmail.com (Dave George) Date: Wed, 26 Jul 2006 09:39:50 +1200 Subject: [Af_list] i play shitty untuned msuic through cucumbers Message-ID: Damian Stewart wrote: > at thomas koener's performance last night is he in nz at the moment?! - dave -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060726/03848d53/attachment.html From samukun at gmail.com Tue Jul 25 18:36:37 2006 From: samukun at gmail.com (Sam Hamilton) Date: Wed, 26 Jul 2006 13:36:37 +1200 Subject: [Af_list] accessability 3D circuit bending Message-ID: <19ccf87f0607251836s72b68f04k6ba59d4f3a8fec1@mail.gmail.com> hi, yeah i would love to circuit bend in 3D, i would also love to play and make music through giant complex speaker arrangements, i really would. i think though my concern is simply with making these forms of music accessible to people, both without equipment and without knowledge. i do agree that one of the greatest things about "experimental" arts culture is the acceptance to failure and talentlessness and a valid mode of expression. this is not a statement against hi fi methods and techniques, i am all for it when i can get it. but i feel essentially it is the intentions and parts of the artistic process that start before there physical manifestation are the real essence of any innovation or artistic choiceness. there are tones of young art school students out there making bloody awful "sound art" with warehouse toys but there is equal amount of people making bloody awful hi fi music to. i think there is a constant ratio of good and bad through out the genres, even classic music has its %5 of fucking mind blowingly amazing contributions to the sonic world. i think focusing on expanding students musical experiences starting right at the core, listening, is a good way of approaching teaching these issues, giving students the tools to make there own decisions of direction by simply laying it all out on the table in front of them and letting them pick up what they please. i think it would be great to give students access to hi fi equipment, shit i wish i had access to it, but i personally wouldn't wont it to become to hi fi centric, i would prefer to make people look at the world more self sufficiently, make good with what they have because i know most of us don't have access to amazing equipment. all said i whole heartily agree giving students physical resources to use is of %100 value, and also giving them access to the technical knowledge they require to fulfill there artistic ambitions, if they feel they need them. sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060726/b3f47b5f/attachment.htm From turnstyle at obscure.co.nz Wed Jul 26 16:25:47 2006 From: turnstyle at obscure.co.nz (86) Date: Thu, 27 Jul 2006 11:25:47 +1200 Subject: [Af_list] i play cucumbers In-Reply-To: <44C57D89.9000209@frey.co.nz> References: <19ccf87f0607241720k2b370d7fjdcb701a72d11a907@mail.gmail.com> <44C57D89.9000209@frey.co.nz> Message-ID: <44C7F9FB.6060203@obscure.co.nz> > at thomas koener's performance last night the room was buzzing (the covers > over the airconditioning mainly). This comment has kept me thinking ' about why teaching is important ' I have heard of performances where the reverberations of buildings is a key part of the performance. .. people recoding the sounds of bridges under tension, recording train tracks, or melting ice, with the microphones inside the ice ... Circuit bending ' or that strange Japaneses term for pure feedback/reverb stuff um .. glitch core ' lo-fi ' 8 bit .. toilet roll tube distortion .. All of these practices, require technology .. and often require the use of technology in environments where you do not know what the technology will be .. or you do not know what the environment will be .. I dare say Thomas Koener was moderately upset about the rattling covers on the air conditioning .. But this describes to me a situation, where even in the abstraction of sound or an unconventional performance of sound. Performers require a level of perfection or control over performance that is only fair. Musical conventions are staunch because of the perfection and control that the music & musicians require. Over time and through institution this has naturally evolved into assumptions that conventional sound is the only sound! Alternative sound still needs the fundamental basics of sound to be understood. What it doesn't need is someone pulling faces at your output and declaring it to be just rubbish noise, or not suitable for an audience .. etc .. Like all practices of innovation .. you have to work twice as hard as the normal person next to you .. because not only do you have to perfect your ideas, but you need to perfect the normal standard of ideas in order to prove the validity of your innovative ideas. Generally this is too difficult to do, so alternative ideas and practices form communities away from the main stream. Content to explore within the safer confines of understanding peers. Sam .. you mentioned that our ideas may not work together .. I believe quite the opposite .. Imagine an environment where you were able to practice lo-fi sound creation or manipulation .. but you were able to study along side engineering students who were studying large scale audio installation .. and new forms of theoretical sound reinforcement. This is what a student of classical music or rock music would experience, they focus on learning their instrument, but can then transport themselves into a larger sonic environment with a committed host of people supporting their talent. What a community like AF needs in terms of a teaching/learning environment is a high level of professional knowledge about sound, but a very open forum for experimentation, innovation and exploration. Essentially a platform where the weirdest ideas in sound/noise can be explored and supported by multiple layers of other weird ideas, but all established on a foundation of good sound practices. For Example. No performing in venues with rattling air conditioning unless it was specifically requested in the rider. No use of cucumbers unless they were organically grown. .. More noise !! .simon -- ------------------------------- www.obscure.co.nz & www.psurkit.net ------------------------------ m. +64 275 606012 From damian at frey.co.nz Wed Jul 26 16:44:10 2006 From: damian at frey.co.nz (Damian Stewart) Date: Thu, 27 Jul 2006 11:44:10 +1200 Subject: [Af_list] i play cucumbers In-Reply-To: <44C7F9FB.6060203@obscure.co.nz> References: <19ccf87f0607241720k2b370d7fjdcb701a72d11a907@mail.gmail.com> <44C57D89.9000209@frey.co.nz> <44C7F9FB.6060203@obscure.co.nz> Message-ID: <44C7FE4A.8050209@frey.co.nz> 86 wrote: > No performing in venues with rattling air conditioning unless it was specifically > requested in the rider. environments have other ways of making themselves known. for every condition you write in like this, the room will invent new things. prescription by language is impossible, the best we can do is learn how to deal with what we're given. i'm reading a book called 'No god but God' at the moment which is all about the origins and evolution of Islam. seems just like almost every other religion it was started by a guy (in this case the prophet Muhammed, who spent twenty five years as a successful merchant - ie a businessman - before starting his movement) who thought the status quo (poor people getting shat on, women getting shat on, rigid hierarchies, power lying with a small group of rich elite) sucked ass, and did something about it. it was only some years after Muhammed's death that things were codified and solidified into the system of teachings, ideas, and practices that we now call Islam. point? umm. codification is impossible at worst and problematic at best. any course in audio should teach one to /listen/. tools and rooms and performance spaces and speakers and studios and technology and all that stuff are irrelevant, or at least are profoundly secondary to the sounds that they can facilitate. i was talking with my friend the other about making music using computer-controlled taps - because he noticed a particular resonance between his kitchen tap and sink. a course in audio should teach one to listen for resonances between kitchen taps and sinks. -- f r e y live music with machines http://www.frey.co.nz From artwerks at slingshot.co.nz Wed Jul 26 21:22:21 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Thu, 27 Jul 2006 16:22:21 +1200 Subject: [Af_list] 5 4 3 2 1: Artist Projects Message-ID: <029601c6b134$41ceb780$4d29b8cb@d400> This is the last exhibition in the Auckland Art Gallery's Main Gallery upstairs spaces before they close for redevelopment. Seung's enormous kinetic sound installation is worth the price of admission alone. There is also a series of performance and sound projects, which are listed below. First up from the gallery's collection is Clinton Watkins stunning video piece Cont Ship 1. More details on the rest as the time approaches. Andrew (Curator of performance and sound projects) -------------------------------------------------------------------------------- 5 4 3 2 1 : Auckland Artist Projects 22 July - 20 August 2006 5 4 3 2 1 : Auckland Artist Projects celebrates the Gallery's history in engaging with commissioned artist projects. Auckland artists Lisa Reihana, John Reynolds, Seung Yul Oh, Andrew McLeod and Peter Madden have created new works that look both to the Gallery's past and to its future. Responding to the Gallery's collections, building, site and the many exhibitions seen within it, these artists offer a personal response on the eve of the building's closure for redevelopment. These are extended by sound and performance projects, curated by Andrew Clifford, in which a new generation of artists is showcased. The exhibition colonises the Gallery's public spaces with artworks from the collection - so look out for art where you least expect it! Together with commissioned works, they commemorate and recognise milestones in our history. SOUND PROJECTS Clinton Watkins Cont Ship 1 July 22 - Aug 21 Sam Morrison An Activation Aug 25 - Oct 15 Kurt Adams/Rachael Rakena/Jane Venis Oriori Oct 20 - Dec 17 PERFORMANCE PROJECTS Simon Denny and Tahi Moore A movie that isn't really good, but is o.k. Sunday September 10, 1pm Plains Sunday October 1, 1pm Daniel Malone Floor Piece Sunday October 22, 1pm Joyoti Wylie Sunday October 29, 1pm The Dominion Centenary Concert Band Saturday November 25, 3pm Auckland Art Gallery, Main Gallery Corner Wellesley & Kitchener Streets Auckland http://www.aucklandartgallery.org.nz/exhibitions/0607artistprojects.asp -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060727/9ad454e4/attachment.html From artwerks at slingshot.co.nz Wed Jul 26 21:36:26 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Thu, 27 Jul 2006 16:36:26 +1200 Subject: [Af_list] Fw: Performance and opening preview Te Tuhi Sunday 30 July 1pm Message-ID: <02b101c6b136$39f892e0$4d29b8cb@d400> Hey look, Sean Kerr will be performing with senior citizens at this exhibition opening on Sunday in Pakuranga, Auckland... Andrew ----- Original Message ----- Sent: Thursday, July 27, 2006 3:54 PM Subject: Performance and opening preview Te Tuhi Sunday 30 July 1pm Performance and opening preview Te Tuhi 13 Reeves Road, Pakuranga, Manukau City 1pm Sunday 30 July Performance: 'Music 4 Senior Net' Sean Kerr with members of SeniorNet Pakuranga Opening Preview: 'Yuk King Tan - Overflow' Tracey Williams - 'A short history of some other things' Juan Castillo - 'Otro maldito dia (Another bloody day)' All welcome! Apologies for any cross-postings or for blocking up anyone's in-tray. To be removed from this email list please hit reply with the subject heading REMOVE. Emma Bugden Curatorial Director te tuhi 13 Reeves Road PO Box 51 222 Pakuranga Manukau City Aotearoa New Zealand 09 577 0138 ext. 7704 emma at tetuhi-themark.org.nz -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060727/bd82135a/attachment.html From admin at audiofoundation.org.nz Thu Jul 27 03:13:21 2006 From: admin at audiofoundation.org.nz (Admin) Date: Thu, 27 Jul 2006 22:13:21 +1200 Subject: [Af_list] from John Kennedy - is anyone else having problems posting to the list? Message-ID: Well things have heated up! From where I sit the discussion seems very strong and robust. As far as a "course of study" on sound art goes, my experience in course design (I teach people how to work with kids, so it's not really related) is that the starting point is to decide what you want people doing the course to get from it. It's a pathway for people, right? Access to certain resources seems a big theme for the discussion but I think there needs to be caution about the course being somehow "representative" of the total practice of sound art or anything else. Once the overall purpose of the course is decided it's usually up to the people teaching it to bring in the relevant experience and examples to illustrate and guide the learning - otherwise it's sounding like we want to write a "curriculum" - snort!!! Awful idea - very contrary to adult learning needs. I still, however, believe that there are skills and techniques that are "teachable" - my vote would go to a optional paper on multi-tracking. it's been my medium all my creative life in music and It's got a lot to offer sound artisans. We all would have our preferences in this area. I believe these topics would have to be stringluy related to the outcomes of the course. Can I also be a bit naive and boring and plough my own perhaps tired/dated road and say that "sound art" runs the danger of being elitist itself, IF (and only if, I am not sure this is what anyone is saying) it sets "music" as off limits. We all know that conventional music education shuts a lot of doors for people, but there is still some great work that's really on the cusp of sound/music - "organised sound" still does it for me as a concept for music for. You would have to be careful that the participation of wanna-be musicians didn't drive this kind of course off the rails, but I'd hate to see a learning environment where I couldn't make a piece of sound art that included something melodic or rhythmic - and where that wasn't in some way given to me as an option (all be it, just one of many). Inclusion must be the overall philosophy. I state the obvious perhaps, but this may be the best way to find the common ground. Jk From admin at audiofoundation.org.nz Thu Jul 27 13:39:16 2006 From: admin at audiofoundation.org.nz (Admin) Date: Fri, 28 Jul 2006 08:39:16 +1200 Subject: [Af_list] FW: [Xchange] Open Call Locus Sonus Audio Streaming In-Reply-To: Message-ID: OPEN CALL | LOCUS SONUS http://locusonus.org/ August 2006 Open Call to participate in the Locus Sonus Audio Streaming project !! * This is a call from the French based Audio in art research group Locus Sonus to participate in their streamed soundscapes open web-mike project. * Open an ogg audio stream from your home or garden (no pre-recorded playlists please) and become a remote member of the Locus Sonus orchestra. * Locus Sonus proposes to use the sound from your environment as raw material for their installations and performances. As an added bonus all streams will be made available on a web page so that you can do your own international mix at will. * We are hopeing to obtain a variety of streams from diverse and exotic locations, the imaginative potential of the project and it's future development depends on diversity and richness the streams you propose. We will be happy to discuss artistic and technical issues with you. * To participate in this project, contact support at locusonus.org ______________________________________________ * To listen to the streams already available click here: http://nujus.net/~locusonus/site/streams/index.html * To download a PD patch and start streaming click here : (password required: contact support at locusonus.org) http://nujus.net/~locusonus/site/streams/download.html * To see video documentation of our previous presentations and to find out more about Locus Sonus in general, click here: http://locusonus.org/ ______________________________________________ NEXT PUBLIC EVENTS Presentations start from 15th to 30th of August in various performance and installation situations, starting with DIGIT Delaware Delaware Valley Arts Alliance & Roebling Bridge Environmental Arts and LMCC (Lower Manhattan Cultural Council) in partnership with THE THING Inc. (New York) with the support of ?tant Donn?s, The French-American Fund for Contemporary Art. Presentations continue in the fall with an installation during the Arborescence festival in Aix-en-Provence, France, and an installation performance at GMEM, Marseille France. Festival DIGIT: http://www.artsalliancesite.org/programs/digit_06.html LMCC: http://www.lmcc.net/ THE THING: http://bbs.thing.net/ Arborescence: http://www.arborescence.org/rubrique.php3?id_rubrique=3 GMEM: http://www.gmem.org/ ______________________________________________ TECHNICAL DOC We presume that members of the list (PD-users) will have no problem in opening the patch and streaming however just in case here are some technical tips: To Start Streaming You will Need : * a PC or Mac dedicated to the stream (an old 450 MHz machine should do). * a sound card recognized by your operating system. * a microphone (3$ radioshack mike is fine). * streaming software (we propose that you download our PD patch http://nujus.net/~locusonus/site/streams/download.html (ask to support at locusonus.org to obtain the password) and run it using PureData : http://at.or.at/hans/pd/installers.html that way you can customize your stream (for osX, Windows and Linux). We recommend that you use this Hans Christoph Steiner's extended version which includes the necessary ogg vorbis libraries. * a high speed internet connection and a network router. We obtained the good results using the Dyne:bolic Linux distribution http://www.dynebolic.org/ The advantage being thats it's a liveCD (so you don't have to install the system) and that PD and all the necessary externals are already installed. You might run into difficulties if the system doesn't recognize the PCs built in sound card in which case the easiest option is to find an old soundblaster card and disactivate the built-in card in the bios. It's important for us to get a wide range of soundscapes and social situations, remember that urban sound is pretty similar around the western world so you might want to chose to place your microphone so as to capture interesting or unique aspects of your environment and also to listen to the other current streams to caracterize yours. We are also finding that in most circumstances it is preferable to customize the patch, sometimes a little filtering is all thats needed (as for example: port.ogg) but we've also built a sampling patch which records and plays back recent sound events continually updating its database (as for example: cap15.ogg). Listen to the current streams: http://nujus.net/~locusonus/site/streams/index.html Travel and listen to the current streams with a map: http://nujus.net/~locusonus/site/streams/map.html ____________________________ Locus Sonus Lab Nicolas Bralet, Jerome Joy, Esther Salmona, Peter Sinclair, Lydwine van der Hulst http://locusonus.org/ : ____________________________ | | | | | | | | | | | | | | (a) (c) (o) (u) (s) (t) (i) (c) ( ) (s) (p) (a) (c) (e) | | | | | | | | | | | | | | information&comunication channel | for net.broadcasters http://xchange.re-lab.net (Xchange) net.audio network xchange search/webarchive: http://xchange.re-lab.net/a/ From mr.sterile at paradise.net.nz Thu Jul 27 15:07:25 2006 From: mr.sterile at paradise.net.nz (Mr Sterile) Date: Fri, 28 Jul 2006 10:07:25 +1200 Subject: [Af_list] Mazen Kerbaj Message-ID: <000d01c6b1c9$0b419cb0$91de61cb@keirenb6e0258b> hi someone here recently posted a link about Lebanese tumpet Mazen Kerbaj and his weblog Kerblog http://mazenkerblog.blogspot.com/ , if you haven't heard it , I recommend you source out his piece Starry night, a duo between him on trumpet and the IDF bombing Beirut. Its pretty amazing. Hes also a cartoonist/illistrator ?? and loads heaps of pictures daily to his blog about the current fucked situation in Southern Lebanon. well, heres a youtube clip of him and a couple of other sound makers http://www.youtube.com/watch?v=fY1mlQQZHvI kieran skirted records www.skirted.net skirted in myspace http://www.myspace.com/skirtedrecords Dont hate the media, become the media http://indymedia.org.nz/ -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060728/b9accab8/attachment.htm From hertzz at gmail.com Thu Jul 27 19:59:26 2006 From: hertzz at gmail.com (Nigel Wright) Date: Fri, 28 Jul 2006 14:59:26 +1200 Subject: [Af_list] Wednesday August 2nd - Wine Cellar AK Message-ID: <17d276b00607271959m52f8cc62r30cada72a8b8131c@mail.gmail.com> Hello everyone! Please (if yr in AK) come along to the wine cellar on wednesday the 2nd of august for the following : Austen vs. Bronte (yay!!) Tim Coster (yay!!) Nest (Nigel Wright / Andrew Scott) (yay?) Starts at 8.30pm Wednesday 2nd August Wine Cellar St Kevins Arcade Auckland Entry by donation (please?) It will be lovely to see all of you there to see some really good music in the lovely confines of the wine cellar. Have a drink! Have a couple! But dont have more than 5 for a male and 3 for a female. Nest wants no part of your binge drinking. Well maybe a little part. Buy us a drink? See you then! Nigel -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060728/c98b7ef9/attachment.html From p-arcana at paradise.net.nz Thu Jul 27 21:42:14 2006 From: p-arcana at paradise.net.nz (PseudoArcana) Date: Fri, 28 Jul 2006 16:42:14 +1200 Subject: [Af_list] Anyone in Melbourne/Adelaide/Brisbane? Message-ID: <20060728044211.2EBC7113513F@smtp-1.paradise.net.nz> Hi, The Stumps, Seht, A.M and the Nether Dawn will be playing in Melbourne (and elsewhere in Oz) next week... Thursday 3rd: missing link instore The Stumps Friday 4th: Pony The Stumps (2am) Datura Duo (2/3 Grey Daturas) Seht Bad Cop Bad Cop (members of On/the stabs) AM Agonhymn (daturas' mixer's band) Saturday 5th: Bus Gallery The Nether Dawn Seht Nigel Wright Blarke Bayer (Ben Andrews of Agents of Abhorrence/My Disco) Skovorodino Bone Sheriff (2/3 EOH) Sunday 6th: Bar Open The Stumps The Nether Dawn Malakat (inc members of EOH/Whitehorse) Rod Cooper Mike Rose (Mark Groves of Whitehorse/True Radical Miracle) Then The Nether Dawn are playing Adelaide: Tues 8 August at the Exeter Dining Room, with Daniel Varricchio. And Antony Milton is playing Brisbane at the Power House with Oren Ambarchi and Leighton Craig on August 12th. There is a rumour that The Lost Domain might be playing on the 13th... Best A Antony Milton/ PseudoArcana PO Box 24409 Wellington 6142 New Zealand http://www.pseudoarcana.com/ New releases. Antony Milton.- 'The End of this Short Road'. (CD. Deserted Village) Mrtyu.- 'Blood Tantra'. (2CD. 20 Buck Spin). PseudoArcana: Dialing In. -'Cows in Lye' CD. The Lost Domain. - 'Palace' CD. Birchville Cat Motel. -'Our Love Will Destroy the World' CD Swung. -'Voice and Key' 3"cdr Seedy R!: Peter Wright. -'unvarnished, untreated, unzipped'. XNOBBQX. -'Blues'. From samukun at gmail.com Fri Jul 28 01:52:54 2006 From: samukun at gmail.com (Sam Hamilton) Date: Fri, 28 Jul 2006 20:52:54 +1200 Subject: [Af_list] af_list Digest, Vol 3, Issue 21 In-Reply-To: References: Message-ID: <19ccf87f0607280152s4789f2d9ye2c428713ddfb36a@mail.gmail.com> it seems this coarse could potentially teach everything that isnt being taught in music school, which is a fuck load. that makes sense to me in most cases the people i know in the experimental, innovative what ever music world draw there influence from virtually anything. how many people here reply with " ahhh, welll, ummm" when asked what music your in to? and is that because you cant explain your self very well or because your simply into a great deal of different musics, a list stretching the length of your arm and all of your fingers. the title which i thought seems to be the only one that can encompass the gamut is... "music". but alas that ones already being used so how about "other music" one cool thing about "other music", i think anyway, is i imagine everyones idea about what "other music" is is going to be very personally informed. it would be very difficult for "other music" to be interpreted as a particular form mode or method of musical practice, it would instantaneously contradict that becoming a result. simon i agree with alot fo what your saying, you are raising some very good points and ideas. personally though i disagree with there being a need to strive for any perfection in ones practice. there is no perfection, nor should there be one. if anyone really finds "perfection" then i guess there really isn't much point in anyone going on anymore. 'striving for perfection' is only good for the 'striving' part not the 'perfection' part. to me conventional music schools worst trait has been there inforced strive for perfect, the maestro, the 'ultimate perfection in music' even there fucking posture reeks of high standards and the proper, perfect way of doing things. one persons treasure is another persons rubbish. "a committed host of people supporting their talent." i think the truer version of this sentence referring to music school would be "a committed host of people shaping other peoples ideas about whats poor quality and whats high quality until they under value there own expressions because they dont fit with conventional standards" the only form of "talent" i would encourage within a school of experimental practices is the talent of getting excited, excited about fucking anything, whatever you wont, even if it sounds like fucking poo. for the purpose of exploration i feel "talent" might be redundant if not a disadvantage. one very important issue raised i think by Angeline or Nigel is that most of the real "innovations" have taken place well outside the academic world or at least the institutes. i would be quite happy to see any institution recognise this, that is not setting the standards, its merely as john put it "a portal" or access point for people who have an interest. the institution merely erecting that amazing signpost with infinite signs boards on it pointing in every possible direction. whether there aim is to refine the practices or merely experience more. this i would hope, involve introducing people to the ideas and practices of enviromental composition, expanded audio systems, japanese onkyo improvisation, fluxus humor, subsonic sound recording, sound mapping, psychoacoustics, free jazz, the fucking energy of rock'n'roll, ritualistic folks songs from slovenia, field recordings, radiography, circuit bending, acoustic ecology, instrument building, technological audio equipment innovations, primitive recording methods like wax cylinders, the use of sound in architecture, engineering, warfare, healing and communication, the new ideas in ethnomusicology they dont teach in uni, minimalism and how to blow up a tiolet with a speaker. i know this list is badly neglectful but i hope it suffices to make an example. also you only need technology if your intention is to be a practitioner , you intend to record sound or you intend to be able to hear beyond the point that is possible with your ears natural capabilities. there is alot of learning that takes place without these things, infact all these things them selves require some learning beyond what that technology can offer. maybe anyway also, yeah the Auckland Art Gallery show andrew spoke of earlier kicks arse! check it out if your about. sam ReplyForward -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060728/950cbe88/attachment.htm From samukun at gmail.com Fri Jul 28 04:48:06 2006 From: samukun at gmail.com (Sam Hamilton) Date: Fri, 28 Jul 2006 23:48:06 +1200 Subject: [Af_list] a fan to stop the blushing Message-ID: <19ccf87f0607280448o4fb1c381s1b8b58c6f89dbfa1@mail.gmail.com> hi AF hey i was wondering if anyone out there has a fan i can borrow. electric not the hand held sort. the bigger the better. im not in a hurry but i have some things i wont to try out using strong fans and speakers. i promise not to damage anyones fans who are kind enough to lend them. sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060728/9485ecde/attachment.htm From turnstyle at obscure.co.nz Fri Jul 28 07:15:33 2006 From: turnstyle at obscure.co.nz (86) Date: Sat, 29 Jul 2006 02:15:33 +1200 Subject: [Af_list] af_list ' perfection ? In-Reply-To: <19ccf87f0607280152s4789f2d9ye2c428713ddfb36a@mail.gmail.com> References: <19ccf87f0607280152s4789f2d9ye2c428713ddfb36a@mail.gmail.com> Message-ID: <44CA1C05.4010400@obscure.co.nz> > simon > personally though i disagree with there being a need > to strive for any perfection in ones practice. [**disclaimer - Friday night rant!] hmm . several people have been picking me up on this perfection issue .. lately .. .. this becomes important to me ' because .. I think people misunderstand what I mean by perfection .. I regard perfection .. a situation that does not require any more manipulation .. or you have exhausted all avenues of adjustment and the only remaining thing to do is listen or experience .. Perfection for me is not when everything is "correct" .. it is when I am comfortable with how wrong everything might be . .. and I can still enjoy it .. To me it becomes a lot to do with awareness .. If I go to an event ' and listen to the sound .. and it sound like crap .. I am only happy if the operator/artist/engineer knows that it sounds like crap .. and has done everything in their knowledge to fix it .. or (alternatively) knowingly leave it like it is .. .. due to a descending order of reasons. What is not perfect for me .. is a situation where someone is producing or outputting sound and yet has no relationship with that sound. In this situation they could continue to make adjustments or "what ever" but have no actual context to what they are doing. Essentially ' perfection to me is when an operator/musician/artists has honest connection with their sound (at what ever level of understanding they have) all I want to listen to is honesty ! all I want to listen to is honesty ! all I want to listen to is honesty ! Whats is wrong with perfection existing ? Why do you feel that reaching perfection would leave you unsatisfied ? Perhaps you could just smile . enjoy it .. and go looking for another piece of perfection. Nature is perfection ? I love it, couldn't live with out it. // Another common ' universal term is to describe this perfection is "LOVE" If someone is putting love into their sound .. be it death metal grind love or sweet butter sugar hip love .. you can hear it .. but if someone is putting ignorance ' ego ' apathy ' money into sound you can also hear it .. and its sounds like crap .. sometimes . an artist is surrounded or assisted by people who put the above crap elements into the sound .. but if the Love is pure . you can still hear it clean as a chime through all the crap ! Like a mother hearing her children's voice at a swimming pool .. so please don't mis-understand my aspirations for perfection .. it has some relationship to technical savvy .. but has much stronger roots in a deep desire to hear real expression .. not technical glorification .. obviously I am the first person to fail in most of this regards ' contradicting myself by flirting with abusive meaning and dangerous knowledge /.. either way . I think . the more time you spend with sound .. really crawling inside it .. really freaking out the frequencies .. the more you will want to find a deeper solution .. I am happy . surface level . distorting home stereos with the X-Bass buttons but underneath "putting up with the way things are" .. is an uncontrollable need to change everything, make everything more complex .. to seek out the total complete truth of the infinite moment on a curving sound wave ' Have you ever sat and watched the ripples on a pond ? Have you ever watched the shadows on the bottom of a pool when the breeze pushes ripples .. ? complex, overlaying patterns that reflect cancel ' double ... create momentary standing waves' collapse ' expand This is what sound does ' wouldn't you want to play with that . tune it ' influence it .. conduct it .. Sure ' sound is sound is but for me the basic ' raw ' layman ' study of waves ' tells me that sound has deep and rich layers that are yet to be explored .. I believe ' unknowingly ' that perhaps this is where you can find an universal expression of LOVE .. in the deep harmonic of a standing wave ' you could maybe induce a lateral form of communication direct to the human heart .. a vibration ' that transcends order ' defies chaos .. and extinguish absolutes .. Look . sound is sound is but consider my perspective .. if the possibility exists to create 3D sound architecture through harmonics ... Creating form or moving sonic sculpture through convergence & cancellation of sound waves in space . .. then ' stop with the cucumber ' please This is beyond what people refer to as a "sound image" .. but physically transferable sensation of space through sonic manipulation. Think water falls ' trains passing in the night ' waves on the beach .. what does this sound/feel like ' ?? What if we made music/sound/noise on the scale of waterfalls .. ? What if we could cancel the noise of city ..? What if we could stroll through a piece of music .. ? .. and walk back to the bit you liked .. ? .. However there might be a more simple explanation .. to my perfection ?! I could just be experiencing a type of senesthesia where I detect sound as form ' and have confused a desire to make objects with the need to play with sound. Perhaps my rubbish ' is really not a treasure ' but a spiraling confusion of reality .. where I really am wrong about everything I sense .. and the world I thought was possible is just a vision of insanity .. This perpetual and crushing fear, is a key reason I just like what I do and have no problem looking ruthlessly for perfection in the chaos. .. Most importantly ' I'm having a house party tomorrow and I get to play lots of techno .. and I know how to turn up the bass at least two different ways .. hahah .simon From samukun at gmail.com Fri Jul 28 20:47:02 2006 From: samukun at gmail.com (Sam Hamilton) Date: Sat, 29 Jul 2006 15:47:02 +1200 Subject: [Af_list] music love Message-ID: <19ccf87f0607282047hcacf8c1lfbf707685c6faf6e@mail.gmail.com> hi simon thanks for clarifying your thoughts. i definately feel as though i am grasping some of the things you have said better and also more from your opint of view. im sorry i didn't mean to refer directly to you or your ideas/works in the phrase "one persons treasure is another persons rubbish" (or was it the otherway round?), i was more trying to convey that there is no universal value system that works for valuing things that are essentially subjective. i think its a valueable lesson to learn that what you (me or anyone else) value is not the be all and end all. many great descoveries have been made, historicly and personally from dropping ones own values down the toilet. i think both of us, or at that rate anyone overly passionate about anything are probibly equally balanced in this department. im sure a few wars have been waged on the account of confronting view points of essentially the same thing. anyway, after all this simon im quite interested in actually hearing what it is you do. unfortunately it sounds like a fair bit of what you do is best experienced live or with you controlling the system used to present the audio. if you think there is anything you have recorded that would translate fairly enough through a pair of headphones i would be like to hear it maybe we could do a record swap? i have worked on one 6 speaker surround sound installation, (which i unfortunately had to guess my way through in stereo), the installation was in australia and i still dont actually know what it sounded like. but everything else, recorded on disc at least, is in stereo or mono which would sound pretty shitty through a giant system. maybe we could make a compromise, i listen to what you send me through stereo headphones and you can listen to what i send through a big multi channel system? then its kind of equal. i think it might be good to realise we are both just doing what it is that we enjoy doing and maybe hear it to. if your keen on trading a recording feel free to mail me direct and send an postal address. sam -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060729/ce3d9784/attachment.html From damian at frey.co.nz Sun Jul 30 14:48:05 2006 From: damian at frey.co.nz (Damian Stewart) Date: Mon, 31 Jul 2006 09:48:05 +1200 Subject: [Af_list] noise love Message-ID: <44CD2915.6080706@frey.co.nz> via the microsound list: http://www.mothersagainstnoise.us/ " WHAT IS WRONG WITH NOISE MUSIC? Plainly put: Noise music is offensive and damaging to our children. Don't let your child by negatively effected by music that is design to cause them harm. NOISE MUSIC EMBRACES: 1. Rebellion 2. Violence 3. Nihilism (belief in nothing) 4. Escapism 5. Drugs / Alcoholism 6. Sexual Perversion, Self-Mutilation 7. Dissonant / Offensive Sound 8. The Occult 9. Anti-God / Anti-Authority 10. Cult-like Organization, Terrorism If you thought that Rap, Punk, Heavy Metal or any other past degenerate trends were a threat...PLEASE WAKE UP!! Inform yourself ! DO SOMETHING! Help protest this destructive trend before it is too late. " -- f r e y live music with machines http://www.frey.co.nz From slf_lab at hotmail.com Sun Jul 30 23:38:22 2006 From: slf_lab at hotmail.com (matt chaumont) Date: Mon, 31 Jul 2006 06:38:22 +0000 Subject: [Af_list] (no subject) Message-ID: Is there anyone out there producing there own music on a game boy micro. Ive been looking on the net but cant find much at all please let me know. kind reegards m From artwerks at slingshot.co.nz Mon Jul 31 17:35:39 2006 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Tue, 1 Aug 2006 12:35:39 +1200 Subject: [Af_list] Fw: Craftwerk Thurs Aug 3rd - Auckland Message-ID: <05f201c6b502$6a67d6f0$8629b8cb@d400> I don't know if this will entail anything of specific interest to AFers but the title suggests it might. Could be cool anyway. Who was it that recorded the piece with a whole bunch of sewing machines? If you're not already, Sam maybe you wanna gatecrash and set up a record stall or something. Andrew ----- Original Message ----- To: undisclosed-recipients: Sent: Tuesday, August 01, 2006 12:05 PM Subject: Craftwerk Thurs Aug 3rd Just a reminder that the craft market is this Thursday night at Alleluya, St Kevins Arcade, K Rd. I will be there from 6:30 - 9:30pm selling a few crafty and arty things, along with 23 odd other stallholders. See the poster I've attached for more info, and please send the poster to other people you think would be interested. hope I will see you there! best wishes, Mandy* [attachment removed but I can forward it to anyone interested] -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060801/2ea3f605/attachment.html From dr_rory_storm at yahoo.co.nz Mon Jul 31 19:26:44 2006 From: dr_rory_storm at yahoo.co.nz (Rory Storm) Date: Tue, 1 Aug 2006 14:26:44 +1200 (NZST) Subject: [Af_list] united fairy moons broadcast... In-Reply-To: Message-ID: <20060801022644.20322.qmail@web51510.mail.yahoo.com> HI THERE I'm finally doing the broadcast on the United Fairy Moons label this sunday night at 6.00 pm on Dunedin's radio 1. 91 fm if you live in the area - www.r1.co.nz if you don't. 2 hours of Dunedin improv - bands covered include: Eye (Peters Stapleton and Porteous, Ryan Cockburn), 3 Forks (Tim Cornelius, James Currin, Donald MacPherson), 100 Dollar Band (Alastair Galbraith, Maxine Funcke), Ray Off (James Currin plus Pamela Poppins, Rory Storm, various other local luminaries) Jo Jo Eff Steve (James Currin, Ryan Cockburn, Rory Storm) plus solo works by Donald MacPherson, Ryan Cockburn, Rory Storm, and some other stuff I can't remember because I don't have my list in front of me but all very good... and a really great interview with label owner James Currin that I'm really pleased with. it may or may not be podcast if Radio 1 have got their shit together with the podcasting technology also. Connect with you over the aether then! Rory Send instant messages to your online friends http://au.messenger.yahoo.com -------------- next part -------------- An HTML attachment was scrubbed... URL: /pipermail/af_list-audiofoundation.org.nz/attachments/20060801/d438a3b2/attachment.htm From frequencysquared at hotmail.com Mon Jul 31 21:47:21 2006 From: frequencysquared at hotmail.com (frequency squared) Date: Tue, 01 Aug 2006 00:47:21 -0400 Subject: [Af_list] Mother Against Noise is a Hoax In-Reply-To: Message-ID: While the M.A.N. (Mothers Against Noise) does provide some hilarious reading it is most certainly a hoax. I believe that the domain name is registered by Wolf Eyes record company. Sadly there are not mid-western house wives protesting at noise shows....because that would be too funny. Dan Cohoon Amplitude Equals One Over Frequency Squared frequencysquared at hotmail.com http://www.frequencysquared.com PO Box 171 Glen Mills, PA 19342 USA >From: af_list-request at list.audiofoundation.org.nz >Reply-To: af_list at list.audiofoundation.org.nz >To: af_list at list.audiofoundation.org.nz >Subject: af_list Digest, Vol 3, Issue 25 >Date: Mon, 31 Jul 2006 14:03:47 -0700 > >Send af_list mailing list submissions to > af_list at list.audiofoundation.org.nz > >To subscribe or unsubscribe via the World Wide Web, visit > http://list.audiofoundation.org.nz/listinfo.cgi/af_list-audiofoundation.org.nz > >or, via email, send a message with subject or body 'help' to > af_list-request at list.audiofoundation.org.nz > >You can reach the person managing the list at > af_list-owner at list.audiofoundation.org.nz > >When replying, please edit your Subject line so it is more specific >than "Re: Contents of af_list digest..." > > >Today's Topics: > > 1. noise love (Damian Stewart) > 2. (no subject) (matt chaumont) > > >---------------------------------------------------------------------- > >Message: 1 >Date: Mon, 31 Jul 2006 09:48:05 +1200 >From: Damian Stewart >Subject: [Af_list] noise love >To: "Af_list at audiofoundation.org.nz" >Message-ID: <44CD2915.6080706 at frey.co.nz> >Content-Type: text/plain; charset=ISO-8859-1; format=flowed > >via the microsound list: > >http://www.mothersagainstnoise.us/ >" > >WHAT IS WRONG WITH NOISE MUSIC? >Plainly put: Noise music is offensive and damaging to our children. Don't >let your child by negatively effected by music that is design to cause them >harm. > >NOISE MUSIC EMBRACES: > > 1. Rebellion > 2. Violence > 3. Nihilism (belief in nothing) > 4. Escapism > 5. Drugs / Alcoholism > 6. Sexual Perversion, Self-Mutilation > 7. Dissonant / Offensive Sound > 8. The Occult > 9. Anti-God / Anti-Authority > 10. Cult-like Organization, Terrorism > >If you thought that Rap, Punk, Heavy Metal or any other past degenerate >trends were a threat...PLEASE WAKE UP!! Inform yourself ! DO SOMETHING! >Help protest this destructive trend before it is too late. > >" > >-- >f r e y >live music with machines >http://www.frey.co.nz > > > >------------------------------ > >Message: 2 >Date: Mon, 31 Jul 2006 06:38:22 +0000 >From: "matt chaumont" >Subject: [Af_list] (no subject) >To: af_list at list.audiofoundation.org.nz >Message-ID: >Content-Type: text/plain; format=flowed > >Is there anyone out there producing there own music on a game boy micro. > >Ive been looking on the net but cant find much at all please let me know. > >kind reegards > >m > > > > >------------------------------ > >_______________________________________________ >af_list mailing list >http://list.audiofoundation.org.nz/listinfo.cgi/af_list-audiofoundation.org.nz > >End of af_list Digest, Vol 3, Issue 25 >************************************** _________________________________________________________________ Express yourself instantly with MSN Messenger! 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