From mark.williams at nzfa.org.nz Wed Aug 1 15:39:40 2007 From: mark.williams at nzfa.org.nz (Mark Williams) Date: Thu, 2 Aug 2007 10:39:40 +1200 Subject: [Af_List] The Idle Suite cd release Message-ID: <27D4D434-AF7A-4E4C-A2BF-FEF0C51B4CD9@nzfa.org.nz> Hey all, I would like to invite everybody to the CD release show for The Idle Suite's debut album 'Up Two Sticks Rd' (Last Visible Dog). Gig is at the Adelaide, Wellington, this Friday 3rd, entry $5, cd... not sure how much... support from Riff Rats and Heavy Turkey. Now the cool thing about having reviews in France and Japan is you get to hit the 'auto translate' button on google and read what others are writing about you. Sort of. Here a New Zealand production well attaching which the label visible Last clearer proposes to us dog records. A first signature for The Idle Suite which proposes six wonders of rock'n'roll-impro which do not leave anything randomly. With a casting particularly turned towards the collective, the combo of Wellington proposes an open music which d?licieusement transgresses the dogmatism of holding of the improvisation. Composed of Greg Cairns (battery), James Kirk (battery), David Hall (low), Mark Williams (guitar), Kristen Wineera (keyboards), Johannes Contag (keyboards and samples) and decorated few guests sorted on the shutter (Bevan Smith, Andrew Wright, Sferic Experiment, MarineVille, The Stumps, Dress, Sandoz Lab Technicians, King Loser, Cloudboy and Bad Statistics), they do not hesitate to develop trajectories melody or worse still, they dare to be fixed on only one note! Led by its two beaters, The Idle Suite develops an art ?to make music? which sounds as a work iconoclast which will have taken its time (three years all the same and not without gal?res) to lead to Up two stick road. A chronicle of welcome was more than of circumstance, per hour or the group thinks of flying away to play except borders and, hope for it, soon in Europe! -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20070802/50c74b68/attachment.html From transient at darcy.co.nz Wed Aug 1 17:44:40 2007 From: transient at darcy.co.nz (Ben Spiers/Transient Recordings) Date: Thu, 2 Aug 2007 12:44:40 +1200 (NZST) Subject: [Af_List] mastering for lathe cuts Message-ID: <23328.202.22.18.241.1186015480.squirrel@webmail.darcy.co.nz> Thanks for everyone's advice on this both on and off-list. Yeah, that Cattle 7" does sound exceptionally good. For the benefit of all, the consensus seems to be: ditch lows (though differing responses here as to what the cut off is: 60 Hz, 120 Hz, 200 Hz), ditch highs (above 10 Hz says one), compress and make mono (or practically mono). Rachel King: And don't forget she was Denise Roughan's replacement in the 3Ds briefly (see bonus tracks on "Fish Tales"/"Swarthy Songs For Swabs" CD). Ben From simon at obscure.co.nz Wed Aug 1 18:09:39 2007 From: simon at obscure.co.nz (Simon Swain) Date: Thu, 02 Aug 2007 11:09:39 +1000 Subject: [Af_List] mastering for lathe cuts In-Reply-To: <23328.202.22.18.241.1186015480.squirrel@webmail.darcy.co.nz> References: <23328.202.22.18.241.1186015480.squirrel@webmail.darcy.co.nz> Message-ID: <46B12ED3.4040506@obscure.co.nz> roll off the very low end, then notch out the 100's or 200's -- put some gain and a high Q on your EQ then sweep it to find the ugly sound. Then knock the gain down on that spot. bass needs to mono / mined on the center for vinyl, else it can make the needle skip out of the track. S Ben Spiers/Transient Recordings wrote: > Thanks for everyone's advice on this both on and off-list. Yeah, that > Cattle 7" does sound exceptionally good. For the benefit of all, the > consensus seems to be: ditch lows (though differing responses here as to > what the cut off is: 60 Hz, 120 Hz, 200 Hz), ditch highs (above 10 Hz says > one), compress and make mono (or practically mono). > > Rachel King: And don't forget she was Denise Roughan's replacement in the > 3Ds briefly (see bonus tracks on "Fish Tales"/"Swarthy Songs For Swabs" > CD). > > Ben > > _______________________________________________ > Af_List mailing list > http://list.audiofoundation.org.nz/listinfo.cgi/af_list-audiofoundation.org.nz > -- Simon Swain Obscure - Dance Culture in New Zealand www.obscure.co.nz p +61 2 9460 3311 m +61 418 30 20 20 From hertzz at gmail.com Thu Aug 2 17:47:50 2007 From: hertzz at gmail.com (Nigel Wright) Date: Fri, 3 Aug 2007 12:47:50 +1200 Subject: [Af_List] Ov (San Francisco) - Saturday 4th of August In-Reply-To: <17d276b00707311803n86349dao662100ea51ff095a@mail.gmail.com> References: <17d276b00707311803n86349dao662100ea51ff095a@mail.gmail.com> Message-ID: <17d276b00708021747v769e38e5o35cfa705a7478a7e@mail.gmail.com> Hello! Just a reminder about this show tomorrow (saturday the 4th). Do come! * * Saturday the 4th August Cross St Studios (Cross St, Auckland) Ov (San Francisco) Dean Roberts Nigel Wright / Tim Coster Sam Hamilton This is an early show, starting at *6.00pm* (on the dot). *$7 / $5* on the door * * *Ov* Ov is the collaboration between longtime collaborators *Christine Boepple *(Whysp, Softwar, The Franciscan Hobbies, The Skygreen Leopards Skyband, Kyrgyz, etc) and Jewelled Antler's *Loren Chasse* (Of, Thuja, The Child Readers, The Franciscan Hobbies, Softwar, The Blithe Sons, Thuja, Coelacanth, etc), both of San Francisco. Building off of Chasse's solo recordings as Of, the duo's Ov project features loop-based compositions that incorporate strummed strings and otherworldly sounds. The atmosphere achieved is dense and the compositions mesmerizing, recalling Marcus Popp at his most transcendental. Ov's recorded debut came in mid 2006, in the form of a limited edition CDR, The Moon is Down, on Jewelled Antler. Sound artist and educator Loren Chasse co-founded the Jewelled Antler label with friend and collaborator Glenn Donaldson in 2001. *Dean Roberts * Although currently residing in Auckland, New Zealand-born guitarist and composer Dean Roberts has spent much of the last decade in Europe. His latest release is under the guise of the Autistic Daughters, a group that also features Werner Dafeldecker and Martin Brandlmayr. The seven tracks on the trio's debut, Jealousy and Diamond, continue the exploration and mutation of the rock song Roberts undertook on his seventh solo album, Be Mine Tonight, which was also released by kranky and demonstrated a move from electronic texturing into songwriting and arrangements, combining rock music and sound manipulation. Playing with the Autistic Daughters, under the White Winged Moth alias or under his own name, he has toured extensively in the US, Europe and China, and released material on various labels (including Mille Plateaux, Erstwhile, kranky, and his own Formacentric label.) * Nigel Wright / Tim Coster *(..."Wispy layers build up and up and up, not into a noisy fury as such, but more along the lines of 90's shoegaze bands, or haunted lavender-smoked cathedral ambience.") *Sam Hamilton* (guitar tones/electronics/laptop) -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/private.cgi/af_list-audiofoundation.org.nz/attachments/20070803/147dfad4/attachment.html From admin at audiofoundation.org.nz Thu Aug 2 21:51:14 2007 From: admin at audiofoundation.org.nz (Admin) Date: Fri, 3 Aug 2007 16:51:14 +1200 Subject: [Af_List] Documentation for Alt.Music07 #1 Message-ID: Thanks to Jen French for her superb work in documenting Alt.Music here are the first few images uploaded: http://www.audiofoundation.org.nz/pauline.html z From info at happy.org.nz Sun Aug 5 23:08:12 2007 From: info at happy.org.nz (happy) Date: Mon, 6 Aug 2007 18:08:12 +1200 Subject: [Af_List] Hello Message-ID: <004a01c7d7f0$2e95a370$0301a8c0@happylive> Joy Joy Doom Gloom Happy Special Nasty Horrid Great Cheerful Mean Angry Pleasant Nice Awful Glum Wed 8 August 8.30pm FERTILITY FESTIVAL Thurs 9 August 8.30pm PORTAL 4000 - brand new band, first gig and what a lineup! DUNGEONMASTER DAN BEBAN + TAPEMACHINE Fri 10 August On Friday the 10th of August, Bob Dylan will be performing live in the TSB Arena Wellington. You, however, will not be there, because the show is sold out. Enter Keepin' it Real Cheap Productions. Aware that not everyone can afford $100 plus for a single gig, and knowing as well as the next person that Bob Dylan's songs have always sounded better played by somebody else, we are literally filled with pride to be able to present An Audience Without Bob Dylan. 9 acts, featuring the cream of Wellington's independent musical talent, will whip (with varying amounts of reverence) through one of the finest back-catalogues in the history of rock music. 8:00 - 8:30 Jesse Rivest 8:30 - 9:00 Peter Baillie 9:00 - 9:30 Russell Self 9:30 - 10:00 Dragstrip 10:00 - 10:30 John Paul Young 10:30 - 11:00 The National Office 11:00 - 11:30 The Ryegrass Staggers 11:30 - 12:00 The Mighty Faggot 12:00 - 12:30 The Mr Bobalina Band Sat 11 August 8.30pm RAGAMUFFIN CHILDREN ROSY TIN TEA CADDY TUES 14th August 8.30pm THE WOP WOPS + LUCIEN JOHNSON / DAVID DONALDSON / ANTHONY DONALDSON Wed 15 August 8.30pm FERTILITY FESTIVAL THurs 16 8.30pm NOEL MEEK (dance) + Takumi Motokawa and Erica Grant LUCKY FOODBAR / JOCK TURNIP / PHARTSGA LORE Fri 17 10pm BASTARD SONS OF GREY POWER Sat 18 4pm ACCIDENTAL TOURISTS - Eva Prowse, Chris Prowse, Costa Botes and Andrew Delahunty 9pm THE STUMPS FERTILITY FESTIVAL and more Wed 22 Aug 8.30pm FERTILITY FESTIVAL Thurs 23 8.30pm JONNY CORKER Fri 24 9pm SKAFACE CLAW THE GALLOPING HOOVES Sat 25 August 8pm THE POE SHOW New music from outstanding composer, saxophone player LUCIEN JOHNSON in response to works by JOHN DOWNIE inspired by EDGAR ALLEN POE featuring the po faced ANTHONY DONALDSON< CHRIS PALMER< DEAN HUNTER< ALPHABETHEAD< AMANDA MACLEAN and others! Sun 26 August 8pm THE POE SHOW Happy iiii 118 Tory St corer Tory / Vivian Streets Te Aro Wellington Eat it! It tastes Good! -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070806/16858cb4/attachment.htm From alexwmac at gmail.com Mon Aug 6 16:40:01 2007 From: alexwmac at gmail.com (alexander mackinnon) Date: Tue, 7 Aug 2007 11:40:01 +1200 Subject: [Af_List] (no subject) Message-ID: <6430a3070708061640o3cd15356y68d4154a4daca913@mail.gmail.com> DUNEDIN live at the CROWN HOTEL this saturday the 11th august!!!! EYE khomet CRUDE murderbike. 5dollars as is. 9pm. dont be late. im excited. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070807/7d3a6cb1/attachment.html From admin at audiofoundation.org.nz Tue Aug 7 17:23:17 2007 From: admin at audiofoundation.org.nz (Admin) Date: Wed, 8 Aug 2007 12:23:17 +1200 Subject: [Af_List] Fwd: Acma-l Digest, Vol 57, Issue 5 References: Message-ID: <0BDCA4F3-98EF-4687-8687-20C0F0BF5DF5@audiofoundation.org.nz> > > > Today's Topics: > > 1. Volunteer Opportunity at Tate Modern (London, UK) Fwd: > [Sanlist] (Kevin Austin) > 2. Fw: Lecturer in Digital Media (Newcastle, UK) (Ross Bencina) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Tue, 07 Aug 2007 13:23:43 -0400 > From: Kevin Austin > Subject: [Acma-l] Volunteer Opportunity at Tate Modern (London, UK) > Fwd: [Sanlist] > > UBS Openings: Alvin Curran Maritime Rites > > Call For Musicians > > Friday 14 September 2007, 17.30-19.00 > > Tate Modern wants to form an ensemble of volunteer musicians to > play a new > Alvin Curran score on the Millennium Bridge as part of UBS > Openings: Alvin > Curran Maritime Rites on Friday 14 September. > > If you are interested and can play a portable acoustic instrument > (one that >> does not need a chair), please contact Cleuci de Oliveira for more >> information >> at cleuci.deoliveira at tate.org.uk > >> We need to know the instrument you play, the length of time you >> have been >> playing it, and if you can attend a rehearsal the day before the >> performance. >> The rehearsal will take place at Tate Modern on the evening of 13 >> September. >> You will also be asked to come in advance of the performance on >> 14 September. >> >> Performed by members of the London Symphony Orchestra, maverick >> composer Alvin >> Curran's Maritime Rites is a sculptural sound piece staged on a >> barge on the >> Thames and on the banks of Tate Modern. At this UK premiere, the >> LSO lead >> improvisers and volunteers who join in with the bells of St >> Paul's and Curran >> to present a rich collage of harbour sounds, foghorns and music >> associated >> with the river. > > > > ------------------------------ > > Message: 2 > Date: Wed, 8 Aug 2007 05:53:01 +1000 > From: "Ross Bencina" > [Hi All, I've been asked to pass this on for your consideration. > Correct > contact details are at the end of the post. --rb] > > Lecturer in Digital Media, School of Arts and Cultures (working > closely with the Culture Lab), GBP29,139 - 36,911 per annum (pro rata > if 0.5 FTE - Full Time Equivalent) > > Newcastle University is continuing its substantial investment in > Digital Media with the appointment of a Lectureship in Digital Media. > The lectureship will be based in the School of Arts and Cultures and > work closely with staff in Culture Lab. We are seeking to appoint a > creative practitioner who has a strong, preferably international, > profile in any field of Digital Media research and who has an > interest in working across disciplinary boundaries. The post will > help to stimulate and develop interdisciplinary agendas in both > teaching and research being developed in Digital Media across the > School, Faculty and University. You will have particular > responsibilities for teaching on a new Digital Media MA planned to > commence in 2008. > > Working closely with the newly appointed Chair of Digital Media, the > post will contribute to the University's fostering of ground- > breaking, practice-based research through innovative research agendas > and projects. You will be expected to apply for, and attract external > research funding (for example from research councils and industrial > sources) at local, national and international level. > > http://www.ncl.ac.uk/culturelab/ > > Appointment may be full-time or on a fractional basis (two people at > 0.5 FTE). > > Informal enquiries concerning the position can be made to > Atau Tanaka, Chair of Digital Media (tanaka at csl.sony.fr) > Professor Peter Stone (Head of School of Arts and Cultures) on +44 (0) > 191 222 7095 (p.g.stone at ncl.ac.uk) > > Closing date: 28 August 2007 > > Reference no: B2113A > http://www.ncl.ac.uk/vacancies/vacancy.phtml?ref=B2113A > > Answer phone: +44-191 222 8834 > > To apply for this position, send your CV, covering letter and > completed employment record form, to: Team B, Human Resources, HASS > Faculty Office, 7th Floor, Daysh Building, Newcastle upon Tyne, NE1 > 7RU or email: a.stewart at ncl.ac.uk > ************************************* From staticmansion at gmail.com Tue Aug 7 23:09:56 2007 From: staticmansion at gmail.com (Sally McIntyre) Date: Wed, 8 Aug 2007 18:09:56 +1200 Subject: [Af_List] sustain magazine - call for contributors Message-ID: <2438c9920708072309o5572e56cof76fde45653a2b47@mail.gmail.com> Sustain - call for contributors Sustain is an online publication that aims to fill a current gap in New Zealand audio art culture in providing a place for the in-depth discussion of audio art and challenging musical forms from New Zealand and beyond. Linked to but independent of the Audio Foundation website, the magazine is due to be launched in early December. Edited by Jo Burzynska and Sally McIntyre, it covers audio art and its makers, the spaces where the sonic, visual and media arts intersect, and sound more generally, embracing music of any genre interrogating assumed borders of sound and/or composition. Sustain magazine will be published quarterly, and plans for an annual print version with an audio component are currently being discussed. Sustain's primary aim is to provide an anchor for the discourse occuring around audio as both an art and a culture, and to encourage writers to place their thinking around audio in a context which encourages exploration and reflection in the interests of building up discourse around these forms. The editors of Sustain welcome proposals for features on all aspects of sound art and experimental music, spanning its practitioners, means and mediums of production, sound and sonic perception. While there will be a strong focus on New Zealand artists and output in the magazine, writers are not limited to solely covering local themes - New Zealand perspectives on international music - perhaps particularly from those based elsewhere - are also welcome. Sustain is also calling for proposals for interviews (peer-to-peer conversational artist interviews are particulaly welcomed) for the next few issues - if you are interested please write to us for more detailed guidelines. As well as sections for in depth articles and interviews, Sustain is intended to be a place where regular documentation of those things which normally slip under the art- and popular- journalistic radar: audio art events, experimental music festivals, and small local label releases; can happen in a semi-formal, yet convivial context, and its editors are looking to recruit writers who would like to cover such content for the embodied (live) and delayed (recorded) sections of the magazine. Delayed is split into topical/recent releases, for the newest on artist-run or other relevant labels (such as Pseudo Arcana, Palindrone, Last Visible Dog, CPSIP, iiii, CLaudia, United Fairy Moons, Metonymic, etc) and the aurally rare, lost and out of print, (for all those things of whatever era/genre of personal interest and/or obsession which you prize like jewels knowing there's no way you'll ever get another one: triple 10" lathe cuts, tapes in a private edition of four, the last three CDs that survived the house fire, anything received in the mail from Witcyst?). Live events throughout the country are needing regular reviewers for embodied, and proposals for non-topical live events which are reflective are also welcomed. Reviews of releases should be 300-400wds, and live reviews should be 500-600wds. In the first instance, Sustain would like you to register your interest in writing by contacting us. Please be sure to detail your interest/background/area of expertise/ideas, where relevant. Likewise, if you are interested in having recordings and events covered, please send us your PR information or releases to : email: sustainmagazine at gmail.com postal: PO Box 2, Oxford, 7443, Canterbury. We look forward to working with you. Regards, Sally and Jo -- sally ann mcintyre // 143 clyde rd, fendalton, christchurch, new zealand // 0064 3 3518904 // 021 2106243 // staticmansion at gmail.com From hertzz at gmail.com Thu Aug 9 00:20:24 2007 From: hertzz at gmail.com (Nigel Wright) Date: Thu, 9 Aug 2007 19:20:24 +1200 Subject: [Af_List] Sunday 12th August - Wine Cellar Message-ID: <17d276b00708090020w73521ca8n98f47470ecc96514@mail.gmail.com> Hello, Yeah another show! This time you should come to the following : Ben Spiers (Transient Recordings - Wellington) Recuerde Nigel Wright Tim Coster Spiers/Coster/Wright trio Starts at 7.30 at the wine cellar, st kevins arcade, auckland. Entry is by approximately $5. Chuck us some coins or whatever, just to make it worth Ben's while! He is coming all the way from Wellington after all. Ben Spiers is perhaps one of New Zealand's most underrated guitarists, so you should really make the effort to see him play. Anyone who saw his previous Auckland show will tell you the same. Plus the other guys are A-OK as well. Hope to see you there! Nigel -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070809/bab2e7d5/attachment.htm From admin at audiofoundation.org.nz Wed Aug 8 22:45:58 2007 From: admin at audiofoundation.org.nz (Admin) Date: Thu, 9 Aug 2007 17:45:58 +1200 Subject: [Af_List] Images for Crude, Dave Philips, Rudolf Eb.er and Justic Yeldham Message-ID: again with many thanks to Jen French http://www.audiofoundation.org.nz/schimp.html From stuartcmcd at gmail.com Thu Aug 9 02:49:03 2007 From: stuartcmcd at gmail.com (Stuart McDonald) Date: Thu, 9 Aug 2007 21:49:03 +1200 Subject: [Af_List] New Angry Rabbit release(s) Message-ID: <932033eb0708090249m13f9a31br639ad4fded471094@mail.gmail.com> Hello, Just this week Andy's put out his second EPish 30 minutes of hiphop made of freejazz samples at http://www.additiverich.com/angryrabbit/archives/002072.html. Forgot to mention a while back, the MonkeyShuttle Artificial Intelligentsia collection is also available. This is an 'archival' recording of a live to air we did in 1995 on Radio Active. It's not a great work of art, but it is an hilarious work of student hubris. http://www.additiverich.com/angryrabbit/archives/001945.html Both these releases are extremely downloadable in their entirety. More 'releases' to come in a little while. Cheers Stuart From admin at audiofoundation.org.nz Thu Aug 9 15:03:03 2007 From: admin at audiofoundation.org.nz (Admin) Date: Fri, 10 Aug 2007 10:03:03 +1200 Subject: [Af_List] Fwd: Paul Rutherford References: <005b01c7da60$f7ba3640$9e13b8cb@pentium4> Message-ID: <426224E0-D45D-499B-8DFA-EE50E890573B@audiofoundation.org.nz> > > As you may already know, Paul Rutherford was found dead in his flat > in S.E. London on August 5. The cause of death was sclerosis of > the liver and a ruptured aorta. > > Paul was one of the pioneers of free improvisation, and many > consider him to have been the finest trombonist and one of the > finest improvisers in the area. He was certainly a very distinctive > musician ? many players had been influenced by him to some degree > (not only trombonists), but no one sounded anything like him. > Among his most important performances were his unaccompanied solos, > and those in his trio Iskra 1903 that contained Barry Guy and > either Derek Bailey or Philipp Wachsmann. He was a gentle, kind man > with an outrageous sense of humour, and will be sorely missed. > However, he also suffered from bouts of depression, and was > frustrated that he was not recognised more widely. > > Paul B > -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070810/6ad9ef92/attachment.htm From stabbiesetc at yahoo.com.au Thu Aug 9 20:32:35 2007 From: stabbiesetc at yahoo.com.au (stefan geoffrey neville) Date: Fri, 10 Aug 2007 15:32:35 +1200 (NZST) Subject: [Af_List] Audio Foundation Archives Please. Message-ID: <903116.22850.qm@web32808.mail.mud.yahoo.com> hello folks. Ive been working the last few weeks for the Audio Foundation cataloguing the CD Archive. This is a big shelf full of CDs that have been donated to us. The plan is to set up a big digital archive of this stuff and preserve some of those falling to bits limited editions for eternity. If you are getting this email it is quite likely we have something of yours to include. So! we want to ask permission from you to include your music in this project. The archive will only be accessible by visitors to the Audio Foundation Office. It will not be online or downloadable. Theres a possibility of a terminal being set up at the Film Archive too. Again only accessible by visiting and listening there. In case you dont know about the Audio Foundation it is a non profit organisation set up to facilitate, support and promote innovative audio culture in NZ. We have a website here: www.audiofoundation.org.nz We are also seeking donations for the archive. These can be actual releases or you can just provide us with MP3s and cover scans and info. I recently culled my own collection of NZ releases sitting around neglected and unlistened to and was delighted to give them to a better home and in the Audio Foundation Archive. Donations can be sent to: Audio Foundation, PO Box 68518, Newton, Auckland. or you can email mp3s (please not gigantic) to admin at audiofoundation.org.nz best. stefan. Send instant messages to your online friends http://au.messenger.yahoo.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070810/d77f8c57/attachment.html From admin at audiofoundation.org.nz Thu Aug 9 22:24:07 2007 From: admin at audiofoundation.org.nz (Admin) Date: Fri, 10 Aug 2007 17:24:07 +1200 Subject: [Af_List] Fwd: Sound Performance by Rosy Parlane & Phil Dadson: Starkwhite, Wednesday 15 August, 8.00pm References: <2a6360e796227a681f32c9dcada05b99@xtra.co.nz> Message-ID: >> >> INVITATION >> >> To a sound performance by Rosy Parlane and Phil Dadson >> [See attached release] >> Starkwhite, Wednesday 15 August 2007 >> The performance starts at 8.00pm sharp >> It promises to be a memorable event. Don?t miss it! >> >> Starkwhite >> 510 Karangahape Road >> Auckland, New Zealand >> Tel: +64 9 3070703 >> www.starkwhite.co.nz >> >> > www.sonicsfromscratch.co.nz -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070810/f11c46b7/attachment.html From slowchimes at gmail.com Fri Aug 10 16:04:09 2007 From: slowchimes at gmail.com (Andrew Scott) Date: Fri, 10 Aug 2007 16:04:09 -0700 Subject: [Af_List] Celine / Glory Fckn Sun / Paul Rutherford Message-ID: <1f226fe90708101604t124a496an902dff025e275f54@mail.gmail.com> Three things (two I'm a little late on): 1) Celine / Rachael King - Does anybody know if any recordings exist of this trio version of Celine? 2) Glory Fckn Sun - Just like to quietly chip in my 2 cents about this release that Antony recently mentioned. A while ago Ben gave a CDr comp with selected tracks by his various projects which had on it the only released (to the best of my knowledge) Glory Fckn Sun track (until now) on it. It was glorious. I played it at work one day and one of my co-workers described it as sounding like 'an underwater recording of two submarines crashing'. Yes it actually does sound that good. It was a nigh-perfect extrapolation of higher group mind into a mass of ecstatic guitar texture and high-energy percussive gong work. If the rest of the album is as good as that track (and I wouldn't mind betting that it is) then they've really nailed it. I think checking it out would fall directly into the category of 'doing oneself a favour'. Can't wait to get one myself. 3) Paul Rutherford R.I.P - Bummer. His solo album 'The Gentle Harm of the Bourgeoisie' probably wins the award for 'most eyebrows raised' when I've played it in the company of others. Sad to hear that he felt under-appreciated to the end of his days, but then again it confuses me to hear that he had that much trouble understanding that we live in a world that doesn't place a whole lot of value on improvising musicians, improvising trombone players in particular - to me its a just a given, nothing to get upset about. It seems to me that the older English free improv scene has a chip on its collective shoulder about not getting more out of the powers that be (arts councils etc.). Maybe AMM and SME's brushes with major labels gave them a false sense of hope? Anyway, he was an unusual musician (and if his liner notes are any indication he was a wry political poet too) and its sad to see him go. pce / ndrw From lozenge at paradise.net.nz Fri Aug 10 18:41:03 2007 From: lozenge at paradise.net.nz (James Gardner) Date: Sat, 11 Aug 2007 13:41:03 +1200 Subject: [Af_List] calling extensible electric guitarists Message-ID: <46BD13AF.9050504@paradise.net.nz> > Date: Fri, 10 Aug 2007 14:46:02 -0700 (PDT) > From: David Claman > To: smt-announce at societymusictheory.org > Subject: [smt-announce] electric guitar festival call again > === > > The Extensible Electric Guitar Festival > Clark University, Worcester MA USA > April 4-5, 2008 > > Call for Music and Performers > DEADLINE FOR SUBMISSIONS 01/01/08 > > Since its development in the mid-twentieth century, > the electric guitar has had a profound influence on > many aspects of music, creating new sounds, spurring > the development of new musical styles, and reshaping > concepts of musicianship. In the early twenty first > century, despite retaining its iconic status as a > symbol of innovation and transgression, the electric > guitar and its uses now seem commonplace, almost > routine; in short, the instrument may be in danger of > losing its edge. > > SOUGHT:The Extensible Electric Guitar Festival aims > to rediscover and showcase the electric guitar's > spirit of innovation and exploration. To that end we > are looking for music and musicians that use the > electric guitar in innovative ways and extend its > capabilities. Music which uses the electric guitar as > a controller, with electronics and computers, as a > sound source in electroacoustic improvisation, and > with other media in performance are encouraged. We > anticipate having two evening concerts on the Clark > University Campus, one in a concert hall setting, > another in a club setting. > > Supported technology resources include: > > - A playback system of eight channels (arranged around > the periphery of the concert hall) > - Cycling '74's Max/MSP > - Kyma X with Capybara 320 > - Proposals for other technologies will be considered > > Submissions can be considered in the following audio > formats (16bit/44.1k only for submission; performance > quality may be 24-bit/96k): > > Audio Only: > > - CD- RDAT- Alesis ADAT- ProTools session: > multi-channel works require explanatory notes for > channel placement. If submitting a data CD, there > should be one soundfile per channel; all soundfiles > should start at time zero in the mix. > > Video (NTSC only): > - DVD - VHS > > Submissions: > > Materials should be received by January 1, 2008 at: > The Extensible Guitar Festival > Clark University > Department of Visual and Performing Arts > 950 Main St. > Worcester, MA 01610 USA > > Materials should include (as necessary and > appropriate): > > - score/recording of composition- written > description- program notes & a brief > composer/performer biography (max. 200 words each)- > SASE for return of materials (otherwise materials will > not be returned) > > Contact information: > Project directors: David Claman > > Matt Malsky (Clark University) -- Cheers Jim From sclover at xtra.co.nz Sat Aug 11 16:58:18 2007 From: sclover at xtra.co.nz (stephen) Date: Sun, 12 Aug 2007 11:58:18 +1200 Subject: [Af_List] 1. Celine In-Reply-To: References: Message-ID: <002c01c7dc73$7e1fee00$0501010a@SN2790677022> > -----Original Message----- > From: "Andrew Scott" > > 1) Celine / Rachael King - Does anybody know if any > recordings exist of this trio version of Celine? Yeah.. pretty sure there's a 7" lathe which is impossible to find anywhere.. I remember Andrew Moon or Nick Cain talking about it once. Or.. was that of a different version of the band? Funny story.. after they played at Vic Uni orientation back in (what was it..) '92? '93? I reviewed them on one of the mailing lists I was on, describing them as a collision of early-Swans, late-80s Sonic Youth, and Slint (I stand by that), I had two separate approaches from US record labels wanting to get in contact with the band, with a view to putting out their records. I tried everything in my power to track them down, but this being as it was 1992 (or '93), before most ppl had even heard of email or the internet (not to mention telnet, SSH, ftp, gopher, USEnet, 'nettiquite etc.) I failed. Dammit. [stephen clover::::www.dorkinglabs.com/seht.php] From luke.munn at gmail.com Sun Aug 12 18:25:56 2007 From: luke.munn at gmail.com (Luke Munn) Date: Mon, 13 Aug 2007 13:25:56 +1200 Subject: [Af_List] Online slot open for next months show at Window Message-ID: Hi there, Due to some rescheduling by artists, we have a slot open in next month's Online programme. Thought I'd extend the invite specifically to AF as it might be really interesting for someone with a background in sound, noise, and music to work with an online space. We also encourage artists to extend this into the onsite (gallery) space or relate the two programmes in some way. If you've recently created new work, or would be interested in in developing something specifically for the show, email me. You'll be showing in conjunction with Jasmine Lajunen, a former Elam student who's interested in perception, the glance, and who's work will probably take the form of installation. The show opens on September 13th. Cheers, Luke Munn Online Curator, Window http://window.auckland.ac.nz/ From samukun at gmail.com Sun Aug 12 19:14:27 2007 From: samukun at gmail.com (Sam Hamilton) Date: Mon, 13 Aug 2007 14:14:27 +1200 Subject: [Af_List] Amazon Resounding project and fund raising event Message-ID: <19ccf87f0708121914g7a291566i228fa62c50a98184@mail.gmail.com> hi AF people, im writing in to let those interested know about a project i've been planning for a nearly a year which starts soon and.... about the fund raising event im organising to pay for the 4 months of anti malarial prophylactics i need. i'll start with the interesting bit, the fund raiser THE AMAZON RESOUNDING PROJECT FUNDRAISER AN EVENING OF EXPERIMENTAL MUSIC AND FILM TO HELP RAISE MONEY FOR AN INTER- DISCIPLINARY EXPLORATION INTO SOUND WITHIN THE AMAZON RAIN FOREST FEATURING: Saturday 25 August at ARTSPACE 6:30pm with very special live performances by some very special people: Phil Dadson/Sam Morrison/James McCarthy trio - 3 of the finest experimental instrument builders Auckland has to offer, not to be missed! The Parasitic Fantasy Band with special Guest Adam Willetts - Eve Gordon- 16mm & 8mm film projectors, film and optical objects. Sam Hamilton - sound and things. cinematic experiments into the expansive unknown Rosy Parlane - come on, Rosy bloody Parlane! sheesh man! Swung extraordinarily intimate radically deconstructed lullabies (by Zoe Drayton) Dean Roberts & Chris O'Connor - fine whirl, purr and patter, guitars and percussion plus more things, things things yet to be announced! entry will be $15/$12 on the door. its a good price and will be going to a good cause. although, if your to stingy and wont come cause its to much just come along anyway and we'll haggle :) ok, that concludes to fund raiser announcement now a bit about the project if which its raising funds for. on November 4th i embark on what will predominantly be a 4 month sound recording project in the Amazon rain forest in South America. over the 4 months i will work in 3 (maybe 4) distinctly different environments and circumstances within the Amazon. they are, in order, working with Francisco Lopez and 7 other artists from all around the world in a invitation only workshop/residency for a few weeks right in the centre of the Amazon basin in Brazil at and around a place called Mamori Lake. then its east to the confluence of the Japura and Amazon river to the Mamiraua Sustainable Development Reserve, the wettest part of the Amazon with almost permanently flooded forests and lakes (with a possible trip up the Japuri river, an generally unused water way that heads up into the mysterious Columbian Amazonas). then its off to southern Peru to work with a Peruvian biologist in the Manu National Park, of the Madre De Dios region, a completely restricted reserve strictly off limits to anyone without a research permit. the ecology of the one million hectare reserve is tropical lowland ecology climbing to mountainous cloud forests at the feet o the Andes range. although being extremely conscientious and interested in the scientific and ecological relationships of the project and much of the nature of the project, i am primarily an artist and it is from my experience as an artist and music that most of the theoretical, conceptual and practical practices and approaches that the project and the work that will be carried out during the project, despite often involving important ecological significance, will be influenced by. this project is an investigation of sound in nature, a fundamentally scientific and ecological phenomenon important to the physical reality of existence, from caterpillar vocalisations to the resonating frequency of the universe. it is also a phenomenon so fundamentally influential to our individual and collective understanding of the not-so physical realities of existence as well, it is the investigation of these not-so physical influences that will shape and guide whatever the fuck it is im going to do there (cause, really, who the fuck knows whats gonna happen when i actually get there, you cant write a synopsis on the future, even when its predictable, which this one isn't in the slightest) and will act as an umbrella foundation to glue everything together and give personal and artistic significance to my actions and practice. there is no use for science or art if it does not fundamentally serve to give people the ability to further our understand our worlds, somehow i feel that is the crux of why im doing this, it may seem a bit cliche but i feel its an issue beyond or to undefinable to be squeezed into being purely an exercise in artistic expression or purely research for the purpose of scientific interest and that really i have no idea why im doing it other than i am, its going to happen, and at the end, theres going to be a whole lot of stuff in my life (hopefully of which i can share much of with others) which wasnt there before. saying that, it might be worth being a brief description of the practicality involved in the practiced project. basically i will be, under varying circumstances of comfort and endurance, be tramping/canoeing around in the jungle making as many recordings as i can. i am not taking to much equipment for weight issues, but what i am taking is: a portable hard disk digital field recorder a laptop for editing/storing recordings (which will often be deposited at lockable research stations and lodges during periods of field work) varies mics, matched stereo condenser mics for full soundscape recordings, shotgun mic, hydrophonic mics for underwater recording, various small application mics, contact mics, customised phonographic mics, lots of cables, wind socks, ropes etc, all sorts of stuff. for practical reasons i have been studying as much about amazonian biology, fauna and flora, culture, environmental conditions, botany, entomology and language as i can. i have also being researching as much about jungle survival and safety and many other practical requirements. oh plus a stills camera and maybe an 8mm film camera to. im going to be about as fully equipment for the unknown. additionally to all of this im going to play a few shows in Rio in Brazil and Lima in Peru, meet the local musicians and see what their all up to. there are going to be a large number of concise outcomes from the project though, as although im remain to be a little unclear about the purpose of the project or what the work involved will actually be, i am %100 confident that it, and the work, are %100 clear in their own way and the results with express this entirely. i'll mention a few of the interesting ones: - to start with, there will be alot of music/CD/compositional related results. the first and most interesting will be a limited addition CDR of selected and edited recordings and compositonal related field recording works which will only be available via pre-sale before i embark on the project. an important element to this release is its distribution as once you pre-purchase the release you will be asked to write down you address, a few months later you will receive the release which will be sent directly from the source the recordings where made in the Amazon (or the closed post office to it) which is the only place the release will be available, form the source. once i leave the place the release will never be available again. - interestingly, i am in the process of communicating with a number of museums about the possibilities of creating a natural history related surround sound installation exhibit, exhibiting sound environments of the the tropical rain forest etc. i'll leave it there as there really is just to much to say, to many ideas, to many plans and to many potential results and outcomes it almost makes me scared. of coarse, all of this relies on if i cant raise enough money to finance it all as heading of into the jungle is far more expensive that might be expected, plus other costs such as the workshop/residency at Mamori Lake, flights, equipment and tons vaccinations etc. i have been applying to funding all year with %0 percent success at this stage. i am waiting to hear back from a few more but am refusing to rely on them being successful and am instead focusing on financing the project as much as i can on my own. so, please come along to the fund raiser and help out with this ambitious but extremely exciting project. love Sam Hamilton -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070813/c758b668/attachment.htm From turnstyle at obscure.co.nz Sun Aug 12 22:56:55 2007 From: turnstyle at obscure.co.nz (change everything) Date: Mon, 13 Aug 2007 17:56:55 +1200 Subject: [Af_List] Spiral Control Message-ID: <46BFF2A7.6030002@obscure.co.nz> Hey Af.. Following is a post ' which is really just me blowing more smoke in the air. While empathy may help my ego. I am attempting to share my thoughts in order to keep an awareness about the sonic learning environments in NZ open. This year I have been attempting to study Composition at Canterbury University. (Some of you may have read my mid year report.) Anyway I have been informed by my Lecturer that I will most likely get a C- grade which is a pass for points but a non continuing grade in regards to Composition. The reasoning is because I don't have a adequate grasp of music notation. I do understand the perspective and responsibility of my Lecturer to limit the continuation in Composition to students who function 'well' within in the practise of music notation. What I don't understand is that we are not taught music notation specifically. We are taught compositional concepts and theory in a very loose fashion, which involves listening to music and being lectured to about it. There is a some discussion. There is also a separate workshop where we have seen/heard many different musicians and composers. People like Jack Body, Bruce Russell and other collections of classical performers. My work does explore, exploit and express many of the compositional ideas but in a different medium than notes on paper, or tonal melody. I can provide very detailed instructions on how to produce my works My Lecturer has observed that I understand musical concepts very well, and he can identify with my knowledge and experience with sound & audio. The single A grade I received so for was for a rhythmic sound installation using sub bins & sine waves. However I was informed that the rest of my submissions needed to be notation only. I am learning music notation simultaneously to the composition course, however my rate of acquisition of this skill is not really matching the the requirements of composition. Further, while music notation is interesting in itself and exposing me to new idea. These ideas are a distraction and divergence. A parallel science to my actual practice, like learning guitar in order to play the drums. .. The suggestion my Lecturer has made, is that I look for a place in the Sculpture department of the Fine Arts school. A move that will require me to re-arrange my work to match different set of slightly unsuited requirements. Part of me understand completely. Another part of me is deeply offended and bitterly disappointed with the this suggestion. I feel that I am effectively being dismissed from the department of music because of my approach to sound. The goal was/is to make it into Sonic Arts at Canterbury. A course Lectured by my current lecturer (who is away next year) and therefore the course will not be offered in 2008. Still I am discovering that Sonic Arts is a modern word for electro acoustic music. There is not really an encouragement to do multi channel sound or anything outside of Protools. .. Today I am a little angry having received another poor grade. Committing me to getting the C- I have been promised. However I did not come to University to be angry or to fight the system. The rational adult part of me understands my Lecturer and his reservations re: encourage my more experimental practice inside the institutions of classical music and composition. I am just deeply frustrated. I have some sonic ideas that I have been trying to explore for over a decade. Looking locally and internationally I know that these ideas are good solid ideas with room for expansion, interaction and development involving many people. Moving away from my location is not an immediate option in my life. Everyone I know in NZ who is practising on the margins has struggled. Struggled either inside institution, or outside in 'popular' music environments. I appreciate that this is part of the reality of being experimental of pushing the boundaries. Most of these people have left the country, or are considering it in order to expand there practices or increase their learning options. I just have to almost embarrassingly ask WHY? NZ is full of talented switched on people, with a rich history of successful experimentalism. .. What confounds me is that Bruce Russell was invited to talk to the Composition course, probably one of the most inspiring people I have heard all year. someone who was able to talk more about what they were doing/do with sound than some of the most learned music academics that have been paraded for us. Yet .. simultaneously we are restricted from exploring the practices of Bruce Russell because it is unable to be notated. In some respects I felt it was an insult to Bruce to have him speak at the school of music, like a class trip to the Zoo to see an caged animal. It was liberating to here him speak, yet disappointing to be in a class of first year students who are effectively being musically neutered by their training. .. Yes .. well .. I do understand everything. but .. I would just like to study, practice, develop and discuss my ideas with understanding peers, in a learning environment for a few simple years. I would like to do this where I do not have to learn auxiliary skills just in order to justify my presence. I would like to do this where multiple and diverse disciplines are able to interact on equal footing. Why is my work stranded in no--man's land? Why are institutions constructed of inflexible compartments? .. enough ranting .. Please register my vote (again) for an experimental audio institute in New Zealand that will endorse, foster and expose the incredible worlds of our shared and varied practices. Aroha .simon ps: Canty Uni is full of committed people doing their best consider the circumstance. From sclover at xtra.co.nz Sun Aug 12 23:36:06 2007 From: sclover at xtra.co.nz (stephen) Date: Mon, 13 Aug 2007 18:36:06 +1200 Subject: [Af_List] Spiral Control Message-ID: <000901c7dd74$3ac76780$0501010a@SN2790677022> change everything wrote: > The reasoning is because I don't have a adequate > grasp of music notation. The desperate grasping of the dying "classical" "academic" tradition, which has been driving talented and worthy composers away from the ivory towers on the hill for a long time now. > Please register my vote (again) for an experimental > audio institute in New Zealand that will endorse, > foster and expose the incredible worlds of our > shared and varied practices. Seconded. [stephen clover::::www.dorkinglabs.com/seht.php] -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070813/542b2b87/attachment.htm From fiffdimension at hotmail.com Sun Aug 12 23:39:06 2007 From: fiffdimension at hotmail.com (David Edwards) Date: Mon, 13 Aug 2007 18:39:06 +1200 Subject: [Af_List] www.fiffdimension.co.nz is back / free downloads Message-ID: Annyong haseyo, I'm very happy to announce that the www.fiffdimension.co.nz website is back online. Go there for the album catalogue and more mp3s, photos and texts. More updates will be forthcoming in the next few weeks. I've also started reissuing some of my old albums online for free download - first up is Mantis Shaped and Worrying, the idiosyncratic introspective xenochronous non-noise verbiage outburst from 2002. It met with critical incomprehension at the time; has the 21st century caught up with it yet? Follow the link, see what you think: http://www.jamendo.com/album/6930/?refuid=148493 Life in Busan is going well - fairly enjoyable job, temperatures in the low 30s, friends contactable by internet, music practice ticking along, had my first gayageum lesson on Saturday and learned to play 'Arirang'... Dave -- www.fiffdimension.co.nz www.fiffdimension.co.nz _________________________________________________________________ Live Search delivers results the way you like it. Try live.com now! http://www.live.com From turnstyle at obscure.co.nz Mon Aug 13 03:48:20 2007 From: turnstyle at obscure.co.nz (change everything) Date: Mon, 13 Aug 2007 22:48:20 +1200 Subject: [Af_List] Spiral Control In-Reply-To: <000901c7dd74$3ac76780$0501010a@SN2790677022> References: <000901c7dd74$3ac76780$0501010a@SN2790677022> Message-ID: <46C036F4.1010803@obscure.co.nz> > > The reasoning is because I don't have a adequate > > grasp of music notation. > > The desperate grasping of the dying "classical" "academic" tradition, > which has been driving talented and worthy composers away from the ivory > towers on the hill for a long time now. What is most painful .. is that I have this conversation with my lecturer in our one on one tutorials and in the class workshops. He has said stuff in class like "there are no new note sequences" or that "there are about 300 pieces for string quartet written every year, worthless" .. . It is really upsetting to hear this tone from the front of class .. and yet be knowingly forced back into the abstraction of notation in order to meet a grading schedule. I am a good ten years older than everyone else in my class, and yet I am not the only one who is struggling and a little confused in this dual environment. Perhaps the younger class are more likely to absorb it all without question, but it certainly is not an environment that will foster great passion and talent. Composition presented in this context appears to be the the skill set of draughtsman not an architect. .. Anyway .. just trying to figure out how to resolve this as a positive experience. .simon From telemetry at rtcnz.com Mon Aug 13 15:25:10 2007 From: telemetry at rtcnz.com (rtcnz[telemetry]) Date: Tue, 14 Aug 2007 10:25:10 +1200 Subject: [Af_List] Spiral Control In-Reply-To: References: Message-ID: <8058A8A1-722F-4B66-819A-E5E338C47064@rtcnz.com> > hi si > > The reasoning is because I don't have a adequate grasp of music > notation. without going into a rant about how a lot of instituitons are set up to have square students go into square holes i would suggest its because they cant read ( or be bothered to learn how to read) the way you "write". and dont have the time to > > I do understand the perspective and responsibility of my Lecturer > to limit the > continuation in Composition to students who function 'well' within > in the practise > of music notation. there are many ways to notate music, unfortunatly you are confined in a system ( musical pun intended) so how does one maneuver oneself? some random ideas: pay someone to transcribe your ideas because of your interest in frequencies you could write using frequencies and then transcribe them an A3=440 G3=392hz etc etc... say that you are not interested in the diatonic system and move on. move to the sculpture dept ( but have a good meeting with them first) ... keep learning music notation .. try again. invent your own notation and and key to read it with.... say you are composing microtonally. steal ideas .. stravinsky said ?Good composers borrow, great composers steal.? learn how to write in just one key and always use that.... learn the relationships of notes to harmony and go for it. learn how to write dynamics as well. whatever way you go you'll have to "learn" something.... its like with software.. i learn the software in order to be able to produce the results i want to hear.... i learn how to use a PA in order to produce the results i want to hear.. > > My work does explore, exploit and express many of the compositional > ideas but in > a different medium than notes on paper, or tonal melody. frequency cannot help but be tonal > > Further, while music notation is interesting in itself and exposing > me to new idea. These > ideas are a distraction and divergence. but a necessary part of the square hole you are in > A parallel science to my actual practice, like > learning guitar in order to play the drums. i disagree its just another way to describe what you want to do.. > > > > The goal was/is to make it into Sonic Arts at Canterbury. A course > Lectured by my > current lecturer (who is away next year) and therefore the course > will not be offered > in 2008. so you can keep learning notation and do it again next year? then SA in 09? > > Still I am discovering that Sonic Arts is a modern word for electro > acoustic music. > There is not really an encouragement to do multi channel sound or > anything outside > of Protools. see above about square holes .... but you could take a saw into that square hole and start cutting some different shapes?? > > .. > > Today I am a little angry having received another poor grade. > Committing me to getting > the C- I have been promised. > > However I did not come to University to be angry or to fight the > system. The rational > adult part of me understands my Lecturer and his reservations re: > encourage my more > experimental practice inside the institutions of classical music > and composition. seeing as sonic arts is not offerreed next year then again you have an extra year to do composition 101 again and improve your notation abilities to the point where you can get the grade you need to continue.. go for it... you will know the assignments that will be set .. and then once you are into sonic arts leave it behind > > I am just deeply frustrated. i can understand and empathise with that. > > > Most of these people have left the country, or are considering it > in order to expand there > practices or increase their learning options. > > I just have to almost embarrassingly ask WHY? NZ is full of > talented switched on > people, with a rich history of successful experimentalism. because it takes a lot of courage to get on a ship to travel to the otherside of the world. and then find a surprising lack of deadly animals. > > .. > > What confounds me is that Bruce Russell was invited to talk to the > Composition course, > probably one of the most inspiring people I have heard all year. > someone who was able > to talk more about what they were doing/do with sound than some of > the most learned > music academics that have been paraded for us. > > Yet .. simultaneously we are restricted from exploring the > practices of Bruce Russell > because it is unable to be notated. In some respects I felt it was > an insult to Bruce > to have him speak at the school of music, like a class trip to the > Zoo to see an caged > animal. yep thats just crap.. > > It was liberating to here him speak, yet disappointing to be in a > class of first year students > who are effectively being musically neutered by their training. thus you find yourself in the amazing position of being able to learn a system but NOT be neutered by it > > Yes .. well .. I do understand everything. but .. > > I would just like to study, practice, develop and discuss my ideas > with understanding > peers, in a learning environment for a few simple years. then give them what they need and take what you need > > I would like to do this where I do not have to learn auxiliary > skills just in order to justify > my presence. then you will find it tricky > I would like to do this where multiple and diverse disciplines are > able to > interact on equal footing. see: dance parties... lol > > Why is my work stranded in no--man's land? it isnt > Why are institutions constructed of inflexible compartments? ahhh... see pages 1- 100000000000000000000000000000000000000000000000000000000000000000000000 000000000000000000000000000000000000000000000000000000 of the internet > > .. > > enough ranting .. > > Please register my vote (again) for an experimental audio institute > in New Zealand that > will endorse, foster and expose the incredible worlds of our > shared and varied practices. but how would we describe it to each other? our works that is? ( he says while poking a big stick) what about vic????? could you move? is it any better?.. the new music school thingy could be mildly interesting...he says skeptically.. > > > Aroha > > .simon L > > > ps: Canty Uni is full of committed people doing their best consider > the circumstance. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070814/9bd28de1/attachment.html From sclover at xtra.co.nz Mon Aug 13 18:30:54 2007 From: sclover at xtra.co.nz (stephen clover) Date: Tue, 14 Aug 2007 13:30:54 +1200 Subject: [Af_List] Spiral Control Message-ID: <15540975.1187055054257.JavaMail.root@sf1435> leyton: > some random ideas: > pay someone to transcribe your ideas [...] hey leyton, these are all great ideas! > what about vic????? could you move? is it > any better?.. marginally better, according to prevailing opinion. > the new music school thingy could be mildly > interesting...he says skeptically.. yeah, is gonna be fascinating how this turns out. si: > Composition presented in this context appears > to be the the skill set of a draughtsman, not an > architect. LOL exACTLY > Anyway .. just trying to figure out how to resolve > this as a positive experience. I admire your resolve and courage, man -- I've stayed away from the university music schools for pretty much the same reason, and other similar, to the problems you are outlining. Would be interesting to hear damian/frey's opinion., as a grad (?) of VUW music school. -s From samukun at gmail.com Mon Aug 13 23:23:21 2007 From: samukun at gmail.com (Sam Hamilton) Date: Tue, 14 Aug 2007 18:23:21 +1200 Subject: [Af_List] Spiral Control Message-ID: <19ccf87f0708132323k59645213h6bc833dadbf48c32@mail.gmail.com> firstly, booooo.... what a stinker of a situation, my only hope is more people are driven away of your class/uni as much as you are (emotionally i mean, it seems to are hanging in there far more than most would, shit, i admire your ability to even attempt working your way through that system, i keep a fucking barge pole between myself and university for all of the reasons your discovering, although i gotta say im hardly surprised that your head is being forced up against that brick wall repeatedly but surely you expected that would happen?) stink buzz, i reckon the whole world would be a better place is we all decided on a new word (secretively of coarse) for music so we could leave "music" to the university stiffs walking around with carrots up their arse's spouting rubbish about how it gives them the best posture to play piano in. i agree that it would be way fucking cooler to have alternatives to the classic music schooling system, or even just a music schooling system that was open to the other %99 of possible other ways to make and listen to music. but i think the talented ones are the ones who realise that whole fucking world drags music down and is worth just leaving behind and going off and inventing your own world, context of expression and learning, your own peers and your own system of values (and those you share with others to!, sharing is a great part of musical communication). simon, i think you should feed your "C" report thing through some clever machine that turns the letters, font, style and text formatting stuff into notation, timbre, rhythm etc and hand that in for your next assignment (if of coarse you can resist the temptation to fold it into a paper airplane to direct at the lecturers eye ball, which really, is the best value you can get from a music degree isnt it?, if a music degree really meant anything, truelly meant anything in the importants of music and sound, surely they wouldn't fucking print it on paper... they'd give you aiff file with it clearly translated into audio, or if your studying older classical music, a wax cylinder and ethnomusicology degree's would be a piece of the lecturers own skin dried and stretched for you to use as a membrane for a drum) simon, i sincerely hope that by some marvelous fluke of nature, your lecturer and work assessors realise their true passion is actually typography and in a moment of pure genius, appoint you the head of the Canterbury music department giving you full freedom to allow musical education to flurish for the benefit of all with open ears sam -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070814/110069e3/attachment.html From turnstyle at obscure.co.nz Tue Aug 14 02:08:40 2007 From: turnstyle at obscure.co.nz (change everything) Date: Tue, 14 Aug 2007 21:08:40 +1200 Subject: [Af_List] Spiral Control In-Reply-To: <15540975.1187055054257.JavaMail.root@sf1435> References: <15540975.1187055054257.JavaMail.root@sf1435> Message-ID: <46C17118.3080104@obscure.co.nz> Thanks for all the feed back .. !! Some very helpful and viable suggestion. To some degree I knew what I was getting myself in for at Uni .. and probably deserve all the scholastic lashings I asked & paid for. It just makes me wonder: Is it more acceptable for someone to work with abstract sound in a Sculpture class or a Composition class? I want to be involved in a process of critique. I want to interact with people who are intent on listening to music, sounds, noise. I am certainly willing to try different departments to achieve this. It did seem logical at the start of the year that Composition would be the best stream for this. .. In regards to midi conversion into music notation with software. I have been using this process and admitted as much to my Lecturer. Writing music this way is allowed but it is not encouraged. I also use a real piano and paper. slowly. but .. it is frustrating to not be good enough with notation to understand the mistakes or lack of information the software creates. Also the process with paper and pencil is slow and currently unintuitive. In my usual music practice I know much more about the tools I am using and are able to utilise them expertly. Music notation makes everything clumsy and weird for me again. So in this regard the resulting music is reflective of this. .. The Schools is changing though and I should probably be writing about my more positive experience in Digital Music. Which does involves a musical approach I do understand and enjoy. However as yet Digital Music is not a major. So there is still room for some healthy expansion in music departments .. or for that matter Sculpture depts !! ack. .simon From paul.moss at music.gen.nz Wed Aug 8 22:27:15 2007 From: paul.moss at music.gen.nz (Paul Moss) Date: Thu, 9 Aug 2007 17:27:15 +1200 Subject: [Af_List] Three Scapes Three Papatuanuku is a public outdoor event at Te Rae Kai Hau Point on Tuesday August 28th at 5 pm onwards sunset and total lunar eclipse Message-ID: <014801c7da45$f47efcb0$dd7cf610$@moss@music.gen.nz> Breaking NEWS!! For immediate release to all networks; please forward to all .. -----begin Three Scapes Three - Papatuanuku 'Three Scapes Three' is a public outdoor event at Te Rae Kai Hau Point on Tuesday August 28th at 5 pm onwards. It features the exquisite south coast sunset, the sky, telescopes and a barbeque, a full moon rising and a TOTAL ECLIPSE of the moon maybe not seen in New Zealand for another 40 years! The moon will rise ahead of sunset, slipping back into the earths shadow after sunset , turning redder and darkening for 5 hours, an awesome spectacle not to be missed! This full moon is a 'Sturgeon Moon' paying homage to the sea, Tangaroa, which surrounds three sides of the point. The purpose is to share the wonder of the sky, and raise awareness for reducing light pollution. This is the third in the series of three, Atea, Tangaroa. Papatuanuku, the land on which we stand, is the foundation of all human activity and must be thought about carefully in relation to the sky and the sea. Presented by Southern Kaitiaki for You, and a range of other interested individuals and groups. More info, maps, and wet weather plans will be posted on www.sky.org.nz . Paul Moss voice 233 9889 text 021 440 443 email ThreeScapesThree at music.gen.nz Technical info here: http://www.rasnz.org.nz/Events2007.htm#Moon2 and here: http://www.hydro.linz.govt.nz/astro/ Sunset at 17:53, (7 minutes to 6pm) Bearing 282 degrees Moonrise at 17:32 (28minutes to 6pm) 'First contact' Aug 28, 7:52:11 pm NZST (8 minutes to 8pm) end--- In accordance with my respect for your privacy and personal requirements, if you prefer to have your name and email address removed from my list then please feel free to let me know at ThreeScapesThree at music.gen.nz . Please accept my apologies for disturbing your inbox. Paul Moss. regards, Paul Moss 233 9889 (+64 4 233 9889) 021 440 443 (+64 21 440 443) Sky w www.sky.org.nz Sharing Space w www.astronomy.net.nz Map Net Ltd w. www.map.net.nz Rakiura Music w. www.music.gen.nz Saving Te Rae Kai Hau Point w www.gadot.org.nz -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070809/ad844ef8/attachment.html -------------- next part -------------- A non-text attachment was scrubbed... Name: not available Type: image/gif Size: 862 bytes Desc: not available Url : http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070809/ad844ef8/attachment.gif From paul.moss at music.gen.nz Tue Aug 14 06:56:05 2007 From: paul.moss at music.gen.nz (Paul Moss) Date: Wed, 15 Aug 2007 01:56:05 +1200 Subject: [Af_List] Spiral Control In-Reply-To: <46C17118.3080104@obscure.co.nz> References: <15540975.1187055054257.JavaMail.root@sf1435> <46C17118.3080104@obscure.co.nz> Message-ID: <003401c7de7a$dba8d600$92fa8200$@moss@music.gen.nz> Good reading, thanks for all that, as a re-entrant to the industry in some ways I like to hear whats happening. This list is great for that!. Personally I was put off the conventional notation as a fourth former at high school that literally beat me for not doing maths homework and I was top of the stream so what were they thinking??? several canings with bruises was a bit harsh on a 14 year old I reckon, and generated un-plumbed resentments for life... (I won a scholarship for stream duz a few months before.. weird). Anyway I write to say that performance is a good method of critique, but not I suppose very reliable to frontline works esp in the suburbs. Most of my neighbours go to work but one elderly retiree (TWO doors away) prefers the motorway (yes SH1 at Paremata) and the main trunk line, and a local busy road, to my subsonic experiments or any sub sounds at all. My 19 yr old's songs take him to a frenzy by mid afternoon but we work to it. I suggest you could be performing your work in the street, at parks, on hills, with your own gear perhaps you are already. I don't really understand the need for certification of new compositions that might not comply with many known rules, it seems self defeating. If its to get work then maybe the work will be stifling as well. I have been recording sounds in a seashell, at the sea, and that's sonic art but what notation is available to write that down. I could tell you the centre frequencies of each shell, the approx bandwidth, guess at a Q value, and say the signal to noise is low but the noise is the signal so a bit complex to argue about. I don't get it. Would I have to replay those samples as musical notes in a more formal composition to run into your difficulties? Is it the repeatability that needs to be examined here, or the ability for others to reproduce your performances from paper? I spent decades with many musicians who don't read or write, but deliver precision, interpretation, and love. Goosebumps tell me everytime. I am running a show this Saturday night with very low musical barriers to climb over, almost zero. I aim to have fun and share some knowledge and skills with as many young upcoming musicians as possible. I did like the idea of paying to print the score, that appeals to me. Much of modern life centres around how to use tools, not how the tools work, but what the tools deliver!! For something different to kick off the show at Subnine on sat nite I thought I might play an actual 10 inch reel from 1979 of a show I made up then, a fully commercial performance of records, to take an audience up slowly from their dinner, and whip them into a frenzy, in about 60 minutes. Its full retro and not much art in some ways, and yet fully creative in others. What do you all think of such an idea?? It will be followed by a DJ and then a short political talk (Wellington elections and the South Coast) and then a live band and more DJ's later, so it may well be a key part of the diversity of the evening. See www.music.gen.nz for the details if you wanna help then come and do your thing.. (I need a good sound guy for the stage.) I'm doin foh. paul moss.. (ps Incidentally www.eventfinder.co.nz is delivering good traffic to event notices, and is a full on social networking tool to go, go and look, sign up and lets use that as the key event notice site, or is there a better one. ) -----Original Message----- From: af_list-bounces at list.audiofoundation.org.nz [mailto:af_list-bounces at list.audiofoundation.org.nz] On Behalf Of change everything Sent: Tuesday, 14 August 2007 9:09 p.m. To: A list digest for the support of innovative audio culture in NZ Subject: Re: [Af_List] Spiral Control Thanks for all the feed back .. !! Some very helpful and viable suggestion. To some degree I knew what I was getting myself in for at Uni .. and probably deserve all the scholastic lashings I asked & paid for. It just makes me wonder: Is it more acceptable for someone to work with abstract sound in a Sculpture class or a Composition class? I want to be involved in a process of critique. I want to interact with people who are intent on listening to music, sounds, noise. I am certainly willing to try different departments to achieve this. It did seem logical at the start of the year that Composition would be the best stream for this. .. In regards to midi conversion into music notation with software. I have been using this process and admitted as much to my Lecturer. Writing music this way is allowed but it is not encouraged. I also use a real piano and paper. slowly. but .. it is frustrating to not be good enough with notation to understand the mistakes or lack of information the software creates. Also the process with paper and pencil is slow and currently unintuitive. In my usual music practice I know much more about the tools I am using and are able to utilise them expertly. Music notation makes everything clumsy and weird for me again. So in this regard the resulting music is reflective of this. .. The Schools is changing though and I should probably be writing about my more positive experience in Digital Music. Which does involves a musical approach I do understand and enjoy. However as yet Digital Music is not a major. So there is still room for some healthy expansion in music departments .. or for that matter Sculpture depts !! ack. .simon _______________________________________________ Af_List mailing list http://list.audiofoundation.org.nz/listinfo.cgi/af_list-audiofoundation.org.nz From slowchimes at gmail.com Tue Aug 14 18:16:37 2007 From: slowchimes at gmail.com (Andrew Scott) Date: Tue, 14 Aug 2007 18:16:37 -0700 Subject: [Af_List] Af_List Digest, Vol 16, Issue 10 In-Reply-To: References: Message-ID: <1f226fe90708141816q70516738v635b0dc2c4b086bb@mail.gmail.com> > > > > 1) Celine / Rachael King - Does anybody know if any > > recordings exist of this trio version of Celine? > > Yeah.. pretty sure there's a 7" lathe which is impossible to find anywhere.. > I remember Andrew Moon or Nick Cain talking about it once. Or.. was that of > a different version of the band? The 7" is called 'Two Winged Saviour', but its just a Moon/Lundon duo, no Racheal King. As far as I know there was never any trio recordings, but it would be cool if I was wrong... - Andrew From staticmansion at gmail.com Tue Aug 14 19:27:14 2007 From: staticmansion at gmail.com (Sally McIntyre) Date: Wed, 15 Aug 2007 14:27:14 +1200 Subject: [Af_List] sound and tertiary eduction Message-ID: <2438c9920708141927m461fe81fieb272324ed20da75@mail.gmail.com> Hey Simon, The idea that sculpture departments might be amenable to spatial music practices is not a silly one, and has a long post-conceptual history in the 20th Century; although the Arts faculties across the board are suffering from lack of support (financial and otherwise) at canterbury Uni there is one lecturer at Ilam School of Fine Arts, Louise palmer, who has an interest in and knowledge of experimental sound to some extent. It might be worth talking to her about your ideas, if you are going to stay studying at canty in the meantime. The latest issue of Aust media arts magazine Realtime has a section on Arts Education which is worth having a look through, Stephen Whittington (who teaches at the University of Adelaide) has written specifically about music education in the teritary sector and the challenges it faces; eg: (...) The arts have a love-hate relationship with institutionalised academe. They have accepted the shelter it offers but resent the demands and constraints it imposes. The essence of what the arts teach is implicit and unquantifiable, but we have to articulate it and quantify it to justify our existence. The challenges are perpetual: how to respect tradition without being stifled by it, how to honour the past while embracing the present, and how teach an art that is defined by freedom and imagination within an institutional framework that is encumbered by rigidity and inertia. The future of music education depends on how we meet these challenges. (...) (...) The newcomer on the block is the burgeoning field of music technology. Music schools have long accepted technology as an adjunct to composition (though often awarding electronic composition inferior status to instrumental composition) but are now being obliged to confront technology's presence in nearly every sphere of musical endeavour. A deep-seated mistrust persists, which is not entirely misplaced. Technological novelty too often masquerades as originality, scientism dominates aesthetics, and hard-won skills are replaced by software. At the same time technology is an inescapable fact of the musical future. Music schools are confronting a dual challenge: how to deal with a new group of students whose musical experience has been entirely shaped by technology (and who often lack conventional musical training), and how to prepare instrumentalists and composers for a technologically mediated future. the whole article is here, along with a big section of others: http://www.realtimearts.net/article/80/8633 -- sally ann mcintyre // 143 clyde rd, fendalton, christchurch, new zealand // 0064 3 3518904 // 021 2106243 // staticmansion at gmail.com From dr_rory_storm at yahoo.co.nz Tue Aug 14 20:29:04 2007 From: dr_rory_storm at yahoo.co.nz (Rory Storm) Date: Wed, 15 Aug 2007 15:29:04 +1200 (NZST) Subject: [Af_List] Af_List Digest, Vol 16, Issue 12 In-Reply-To: Message-ID: <643524.14727.qm@web51507.mail.re2.yahoo.com> who hasn't had a drunken party arguement about what you'd teach in Free Noise 101? Actually, I have a whole syllabus and teaching methodology worked out for it in my head if you're reading this, Mr Downes. Send instant messages to your online friends http://au.messenger.yahoo.com -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070815/f67b1f5a/attachment.htm From samukun at gmail.com Tue Aug 14 22:44:31 2007 From: samukun at gmail.com (Sam Hamilton) Date: Wed, 15 Aug 2007 17:44:31 +1200 Subject: [Af_List] Amazon Resounding benefit show rescheduled Message-ID: <19ccf87f0708142244t6a350f5dkdde2a6844f2ab1a2@mail.gmail.com> hia all, sorry for the muddle, the ARTSPACE fundraising show for my Amazon sound recording project has been postponed most probably until setpember 15th or later. will keep you updated ay. all other information is correct asM -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070815/8a1ec73b/attachment.html From turnstyle at obscure.co.nz Tue Aug 14 23:51:28 2007 From: turnstyle at obscure.co.nz (change everything) Date: Wed, 15 Aug 2007 18:51:28 +1200 Subject: [Af_List] Spiral Control In-Reply-To: <003401c7de7a$dba8d600$92fa8200$@moss@music.gen.nz> References: <15540975.1187055054257.JavaMail.root@sf1435> <46C17118.3080104@obscure.co.nz> <003401c7de7a$dba8d600$92fa8200$@moss@music.gen.nz> Message-ID: <46C2A270.80706@obscure.co.nz> > I spent decades with many musicians who don't read or write, but deliver precision, interpretation, > and love. Goosebumps tell me everytime. Great stories Paul .. I run with the goose bump ting as well. You did kind of ask why I am bothering to attempt to get a qualification in (something) I had been thinking about this for years before I enrolled at University, and in some ways I broke my own rules by enrolling .. the old "I did it my way" rule. The drive to get a qualification comes from a need to progress my work. I have been messing around with sound systems for years, but always in working situations. When I was heavily into dance parties and helping to run sound systems I was able to do freaky things with sound and try out new ideas. As I moved into more professional circles of audio production more of the standard industry restrictions came into place. Cycling back to dance parties in recent years I discovered that parties have become more restrictive as well. With audiences & Dj's expecting specific kinds of set-ups. Face the front. This year I have even gotten involved with the ChCh experimental community, doing audio production for the Borderline Ballroom. Even in this environment there are restrictions on what you can do with the audio. The expectations of an experimental performer are just the same as any other performer. All this is understandable really. Everyone's perception of sound presentation is defined by some fairly strong social norms. I don't want to force the change, but it would be nice to be _trusted_ to make changes. So while the subversive part of me is quite happy to hijack systems and run alternative sound set-ups inside conventional presentations. The serious part of me wants to establish some recognition around being creative with sound systems and structures. The idea for perusing composition is reflective of the idea that a Composer ultimately creates pieces for an orchestra. So in a modern setting, an engineer who could establish themselves as a Composer could create ideas for multiple electronic performers, multiple speakers, multiple environments. A Composer can write notes on paper, but they can also dictate (although not often) where the performers sit, where the performance takes place .. and all manner of instructions that relate to the presentation of a piece. Ultimately composers are like sonic architects. It's this title of authority that I am interested in. The ability to summon the focus of many people towards an seemingly abstract sonic goal. Of course I don't assume getting a BA in composition will change my status over night, but it could contribute to the overall level of trust people might give me in a situation involving vast amounts of sound equipment and a sine generator. Obviously involved with the study of Composition is a the time to explore sound and sound ideas, to improve my craft in ways not possible in a commercail environment. .. There are other paths to this goal of _trust_. You can be an professional engineer, which in a degree I am. I run an successful production company and spec sound systems for my events, however I am still constrained by the professional expectations of clients. .. etc. Something I can't afford to compromise. You can be come a successful performer and write your own System riders, creating your own music in your own way. Which I also do! However this process is dependent on my success as a performer to be popular .. etc .. etc .. no audience, no show. You could also be an Artists and create unique sound installations that achieve international invitations and accolades in all the right place. Something I also aspire to do. . . Being a Composer for what its worth gives you a social status that allows for a different type of dialogue with performers and audience that exceeds the capability of an engineer, performer or artists. Perhaps I am associating too many things to the idea of being a Composer. However if I am learning anything on this list, there are lots of very creative people expressing some diverse and rich ideas that are generally dismissed by traditional practice. Not only is this situation very conservative, it's starting to be positively backwards in a musical sense. It's is limiting a whole stream of information and ideas that is brewing out of alternative thinking, fresh thinking, unconventional thinking. I suppose I do want to challenge the ivory tower in this situation. Because I do believe it is time for a change in NZ. I think there are some really important things that need to be discussed and I don't see this occurring through classical methods. As an adult student at University it is difficult to avoid the inherent deeper politics of the situation. It may be unimportant, but something (the goose bumps) tells me that it's in these places that struggle need to happen. Many other mediums of Art have had their vitality expanded by opening their doors to new ideas. . .. From turnstyle at obscure.co.nz Wed Aug 15 00:13:33 2007 From: turnstyle at obscure.co.nz (change everything) Date: Wed, 15 Aug 2007 19:13:33 +1200 Subject: [Af_List] sound and tertiary eduction In-Reply-To: <2438c9920708141927m461fe81fieb272324ed20da75@mail.gmail.com> References: <2438c9920708141927m461fe81fieb272324ed20da75@mail.gmail.com> Message-ID: <46C2A79D.3070806@obscure.co.nz> Sally McIntyre wrote: > Hey Simon, > > The idea that sculpture departments might be amenable to spatial music > practices is not a silly one, I agree, and I am looking into this option. Certainly the process of teaching and assessment in Sculpture seems much more available to abstracted / spatial ideas. While I think Sculpture has an important conceptual understanding of space, the knowledge of sound is based in the music department ?? The other suggestions that have been made are the Theatre department or even Film. (!) What I think would be ideal is a balance between music & sculpture. A studio driven practice with a process of critique, alongside a class based process with a detailed study of sound. > .. about music education in the teritary sector and the > challenges it faces; eg: I agree with those comments and will look into the article some more. One conclusion that does seem logical though, is that the practices we are consider here on Af-list could exist completely outside academic institutions. Beyond a qualifications I think many people here would enjoy time in a space to explore a specific project or idea, or just to participate in workshops. I know this is happening informally in some of the events being run around the country and has been captured in the past with projects like Oscillate down south. .. The idea of some kind of experimental band camp is always kinda fun !! From jcontag at paradise.net.nz Wed Aug 15 22:06:42 2007 From: jcontag at paradise.net.nz (johannes contag) Date: Thu, 16 Aug 2007 17:06:42 +1200 Subject: [Af_List] career choice composer In-Reply-To: Message-ID: > > A Composer can write notes on paper, but they can also dictate (although not > often) where the > performers sit, where the performance takes place .. and all manner of > instructions that > relate to > the presentation of a piece. Ultimately composers are like sonic architects. > > It's this title of authority that I am interested in. The ability to summon > the focus of > many people > towards an seemingly abstract sonic goal. hi simon, i've been following your thread with sympathy - bollocks to the narrow-mindedness/curricular guidelines of music department composition lecturers. of course you should be able to present your works in the format that suits them best, without being disadvantaged. i find it surprising though that your goal with this course is to gain the status of a composer, to get authority through reputation. this sounds like a case of wanting your cake and eating too, as good as your intentions may be. in the vocabulary of reputation, a "composer", whether contemporary or not, describes a person who creates music for classical concert halls to be performed by classically-trained musicians. as conservative as this view may be, it's a fact. i'd wager that for over 90% of listeners who place value in "composers" even john cage is just a curious oddity. if you want to build up a reputation as a composer who uses PAs and sine wave generators as his orchestra, you'll still have to prove your worth as an instrumental composer first, because why else should the connoisseurs of composition trust your status? you could argue that most PA technicians with half an interest in drones would produce some thought-provoking performances in a concert hall given the right equipment, but that's not what audiences go to concert halls for - that's what makes them avoid experimental art gallery gigs (sadly). if you want to bring new impulses to a music system that is based on a huge and impressive tradition and understandably doesn't want to be swamped in dilettantic mediocrity (i.e. technology - as described in the article posted by sally mcintyre), you'll have to play by its rules a little first, as patronising as that may be. it's a bit short-sighted to say "i demand my sonic experiments be given a fair hearing" when sonic experimentalism is regarded a hit-n-miss genre by those who judge you. bite the bullet and learn to notate, it's not that hard, ten-year-olds can do it. or else accompany each of your submitted compositions with an essay that describes how ineffective notation has become as a means of encapsulating composition, and offer viable alternatives (have you tried frequency graphs and phase analyses?). alternatively, you could always try to infiltrate the world of contemporary composition from the outside... which would give you an "outsider" status, which is way cooler than a "BMus in Composition" status and a shitload more likely to gain you recognition. i haven't been following the contemporary composer scene at all, but i somehow doubt it's the composition graduates who are making an impact on the experimental fringe. i think i'd second the sculpture department. jo From sclover at xtra.co.nz Wed Aug 15 22:39:15 2007 From: sclover at xtra.co.nz (stephen clover) Date: Thu, 16 Aug 2007 17:39:15 +1200 Subject: [Af_List] sound and tertiary eduction Message-ID: <25310325.1187242755038.JavaMail.root@sf1439> > The idea of some kind of experimental band > camp is always kinda fun !! totally. a friend went to some kind of young composers/sonic experimentalists workshop "camp" in Nelson a few years ago, where he was able to premiere his new octophonic piece. no more details to hand tho sorry, he's in Mongolia. -s From sclover at xtra.co.nz Wed Aug 15 22:43:06 2007 From: sclover at xtra.co.nz (stephen clover) Date: Thu, 16 Aug 2007 17:43:06 +1200 Subject: [Af_List] Stumps at Happy this Saturday nite Message-ID: <20883.1187242986807.JavaMail.root@sf1439> 'Cos there hasn't been a Happy newsletter this week: Me band The Stumps is playing this Saturday at Happy, celebrating our new CD "The Black Wood" which has just been released on US label Last Visible Dog. Also appearing is Fertility Festival, Jeff Henderson's new "Sublime Frequencies-style" weirdo-'pop' band, and Sign of the Hag (a.k.a. Daniel Beban). Bring the noise. THE STUMPS, FERTILITY FESTIVAL AND SIGN OF THE HAG 9PM HAPPY 18th AUGUST 2007 $5 links: The Stumps: http://www.myspace.com/stumpsthe Jeff Henderson: Jeff Henderson: Sublime Frequencies: Daniel Beban: http://www.audiofoundation.org.nz/artist_page.php?id=277 From Dugal.McKinnon at vuw.ac.nz Thu Aug 16 15:57:11 2007 From: Dugal.McKinnon at vuw.ac.nz (Dugal McKinnon) Date: Fri, 17 Aug 2007 10:57:11 +1200 Subject: [Af_List] sound and tertiary eduction In-Reply-To: Message-ID: That camp is run yearly as the Nelson Composers Workshop (usually in early July) - open to both note- and sound-based artists/composers; best way to find out about it is through CANZ: http://www.canz.net.nz/nelsonworkshop.html And, apologies for the plug, for those interested in contexts in which to study sound-based art, there's a degree programme in Sonic Art at the New Zealand School of Music (Wellington): http://www.nzsm.ac.nz/study/sonic-arts.aspx Cheers Dugal > Message: 2 > Date: Thu, 16 Aug 2007 17:39:15 +1200 > From: stephen clover > Subject: [Af_List] sound and tertiary eduction > To: af_list at list.audiofoundation.org.nz > Message-ID: <25310325.1187242755038.JavaMail.root at sf1439> > Content-Type: text/plain; charset=utf-8 > >> The idea of some kind of experimental band >> camp is always kinda fun !! > > totally. a friend went to some kind of young composers/sonic experimentalists > workshop "camp" in Nelson a few years ago, where he was able to premiere his > new octophonic piece. > > no more details to hand tho sorry, he's in Mongolia. > > -s > From artwerks at slingshot.co.nz Thu Aug 16 20:38:01 2007 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Fri, 17 Aug 2007 15:38:01 +1200 Subject: [Af_List] Dead C on RNZ Nat Message-ID: <20070817153801.saioc4gg0csow00s@202.180.66.4> Howdy, just letting you know that Bruce Russell will be talking about the latest Dead C release and other recent hijinks on Radio NZ National this Monday: Monday 20 August 2007 11:06pm The Music Mix Julie Hill presents a contemporary music magazine, with interviews and music from: crack producer Mark Ronson, who reworks tunes by famous friends like Amy Winehouse and Lilly Allen into soul classics; Takapuna Grammar?s latest success story White Birds and Lemons; The hard-working but fractious Ryan Adams And world famous everywhere except for New Zealand - the Dead C. Next week: Beat Rhythm Fashion, The Clientele, Surf City, Whipping Cats Themix at radionz.co.nz It may end up on the RNZ website afterwards too. www.radionz.co.nz[1] AC Links: ------ [1] http://www.radionz.co.nz -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070817/d3ae514d/attachment.html From sclover at xtra.co.nz Thu Aug 16 21:48:21 2007 From: sclover at xtra.co.nz (stephen clover) Date: Fri, 17 Aug 2007 16:48:21 +1200 Subject: [Af_List] Shocking Pinks in Shocking Label-Signing Shocker Message-ID: <3236152.1187326101579.JavaMail.root@sf1439> ------- from another list ------- Flying Nun Records are proud to announce a finished, signed, sealed and delivered agreement that sees New York influential label The DFA taking over Christchurch?s Shocking Pinks for the World! The debut Shocking Pinks 12" single entitled "Smokescreen", featuring a remix from the Glimmers, is the single of the month in both UK?s DJ Magazine and Mixmag. The first pressing has already sold out and the 2nd run is in production now. On September 25, DFA will release the self-titled Shocking Pinks (through Flying Nun Records in Australia and New Zealand), a compilation of remastered tunes from Shocking Pinks' two 2005 albums for Flying Nun. From fiffdimension at hotmail.com Thu Aug 16 23:06:14 2007 From: fiffdimension at hotmail.com (David Edwards) Date: Fri, 17 Aug 2007 18:06:14 +1200 Subject: [Af_List] music study/ contacts in Japan? Message-ID: Interesting posts here recently - my experience with studying music at tertiary level was the Nelson School of Music's Contemporary Music Performance Course in 2006. I think '1970's Rock performance course' might have been more accurate. I found the tutors pretty open-minded but my young fellow students very conservative in their tastes - playing at Liquid Architecture in Brisbane and Lines of Flight in Dunedin, I was on a whole other planet. I found the course worth it to overcome some of my technical limitations though. And this year I'm living in South Korea, where syrupy boy-band R&B ballads are the norm, people say without a hint of irony that they like Britney Spears, the main use of music in general is as ringtones, and most people's idea of 'live music' is going to a norebang (karaoke room) with a few drunken friends. On the plus side, Korean traditional music is fascinating, and will have an influence on my next album (now in progress). And there's an experimental music scene in Seoul, though the air pollution there is an unfortunate deterrent. My question is, as I have a holiday from 22-26 of September, can anyone here recommend any music contacts in Japan? I'd love the chance to play there, and it's only three hours away by ferry. Thanks, Dave PS I've updated www.fiffdimension.co.nz further - new front page design, and more mp3s. _________________________________________________________________ Live Search delivers results the way you like it. Try live.com now! http://www.live.com From artwerks at slingshot.co.nz Sat Aug 18 19:33:34 2007 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Sun, 19 Aug 2007 14:33:34 +1200 Subject: [Af_List] sound and tertiary eduction References: Message-ID: <012201c7e209$57eb2600$ce09b8cb@d400> Hi Simon, thanks for starting up a juicy thread, which has resulted in some good discussion. I suspect the question of institutional support for sound artists will always be a thorny one when the modes of practice or presentation for this interdisciplinary niche don't always sit comfortably (doscretely) within the frameworks of the respective worlds of music or art. That you have attempted to negotiate this often awkward territory demonstates a dedication to your own practice and a desire to take it beyond its comfort zone. It can be frustrating being the odd one out in a faculty, but if there is sufficient support then it can be a very rewarding process, for yourself and for the institution that has agreed to engage in this process with you and will also benefit from the outcomes of your research. There are some people on this list who have a knee-jerk reaction to the very mention of academics and institutions, which seems very narrow-minded. Especially when you consider that there are plenty of people of significant repute in our sound community (both on and off the AFlist) who, at some stage of their career, have had substantial affiliations with different institutions and could probably be considered academics themselves. Granted, some institutions (including different universities, galleries, broadcasters, funding bodies, unions, festivals...) and their staff are more helpful than others, but lets not be hasty to brand them all as carrot-arsed fogeys. I'll try not to take that particular remark personally and I hope no-one else on this list has taken offence to what I presume was an ill-considered, off-the-cuff response. Although the piece of paper, which is often mistaken to be the primary result of tertiary study, may help gain access to offshore events and projects where your reputation may not precede you, for most people it is the 3-4 year journey of exploration that preceded the piece of paper that is most valuable. I can't speak for what goes on in your average music school but at art school this is largely about exposing your practice to a collegial environment where mentors and peers will provide wide-ranging insights and influences that you would never encounter on your own, as well as becoming part of a network that you can tap into through out the rest of your career. Through a process of group critiques, you will be challenged to really know and be able to articulate what is is that you are really doing and why. And then there are specific theory or skills-based papers you can take that allow you to pursue new avenues. It is learning to handle this rigourous process of questioning, testing, exploration, research and synthesis that is the main outcome of undergraduate study. In regard to the issue of notation, have you discussed with your tutor the appropriateness of using alternative systems, such as graphic or instructional scores, which have been around for about 100 years now? When people like Pauline Oliveros first started using electronics, they immediately realised that the traditional western music scale and its accompanying system of notation was of little use for describing the new range of sounds and systems that electronic music made possible. There is now a huge tradition here and if your music school won't accept this way of working, it sounds like you're in the wrong place. In my opinion, the most important factor in choosing a place to study is establishing whether there are any like-minded staff there who will be able to teach you anything useful. And if not, can you negotiate access to other academics through some sort of exchange programme? Are you familiar with Philip Samartzis, who I think is based at the excellent RMIT in Melbourne - RMIT is also partly responsible for the Liquid Architecture festival. If you can't study anywhere other than Chch, could you manage a few months out of town to somehow get some time with Samartzis? He is probably one of the best people in the region to talk to about multi-speaker diffusion systems. There is a one-page profile on him in the August 2006 issue of Wire Magazine. He curated the Immersion festival in Berlin and his website is www.philipsamartzis.com . As far as histories of sound movement that you might like to check out, I think Stockhausen did some pieces where he placed the musicians around and through the concert hall, instead of simply in front of the audience in a 'stereo' configuration. And I think it was Xenakis who collaborated with architect Corbusier for the Philips World Expo pavilion some time in the 1950s, creating creating an electronic dispersed sonic environment. There was a good article on this one in the Govett Brewster Art Gallery's newsletter about a year ago that you should track down. A little closer to home, I know Phil Dadson has done pieces that have had the audience and/or performers moving around, and I suspect .leyton has some interests in this area too. I like your observations on the typical status of a sound-tech driving a PA system, in comparison to the traditional status of composer, and the philosophical implications of this. Through improvised music, aleatoric systems and other experimental scores, composers like John Cage did a lot to collapse or confuse the hierarchical distinction between composer, performer and audience. Bringing the delivery system (PA) into this equation offers some interesting possibilities. Cheers, Andrew From turnstyle at obscure.co.nz Sun Aug 19 04:24:27 2007 From: turnstyle at obscure.co.nz (change everything) Date: Sun, 19 Aug 2007 23:24:27 +1200 Subject: [Af_List] sound and tertiary eduction In-Reply-To: <012201c7e209$57eb2600$ce09b8cb@d400> References: <012201c7e209$57eb2600$ce09b8cb@d400> Message-ID: <46C8286B.2070408@obscure.co.nz> Great input .. > There are some people on this list who have a knee-jerk reaction to the very > mention of academics and institutions .. Certainly . . I am probably among them .. I think it is the the process institutions reinforce in order to protect their assets, both intellectual and physical. I have never dealt will with schools .. and have lasting memories of an Art teacher drawing pictures for my portfolio because no student of his had ever failed art . ?! This being despite the fact that I had a full portfolio of work (just not the appropriate work) (but it was my work) For people who succeed in institutions it can be very hard to understand the people who do struggle. On paper I have failed all my schooling. Yet in a real world I know I am not an idiot .. I just approach understanding things differently. Institutions control access to permissions. I have to focus very hard on not resisting that control process and just getting on with the work. My mind spends most of its time trying to figure out why the control mechanism (notation) is in place. (uh what .. yea well ' it drives me crazy too!) > ill-considered, off-the-cuff response. .. or a healthy, earthy response from a different perspective. Community is a great experience! // > Through a process of group critiques, ..... the > rigorous process of questioning, testing, exploration, research and > synthesis is the main outcome of undergraduate study. Certainly .. I think access to this process for experimental artists is vital and important. Practising on the edge can be very delicate experience. Being able to get involved in a safe, trusting environment of peers to test your ideas is a real advantage. The current institutional environment is not naturally inviting for experimental artists. > In regard to the issue of notation, have you discussed with your tutor the > appropriateness of using alternative systems Yes. I received an A (the first in my life!!) for an instructional piece that I submitted. (hey ADMIN) I have submitted this piece to the AF website for posting. If that happens it would be interesting to get some feedback. While this discussion is still open, I have been informed that this type of composition can only constitute 10 - 20% of my final submission. Which is worth %60 of the grade. All reasonable ... but also bottle necking the majority of my expression into a new method of description that is not particularly fitting for some of my compositions. > In my opinion, the most > important factor in choosing a place to study is establishing whether there > are any like-minded staff there who will be able to teach you anything > useful. And if not, can you negotiate access to other academics through some > sort of exchange programme? I agree .. completely. Finding a way through is crucial. Connecting with teaching styles, & personalties are almost more important than the subject matter. There are some interesting people at Canty, however I think the overall direction of the music school is not going to be in an experimental direction. The newly appointed Director did his doctoral research in 16th Century lute-song. It's good to understand that institutes are made up of the interests of the people with-in. So in many respects the NZ environment will only change if the schools are willing to engage more experimental people to teach, or people with a bent for experimental approach apply (survive) for teaching jobs. (Cousins?) There is no real criticism of Canty Music School. It is operating with in its charter and struggling like many institutions to fund its program. Delivery as it is able with the resources it has. Opening up new teaching tangents means needing more resources, more materials i.e. more money. Let alone being able to attract fee paying students! > If you can't study anywhere other than Chch, Thanks for the info on Philip Samartzis. I will certainly follow this up. Also I have actually looked into Xenakis who runs some interesting summer school programs including longer programs. There are some real challenges here, in that the teaching is mostly in French. Some reports I have read from English speaking students are positive, but the real gains are made for those who can speak French. I have looked at other schools as well. Given I chance I will dig up some of my links to other schools and post them .. > Phil Dadson has done pieces that have had the audience and/or performers > moving around, and I suspect .leyton has some interests in this area too. Yes ' I have looked into some of these. The likes of Dadson, Lilburn, (Len Lye) are certainly inspirations for all aspiring NZ artists. There is a project afoot with Leyton and Matthew Ayton that will involve dispersion across very large space, using multiple speakers and systems. I am also constantly in conversation with any artists I come across in regards to doing surround / diffused sound. I think Cosom who makes Psy Trance is interested in running a 6 channel performance. > I like your observations on the typical status of a sound-tech driving a PA > system, in comparison to the traditional status of composer, To me this is where the contemporary line of interest is. In a world of digital music, that is reinforced with PA systems, the role of the engineer (artist) is being transformed. (Dub proved that the studio is an instrument) The traditional boundaries for these roles have been created through the development of the sound industry. However these days the engineer is the key component of the performance. Smart bands keep engineers like a band member, realizing that the engineers make the sound. See: Tiki - Salmonella Dub, Shapeshifter However it gets more complex as sound systems get more sophisticated & integrated. Moving beyond MIDI. Most modern sound equipment is now able to be networked via IP. So you can access the entire system from a central control space. Amps, Processors, FX's, Speakers! -- including of course all your instruments. A modern (composer) / (engineer/producer) could create pieces that integrate many different layers technology, performance and interaction. They can be involved with every single aspect of the sound across a very large performance platform. This platform can also expand across space and time. . like Monolakes Atlantic Waves installation which engages performers anywhere they are connected to the web, in an interactive visual driven performance. In this approach the skills to acquire are integrated but also extended beyond traditional music theory. Where music theory is internalised in its own practice of tonal harmony and complexity, engineering can externalised this process into physical environments. I see the approach of an engineer to be much more aware of the propagation of sound, the physical realities of the harmony's & sonic complexities in real space. Not just inside their own theory. Traditional music does not ignore these facts but it is not the focus. So the two approaches are completely connected. However traditional music often finishes on the paper. The music is complete in this form. Performance is a result of the notation, and any artefacts of performance (room reverb, coughing, traffic noise, pins drops) are a curiosity of the performance, something to be ignored or discounted if possible. As an engineer, all sound can become important. All space can become a component of the the performance. Any influence on the sound (environment, technology, performers) can be considered and accounted for, utilised or augmented. A Composer in the traditional sense dealt with all the aspects that a modern engineer would, but the sound devices where instruments (orchestras) and concert halls. To bring the whole practice forward in time, a composer could be seen to deal with any aspect of sound. Capable of arranging, managing, describing, notating sound in all its components. So perhaps a modern composer is just as likely to write a PD patch as they would be to draw a circuit diagram or scribe notes on paper. Perhaps I take the word composer and the subject of composition to literally. > ... composers like John Cage did a lot to > collapse or confuse the hierarchical distinction between composer, performer > and audience. Bringing the delivery system (PA) into this equation offers > some interesting possibilities. Humans are producing some of the most sophisticated sound production equipment ever. You can get a electro static line array system that can drive a beam of sound over a mile with out any drop in quality (manufactures claim, military tested!) [google MAD sound system] Currently this equipment is in the hands of popular music and military generals. It would be great for the music intelligentsia to allow focus on these contemporary instruments. .simon From minimmusic at yahoo.co.uk Mon Aug 20 00:55:39 2007 From: minimmusic at yahoo.co.uk (rose and melody) Date: Mon, 20 Aug 2007 08:55:39 +0100 (BST) Subject: [Af_List] Af_List Digest, Vol 16, Issue 16 In-Reply-To: Message-ID: <298390.26047.qm@web27007.mail.ukl.yahoo.com> Hi, do you work for Auckland university Andrew?? Im trying to find someone that would be keen to help me organise an advanced Ableton Live workshop when monolake is here in February. Are you able to help, or are you able to give me the email of someone that can?? any info/help would be veery much appreciated. Actually, anyone out there- if you can help me with this, please drop me a line :) melody af_list-request at list.audiofoundation.org.nz wrote: 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. Re: sound and tertiary eduction (Andrew Clifford) 2. Re: sound and tertiary eduction (change everything) ---------------------------------------------------------------------- Message: 1 Date: Sun, 19 Aug 2007 14:33:34 +1200 From: "Andrew Clifford" Subject: Re: [Af_List] sound and tertiary eduction To: Message-ID: <012201c7e209$57eb2600$ce09b8cb at d400> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Hi Simon, thanks for starting up a juicy thread, which has resulted in some good discussion. I suspect the question of institutional support for sound artists will always be a thorny one when the modes of practice or presentation for this interdisciplinary niche don't always sit comfortably (doscretely) within the frameworks of the respective worlds of music or art. That you have attempted to negotiate this often awkward territory demonstates a dedication to your own practice and a desire to take it beyond its comfort zone. It can be frustrating being the odd one out in a faculty, but if there is sufficient support then it can be a very rewarding process, for yourself and for the institution that has agreed to engage in this process with you and will also benefit from the outcomes of your research. There are some people on this list who have a knee-jerk reaction to the very mention of academics and institutions, which seems very narrow-minded. Especially when you consider that there are plenty of people of significant repute in our sound community (both on and off the AFlist) who, at some stage of their career, have had substantial affiliations with different institutions and could probably be considered academics themselves. Granted, some institutions (including different universities, galleries, broadcasters, funding bodies, unions, festivals...) and their staff are more helpful than others, but lets not be hasty to brand them all as carrot-arsed fogeys. I'll try not to take that particular remark personally and I hope no-one else on this list has taken offence to what I presume was an ill-considered, off-the-cuff response. Although the piece of paper, which is often mistaken to be the primary result of tertiary study, may help gain access to offshore events and projects where your reputation may not precede you, for most people it is the 3-4 year journey of exploration that preceded the piece of paper that is most valuable. I can't speak for what goes on in your average music school but at art school this is largely about exposing your practice to a collegial environment where mentors and peers will provide wide-ranging insights and influences that you would never encounter on your own, as well as becoming part of a network that you can tap into through out the rest of your career. Through a process of group critiques, you will be challenged to really know and be able to articulate what is is that you are really doing and why. And then there are specific theory or skills-based papers you can take that allow you to pursue new avenues. It is learning to handle this rigourous process of questioning, testing, exploration, research and synthesis that is the main outcome of undergraduate study. In regard to the issue of notation, have you discussed with your tutor the appropriateness of using alternative systems, such as graphic or instructional scores, which have been around for about 100 years now? When people like Pauline Oliveros first started using electronics, they immediately realised that the traditional western music scale and its accompanying system of notation was of little use for describing the new range of sounds and systems that electronic music made possible. There is now a huge tradition here and if your music school won't accept this way of working, it sounds like you're in the wrong place. In my opinion, the most important factor in choosing a place to study is establishing whether there are any like-minded staff there who will be able to teach you anything useful. And if not, can you negotiate access to other academics through some sort of exchange programme? Are you familiar with Philip Samartzis, who I think is based at the excellent RMIT in Melbourne - RMIT is also partly responsible for the Liquid Architecture festival. If you can't study anywhere other than Chch, could you manage a few months out of town to somehow get some time with Samartzis? He is probably one of the best people in the region to talk to about multi-speaker diffusion systems. There is a one-page profile on him in the August 2006 issue of Wire Magazine. He curated the Immersion festival in Berlin and his website is www.philipsamartzis.com . As far as histories of sound movement that you might like to check out, I think Stockhausen did some pieces where he placed the musicians around and through the concert hall, instead of simply in front of the audience in a 'stereo' configuration. And I think it was Xenakis who collaborated with architect Corbusier for the Philips World Expo pavilion some time in the 1950s, creating creating an electronic dispersed sonic environment. There was a good article on this one in the Govett Brewster Art Gallery's newsletter about a year ago that you should track down. A little closer to home, I know Phil Dadson has done pieces that have had the audience and/or performers moving around, and I suspect .leyton has some interests in this area too. I like your observations on the typical status of a sound-tech driving a PA system, in comparison to the traditional status of composer, and the philosophical implications of this. Through improvised music, aleatoric systems and other experimental scores, composers like John Cage did a lot to collapse or confuse the hierarchical distinction between composer, performer and audience. Bringing the delivery system (PA) into this equation offers some interesting possibilities. Cheers, Andrew ------------------------------ Message: 2 Date: Sun, 19 Aug 2007 23:24:27 +1200 From: change everything Subject: Re: [Af_List] sound and tertiary eduction To: A list digest for the support of innovative audio culture in NZ Message-ID: <46C8286B.2070408 at obscure.co.nz> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Great input .. > There are some people on this list who have a knee-jerk reaction to the very > mention of academics and institutions .. Certainly . . I am probably among them .. I think it is the the process institutions reinforce in order to protect their assets, both intellectual and physical. I have never dealt will with schools .. and have lasting memories of an Art teacher drawing pictures for my portfolio because no student of his had ever failed art . ?! This being despite the fact that I had a full portfolio of work (just not the appropriate work) (but it was my work) For people who succeed in institutions it can be very hard to understand the people who do struggle. On paper I have failed all my schooling. Yet in a real world I know I am not an idiot .. I just approach understanding things differently. Institutions control access to permissions. I have to focus very hard on not resisting that control process and just getting on with the work. My mind spends most of its time trying to figure out why the control mechanism (notation) is in place. (uh what .. yea well ' it drives me crazy too!) > ill-considered, off-the-cuff response. .. or a healthy, earthy response from a different perspective. Community is a great experience! // > Through a process of group critiques, ..... the > rigorous process of questioning, testing, exploration, research and > synthesis is the main outcome of undergraduate study. Certainly .. I think access to this process for experimental artists is vital and important. Practising on the edge can be very delicate experience. Being able to get involved in a safe, trusting environment of peers to test your ideas is a real advantage. The current institutional environment is not naturally inviting for experimental artists. > In regard to the issue of notation, have you discussed with your tutor the > appropriateness of using alternative systems Yes. I received an A (the first in my life!!) for an instructional piece that I submitted. (hey ADMIN) I have submitted this piece to the AF website for posting. If that happens it would be interesting to get some feedback. While this discussion is still open, I have been informed that this type of composition can only constitute 10 - 20% of my final submission. Which is worth %60 of the grade. All reasonable ... but also bottle necking the majority of my expression into a new method of description that is not particularly fitting for some of my compositions. > In my opinion, the most > important factor in choosing a place to study is establishing whether there > are any like-minded staff there who will be able to teach you anything > useful. And if not, can you negotiate access to other academics through some > sort of exchange programme? I agree .. completely. Finding a way through is crucial. Connecting with teaching styles, & personalties are almost more important than the subject matter. There are some interesting people at Canty, however I think the overall direction of the music school is not going to be in an experimental direction. The newly appointed Director did his doctoral research in 16th Century lute-song. It's good to understand that institutes are made up of the interests of the people with-in. So in many respects the NZ environment will only change if the schools are willing to engage more experimental people to teach, or people with a bent for experimental approach apply (survive) for teaching jobs. (Cousins?) There is no real criticism of Canty Music School. It is operating with in its charter and struggling like many institutions to fund its program. Delivery as it is able with the resources it has. Opening up new teaching tangents means needing more resources, more materials i.e. more money. Let alone being able to attract fee paying students! > If you can't study anywhere other than Chch, Thanks for the info on Philip Samartzis. I will certainly follow this up. Also I have actually looked into Xenakis who runs some interesting summer school programs including longer programs. There are some real challenges here, in that the teaching is mostly in French. Some reports I have read from English speaking students are positive, but the real gains are made for those who can speak French. I have looked at other schools as well. Given I chance I will dig up some of my links to other schools and post them .. > Phil Dadson has done pieces that have had the audience and/or performers > moving around, and I suspect .leyton has some interests in this area too. Yes ' I have looked into some of these. The likes of Dadson, Lilburn, (Len Lye) are certainly inspirations for all aspiring NZ artists. There is a project afoot with Leyton and Matthew Ayton that will involve dispersion across very large space, using multiple speakers and systems. I am also constantly in conversation with any artists I come across in regards to doing surround / diffused sound. I think Cosom who makes Psy Trance is interested in running a 6 channel performance. > I like your observations on the typical status of a sound-tech driving a PA > system, in comparison to the traditional status of composer, To me this is where the contemporary line of interest is. In a world of digital music, that is reinforced with PA systems, the role of the engineer (artist) is being transformed. (Dub proved that the studio is an instrument) The traditional boundaries for these roles have been created through the development of the sound industry. However these days the engineer is the key component of the performance. Smart bands keep engineers like a band member, realizing that the engineers make the sound. See: Tiki - Salmonella Dub, Shapeshifter However it gets more complex as sound systems get more sophisticated & integrated. Moving beyond MIDI. Most modern sound equipment is now able to be networked via IP. So you can access the entire system from a central control space. Amps, Processors, FX's, Speakers! -- including of course all your instruments. A modern (composer) / (engineer/producer) could create pieces that integrate many different layers technology, performance and interaction. They can be involved with every single aspect of the sound across a very large performance platform. This platform can also expand across space and time. . like Monolakes Atlantic Waves installation which engages performers anywhere they are connected to the web, in an interactive visual driven performance. In this approach the skills to acquire are integrated but also extended beyond traditional music theory. Where music theory is internalised in its own practice of tonal harmony and complexity, engineering can externalised this process into physical environments. I see the approach of an engineer to be much more aware of the propagation of sound, the physical realities of the harmony's & sonic complexities in real space. Not just inside their own theory. Traditional music does not ignore these facts but it is not the focus. So the two approaches are completely connected. However traditional music often finishes on the paper. The music is complete in this form. Performance is a result of the notation, and any artefacts of performance (room reverb, coughing, traffic noise, pins drops) are a curiosity of the performance, something to be ignored or discounted if possible. As an engineer, all sound can become important. All space can become a component of the the performance. Any influence on the sound (environment, technology, performers) can be considered and accounted for, utilised or augmented. A Composer in the traditional sense dealt with all the aspects that a modern engineer would, but the sound devices where instruments (orchestras) and concert halls. To bring the whole practice forward in time, a composer could be seen to deal with any aspect of sound. Capable of arranging, managing, describing, notating sound in all its components. So perhaps a modern composer is just as likely to write a PD patch as they would be to draw a circuit diagram or scribe notes on paper. Perhaps I take the word composer and the subject of composition to literally. > ... composers like John Cage did a lot to > collapse or confuse the hierarchical distinction between composer, performer > and audience. Bringing the delivery system (PA) into this equation offers > some interesting possibilities. Humans are producing some of the most sophisticated sound production equipment ever. You can get a electro static line array system that can drive a beam of sound over a mile with out any drop in quality (manufactures claim, military tested!) [google MAD sound system] Currently this equipment is in the hands of popular music and military generals. It would be great for the music intelligentsia to allow focus on these contemporary instruments. .simon ------------------------------ _______________________________________________ Af_List mailing list http://list.audiofoundation.org.nz/listinfo.cgi/af_list-audiofoundation.org.nz End of Af_List Digest, Vol 16, Issue 16 *************************************** --------------------------------- For ideas on reducing your carbon footprint visit Yahoo! For Good this month. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070820/74bbfee6/attachment.html From damian at frey.co.nz Mon Aug 20 03:47:00 2007 From: damian at frey.co.nz (Damian Stewart) Date: Mon, 20 Aug 2007 11:47:00 +0100 Subject: [Af_List] Spiral Control In-Reply-To: <46BFF2A7.6030002@obscure.co.nz> References: <46BFF2A7.6030002@obscure.co.nz> Message-ID: <46C97124.10400@frey.co.nz> change everything wrote: > Moving away from my location is not an immediate option in my life. pity.. the Victoria Uni/NZSM sonic arts programme i studied neither asked nor required me to show that i could notate music.. i can, having learnt at secondary school, but that wasn't deemed important - they let me in based on a chat with the lecturer and previous experience with music-making. besides i'm not sure the situation isn't just as dire everywhere else you go. the interesting stuff is happening outside of academia these days anyway. -- damian stewart | +44 7854 493 796 | damian at frey.co.nz frey | live art with machines | http://www.frey.co.nz From damian at frey.co.nz Mon Aug 20 03:58:20 2007 From: damian at frey.co.nz (Damian Stewart) Date: Mon, 20 Aug 2007 11:58:20 +0100 Subject: [Af_List] Spiral Control In-Reply-To: <15540975.1187055054257.JavaMail.root@sf1435> References: <15540975.1187055054257.JavaMail.root@sf1435> Message-ID: <46C973CC.8000908@frey.co.nz> stephen clover wrote: > Would be interesting to hear damian/frey's opinion., as a grad (?) of VUW music school. nah, not a grad. when i went they just had one stream of papers, Electronic Composition 2/3 plus basic 'Computer Music' skills in first year. now there's a whole Sonic Arts degree programme which, I think, requires you to learn to notate. however the lecturers are all open to variations on the theme of 'musical knowledge' - i got on fantastically with Lissa Meridan and Dougal MacKinnon and, although Michael Norris and I had sometimes conflicting ideas of what good music was, i didn't feel for a moment like my ideas weren't being acknowledged as valid and worthy of study. in conversation with Dugal once his claim was that the only reason non-academic electronic music isn't studied is simply because no-one's written about it yet, and that if a significant body of academic-style footnoted etc. papers on say minimal techno were to be published in a bunch of journals, the world of academia would pay attention. Mark Butler's: Unlocking the Groove: Rhythm, Meter and Musical Design in Electronic Dance Music http://www.iupress.indiana.edu/catalog/product_info.php?products_id=22576 is a really good example of this kind of work. -- damian stewart | +44 7854 493 796 | damian at frey.co.nz frey | live art with machines | http://www.frey.co.nz From Dugal.McKinnon at vuw.ac.nz Mon Aug 20 16:35:12 2007 From: Dugal.McKinnon at vuw.ac.nz (Dugal McKinnon) Date: Tue, 21 Aug 2007 11:35:12 +1200 Subject: [Af_List] Academia Message-ID: Damian Stewart wrote: > besides i'm not sure the situation isn't just as dire everywhere else you > go. the interesting stuff is happening outside of academia these days anyway. Damian As someone with a foot in both academic and non-academic camps I have to say the situation isn't as simple as your comment suggests: there's always excellent/awful work in every context and most contexts tend to be more diverse/multi-faceted than one realises (unless you're really in the thick of a particular scene). And context does tend to determine the nature of 'interesting'; often the new passes for interesting (really a matter of novelty) because it provides a break from familiar methods/parameters, and this regardless of the environment which this work is produced or received in... PERHAPS the only distinction that can be made between non/academia, and this is one that barely applies these days as commercial pressures are increasingly exerted upon the tertiary environment, is that "academic" artists have the POTENTIAL freedom to hermetically pursue paths that hold little in the way of wider appeal (including the appeal of the "hip", the "new", the "experimental"), whereas those working outside institutions MAY not have the freedom (economically) to disregard everything other than their own ideas. In any case, I place great value on any environment that allows people to pursue ideas regardless of their functional potential, possible economic value, or short-term value as cultural capital... Dugal From artwerks at slingshot.co.nz Mon Aug 20 17:48:42 2007 From: artwerks at slingshot.co.nz (Andrew Clifford) Date: Tue, 21 Aug 2007 12:48:42 +1200 Subject: [Af_List] Monolake In-Reply-To: <298390.26047.qm@web27007.mail.ukl.yahoo.com> References: <298390.26047.qm@web27007.mail.ukl.yahoo.com> Message-ID: <20070821124842.luyw0gk088ck0w8k@202.180.66.4> Hi Melody, guilty as charged. I'll get in touch off-list to see what I can do. A return visit from Monolake sounds exciting. AC Quoting rose and melody : > Hi, do you work for Auckland university Andrew?? Im trying to find > someone that would be keen to help me organise an advanced Ableton > Live workshop when monolake is here in February. Are you able to > help, or are you able to give me the email of someone that can?? any > info/help would be veery much appreciated. > Actually, anyone out there- if you can help me with this, please drop > me a line :) > melody > > af_list-request at list.audiofoundation.org.nz wrote: 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. Re: sound and tertiary eduction (Andrew Clifford) > 2. Re: sound and tertiary eduction (change everything) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Sun, 19 Aug 2007 14:33:34 +1200 > From: "Andrew Clifford" > Subject: Re: [Af_List] sound and tertiary eduction > To: > Message-ID: Content-Type: text/plain; format=flowed; charset="iso-8859-1"; > reply-type=original > > Hi Simon, > > thanks for starting up a juicy thread, which has resulted in some good > discussion. I suspect the question of institutional support for sound > artists will always be a thorny one when the modes of practice or > presentation for this interdisciplinary niche don't always sit comfortably > (doscretely) within the frameworks of the respective worlds of music or art. > That you have attempted to negotiate this often awkward territory > demonstates a dedication to your own practice and a desire to take it beyond > its comfort zone. It can be frustrating being the odd one out in a faculty, > but if there is sufficient support then it can be a very rewarding process, > for yourself and for the institution that has agreed to engage in this > process with you and will also benefit from the outcomes of your research. > > There are some people on this list who have a knee-jerk reaction to the very > mention of academics and institutions, which seems very narrow-minded. > Especially when you consider that there are plenty of people of significant > repute in our sound community (both on and off the AFlist) who, at some > stage of their career, have had substantial affiliations with different > institutions and could probably be considered academics themselves. Granted, > some institutions (including different universities, galleries, > broadcasters, funding bodies, unions, festivals...) and their staff are more > helpful than others, but lets not be hasty to brand them all as carrot-arsed > fogeys. I'll try not to take that particular remark personally and I hope > no-one else on this list has taken offence to what I presume was an > ill-considered, off-the-cuff response. > > Although the piece of paper, which is often mistaken to be the primary > result of tertiary study, may help gain access to offshore events and > projects where your reputation may not precede you, for most people it is > the 3-4 year journey of exploration that preceded the piece of paper that is > most valuable. I can't speak for what goes on in your average music school > but at art school this is largely about exposing your practice to a > collegial environment where mentors and peers will provide wide-ranging > insights and influences that you would never encounter on your own, as well > as becoming part of a network that you can tap into through out the rest of > your career. Through a process of group critiques, you will be challenged to > really know and be able to articulate what is is that you are really doing > and why. And then there are specific theory or skills-based papers you can > take that allow you to pursue new avenues. It is learning to handle this > rigourous process of questioning, testing, exploration, research and > synthesis that is the main outcome of undergraduate study. > > In regard to the issue of notation, have you discussed with your tutor the > appropriateness of using alternative systems, such as graphic or > instructional scores, which have been around for about 100 years now? When > people like Pauline Oliveros first started using electronics, they > immediately realised that the traditional western music scale and its > accompanying system of notation was of little use for describing the new > range of sounds and systems that electronic music made possible. There is > now a huge tradition here and if your music school won't accept this way of > working, it sounds like you're in the wrong place. In my opinion, the most > important factor in choosing a place to study is establishing whether there > are any like-minded staff there who will be able to teach you anything > useful. And if not, can you negotiate access to other academics through some > sort of exchange programme? > > Are you familiar with Philip Samartzis, who I think is based at the > excellent RMIT in Melbourne - RMIT is also partly responsible for the Liquid > Architecture festival. If you can't study anywhere other than Chch, could > you manage a few months out of town to somehow get some time with Samartzis? > He is probably one of the best people in the region to talk to about > multi-speaker diffusion systems. There is a one-page profile on him in the > August 2006 issue of Wire Magazine. He curated the Immersion festival in > Berlin and his website is www.philipsamartzis.com . As far as histories of > sound movement that you might like to check out, I think Stockhausen did > some pieces where he placed the musicians around and through the concert > hall, instead of simply in front of the audience in a 'stereo' > configuration. And I think it was Xenakis who collaborated with architect > Corbusier for the Philips World Expo pavilion some time in the 1950s, > creating creating an electronic dispersed sonic environment. There was a > good article on this one in the Govett Brewster Art Gallery's newsletter > about a year ago that you should track down. A little closer to home, I know > Phil Dadson has done pieces that have had the audience and/or performers > moving around, and I suspect .leyton has some interests in this area too. > > I like your observations on the typical status of a sound-tech driving a PA > system, in comparison to the traditional status of composer, and the > philosophical implications of this. Through improvised music, aleatoric > systems and other experimental scores, composers like John Cage did a lot to > collapse or confuse the hierarchical distinction between composer, performer > and audience. Bringing the delivery system (PA) into this equation offers > some interesting possibilities. > > Cheers, > Andrew > > > > ------------------------------ > > Message: 2 > Date: Sun, 19 Aug 2007 23:24:27 +1200 > From: change everything > Subject: Re: [Af_List] sound and tertiary eduction > To: A list digest for the support of innovative audio culture in NZ > > Message-ID: Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > > Great input .. > > >> There are some people on this list who have a knee-jerk reaction to >> the very mention of academics and institutions .. > > Certainly . . I am probably among them .. > > I think it is the the process institutions reinforce in order to > protect their assets, > both intellectual and physical. I have never dealt will with schools > .. and have > lasting memories of an Art teacher drawing pictures for my portfolio because > no student of his had ever failed art . ?! This being despite the > fact that I had > a full portfolio of work (just not the appropriate work) (but it was my work) > > For people who succeed in institutions it can be very hard to understand the > people who do struggle. On paper I have failed all my schooling. Yet > in a real > world I know I am not an idiot .. I just approach understanding > things differently. > > Institutions control access to permissions. I have to focus very hard on not > resisting that control process and just getting on with the work. My > mind spends > most of its time trying to figure out why the control mechanism > (notation) is in > place. (uh what .. yea well ' it drives me crazy too!) > > >> ill-considered, off-the-cuff response. > > .. or a healthy, earthy response from a different perspective. Community is > a great experience! > > // > >> Through a process of group critiques, ..... the rigorous process of >> questioning, testing, exploration, research and synthesis is the >> main outcome of undergraduate study. > > Certainly .. I think access to this process for experimental artists > is vital and > important. Practising on the edge can be very delicate experience. > Being able to > get involved in a safe, trusting environment of peers to test your > ideas is a real > advantage. > > The current institutional environment is not naturally inviting for > experimental artists. > > > >> In regard to the issue of notation, have you discussed with your >> tutor the appropriateness of using alternative systems > > Yes. I received an A (the first in my life!!) for an instructional > piece that I submitted. > > (hey ADMIN) I have submitted this piece to the AF website for > posting. If that happens > it would be interesting to get some feedback. > > While this discussion is still open, I have been informed that this > type of composition > can only constitute 10 - 20% of my final submission. Which is worth > %60 of the grade. > > All reasonable ... but also bottle necking the majority of my > expression into a new method > of description that is not particularly fitting for some of my compositions. > >> In my opinion, the most important factor in choosing a place to >> study is establishing whether there are any like-minded staff there >> who will be able to teach you anything useful. And if not, can you >> negotiate access to other academics through some sort of exchange programme? > > I agree .. completely. > > Finding a way through is crucial. Connecting with teaching styles, & > personalties > are almost more important than the subject matter. > > There are some interesting people at Canty, however I think the > overall direction > of the music school is not going to be in an experimental direction. > > The newly appointed Director did his doctoral research in 16th > Century lute-song. > > It's good to understand that institutes are made up of the interests > of the people > with-in. So in many respects the NZ environment will only change if > the schools > are willing to engage more experimental people to teach, or people > with a bent > for experimental approach apply (survive) for teaching jobs. (Cousins?) > > There is no real criticism of Canty Music School. It is operating > with in its charter > and struggling like many institutions to fund its program. Delivery > as it is able with > the resources it has. > > Opening up new teaching tangents means needing more resources, more materials > i.e. more money. Let alone being able to attract fee paying students! > > >> If you can't study anywhere other than Chch, > > Thanks for the info on Philip Samartzis. I will certainly follow this up. > > Also I have actually looked into Xenakis who runs some interesting > summer school > programs including longer programs. There are some real challenges > here, in that > the teaching is mostly in French. > > Some reports I have read from English speaking students are positive, > but the real > gains are made for those who can speak French. > > I have looked at other schools as well. Given I chance I will dig up > some of my links > to other schools and post them .. > >> Phil Dadson has done pieces that have had the audience and/or >> performers moving around, and I suspect .leyton has some interests >> in this area too. > > Yes ' I have looked into some of these. The likes of Dadson, Lilburn, > (Len Lye) are > certainly inspirations for all aspiring NZ artists. > > There is a project afoot with Leyton and Matthew Ayton that will > involve dispersion > across very large space, using multiple speakers and systems. > > I am also constantly in conversation with any artists I come across > in regards to > doing surround / diffused sound. I think Cosom who makes Psy Trance > is interested > in running a 6 channel performance. > >> I like your observations on the typical status of a sound-tech >> driving a PA system, in comparison to the traditional status of >> composer, > > To me this is where the contemporary line of interest is. > > In a world of digital music, that is reinforced with PA systems, the > role of the > engineer (artist) is being transformed. (Dub proved that the studio > is an instrument) > > The traditional boundaries for these roles have been created through > the development > of the sound industry. However these days the engineer is the key > component of the > performance. Smart bands keep engineers like a band member, realizing > that the > engineers make the sound. > > See: Tiki - Salmonella Dub, Shapeshifter > > However it gets more complex as sound systems get more sophisticated > & integrated. > > Moving beyond MIDI. Most modern sound equipment is now able to be > networked via IP. > So you can access the entire system from a central control space. > Amps, Processors, > FX's, Speakers! -- including of course all your instruments. > > A modern (composer) / (engineer/producer) could create pieces that > integrate many different > layers technology, performance and interaction. They can be involved > with every single > aspect of the sound across a very large performance platform. > > This platform can also expand across space and time. . like Monolakes > Atlantic Waves > installation which engages performers anywhere they are connected to > the web, in an > interactive visual driven performance. > > In this approach the skills to acquire are integrated but also > extended beyond traditional > music theory. Where music theory is internalised in its own practice > of tonal harmony > and complexity, engineering can externalised this process into > physical environments. > > I see the approach of an engineer to be much more aware of the > propagation of sound, > the physical realities of the harmony's & sonic complexities in real > space. Not just inside > their own theory. Traditional music does not ignore these facts but > it is not the focus. > > So the two approaches are completely connected. However traditional > music often finishes > on the paper. The music is complete in this form. Performance is a > result of the notation, > and any artefacts of performance (room reverb, coughing, traffic > noise, pins drops) are a > curiosity of the performance, something to be ignored or discounted > if possible. > > As an engineer, all sound can become important. All space can become > a component of the > the performance. Any influence on the sound (environment, technology, > performers) can > be considered and accounted for, utilised or augmented. > > A Composer in the traditional sense dealt with all the aspects that a > modern engineer would, > but the sound devices where instruments (orchestras) and concert halls. > > To bring the whole practice forward in time, a composer could be seen > to deal with any > aspect of sound. Capable of arranging, managing, describing, notating > sound in all its > components. So perhaps a modern composer is just as likely to write > a PD patch as they > would be to draw a circuit diagram or scribe notes on paper. > > Perhaps I take the word composer and the subject of composition to literally. > >> ... composers like John Cage did a lot to collapse or confuse the >> hierarchical distinction between composer, performer and audience. >> Bringing the delivery system (PA) into this equation offers some >> interesting possibilities. > > Humans are producing some of the most sophisticated sound production > equipment ever. > > You can get a electro static line array system that can drive a beam > of sound over a > mile with out any drop in quality (manufactures claim, military tested!) > > [google MAD sound system] > > Currently this equipment is in the hands of popular music and > military generals. > > It would be great for the music intelligentsia to allow focus on > these contemporary > instruments. > > > > .simon > > > ------------------------------ > > _______________________________________________ > Af_List mailing list > http://list.audiofoundation.org.nz/listinfo.cgi/af_list-audiofoundation.org.nz > > End of Af_List Digest, Vol 16, Issue 16 > *************************************** > > > > --------------------------------- > For ideas on reducing your carbon footprint visit Yahoo! For Good this month. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070821/b1dc9fec/attachment.htm From admin at audiofoundation.org.nz Mon Aug 20 18:15:09 2007 From: admin at audiofoundation.org.nz (Admin) Date: Tue, 21 Aug 2007 13:15:09 +1200 Subject: [Af_List] Fwd: Committee clocktower Concert, Sept 21st References: <4c2b8d480708191709m307b8396q67616c11d200f831@mail.gmail.com> Message-ID: <8DA5696A-E461-4362-BAF2-FD24ED34F95F@audiofoundation.org.nz> > > > The Committee presents The Minutes, a concert of contemporary art > music by Auckland composers Leonie Holmes, Andrew McMillan, Yvette > Audain, Daniel Stabler, Anthony Young, Charlotte Rose, Ben Cragg, > Andy Powdrell, and Peter Willis. Held in the wonderfully resonant > Auckland University Clocktower foyer. Performers include tenor Jack > Bourke, double bassist Daniel Stabler, a saxophone quartet, and The > Jade String Quartet. Supported by Creative New Zealand. > > The Minutes > University of Auckland Clocktower, 22 Princes St > Friday September 21st at 7.30pm > $15 waged/$10 unwaged (tickets at the door only) > Complementary refreshments and nibbles > > For more information phone 638 4969 > > -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070821/bb5418d8/attachment.htm From damian at frey.co.nz Tue Aug 21 02:55:31 2007 From: damian at frey.co.nz (Damian Stewart) Date: Tue, 21 Aug 2007 10:55:31 +0100 Subject: [Af_List] Academia In-Reply-To: References: Message-ID: <46CAB693.3010708@frey.co.nz> Dugal McKinnon wrote: > Damian Stewart wrote: > >> besides i'm not sure the situation isn't just as dire everywhere else you >> go. the interesting stuff is happening outside of academia these days anyway. > > Damian > > As someone with a foot in both academic and non-academic camps I have to say > the situation isn't as simple as your comment suggests: there's always > excellent/awful work in every context and most contexts tend to be more > diverse/multi-faceted than one realises (unless you're really in the thick > of a particular scene). And context does tend to determine the nature of > 'interesting'; often the new passes for interesting (really a matter of > novelty) because it provides a break from familiar methods/parameters, and > this regardless of the environment which this work is produced or received > in... yeah, you're right, of course. i think my two comments need to be separated here. first, when i said that the situation is "just as dire everywere else" i meant that the same issues that face music making in New Zealand, be they in the academic world, the non-academic world, or any kind of crossover or attempted crossover, are present elsewhere in the world. this seems to be one of the things this OE is teaching me: there's nothing missing in the world of Aotearoan sonic arts except for scale. second: > PERHAPS the only distinction that can be made between non/academia, and this > is one that barely applies these days as commercial pressures are > increasingly exerted upon the tertiary environment, is that "academic" > artists have the POTENTIAL freedom to hermetically pursue paths that hold > little in the way of wider appeal (including the appeal of the "hip", the > "new", the "experimental"), whereas those working outside institutions MAY > not have the freedom (economically) to disregard everything other than their > own ideas. In any case, I place great value on any environment that allows > people to pursue ideas regardless of their functional potential, possible > economic value, or short-term value as cultural capital... i'm not so sure that this is completely true of academia, and that the reverse isn't completely true of non-academia. the very profile and respect that an academic position implies means that people are going to be interested in listening to the work of a musician within academia, which means feedback at least ought to be forthcoming, even if it is not direct. plus, is it not a part of the role of the academic music-maker that one is expected to produce work on a semi-regular basis in order to fulfil contractual obligations? on the other hand, a musician living on the dole or with an alternative income, who claims to only write for themselves, can do so, with their only input being their own inspirations. if they choose not to engage with the world of pop, then there is no pressure to do anything that is commercially viable anyway, and so wider appeal ceases to be an issue. some of my favourite music has been written or made under what i believe to be circumstances like this. if academia can offer the potentiality of working with no external pressure, then so can other lifestyle choices. i think when i said the "interesting stuff is happening outside of academia" i was reflecting on the way things appear. by and large, perhaps due to levels of visibility more than anything else, a given product of D.I.Y has a higher probability of being interesting to me than a given product of academia, and this is purely examining the result, without taking the environment of production into account. of course there are exceptions, the work of the MIT Media Lab being a prime example. i don't think it's about short-term cultural capital, either. the sense i get is that a lot of this D.I.Y. stuff (i'm thinking in particular of the current round of ap/xxxxx workshops that deal with radio and analog electronics) is picking up on technology-based work that once was confined to academia simply because of the cost of entry, work that has since by and large been abandoned by academia in pursuit of newer technology, before the potentials of the technology have been fully pursued. -- damian stewart | +44 7854 493 796 | damian at frey.co.nz frey | live art with machines | http://www.frey.co.nz From david_borrie at hotmail.com Tue Aug 21 04:46:26 2007 From: david_borrie at hotmail.com (David Borrie) Date: Tue, 21 Aug 2007 11:46:26 +0000 Subject: [Af_List] Spiral Control In-Reply-To: References: Message-ID: This is why 'the interesting stuff is happening outside of academia'; as Damian says, they can't teach what hasn't been written about, and if so, this compromises their relevance somewhat, as in lagging behind their own publishing schedules the academic elites are slow in reacting to changes out in the real world. I feel the response to this can be for academia to resort to the exclusivity of its own output, as this accompanies an assessment and publishing timetable and can therefore be monitored and reacted to in 'real-time' and under lab conditions. And it is here that the carrots can start to enter the proverbial bung-holes. I appreciate Andrew's perspective, and I am sure much of value can come from teaching music within a learning institution. Nevertheless I take issue with his implication that it is only in a collegial environment that such things as group critique and exposure to totally new / different approaches can exist. I like many others in the 'real world' am an autodidact, and will tell you that you don't need to attend university to hear and be influenced by an Alvin Lucier composition or read about Xenakis. On the other hand, you're damned unlikely to encounter Merzbow or This Heat within the campus boundary. _________________________________________________________________ Invite your mail contacts to join your friends list with Windows Live Spaces. It's easy! http://spaces.live.com/spacesapi.aspx?wx_action=create&wx_url=/friends.aspx&mkt=en-us -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070821/277ebeeb/attachment.htm From stuartcmcd at gmail.com Tue Aug 21 18:08:32 2007 From: stuartcmcd at gmail.com (Stuart McDonald) Date: Wed, 22 Aug 2007 13:08:32 +1200 Subject: [Af_List] Academic music Message-ID: <932033eb0708211808w5733bbceo9a9b0a9421280127@mail.gmail.com> Dugal writes: > PERHAPS the only distinction that can be made between non/academia, and this > is one that barely applies these days as commercial pressures are > increasingly exerted upon the tertiary environment, is that "academic" > artists have the POTENTIAL freedom to hermetically pursue paths that hold > little in the way of wider appeal (including the appeal of the "hip", the > "new", the "experimental"), whereas those working outside institutions MAY > not have the freedom (economically) to disregard everything other than their > own ideas. In any case, I place great value on any environment that allows > people to pursue ideas regardless of their functional potential, possible > economic value, or short-term value as cultural capital... Hi Dugal, Doesn't 'freedom to hermetically pursue paths that hold little in the way of wider appeal' equate to freedom to make music that no one apart from the composer and their circle cares about? In which case, can such a hermetic pursuit have any value to the wider community? Also I would see the 'hip', the 'new' and the 'experimental' as currents in a wider cultural flow. I don't always like what is hip - in fact 9 times out of 10 I hate it - but to ignore these trends simply because they are trends seems to me to be slipping into a kind of artistic solipsism. These points don't entirely represent my personal opinion. They are issues I've been pondering for a while, however, and I'm interested to know your position on them. Thanks Stuart From lduncalfe at eml.cc Tue Aug 21 19:28:25 2007 From: lduncalfe at eml.cc (Luke Duncalfe) Date: Wed, 22 Aug 2007 14:28:25 +1200 Subject: [Af_List] Spiral Control In-Reply-To: References: Message-ID: <1187749705.1829.1206612031@webmail.messagingengine.com> On Tue, 21 Aug 2007 11:46:26 +0000, "David Borrie" said: > > This is why 'the interesting stuff is happening outside of academia'; > as Damian says, they can't teach what hasn't been written about, and > if so, this compromises their relevance somewhat, as in lagging behind > their own publishing schedules the academic elites are slow in > reacting to changes out in the real world. Academic elites maybe, but most academics I know aren't particularly elitist, and I notice at most audio performances I see a number of people attending that are academics of some scope which makes me think they aren't as far removed from changes in the real world as you might think. It's true that there is a lack of writing about the scene, and that academia lacks the ability to fully engage with practices that haven't sufficient amounts of critical (read - academic) writing around them .. this is the arse of the analytical tradition of the Western knowledge system, which requires textualisation, the formulation of terminology and didacticism around the meanings of artistic practices in order to transmit that knowledge. This is true of all progressive practices in all fields in NZ ... performance, video, sound and many others. But formation of context and reaction to changes can happen independently. Any truely progressive academic should be able to respond to alien practices, as the value systems of academia aren't so different from those of the practitioner who avoids all contact with academic dogma as people might be happy with. They just probably can't write about it. And 'the interesting stuff is happening outside of academia' could only be true if you imagine academia to be full of toffs and dozy old farts. My experience is anything but, and I don't see it as being a pissing match between academic and non-academic practices. I regard the best lecturers I've had as being those who were able to make work that was on the fringe of any recognisable canon of artistic practice, which is where the interesting things happen. You have your experts in any field, but also a lot of academic people who are willing to embrace all things unfamiliar. Luke From samukun at gmail.com Wed Aug 22 00:18:00 2007 From: samukun at gmail.com (Sam Hamilton) Date: Wed, 22 Aug 2007 19:18:00 +1200 Subject: [Af_List] Af_List Digest, Vol 16, Issue 18 In-Reply-To: References: Message-ID: <19ccf87f0708220018t1fbba346g2bd230bf838d836d@mail.gmail.com> > > PERHAPS the only distinction that can be made between non/academia, and > this > is one that barely applies these days as commercial pressures are > increasingly exerted upon the tertiary environment, is that "academic" > artists have the POTENTIAL freedom to hermetically pursue paths that hold > little in the way of wider appeal (including the appeal of the "hip", the > "new", the "experimental"), whereas those working outside institutions MAY > not have the freedom (economically) to disregard everything other than > their > own ideas. In any case, I place great value on any environment that allows > people to pursue ideas regardless of their functional potential, possible > economic value, or short-term value as cultural capital... > > Dugal sorry, i havent been following much of the conversations recently, havent had time to shower let alone read the 200 unchecked emails i have. anyway, quickly glimpsed at this comment and thought i might just reply to say i dont think that isa very good distinction at all and i think there are definately many much more obvious destinctions (that sorry, i wont get into on account of time) but form my experience, one thing that definately defines may NZ "experimental" sound artists often are far more willing to hermetically explore there musical direction, which is often far from confined to the influence of economic value or any of the above mentioned and often spend all their money doing it with not a wink of concern about doing so, look at Omit who didnt play a live show ever until about 5 years ago but had no hangups about purchasing tons of valuable musical equipment, possibly at the expense of many 'normal' comforts of life 'normal' people would be spending there money on and making some of the most ruthlessly idiosyncratic, un-commercial music in the universe. i think university acts far more as an environment that encourages capital and culture success that the non-acedemic world, most people who wont to be hermetic and explore their own musical epxressions hermetically go on the doll, rent a shack in the middle of no where and bury their souls into it... and consequently, you dont know who they are cause their being hermits. uni may offer the potential to be hermetic about your musical output, but everything surrounding you, all the academic requirements, the location and fellow students, teachers etc all encourage you to not be a hermit, their all hooks to other people, other things..... shit,im running out of time and trying to multi task my thinking, which i think, isnt working, so im stopping now. anyhow, blha blha, sorry for waisting your times peoples. its all a big misunderstanding sam -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070822/1c08dada/attachment.html From Dugal.McKinnon at vuw.ac.nz Wed Aug 22 04:00:53 2007 From: Dugal.McKinnon at vuw.ac.nz (Dugal McKinnon) Date: Wed, 22 Aug 2007 23:00:53 +1200 Subject: [Af_List] Academia Message-ID: Interesting thread this... Can't help but say that to focus on the academia vs. real world issue is to miss the point, which is the music itself and our collective ability to fully enjoy and understand it (which is where academia can be useful if prone to pedantry); underlying this false dichotomy is the fact that the same nasty forces that emphasise productivity and saleability as benchmarks for measuring quality are at work pretty much everywhere ? anyone who manages to resist, outwit or sidestep these ? and maintain enough energy to keep working idiosyncratically ? is doing extremely well in my books. The academic music world does face the difficult (misguided?) task of trying to teach people how to make music, and that of course runs the risk of teaching/assessing according to restrictive criteria (the lazy option) and of mistaking adherence to certain criteria for musical quality. At the same time, there's significant pedagogical value in requiring that students create within strict limits, chiefly as a means to "encourage" the development of technical ability (which relevant, differently, in all contexts) and the widening of aesthetic horizons (the eat your greens approach). Sound-object, ambient, noise, gesture/texture studies etc etc are all valid in this respect... As is David's assertion > that you don't need to attend university to hear and be influenced by an Alvin > Lucier composition or read about Xenakis. On the other hand, you're damned > unlikely to encounter Merzbow or This Heat within the campus boundary. Though I disagree with the second sentence although it was probably true of the generation that I was taught by. But with few exceptions, those people I studied electronic music alongside and who have gone on to teach within academia have made a point of utilizing as wide a range of music as possible in their teaching. And what's more, my experience is that it's extremely rare to encounter a student who knows about or has heard Merzbow, This Heat, or indeed a swathe of (slightly) better know experimentalists... (let alone establishment figures such as Lucier or Xenakis). Dugal From stuartcmcd at gmail.com Wed Aug 22 18:13:50 2007 From: stuartcmcd at gmail.com (Stuart McDonald) Date: Thu, 23 Aug 2007 13:13:50 +1200 Subject: [Af_List] Academics, shmacademics Message-ID: <932033eb0708221813w6c2b9c92m8579c08b9c69c1c0@mail.gmail.com> I think there is a distinction in that the 'town' experimental scene is at least under pressure to make their music appeal to an audience. Since they self-fund their work, there would only be value in what they do if others appreciated it. Music is, after all, a form of communication, and communication needs more than one person for it to be worthwhile. Certainly a music willingly created to communicates only one's ideas to oneself would strike most people as self-indulgent and pointless. For the 'gown' academic scene, since they're government/student fee funded, and they've defined a system of academic thought which they follow rigorously in order to justify their status, distinct from the quality of the music they make, they have the luxury to hermitise themselves to the point where it doesn't matter whether their music is relevant or listenable to anyone other than their own group. I think the differences between the two camps, socially and economically, constitutes a significant separation that transcends any musical similarities. Stuart From intergalactim at gmail.com Wed Aug 22 19:27:27 2007 From: intergalactim at gmail.com (Tim Coster) Date: Thu, 23 Aug 2007 14:27:27 +1200 Subject: [Af_List] Noise of modern life blamed for thousands of heart deaths Message-ID: <7929e4710708221927j581f7b44g6b347666eb071629@mail.gmail.com> *Noise of modern life blamed for thousands of heart deaths* *?* Stress of exposure adds to risks, says WHO report *?* Light traffic is enough for chronic levels at night *Alok Jha, science correspondent* *Thursday August 23, 2007* *Guardian* http://www.guardian.co.uk/medicine/story/0,,2154289,00.html Thousands of people in Britain and around the world are dying prematurely from heart disease triggered by long-term exposure to excessive noise, according to research by the World Health Organisation. Coronary heart disease caused 101,000 deaths in the UK in 2006, and the study suggests that 3,030 of these are caused by chronic noise exposure, including to daytime traffic. Deepak Prasher, professor of audiology at University College London, told the New Scientist magazine: "The new data provide the link showing there are earlier deaths because of noise. Until now, noise has been the Cinderella form of pollution and people haven't been aware that it has an impact on their health." The WHO's working group on the Noise Environmental Burden on Disease began work on the health effects of noise in Europe in 2003. In addition to the heart disease link, it found that 2% of Europeans suffer severely disturbed sleep because of noise pollution and 15% can suffer severe annoyance. Chronic exposure to loud traffic noise causes 3% of tinnitus cases, in which people constantly hear a noise in their ears. Research published in recent years has shown that noise can increase the levels of stress hormones such as cortisol, adrenaline and noradrenalin in the body, even during sleep. The longer these hormones stay in circulation around the bloodstream, the more likely they are to cause life-threatening physiological problems. High stress levels can lead to heart failure, strokes, high blood pressure and immune problems. "All this is happening imperceptibly," said Prof Prasher. "Even when you think you are used to the noise, these physiological changes are still happening." The WHO came to its figures by comparing households with abnormally high exposure to noise with those in quieter homes. It also studied people with problems such as coronary heart disease and tried to work out if high noise levels had been a factor in developing the condition. This data was then combined with maps showing the noisiest European cities. According to the WHO guidelines, the noise threshold for cardiovascular problems is chronic night-time exposure of 50 decibels (dB) or above - the noise of light traffic. For sleep disturbance, the threshold is 42dB, for general annoyance it is 35dB, the sound of a whisper. Ellen Mason, a cardiac nurse at the British Heart Foundation, said: "Our world is undoubtedly getting busier and noisier. Some people find noise pollution more stressful to live with than others do. Noise cannot directly kill us, but it may add to our stress. Occasionally, stressful events can trigger a heart attack in someone with underlying heart disease. We know that stressed people are more likely to eat unhealthily, exercise less and smoke more, and these can increase the risk of developing heart disease in the first place." Mary Stevens, policy officer at the National Society for Clean Air, said of the study's results: "We welcome this because one of the problems with noise is that it's one of the areas that local authorities get most complaints about and it's a big draw on their resources. But, unlike air quality, it hasn't been taken that seriously policy-wise because there [wasn't] the link between noise and health." Ms Stevens said that there were many options for reducing noise. Traffic could be quietened if more cars used low-noise tyres and councils installed low-noise road surfaces, for example. And coordinating roadworks by utility companies would also prevent the proliferation of potholes, another source of noisy traffic. The EU has already issued a directive that obligates European cities with populations greater than 250,000 to produce digitised noise maps showing where traffic noise and volume is greatest. "[The research] all supports work going on at the moment to manage traffic noise, which is driven by the environmental noise directive," said Ms Stevens. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070823/8a4f2a82/attachment.htm From david_borrie at hotmail.com Thu Aug 23 01:51:40 2007 From: david_borrie at hotmail.com (David Borrie) Date: Thu, 23 Aug 2007 08:51:40 +0000 Subject: [Af_List] Af_List Digest, Vol 16, Issue 19 In-Reply-To: References: Message-ID: > I see a number of people attending that are academics of some scope which makes me> think they aren't as far removed from changes in the real world as you might think. I don't mean to denigrate people who choose to study music at university by implying that they don't know about anything outside that sphere; I've met quite a few and they were all lovely people. > ..this is the arse of the analytical tradition of the Western knowledge> system, which requires textualisation, the formulation of terminology> and didacticism around the meanings of artistic practices in order to> transmit that knowledge. It goes without saying though that this knowledge is best acquired through direct experience- it is music we're talking about, and all impressions, written or otherwise, follow on from the literal hearing of it. It also needs underlining that independant enquiry can lead to unheralded benefits in the form of bringing together strands of experience and cultural commentary which can go ignored or unnoticed by academic establishments. It's interesting to consider the role of music journalism and popular writing in filling the conceptual gap between what's happening out here and in the universities. Also here in London the visible feedback-effect between the local 'scenes' and sound-art-types, and magazines like The Wire, which document them very effectively and 'within the moment', and which are staffed by (often the same) experienced people who hail from a variety of backgrounds. > underlying this false dichotomy is the fact that the same nasty forces that emphasise > productivity and saleability as benchmarks for measuring quality are at work pretty much > everywhere ? Unfortunately I don't think it is a false dichotomy; universities couple their activity with the need to justify in terms of rationale and to transmit ideas on paper, and this does lead to quite distinct attitudes and cultural output. And although the desire to abscond from commercial imperitives exists both within and outside the institutions, the universities attempt to absolutely shelter their music from it- which isn't necessarily all it's cracked up to be. A bit of commercial fight-or-flight instinct often is sadly necessary in order to create music which is compelling and durable; I realise this is liable to stir opinion but the fact is that Celebrate Psi Phenomenon and Pseudoarcana are perfect examples of (relatively) self-sufficient entities which manage to side-step market forces while generating cultural output which is influential far beyond New Zealand's borders in a way which (with a few notable and aging exceptions) the academic community has yet to demonstrate from within its remit. _________________________________________________________________ News, entertainment and everything you care about at Live.com. Get it now! http://www.live.com/getstarted.aspx -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070823/f21d749c/attachment.htm From info at happy.org.nz Thu Aug 23 03:43:26 2007 From: info at happy.org.nz (happy) Date: Thu, 23 Aug 2007 22:43:26 +1200 Subject: [Af_List] arama Message-ID: <008601c7e572$73ac69a0$0301a8c0@happylive> Yo canines, felines and rhinoceri.. Fri 24 August 10pm SCRAGFEST 2007 SkaFace Claw (Wellington) and Galloping Hooves of the Apocalypse (Auckland) Sat 25 - 8pm and 10pm Sun 26 - 8pm Lucien Johnson presents a gothic cabaret... "POE" featuring Anthony Donaldson and VILLAGE OF THE IDIOTS Saturday 25th August, 8pm + late show 10:30pm Sunday 26th August 8pm $10 on the door With music written by Lucien Johnson and performed by Village of the Idiots this show is a musical exploration into the world of Edgar Allan Poe. It features Anthony Donaldson on drums, Patrick Bleakley on double bass, Alphabethead on turntables, Amanda MacLean on trombone, Dean Hunter on guitar and Chris "The Elephant Man" Palmer as E.A.Poe. Musically it combines film noir style mystery themes, gothic dirges, bent calypso, dark cabaret and freaky carnival and is accompanied by some of Poe's finest texts and mysterious theatrical elements. Wed 29 August 8.30pm FERTILITY FESTIVAL - last gig for a while from this upstanding and virile group Thurs 30th 8.30pm FREEZING WORKS - new elecronic music with cello Fri 31 8.30pm LAUREN THOMPSON with support from CHARLETTE HANNAH and Rikki Doolan Sat 1 Sept 9pm THE STUMPS - Antony Milton, Stephen Clover and James Kirk more to come! hold yer breath til youse turns pupple Happy iiii 118 Tory St corer Tory / Vivian Streets Te Aro Wellington Eat it! It tastes Good! -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070823/f13fc581/attachment.html From borderlineballroom at gmail.com Thu Aug 23 16:47:45 2007 From: borderlineballroom at gmail.com (borderline ballroom) Date: Fri, 24 Aug 2007 08:47:45 +0900 Subject: [Af_List] Thurs 30th Aug, the Borderline Ballroom #4, with CRUDE, KHOMET, 2MILLIONLIGHTS Message-ID: the BORDERLINE BALLROOM at The Media Club, 191 Armagh St, Christchurch, NZ framed by the evocative decaying grandeur of the Media Club's Blue Room, once the ballroom of the historic Winter Gardens, the BORDERLINE BALLROOM is a Christchurch-based initiative aiming to provide a relaxed space for challenging listening, and a regular live venue for performative audio experimentation which supports local practitioners working on the peripheries of music and sound, while offering a resource for national and international performers touring the South Island. ----------------------------------------------------------------- the BORDERLINE BALLROOM #4 Thursday 30 August 2007 7:30pm - $5, doorsales only an all-South Island improvisational freefall... with: 2 MILLION LIGHTS (Chc) 2 million lights? It's 1 more, innit? With the addition of James Musgrave (A Flight to Blackout) a million lights (formerly the solo project of Chris Andrews) doubled itself, increasing in mass and velocity like the choicest Katamari. It is now a sumptuous beast comprised of dark and light, loud and particularly quiet, east and west, and short and tall... ish. We play organ and bass, whilst current and amplification play us. We care and hope you do too. http://www.myspace.com/millionlights KHOMET (Dun) Khomet are a four piece comprising the multilayered talents of Toki Wilson (amps/mics/springs/strings), Jim Currin (strings/voice), Alex MacKinnon (strings/electrons/tapes), and Aliki Boufis (dr. skins). Consistently drawing enthused local response in their hometown of Dunedin, this is their first outing elsewhere... "Khomet are free noise in its purest sense .... a combination of driving Krautrock rhythms and free-play electronics .... improvised textures, mysterious voices, space junk, and strange metallic rumblings. Mind-altering but constantly rewiring, all the time building in waves with a forward propulsion taking it relentlessly to some inevitable crash." - Peter Stapleton. "Khomet is purely and simply a whirlwind, a grand gnosis of guitar. Khomet takes the vestiges of the guitar noise tradition and single-handedly reforms and post-modernizes it with youthfull, super-energetic and flailing fury. A joy to behold." - Matt Middleton. http://www.myspace.com/khomet CRUDE (Dun) For this super-rare Christchurch appearance, the legendary Crude (a.k.a Matt Middleton), hot on the heels of his recent appearace at Auckland's Alt:Music festival, will unleash a selection of new electronic works... "The Crude set of today is a solo event with pre-prepared (usually crafted/treated the day of the performance) backing sounds, a precariously held together' juno 60' (roland) synth, primitivist percussive effects, and a crude, home-made shenai or shawm type instrument. Crude embraces the ideas of the new 'dark ambient' electronic movement, post-post glitch , angular and sparse horns referencing the new york no-wave, the vocals a drunken mix of un-pretentious nz accented dunedin sound/waitean/cavean growl/gurgle, vega-esque howl/yipe, sweet melody, esoteric chant and the drive of a younger, less horase lemmy. Listen and learn....." http://www.myspace.com/crudecat ---------------------------------------------------------- and your resident DJs: CEGESTE (... like an experimental radio show, only not on the radio) & ALABASTER CRASHES DOWN (given the age and fragility of the blue room's ceiling, we're hoping andrew doesn't mean this one literally...) --------------------------------------------------------------- the BORDERLINE BALLROOM is actively seeking performers. We are cross-genre and non-hierarchical, and interested in providing an outlet for musicians, composers and audio artists investigating live sonic experimentation of any variety. We are also interested in experimental side projects, new collaborations, artists investigating the relationship of audio to other (live) media, and in people who don't yet consider they have an audience outside their own headphones. If you would like more details, or have any questions, please write to us: sally (staticmansion at gmail dot com) or jo (stanier_black5 at hotmail dot com) http://www.myspace.com/borderlineballroom ------------------------------------------------------- the Borderline Ballroom would like to thank the wonderful local audiences who are supporting us in our endeavours to ensure the viability of regular live fringe musics in Christchurch. Thankyou for listening! Thanks also to THE AUDIO FOUNDATION, as always. Borderline Ballroom has sent you this email as it considers you may be interested in live experimental audio in Christchurch, although if you would like to be removed from this mailing list, please write. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070824/7785717d/attachment.html -------------- next part -------------- A non-text attachment was scrubbed... Name: BB4_30Aug.jpg Type: image/jpeg Size: 292642 bytes Desc: not available Url : http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070824/7785717d/attachment-0001.jpg From admin at audiofoundation.org.nz Thu Aug 23 17:16:09 2007 From: admin at audiofoundation.org.nz (Admin) Date: Fri, 24 Aug 2007 12:16:09 +1200 Subject: [Af_List] John Cousins in Wgton References: Message-ID: <0142DE19-8135-49F1-944D-D5E649702642@audiofoundation.org.nz> > > The Sonic Arts programme at the New Zealand School of Music is very > pleased > to announce that John Cousins, one of NZ's most distinguished > composers, > will be at the NZSM September 5-6 to give three concerts and a > workshop. > Cousins has created a significant body of audio/visual work and > these events > are a unique opportunity to hear him speak about his creative > practice and > present his work in a sound-environment tuned by Cousins himself. > > Composer Workshop (open to public) > 3:10-4:30pm > Wed 5 Sept > Adam Concert Room > NZSM (Kelburn Campus) > > Concert: Speak Memory > 50 minute programme, repeated 3 times > Bookings essential ? NZSM Reception ph. 04 463-5369 > 7, 8 and 9pm > Thurs 6 Sept > Adam Concert Room > NZSM (Kelburn Campus) > > ----- > Dr Dugal McKinnon > Programme Leader, Sonic Arts > Interim Director, Lilburn Electroacoustic Music Studios > New Zealand School of Music > Victoria University of Wellington > Aotearoa New Zealand > > ph +64 4 463 6448 > fax +64 4 463 5157 From samukun at gmail.com Thu Aug 23 19:11:39 2007 From: samukun at gmail.com (Sam Hamilton) Date: Fri, 24 Aug 2007 14:11:39 +1200 Subject: [Af_List] Af_List Digest, Vol 16, Issue 20 In-Reply-To: References: Message-ID: <19ccf87f0708231911r59542057if71e72a6fdfa93fe@mail.gmail.com> > > I think there is a distinction in that the 'town' experimental scene > is at least under pressure to make their music appeal to an audience. if this was true, surely the the music in this scene would be alot different than it is and surely there would BE an audience of notable worth from a commercial standard. Since they self-fund their work, there would only be value in what > they do if others appreciated it. Music is, after all, a form of > communication, and communication needs more than one person for it to > be worthwhile. communication is not a phenomenon restricted to human to human parameter, and if indeed music is a form of communication, it much have more universal abilities than conventional language otherwise when we wonted to communicate we would simply use the best possible form of doing this, conversing, and if music is more universal, surely it has the ability to communicate far further than to humans. sound is a physical phenomenon all matter is effected by, and if music is an abstract form of communication surely everything that is physical could recieve it. is music was only a form of communication, it defies all conversational logic or purpose. if music is expression, and the usefullness of expression is to understand ones self through the act of doing things and communicating with the world around us, then surely commicating with ones self is the point on musical communication, even if the self directed conversation travels via an external source. Certainly a music willingly created to communicates > only one's ideas to oneself would strike most people as self-indulgent > and pointless. isnt the act of making music only to communicate with other humans a socially self indulgent act? i instinctually am repelled by artists who make music purely to please an audience, if there is no self-indulgence on behalf of the artist i cant help but feel like im experiancing something purely empty, devoid of emotional significance, what use is gifting your self to others if the 'self' is not important to the giver? For the 'gown' academic scene, since they're government/student fee > funded, and they've defined a system of academic thought which they > follow rigorously in order to justify their status, distinct from the > quality of the music they make, they have the luxury to hermitise > themselves to the point where it doesn't matter whether their music is > relevant or listenable to anyone other than their own group. not to be mean but this sounds like an excuse for putting lots of money into something which very few people benefit from or even like. freedom and music are NOT luxuries, society is what creates boundries, borders and rules of which musicians are bound by and university is the xenith of society, freedom to do what you like in whatever context or parameter you like is something that comes from within or from being within a group that is accepting of freedom and value systems based on personal gain. how can a value system that rates things on a pass and fail system allow for personal freedom? i would be ultimately sincerely positive of university art teaching if everyone who enrolled automatically received an A++ throughout their studies simply for making the decision to pursue music, no matter what direct or aesthetic values they have. I think the differences between the two camps, socially and > economically, constitutes a significant separation that transcends any > musical similarities. they arent 'camps' they are 'contexts' music is essentially free university never has been and never will be, economically or socially these are distinctions, not criticisms. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070824/0987838d/attachment.htm From samukun at gmail.com Fri Aug 24 16:51:05 2007 From: samukun at gmail.com (Sam Hamilton) Date: Sat, 25 Aug 2007 11:51:05 +1200 Subject: [Af_List] Af_List Digest, Vol 16, Issue 22 In-Reply-To: References: Message-ID: <19ccf87f0708241651x7152da06ieee03590cf7abbdb@mail.gmail.com> i just wont to say im sorry for being blunt or harsh, i really don't like saying blunt harsh things and don't like pointing fingers at other peoples opinions, sorry for being a over passionate heated arty puff head more than a diplomat. i just wont to add though that although i hold these rather apposing opinions of university i do strongly believe they are of definite good to people and the our culture, although i think in order to be that they constantly require people like me and others barking down their fucking throughs at every feather they misplace as being the "authority" on just about everything, university holds an extremely important role in shaping society and should aim to be as sensitive as possible to the cultural climate of which they claim to be the authority on. i heard they are about to nock down the Maidment Theatre because "what use is a theatre these days", i fully agree, i think they should mock it down and install a cultural torture chamber under the guise of a "business school", which seems to be what university are leaning towards. just like the media, im sure their are some extremely passionate people involved on the ground there but essentially their trying to sell you something and make money, stink buzz to that. i also strongly thing, in regards to music, that the most fucking important thing of all is that you enjoy it and it, whether listening or making, holds a position of significance in your life, whether its spiritual, emotional, intelectual, social, communicative, just plain fun or is a tool for exploring your reality or the reality around you. with these feelings i hope that you can understand how upset i can get at the concept of judging what is good and what is bad and what direction someone should being taking if a direction is music is what their interested in. i think what would be far more valuable to any impressionable music who is seeking some direction or guidance is to go o an "un-learning" music school where instead of being told what to do and getting a mark for how well they do it and being given the impression thats the 'purpose' of music, they get a chance to un-learn all the intensely un-needed, opinionated, negatively judgemental baggage people are fed through-out their lives from people, schools, teachers, radios, commercials, record labels and other people who wont to buy their product and only their product. so much of out society acts like like the fucking dutch did in Uganda or the English is India, sneakily dividing otherwise mutually friendly and cooperative people and communities and setting them apon each other so they can make a profit off their loss. record companies and societies in general constantly profit from peoples aural ignorance, controlling our taste in music to control our opinions of others. the world would be so much of a fucking better place if we all just opened our fucking ears acceptingly. i feel university, or the refined musical aesthetics that go with university training, can at least a little bit, be responsible for many peoples closed mindedness, they submit them selves to it because we're taught that they are right, or better, or wiser, smarter, more educated and there for, we should accept their version of whats right instead of following ones own intuitive understanding and relationship to sound. so what happenings if your ambition as a musician is to be "talentless", but, you really wont to explore that talentless ability to its fullest and you put your life and all your effort into doing so, should such a person be allowed to enjoy making music and feel that they do it well? what are the psychological characteristics of musical satisfaction? if i child makings music from the age of 1, learns the violin until they are a total pro, at what point do they 'enjoy' there own music making. is music worth making if its devoid of enjoyment. maybe university could put more emphasise of enjoying what they and their students do, if indeed they are given the freedom to be more hermetic without the pressures of the outside world or their peers in society then surely there is no need to not be enjoying what they are doing on the basis of not being good enough, not good enough for what? Traffic pollution and heart failure, not that i believe a world the World Health Organisation says, but, this i do believe. wellingtonions: enjoy Cousins's show!!!! awesome! sounds great,mmm, im jealous as. LOVE SAM -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070825/d9bdfe27/attachment.htm From turnstyle at obscure.co.nz Fri Aug 24 19:44:37 2007 From: turnstyle at obscure.co.nz (change everything) Date: Sat, 25 Aug 2007 14:44:37 +1200 Subject: [Af_List] Academic music In-Reply-To: <19ccf87f0708241651x7152da06ieee03590cf7abbdb@mail.gmail.com> References: <19ccf87f0708241651x7152da06ieee03590cf7abbdb@mail.gmail.com> Message-ID: <46CF9795.8040407@obscure.co.nz> > i feel university, or the refined musical aesthetics that go with > university training, can at least a little bit, be responsible for many > peoples closed mindedness, they submit them selves to it because we're > taught that they are right, or better, or wiser, smarter, more educated > and there for, we should accept their version of whats right instead of > following ones own intuitive understanding and relationship to sound. I agree with you a little here Sam. People at my school are certainly 'interested' in what I am doing. However since a lot of what I propose falls out side the parameters of learning that exist with in the school it has to be ignored. The school exists in a limited framework. I think what you are discussing is a very interesting modern question. One that I think the practice of experimental music exposes all the time. Many of the ideas I am trying to resolve in my music are around how to connect people, how to make people aware of what is happening around them. The academic approach to music seems to tackle these ideas as well. However it seeks to resolve the question by abstracting everything. Isolating sounds and reformatting them out of context. Pushing ideas into a higher order in method to expose them better ?! As you suggest, it may be part of a very colonial mindset. They stoic process of removing nature from itself in order to study it, understand it and control it. One thing I am learning at Uni, is that is conversation is happening in many different places. Cultural studies, science studies, politics, economics, music .. etc However these are all separate departments, isolated from each, where practitioners burrow down into narrower and narrower fields of research, discovering important facts almost in isolation. The nature of humans and self interest, is that after a time, your field of study does become the most relevant, most essential to your time and attention. The academic belief seems to be that this type of isolated pursuit is the most effective way to extract knowledge. I am interested in where all this 'relevant' (connected) knowledge emerges. In our current environment this seems to be in the hands of multi-national corporate entities who have the resources to assimilate the data and exploit it. How do we change this? How do we take deep knowledge and make it a conversation of the people, a concern of the commons? How do we tune people back into their intuitions? How do we re-establish a trust in ourselves? How do we reverse the process of isolation, separation and colonisation? I always thought this was the responsibility of artists and mucisians? The ideas being perpetuated in my music school are traditional. They are safe, respectable and full of good intention. There is nothing intrinsically wrong here apart from a unwillingness to change based on the idea it will corrupt the process of understanding somehow. Only history is able to change the future. Why can we not change the future to make history. There is so much more to understand really. So University would seem to be a place to gain one level of understanding that conditions our whole society. University's may not be right but they are fairly good at ensuring that they can't be found at fault. BTW. I am really enjoying this thread. It has given me lots of thinking and helped me to at least order my thoughts into a survivable program. Its great to see a healthy debate around the subject. This forum is unique in that it has connects the conversation to such a broad range of people and practice. Very cool for the long term (conceptual) health of everyone involved here. ! .simon From info at happy.org.nz Sat Aug 25 06:04:00 2007 From: info at happy.org.nz (happy) Date: Sun, 26 Aug 2007 01:04:00 +1200 Subject: [Af_List] Late notice Argintinian Tango gig Message-ID: <000601c7e718$6b5f7d80$0301a8c0@happylive> ..and so who should drop in but.. DANIEL VACS - piano / bandoneon AMANDO RISUENO - guitar / song PEDRO OCHEO - double bass / dance JOANA RAMIREZ - dance all from the birthplace of TANGO - BUENOS AIRES, ARGENTINA! some of the words used by Jennifer Shennan in the DomPostfor their gig last week were... "Mesmerizing.." "Defy credibility" "..feel like a priveleged voyeur." see and hear for yourself these proponents of modern tango music and dance on SUNDAY 26 AUGUST at 10pm.....thats tonight! This is after the wonderful, dark and funny "POE" which is at 8pm Do your Sunday a favour and come for both! Adios Gringos Happy iiii 118 Tory St corer Tory / Vivian Streets Te Aro Wellington Eat it! It tastes Good! -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070826/aae582bc/attachment.htm From zoe at audiofoundation.org.nz Sat Aug 25 22:59:06 2007 From: zoe at audiofoundation.org.nz (Zoe Drayton) Date: Sun, 26 Aug 2007 17:59:06 +1200 Subject: [Af_List] my 5 cents Message-ID: <7FF23A85-FB39-4FD8-B80C-529E0F7193BB@audiofoundation.org.nz> Firstly, i just want to make it clear, that opinions expressed on this list are not ever indicative of the Audio Foundation and its position. The point of AF is to broadly support innovative practice. It does say on the site that this means a practice that falls outside or in between academia and industry....but that doesn't mean that it rules out these areas either. Secondly, i come from an academic background with my making. My gramma was the first woman (and person) in NZ to get a Bachelor of Music and I was in a sculpture dept at art school when i started making. Personally i find it crucial to not discount any practice- no matter how lame or where or who it comes from - and to try to be informed by anything that is helpful to my own making. But one of the keys to any making is support. Its pretty hard to make in isolation. And i guess this is where the whole discussion started eh? with Simon needing support for how he was experiencing Music School.... dude... i say go to sculpture... (or RMIT actually with Philip Smartzis) z From alexwmac at gmail.com Sun Aug 26 17:40:39 2007 From: alexwmac at gmail.com (alexander mackinnon) Date: Mon, 27 Aug 2007 12:40:39 +1200 Subject: [Af_List] guitar amps and deth + small addition to academia thread Message-ID: <6430a3070708261740n6fbab447h645cd613cda384eb@mail.gmail.com> Ok, here is my problem: I slowly but surely break my guitar amps. Im thinking that I need some knowledge from other people. I want to ask advice on guitar amps and what different kinds of amps can deal with different amounts of torture. Right now im playing through a rockit pro champ 100 with a 2x12speaker box that was from a fender pro185 (that I blew yes? doh). This rockit has a great sound, I find it better than the fendertwinreverb (didn't blow that one, just sold it ok) I was using and better than the fender pro 185 I was using. The other part of the story is that I play rebuilt guitars that give unusual sounds. I think that this is the root of my issue; the guitar I use mostly is a guitar with 2 necks (not the kind that that loser from guns and roses uses mind you) it has a neck that comes out the back end of the guitar so that the string length is twice the length. So this guitar produces really low and gravely sounds (but STILL has the high end feel of a guitar? ie; the gravel?hur hur) I use it a lot with guitar on amp contact drones. So the long strings feedingback with much distortion and blah blah... hurt my amps. And im kinda sick of it. Right now im sensing this amp is on the way out, the speakers are starting to click and make upsetting noises from the volume. People say just turn it down?. Or turn the bass down?.. but I cant. I hope there is people who know what I mean. Basically I need an amp that can deal with a loving bastard of an owner. So what Im curious about is: Whats this thing about "high gain" amps like marshalls. Do I need to get myself a damn heavy metal amp? I really don't like the sound of marshalls?. But maybe that kind of thing is what I need; after seeing black boned angel?? umm just thinking the density of sound coming from those guitar amps is a reference point? Do quad boxes deal with heavier sound loads???? Or are there 2 more speakers just for density of sound projection??? Im more attracted to the twin amp format. Quads are a bitch. Are there twin amps that can deal with high stress??? I once thought about getting a "fender super twin" (a 180watt tube amp), which has an obscene amount of power; thinking that maybe this extra power will act as a kind of "head room" so that my noise will never reach the ceiling. Is there truth in that? I once played through a mesa heartbreaker twin which seemed to have a very sturdy and powerful sound(although very mid-rangey like a marshall whichh im not so into)?.. are there twins that people recommend that have magick powers for musick? is it "high gain" i want not high wattage??? (going back to the high gain thing in comparison to the idea of "head room") Someone told me I should get a compressor. That's something ive never thought of! Are there others out there who use compressors with noisy guitars??? How do you find it? If I had a compressor with a twin amp would everything be ok? Im scared of the idea of having my sound "compressed"?.. does it fuck with freedom? Help? Cheers?. Alex MacKinnon. www.myspace.com/alexmackinnon www.myspace.com/khomet www.myspace.com/rolldream PS: just to add to the debate/discussion about academia etc; im currently at art school (fuck you) and im not in a department. I wrote a proposal for a sound composition class and it got the OK from the head of school. I think in terms of this discussion what me and my 1 class mate have done is a victory. We have spat in the cracks at art school. One thing though; this is not a MAJOR. We are in second year so practice is spread out. But I believe if I can have a proposal approved for a sonic art minor, which is by nature a stepping stone towards a "major", I definitely can have a major class in sonic art at an art school, or at least this art school. And not have to be involved in the sculpture department etc? and if I feel like coming back next year, im going to write that proposal, and if it gets refused im gonna? I'll fuckin? I'll? well basically if they refused it they would be contradictory and fickle, but that's not beyond and art school! -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070827/37e38e1d/attachment.html From samukun at gmail.com Mon Aug 27 02:36:12 2007 From: samukun at gmail.com (Sam Hamilton) Date: Mon, 27 Aug 2007 21:36:12 +1200 Subject: [Af_List] 6 cents worth Message-ID: <19ccf87f0708270236j743238cdk1a07df8af4bd5735@mail.gmail.com> i reckon what simon had to say about finding this discussion worth while and beneficial (or something like that??) to furthering his own understanding of this situation he is in is proof that despite these debates getting a bit fiesty sometimes (sorry, sorry sorry for any pink cheaked flusters i may have gotten into about it) that they are worth while to furthering at least one persons understanding of the system and from that, may go on to do good things within the system, and thats good isnt it? i think that the only thing that maybe stops myself from being criticized by the "community" is that i dont "teach" what im doing (not that you cant learn things from me, or at least what not! to do), im sure if i did you could all rip me to shreds like a Slash solo. i was thinking today about a few people who i think really make accpetionally good use of classical music techniques (ie, conventional arrangement, notation, western harmony etc) but arent at all considerably part of the classical/post classical/acedemic music world and who also arent tying to "break out" of the classical music baggage that comes with notation etc but simply use it as tool equally as they do everything else, its simply something they draw apon to make their music (i feel, or get the impression that many of the classical music people i see who are fringing into "sound art" or beyond/outsider, non trad classical or whatever, often seem to apear as though they are trying really hard to "break out", using 'extended techniques' etc rather than just treating sound as sound for the purpose of abstract expression beyond social contexts) anyhow, i was listening to Keith Fullerton Whitman and you can hear in his music that he defiantely knows his shit with arrangement, harmony and many other things that defiantely come with the very concise training typical of classical music training. but although there are those elements in there the music doesnt adhere at all to modern classical music aesthetics, although there is no trying to hide the fact that those elements, that have come from the classical music tradition, are in there by using 'extended techniques', there used fairly obviously almost, simply because they are useful, sound great! and are the best practical tools for getting the sound he wonted. another person who i feel is open about using techniques developed from that tradition is Jim O'rouke, his arrangement is stunning! simple and emmensely effective!, a blissful because of it. even Rosy Parlane to a degree is similar, although entensely progressed apon, you can hear to a certain degree a real musical sensability in his music that has come from a farther normal musical tuition, playing piano, trombone etc. i believe his music now, what most might consider emmensely abstract and totally non traditional (which it is,but..), wouldn't be as fucking brillient as it is without his formative years of learning music traditionally, that makes it a super good thing no? (hey rosy, sorry if i grossly miss-judged your music and musical background, its only my impression, which as i know to well is often as fluid and changable as water, vineger, petroleum and butter mixed together in the belly of a rhinoserus with a stomuch ache). and hey, i love aot of "classical" music, i went through a real formative period listing to alot of classical music, Bartok, Liszt, Vivaldi, Kevin Volans, Satie, Schoenberg, Bach, Procokov, plus many of the classic mid 20th century pioneers David Tudor, Cage Feldman, Stockhausen, Legeti, Xenakis, Lucier and so so so many more. i dont wont to look like im just to blindly bashing the classical music world or the people in it, especially the people in it cause i do really agree with what Zoe wrote, and i DO think its good that you simon are doing what your doing. Skool Sux love sam -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070827/0e3d19f8/attachment.html From steve at inlandscenic.net Mon Aug 27 14:21:02 2007 From: steve at inlandscenic.net (Steve Kerr) Date: Tue, 28 Aug 2007 09:21:02 +1200 (NZST) Subject: [Af_List] guitar amps and deth In-Reply-To: References: Message-ID: <41655.208.97.187.133.1188249662.squirrel@webmail.inlandscenic.net> could this just be the low frequencies from your longnecked guitar? rather than the volume you're playing at per se? 12" guitar amp speakers aren't built for loud low freqencies - just guitar frequencies maybe you could try having a bass amp as well, and some kind of crossover to split the signal, so the low end goes to the bass amp and the normal guitar frequencies go to your guitar amp? but that's two amps to carry round... what about playing thru a sans amp or similar straight into the PA? amen > > Today's Topics: > > 1. guitar amps and deth + small addition to academia thread > (alexander mackinnon) > 2. 6 cents worth (Sam Hamilton) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Mon, 27 Aug 2007 12:40:39 +1200 > From: "alexander mackinnon" > Subject: [Af_List] guitar amps and deth + small addition to academia > thread > To: af_list at list.audiofoundation.org.nz > Message-ID: > <6430a3070708261740n6fbab447h645cd613cda384eb at mail.gmail.com> > Content-Type: text/plain; charset="windows-1252" > > Ok, here is my problem: I slowly but surely break my guitar amps. Im > thinking that I need some knowledge from other people. I want to ask > advice > on guitar amps and what different kinds of amps can deal with different > amounts of torture. > Right now im playing through a rockit pro champ 100 with a 2x12speaker box > that was from a fender pro185 (that I blew yes? doh). This rockit has a > great sound, I find it better than the fendertwinreverb (didn't blow that > one, just sold it ok) I was using and better than the fender pro 185 I was > using. The other part of the story is that I play rebuilt guitars that > give > unusual sounds. I think that this is the root of my issue; the guitar I > use > mostly is a guitar with 2 necks (not the kind that that loser from guns > and > roses uses mind you) it has a neck that comes out the back end of the > guitar > so that the string length is twice the length. So this guitar produces > really low and gravely sounds (but STILL has the high end feel of a > guitar? > ie; the gravel?hur hur) I use it a lot with guitar on amp contact drones. > So > the long strings feedingback with much distortion and blah blah... hurt my > amps. And im kinda sick of it. Right now im sensing this amp is on the way > out, the speakers are starting to click and make upsetting noises from the > volume. > People say just turn it down?. Or turn the bass down?.. but I cant. I hope > there is people who know what I mean. > Basically I need an amp that can deal with a loving bastard of an owner. > > So what Im curious about is: > > Whats this thing about "high gain" amps like marshalls. Do I need to get > myself a damn heavy metal amp? I really don't like the sound of > marshalls?. > But maybe that kind of thing is what I need; after seeing black boned > angel?? umm just thinking the density of sound coming from those guitar > amps > is a reference point? > > Do quad boxes deal with heavier sound loads???? Or are there 2 more > speakers > just for density of sound projection??? > > Im more attracted to the twin amp format. Quads are a bitch. Are there > twin > amps that can deal with high stress??? I once thought about getting a > "fender super twin" (a 180watt tube amp), which has an obscene amount of > power; thinking that maybe this extra power will act as a kind of "head > room" so that my noise will never reach the ceiling. Is there truth in > that? > I once played through a mesa heartbreaker twin which seemed to have a very > sturdy and powerful sound(although very mid-rangey like a marshall whichh > im > not so into)?.. are there twins that people recommend that have magick > powers for musick? > > is it "high gain" i want not high wattage??? (going back to the high gain > thing in comparison to the idea of "head room") > > > Someone told me I should get a compressor. That's something ive never > thought of! Are there others out there who use compressors with noisy > guitars??? How do you find it? If I had a compressor with a twin amp would > everything be ok? Im scared of the idea of having my sound "compressed"?.. > does it fuck with freedom? > > > > Help? > Cheers?. > Alex MacKinnon. > www.myspace.com/alexmackinnon > www.myspace.com/khomet > www.myspace.com/rolldream > > From sclover at xtra.co.nz Mon Aug 27 15:52:54 2007 From: sclover at xtra.co.nz (sclover at xtra.co.nz) Date: Tue, 28 Aug 2007 08:52:54 +1000 (EST) Subject: [Af_List] guitar amps and deth Message-ID: <882551.17712.qm@web96104.mail.aue.yahoo.com> ----- Original Message ---- From: alexander mackinnon > not the kind that that loser from guns and > roses uses mind you hey man, what gives???? slash rules. > Someone told me I should get a compressor. yeah that was what came to mind. freedom? it'll just smooth out the spikes of current. OR try using a bass amp. either way, it seems possible that the range of frequency you are producing with your equipment is too great for a guitar amp+speakers tweaked for more tradtitional guitar setup. -sehttie/. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070828/a15c18fc/attachment.html From fiffdimension at hotmail.com Mon Aug 27 20:43:32 2007 From: fiffdimension at hotmail.com (David Edwards) Date: Tue, 28 Aug 2007 15:43:32 +1200 Subject: [Af_List] New video online Message-ID: Dave solo at Bomb the Space Festival, at Happy, Wellington, New Zealand, June 2004. Abrasive guitar, dictaphone and spoken word performance piece: http://www.youtube.com/watch?v=8UFpX7catqw Please take a second to give it a star rating or leave a comment if you like it. If you don't like it, that's your problem... Regarding the academic music debate, I probably took a more theoretical approach in the past and was certainly influenced by the 20th century avant garde + free jazz etc melting pot in Wellington. I did find it useful though to spend a year at music school last year learning some of the basic techniques I'd missed out on through being self-taught. So now I can be as abrasive & obnoxious & avant garde as I feel appropriate for any given piece, but also have the option of playing tunes if I want. Nelson School of Music was quite different from an academic environment, but was just what I needed to develop further. This year I'm in South Korea doing some amateur ethnomusicology... Dave www.fiffdimension.co.nz _________________________________________________________________ Live Search delivers results the way you like it. Try live.com now! http://www.live.com From skyscratcher76 at hotmail.com Mon Aug 27 21:03:54 2007 From: skyscratcher76 at hotmail.com (Daniel Hockey) Date: Tue, 28 Aug 2007 04:03:54 +0000 Subject: [Af_List] Af_List Digest, Vol 16, Issue 25 In-Reply-To: References: Message-ID: Re Guitar amps and deth. Hi Alex If you like the sound of your Rockit, I?d say stick with that. It sounds to me as if the weak link in your chain in your current setup is your speakers. I would recommend a closed back cabinet as it will provide more damping to the speaker cone and stop is flapping about so much at high volume. Also fit the cab with some high power speakers, say 100watts each. If its out and out volume you want, try to get some really sensitive speakers. I know Celestion make a guitar speaker rated at 103db 1 watt a 1 meter. They claim it?s the loudest guitar speaker ever. Its power handling is 80 watts, I imagine two of those would be pretty good too. Sensitivity ratings work like this, a 1khz 1 watt signal is fed into the speaker and the resulting db is recorded. Upgrading to more sensitive speakers is often a better option than increasing the output power of your amp as the difference in volume will be much more noticeable. Most guitar speakers are around the 90db mark. And older ones tend to be less. If you are going to change amps stay with a valve one. They tend to take being driven real hard better than solid state amps, and they sound a better (in my opinion) Also they don?t blow up in the same way as a solid state one. They are kinder to your speakers because the output stage works differently to that of a transistor amp and when driven hard a valve amp won?t put DC through your speaker?s voice coils, which will fry them fast. All a high gain amp will enable you to do is create loads of distortion with the amp itself. The preamp stages in these amps have all that gain so they can be overdriven with ease. In theory enabling you to do away with a distortion pedal. They don?t necessarily give any more output power For example you can have a 15 watt high gain amp. Really high gain is to do with the preamp stage of the amp as opposed to the output stage. Head room to me means the volume of sound you can get out of an amp before it starts to distort. Quads do provide a ?denser? sound as they?ve got a bit more bottom end. There are two main types of quads, those with straight fronts and those with angled fronts. The straight front cabs provide a more focused sound and the angled fronts give a wider sound projection. As a rule quads do handle more power. Newer quads will handle more power than older ones. Older ones will probably be rated at about 100watts. A compressor could be useful to take the most extreme (and damaging) peaks out of your sound, it shouldn?t affect your dynamic range too much as long as you use it in a subtle way. If you?re interested I?ve got a high power valve combo at home I?m interested in selling. It?s a 100 watt Gunn Classic (NZ Made). 2x12 with tremolo and spring reverb. Dates from 1976. My current setup I?m working with at the moment consists of a Les Paul, Big Muff Fuzz, Behringer Distortion and a old National stereo. I plug into the mic input; it?s the most horrific distortion I?ve ever created?so far. Hope that helps. Daniel d?Lye > From: af_list-request at list.audiofoundation.org.nz> Subject: Af_List Digest, Vol 16, Issue 25> To: af_list at list.audiofoundation.org.nz> Date: Mon, 27 Aug 2007 13:21:31 -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. guitar amps and deth + small addition to academia thread> (alexander mackinnon)> 2. 6 cents worth (Sam Hamilton)> > > ----------------------------------------------------------------------> > Message: 1> Date: Mon, 27 Aug 2007 12:40:39 +1200> From: "alexander mackinnon" > Subject: [Af_List] guitar amps and deth + small addition to academia> thread> To: af_list at list.audiofoundation.org.nz> Message-ID:> <6430a3070708261740n6fbab447h645cd613cda384eb at mail.gmail.com>> Content-Type: text/plain; charset="windows-1252"> > Ok, here is my problem: I slowly but surely break my guitar amps. Im> thinking that I need some knowledge from other people. I want to ask advice> on guitar amps and what different kinds of amps can deal with different> amounts of torture.> Right now im playing through a rockit pro champ 100 with a 2x12speaker box> that was from a fender pro185 (that I blew yes? doh). This rockit has a> great sound, I find it better than the fendertwinreverb (didn't blow that> one, just sold it ok) I was using and better than the fender pro 185 I was> using. The other part of the story is that I play rebuilt guitars that give> unusual sounds. I think that this is the root of my issue; the guitar I use> mostly is a guitar with 2 necks (not the kind that that loser from guns and> roses uses mind you) it has a neck that comes out the back end of the guitar> so that the string length is twice the length. So this guitar produces> really low and gravely sounds (but STILL has the high end feel of a guitar?> ie; the gravel?hur hur) I use it a lot with guitar on amp contact drones. So> the long strings feedingback with much distortion and blah blah... hurt my> amps. And im kinda sick of it. Right now im sensing this amp is on the way> out, the speakers are starting to click and make upsetting noises from the> volume.> People say just turn it down?. Or turn the bass down?.. but I cant. I hope> there is people who know what I mean.> Basically I need an amp that can deal with a loving bastard of an owner.> > So what Im curious about is:> > Whats this thing about "high gain" amps like marshalls. Do I need to get> myself a damn heavy metal amp? I really don't like the sound of marshalls?.> But maybe that kind of thing is what I need; after seeing black boned> angel?? umm just thinking the density of sound coming from those guitar amps> is a reference point?> > Do quad boxes deal with heavier sound loads???? Or are there 2 more speakers> just for density of sound projection???> > Im more attracted to the twin amp format. Quads are a bitch. Are there twin> amps that can deal with high stress??? I once thought about getting a> "fender super twin" (a 180watt tube amp), which has an obscene amount of> power; thinking that maybe this extra power will act as a kind of "head> room" so that my noise will never reach the ceiling. Is there truth in that?> I once played through a mesa heartbreaker twin which seemed to have a very> sturdy and powerful sound(although very mid-rangey like a marshall whichh im> not so into)?.. are there twins that people recommend that have magick> powers for musick?> > is it "high gain" i want not high wattage??? (going back to the high gain> thing in comparison to the idea of "head room")> > > Someone told me I should get a compressor. That's something ive never> thought of! Are there others out there who use compressors with noisy> guitars??? How do you find it? If I had a compressor with a twin amp would> everything be ok? Im scared of the idea of having my sound "compressed"?..> does it fuck with freedom?> > > > Help?> Cheers?.> Alex MacKinnon.> www.myspace.com/alexmackinnon> www.myspace.com/khomet> www.myspace.com/rolldream> > > PS: just to add to the debate/discussion about academia etc; im currently at> art school (fuck you) and im not in a department. I wrote a proposal for a> sound composition class and it got the OK from the head of school. I think> in terms of this discussion what me and my 1 class mate have done is a> victory. We have spat in the cracks at art school.> One thing though; this is not a MAJOR. We are in second year so practice is> spread out. But I believe if I can have a proposal approved for a sonic art> minor, which is by nature a stepping stone towards a "major", I definitely> can have a major class in sonic art at an art school, or at least this art> school. And not have to be involved in the sculpture department etc? and if> I feel like coming back next year, im going to write that proposal, and if> it gets refused im gonna? I'll fuckin? I'll? well basically if they refused> it they would be contradictory and fickle, but that's not beyond and art> school!> -------------- next part --------------> An HTML attachment was scrubbed...> URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070827/37e38e1d/attachment-0001.html > > ------------------------------> > Message: 2> Date: Mon, 27 Aug 2007 21:36:12 +1200> From: "Sam Hamilton" > Subject: [Af_List] 6 cents worth> To: af_list at list.audiofoundation.org.nz> Message-ID:> <19ccf87f0708270236j743238cdk1a07df8af4bd5735 at mail.gmail.com>> Content-Type: text/plain; charset="iso-8859-1"> > i reckon what simon had to say about finding this discussion worth while and> beneficial (or something like that??) to furthering his own understanding of> this situation he is in is proof that despite these debates getting a bit> fiesty sometimes (sorry, sorry sorry for any pink cheaked flusters i may> have gotten into about it) that they are worth while to furthering at least> one persons understanding of the system and from that, may go on to do good> things within the system, and thats good isnt it?> i think that the only thing that maybe stops myself from being criticized by> the "community" is that i dont "teach" what im doing (not that you cant> learn things from me, or at least what not! to do), im sure if i did you> could all rip me to shreds like a Slash solo.> > i was thinking today about a few people who i think really make> accpetionally good use of classical music techniques (ie, conventional> arrangement, notation, western harmony etc) but arent at all considerably> part of the classical/post classical/acedemic music world and who also arent> tying to "break out" of the classical music baggage that comes with notation> etc but simply use it as tool equally as they do everything else, its> simply something they draw apon to make their music (i feel, or get the> impression that many of the classical music people i see who are fringing> into "sound art" or beyond/outsider, non trad classical or whatever, often> seem to apear as though they are trying really hard to "break out", using> 'extended techniques' etc rather than just treating sound as sound for the> purpose of abstract expression beyond social contexts) anyhow, i was> listening to Keith Fullerton Whitman and you can hear in his music that he> defiantely knows his shit with arrangement, harmony and many other things> that defiantely come with the very concise training typical of classical> music training. but although there are those elements in there the music> doesnt adhere at all to modern classical music aesthetics, although there is> no trying to hide the fact that those elements, that have come from the> classical music tradition, are in there by using 'extended techniques',> there used fairly obviously almost, simply because they are useful, sound> great! and are the best practical tools for getting the sound he wonted.> another person who i feel is open about using techniques developed from that> tradition is Jim O'rouke, his arrangement is stunning! simple and emmensely> effective!, a blissful because of it.> even Rosy Parlane to a degree is similar, although entensely progressed> apon, you can hear to a certain degree a real musical sensability in his> music that has come from a farther normal musical tuition, playing piano,> trombone etc. i believe his music now, what most might consider emmensely> abstract and totally non traditional (which it is,but..), wouldn't be as> fucking brillient as it is without his formative years of learning music> traditionally, that makes it a super good thing no? (hey rosy, sorry if i> grossly miss-judged your music and musical background, its only my> impression, which as i know to well is often as fluid and changable as> water, vineger, petroleum and butter mixed together in the belly of a> rhinoserus with a stomuch ache).> and hey, i love aot of "classical" music, i went through a real formative> period listing to alot of classical music, Bartok, Liszt, Vivaldi, Kevin> Volans, Satie, Schoenberg, Bach, Procokov, plus many of the classic mid 20th> century pioneers David Tudor, Cage Feldman, Stockhausen, Legeti, Xenakis,> Lucier and so so so many more. i dont wont to look like im just to blindly> bashing the classical music world or the people in it, especially the people> in it cause i do really agree with what Zoe wrote, and i DO think its good> that you simon are doing what your doing.> > > Skool Sux> love sam> -------------- next part --------------> An HTML attachment was scrubbed...> URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070827/0e3d19f8/attachment-0001.html > > ------------------------------> > _______________________________________________> Af_List mailing list> http://list.audiofoundation.org.nz/listinfo.cgi/af_list-audiofoundation.org.nz> > End of Af_List Digest, Vol 16, Issue 25> *************************************** _________________________________________________________________ Explore the seven wonders of the world http://search.msn.com/results.aspx?q=7+wonders+world&mkt=en-US&form=QBRE -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070828/1ad9cc8f/attachment.html From admin at audiofoundation.org.nz Mon Aug 27 22:23:23 2007 From: admin at audiofoundation.org.nz (Admin) Date: Tue, 28 Aug 2007 17:23:23 +1200 Subject: [Af_List] housekeeping Message-ID: could people please delete all the previous emails when replying please? the scrolling through when one has already read them is time consuming thanks admin From info at leilaadu.com Tue Aug 28 01:14:21 2007 From: info at leilaadu.com (little red hen) Date: Tue, 28 Aug 2007 10:14:21 +0200 Subject: [Af_List] Da Debate Message-ID: Gidday, In Berlin and just seen some superlative sound art. Hmmm. I studied electroacoustic music, orchestration, do improv, theatre and film and compose/perform songs in alterno rock situations... I think all artforms need to take themselves with a grain of salt and at the same time take everything extremely seriously. There is always an element of Emperor?s New Clotheness about music when it is bad and we?re told it?s good. However, I believe that any experience or teaching that enables us to learn to listen to music more insightfully is a good thing. Oneness over separation of styles and sensibilities. Genres are for sissies. Leila (based in London) -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070828/175d4a26/attachment.htm From damian at frey.co.nz Tue Aug 28 02:45:20 2007 From: damian at frey.co.nz (Damian Stewart) Date: Tue, 28 Aug 2007 10:45:20 +0100 Subject: [Af_List] Da Debate In-Reply-To: References: Message-ID: <46D3EEB0.8070700@frey.co.nz> little red hen wrote: > any experience or teaching that > enables us to learn to listen to music more insightfully is a good thing *so* *so* seconded. and this is one thing that i definitely, unequivocally would recommend Victoria University's electronic music courses for. through Dugal McKinnon's lectures, and the comprehensive class discussions that followed them, i learnt more new ways of listening than i have from any other source. -- damian stewart | +44 7854 493 796 | damian at frey.co.nz frey | live art with machines | http://www.frey.co.nz From daniel_beban at yahoo.com Tue Aug 28 15:15:13 2007 From: daniel_beban at yahoo.com (Daniel Beban) Date: Tue, 28 Aug 2007 15:15:13 -0700 (PDT) Subject: [Af_List] Help with South Island gigs in October Message-ID: <929466.89318.qm@web51908.mail.re2.yahoo.com> allo allo, Jeff Henderson, Chris Palmer and Daniel Beban are driving from Wellington to Dunedin during the first week of October and we are tying to line up a few gigs on the way. Sally at the Borderline Ballroom in Chch is sussing something out, but we are keen to play other places if possible. If you can help us sort out a place to play in say, Oamaru, Dunedin, Lyttleton or anywhere else reasonably nearby please get in touch. We do solo as well as group stuff. A bit more info follows... ta very much Dan Manimanima - Jeff Henderson plays Haitain voodoo on a one hundred and twenty year old banjo. Lucky Food Bar - seeing Chris Palmer perform is like watching a dog eat it's own vomit: disgusted at what's come out of it's own mouth, it sniffs the edges of the steaming yellow pool, takes a tentative lick and, realising that it's actually pretty tasty, takes furtive glances from side to side while greedily scoffing the acrid puke back down. Sign of the Hag - Daniel Beban's attempt at playing double kick drums duf-duf-duf-duf-duf-duf-duf-duf-duf-duf-duf-duf-duf as fast as possible while getting squeaky noises out of a guitar and spinning metronomes around his head at the same time as singing through walkie talkies. --------------------------------- Be a better Globetrotter. Get better travel answers from someone who knows. Yahoo! Answers - Check it out. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070828/f1ed2131/attachment.htm From csharris at xtra.co.nz Tue Aug 28 15:28:19 2007 From: csharris at xtra.co.nz (Cherie Harris) Date: Wed, 29 Aug 2007 08:28:19 +1000 (EST) Subject: [Af_List] housekeeping Message-ID: <30680.7152.qm@web96106.mail.aue.yahoo.com> admin: > could people please delete all the previous emails when > replying please? the scrolling through when one has already > read them is time consuming *so* *so* seconded. it's all about trimming, attribution and contextualising. amen. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070829/a03be71f/attachment.htm From admin at audiofoundation.org.nz Wed Aug 29 21:42:14 2007 From: admin at audiofoundation.org.nz (Admin) Date: Thu, 30 Aug 2007 16:42:14 +1200 Subject: [Af_List] Sound Archives job Message-ID: Job Title Audio Preservationist Organisation Radio New Zealand Sound Archives Nga Taonga Korero Closing Date Monday 17th September 2007 Location Christchurch Key skills sought Archiving, Preservation, Audio, Broadcasting Job Description Purpose of secondment Sound Archives Ng? Taonga K?rero (SANTK) is New Zealand's leading archive of contemporary and historical radio programmes, responsible for collecting, preserving and providing access to New Zealand's audio heritage. The unit maintains a permanent collection of broadcast recordings dating from the 1920s to the present day. We are seeking expressions of interest for an audio preservationist to join our team for a period of 3 to 5 months between January and May 2008, while a member of our talented preservation team undertakes another development opportunity. Skills required We have preservation programmes underway for our Disc and Open-Reel- Tape Collections, but our collections also include other carriers, such as DAT, CDR and cassette. We welcome applicants who have experience in any of these formats or who wish to undertake further training in either disc or tape or who have an interest in digital archiving. The secondment may involve project work. Applications We welcome applications from individuals wishing to further their career development or individuals with organisations interested in relationship development. To express an interest in this opportunity, please send your curriculum vitae with a covering letter describing your interest in and suitability for this position to: Karen Neill, Manager Sound Archives/Nga Taonga Korero PO Box 1531, Christchurch, New Zealand Phone +64 3 374 8460; Fax + 64 3 374 8448 Email: kneill at soundarchives.co.nz Websites: www.radionz.co.nz; www.soundarchives.co.nz -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070830/fb88e463/attachment.html From admin at audiofoundation.org.nz Wed Aug 29 21:45:23 2007 From: admin at audiofoundation.org.nz (Admin) Date: Thu, 30 Aug 2007 16:45:23 +1200 Subject: [Af_List] Job at Otago! Message-ID: Job Title Teaching Fellow in Music Organisation Otago University Closing Date Monday 17th September 2007 Location Dunedin Key skills sought Job Description Applications are invited for the permanent, full-time position of Teaching Fellow in Music in the Department of Music, Division of Humanities. The appointee will have expertise in guitar (lead) and one or more of popular music performance and music technology. The Department of Music offers degrees specialising in music performance (contemporary popular music and western art music), composition, ethnomusicology and musicology, as well as postgraduate studies. Contemporary popular music is a developing area in the Department, and the successful applicant would support this area in teaching. While a masters degree is desirable, applicants with relevant music industry experience will also be considered. The successful applicant will be expected to commence 1 February 2008 or as soon as possible thereafter. Specific enquiries may be directed to Associate Professor Henry Johnson, Head of Music, Tel/Fax 03 479 8885, Email henry.johnson at stonebow.otago.ac.nz Reference Number: A07/117. Closing Date: Friday 17 September 2007. Click here to download the job description and to apply online -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070830/6e7bd137/attachment.htm From thesilverage at hotmail.com Thu Aug 30 16:55:01 2007 From: thesilverage at hotmail.com (Kiran Dass) Date: Fri, 31 Aug 2007 11:55:01 +1200 Subject: [Af_List] Bill Direen on Saturday Message-ID: Hi, Bill Direen is playing a free show at the PR Bar on Ponsonby Road, Auckland, Saturday September 1. best, KD _________________________________________________________________ Live Search delivers results the way you like it. Try live.com now! http://www.live.com From admin at audiofoundation.org.nz Thu Aug 30 19:05:12 2007 From: admin at audiofoundation.org.nz (Admin) Date: Fri, 31 Aug 2007 14:05:12 +1200 Subject: [Af_List] Fwd: Opportunities for experimental music in Auckland References: <000601c7eaa6$a8688000$6f01a8c0@depotartspace.co.nz> Message-ID: > > Hi there! > > > > I?m coordinator for JamRadio, a new internet radio resource > website. We operate out of the Depot Artspace in Devonport. Jam is > a volunteer driven station that aims to showcase diversity in our > creative community? > > I?d really like to develop our experimental music side of the > radio, and am offering artists at the Foundation to make programmes > for the site. > > > > www.jamradio.co.nz > > > > You can either make programmes here, or submit them in MP3 format. > > > > Many thanks! > > > > Louise Evans > > Jam radio > > louise.evans at depotartspace.co.nz > > 09 9632331 > > 021 022 15 067 > > > > > > -------------- next part -------------- An HTML attachment was scrubbed... URL: http://list.audiofoundation.org.nz/pipermail/af_list-audiofoundation.org.nz/attachments/20070831/5dcb6362/attachment.html From admin at audiofoundation.org.nz Fri Aug 31 22:16:18 2007 From: admin at audiofoundation.org.nz (Admin) Date: Sat, 1 Sep 2007 17:16:18 +1200 Subject: [Af_List] call for radio work References: Message-ID: > > The program MONITOR on Swedish Radio's channel 2 (classical, > contemporary, > jazz and world music) is looking for new music to broadcast within the > following genres: > > electroacoustic music > sonic art > electronica > radio art > noise > dark ambient > experimental synth-music > etc etc... > > We broadcast every week (Wednesdays at 9.30 p.m.) > > Check out our website at: > > http://www.sr.se/p2/monitor > > Send your cds to the following adress: > > Editor Erik Mikael Karlsson > Monitor > Swedish Radio Ltd. > SE-211 01 Malmoe > Sweden > > > you can also send emails - but NOT mp3:s - to > erik_mikael.karlsson at sr.se >