Notizie dal Mondo

Concierto de Inauguración del Festival Nous Sons ‘10 del Auditori de Barcelona

6 de marzo 2010

20h30

L’Auditori de Barcelona

Concierto de Inauguración del Festival Nous Sons ‘10

SMASH ensemble realizará el sábado 6 de marzo el concierto de inauguración del Festival Nous Sons del Auditori de Barcelona con obras de Murail, Sciarrino, Grisey, Crumb y el estreno mundial de Eppur si muove; obra para ensemble del compositor español Joan Riera Robusté.

- Programa -

Dos extractos de « Portulan » - Tristan Murail
- Les ruines circulaires
- Feuilles à travers les cloches

Esplorazione del bianco II - Salvatore Sciarrino

Talea ou la machine aux herbes folles - Gérard Grisey

Eppur si muove - Joan Riera Robusté

Vox Balaenae - George Crumb

Directora invitada - Marzena Diakun

Solistas de SMASH ensemble

Clara Novakova - Flauta
Carmen Domínguez - Clarinete
Bertrand Chavarría-Aldrete - Guitarra  
Pablo López - Piano  
Andrés Balaguer - Violín
Delphine Biron - Violonchelo

Si están interesados en asistir, no duden en dirigirse a nosotros para ampliar la información.

SMASH ensemble es oficialmente subvencionado por el Ministerio de Cultura Español y el Instituto Nacional de las Artes Escénicas y de la Música para el fomento y difusión de la música contemporánea española.

Para mayor información pueden visitar nuestra página Web: WWW.SMASHENSEMBLE.COM

Usted ha recibido este correo ya que creemos que nuestras actividades pueden ser de su interés. Si se le ha enviado por equivocación y no desea tener más información sobre SMASH ensemble, por favor responda a este correo indicando en el  título « retirar »

Concert d’inauguration du Festival Nous Sons ‘10 du Auditori de Barcelona

6 mars 2010

20h30

L’Auditori de Barcelona

Concert d’inauguration du Festival Nous Sons ‘10

Le prochain samedi 6 mars SMASH ensemble fera le concert d’inauguration du Festival Nous Sons du Auditori de Barcelona avec des oeuvres de Murail, Sciarrino, Grisey, Crumb et la première mondiale de Eppur si muove; oeuvre pour ensemble du compositeur espagnol Joan Riera Robusté.

- Programme -

Deux extraits de « Portulan » - Tristan Murail
- Les ruines circulaires
- Feuilles à travers les cloches

Esplorazione del bianco II - Salvatore Sciarrino

Talea ou la machine aux herbes folles - Gérard Grisey

Eppur si muove - Joan Riera Robusté

Vox Balaenae - George Crumb

Chef d'orchestre invitée - Marzena Diakun

Solistes de SMASH ensemble

Clara Novakova - Flûte
Carmen Domínguez - Clarinette
Bertrand Chavarría-Aldrete - Guitare
Pablo López - Piano  
Andrés Balaguer - Violon
Delphine Biron - Violoncelle

Si vous souhaitez assister, prenez contact avec nous pour vous donner plus d’information.

SMASH ensemble est officiellement soutenu par le Ministère de Culture Espagnol et le Instituto Nacional de las Artes Escénicas y de la Música dans le but de promouvoir et soutenir la musique contemporaine espagnole.

Pour avoir plus d’informations sur notre ensemble visitez notre site Web: WWW.SMASHENSEMBLE.COM

Si vous avez reçu ce courriel par erreur ou que vous souhaitez ne plus recevoir ce bulletin, répondez ce courriel avec  la mention « retirer »

Inauguration Concert at Festival Nous Sons ‘10 of Auditori de Barcelona

6th of March 2010

20h30

L’Auditori de Barcelona

Inauguration Concert at Festival Nous Sons ‘10

Next Saturday 6th of March, SMASH ensemble will make the inauguration concert at the Festival Nous Sons of the Auditori de Barcelona with works by Murail, Sciarrino, Grisey, Crumb and the world premiere of Eppur si muove; new piece for ensemble by Spanish composer Joan Riera Robusté.

- Program -

Two extraits of « Portulan » - Tristan Murail
- Les ruines circulaires
- Feuilles à travers les cloches

Esplorazione del bianco II - Salvatore Sciarrino

Talea ou la machine aux herbes folles - Gérard Grisey

Eppur si muove - Joan Riera Robusté

Vox Balaenae - George Crumb

Guest Director - Marzena Diakun

Soloists of SMASH ensemble

Clara Novakova - Flute
Carmen Domínguez - Clarinet
Bertrand Chavarría-Aldrete - Guitar
Pablo López - Piano  
Andrés Balaguer - Violin
Delphine Biron - Cello

If you wish to come, please contact us for further information.

SMASH ensemble is officially funded by the Spanish Ministry of Culture and the Instituto Nacional de las Artes Escénicas y de la Música, in order to promote and foment the Spanish contemporary music.

For more information on our ensemble please visit our Website: WWW.SMASHENSEMBLE.COM

If you have received this e-mail by mistake or you do not wish to receive any further news from SMASH ensemble, please reply in subject box the word « quit »

Bertrand Chavarría-Aldrete

Director Artístico de SMASH ensemble
Director Artístico del Festival Internacional SMASH de Música Contemporánea
WWW.SMASHENSEMBLE.COM  

Fifth International Workshop on Haptic and Audio Interaction Design (HAID).
September 16-17 2010 in Copenhagen, Denmark.
Deadline for full paper submissions - 30th April 2010

www.media.aau.dk/haid10

Technologies to enable multimodal interaction are now sufficiently mature that research is turning away from pure hardware development and looking towards interaction and design issues to improve usability and the user experience. Robust solutions exist to display audio and haptic feedback in many forms – for instance as speech and non speech sounds and through tactile and force feedback sensations. Furthermore, it has been demonstrated that the novel interactions supported by these modalities can confer benefits for all users. However, many questions remain concerning the appropriate use of haptics and audio in interaction design: how can we design effective haptic, audio and multimodal interfaces? In what new application areas can we apply these techniques? Are there design methods that are useful? Or evaluation techniques that are particularly appropriate?
HAID10 is a direct successor to the successful workshop series inaugurated in Glasgow in 2006, in Seoul in 2007, in Jyväskylä in 2008 and in Dresden in 2009. The aim of HAID10 is to bring together researchers and practitioners who share an interest in finding out how the haptic and audio modalities can be used together in human computer interaction. The research challenges in the area are best approached through user-centred design, empirical studies or the development of novel theoretical frameworks.
We invite your papers, posters and demonstrations on these topics, and look forward to seeing you in Copenhagen in September 2010!

Topics
Contributions are welcomed in (but not limited to) the following areas (please note that in all of these areas both theoretical and empirical approaches are encouraged):

- Novel haptic, audio and multimodal interfaces and interactions
- Evaluating multimodal interactions, especially in real contexts
- Design principles for multimodal user-interfaces
- Multimodal visualisations
- Affective roles of haptics and audio in interaction
- Cross-modal interactions
- Auditory and haptic displays for visually impaired people
- Safety critical multimodal applications (monitoring, controlling, alarming)
- Designing haptics and audio for touch screen
- Multimodal gaming and entertainment
- Interaction in physical exercise
- Collaborative multimodal systems
- Mobile multimodal interactions
- Emulation and simulation of real world with audio-haptic design
- Novel systems and interactions using other modalities (e.g. taste, smell)

Publication
The proceedings will be published by Springer in their LNCS journal series.

Important Dates
Deadline for full paper submission: April 30th
* Notification of acceptance: May 28th
* Final camera ready due: June 18th
* Poster and demo submission: June 1st
* Notification of poster and demo acceptance: July 1st
* HAID 2010: September 16 and 17, Copenhagen, Denmark
*

CONFERENCE CHAIRS
Rolf Nordahl, Aalborg University Copenhagen, DK
Stephen Brewster, University of Glasgow, UK

SCIENTIFIC PROGRAM CHAIRS
Federico Fontana, University of Verona, IT
Stefania Serafin, Aalborg University Copenhagen, DK

POSTERS AND DEMOS CHAIRS
Sofia Dahl, Aalborg University Copenhagen, DK
Kristina Daniliauskaite, Aalborg University Copenhagen, DK

PROGRAM COMMITTEE
Ercan Altinsoy, Dresden University of Technology, Germany
Federico Avanzini, University of Padova, Italy
Stephen Barrass, University of Canberra, Australia
Durand R. Begault,NASA Ames Research Center, US
Eoin Brazil,Irish Centre for High-End Computing, Ireland
Andrew Crossan,University of Glasgow, UK
Cumhur Erkut, Aalto University, Finland
Georg Essl, University of Michigan, US
Bruno Giordano, McGill University, Canada
Vincent Hayward, University Pierre Marie Curie, France
Charlotte Magnusson, Lund University, Sweden
Antti Pirhonen, University of Jyväskylä, Finland
Matthias Rath, Deutsche Telekom, Germany
Davide Rocchesso, IUAV, Italy
Augusto Sarti, Politecnico di Milano, Italy
Tamara Smyth, Simon Fraser University, Canada
Bruce Walker, Georgia Institute of Technology, US

IRMus - Istituto di Ricerca Musicale dell'Accademia Internazionale della Musica - Fondazione Scuole Civiche Milano

Laboratorio di composizione ed esecuzione

con

Fabio Nieder, Marino Formenti

Michele Tadini ed Ensemble Risognanze

Milano, Villa Simonetta, via Stilicone, 36
Milano, Auditorium Lattuada, c.so di Porta Vigentina 15/a

8 GIORNATE DI MASTERCLASS (marzo - giugno 2010)

1 WORKSHOP DI 3 GIORNI (settembre 2010)

5 ottobre 2010 Concerto finale
nell'ambito del 19° Festival di Milano Musica

_____________________________________________________
Costi
allievi effettivi: 312 euro + 50 euro (quota associativa)
uditori: 70 euro + 50 euro (quota associativa)
Il corso accoglierà un massimo di 10 allievi effettivi

Per l'ammissione al laboratorio è necessario inviare via mail o posta, entro il 5 marzo 2010, il proprio curriculum e due partiture recenti

Comunicato in allegato
Accademia Internazionale della Musica - Fondazione Scuole Civiche di Milano
Villa Simonetta, via Stilicone, 36 20154 Milano tel. 02.31.33.34; uff.st. 339.85.30.339
info_musica@scmmi.it; www.scuolecivichemilano.it

Le cure musicali
Applicazioni musicoterapiche in ambito psichiatrico, età evolutiva, adulti, terza età

28 - 29 - 30 Maggio
Casa Paganini
Piazza Santa Maria in Passione, 34 - Genova

La Scuola di Musica di Fiesole, Fondazione ONLUS
presenta

M U S I C A   E   C U L T U R A   O G G I     2 0 1 0
Museo Marino Marini
Piazza San Pancrazio 3
FIRENZE
Venerdì 19 febbraio - ore 21.00

Conversazione - concerto
CLAUDIO AMBROSINI con GUIDO BARBIERI

RENATO RIVOLTA direttore
Sonia Visentin soprano
Paola Seno mezzosoprano
Luciano Tristaino flauto - William Chiquito violino - Petru Horvath violoncello
Cristiano Menegazzo, Giuseppe Saggiomo percussioni - Antonino Siringo pianoforte
Gioia Giusti pianoforte

Programma

Ludwig van Beethoven
Allegro assai dalla Sonata per pianoforte n. 23 in fa minore, Op. 57, "Appassionata"

Claudio Ambrosini
Tutti parlano (1993) per soprano, flauto e violoncello
Icaros (1981) per violino
L'usignolo (1997) dal balletto Pandora librante per soprano, mezzosoprano e tre strumenti
Ballo sghembo (1993) per due pianoforti e due percussioni

****

INFORMAZIONI: 055/597851
info@scuolamusica.fiesole.fi.it
www.scuolamusica.fiesole.fi.

musica in forma
Installazione adattiva musicale e plastica di
MICHELANGELO LUPONE compositore
LICIA GALIZIA artista visiva

nell'ambito della personale Onde di Licia Galizia
20 febbraio – 10 aprile 2010

Mara Coccia Arte Contemporanea Via del Vantaggio 46/a 00186 Roma
orario 11,30/19.30 - chiuso lunedì e festivi

La mostra di Licia Galizia ruota intorno al concetto di onda inteso nelle sue varie accezioni, a partire dalla generica definizione fisica dell’onda come perturbazione che si propaga attraverso lo spazio trasportando energia. Le installazioni realizzate in ferro, in legno e in acciaio inox, hanno dimensioni variabili in quanto costituite da elementi modulari e modulabili. All'interno dell'esposizione verranno presentate due opere dell'installazione adattiva Musica in Forma: In Coro e Trio Plastico. Musica in Forma è in grado di interagire con il pubblico e con l’ambiente circostante. Ideata con il compositore Michelangelo Lupone l'installazione è stata prodotta e realizzata dal Centro Ricerche Musicali-CRM di Roma.

Nuova iniziativa del KTH.

Quest'anno per la prima volta, studenti impegnati in tesi di laurea al KTH scrivono un blog sul proprio lavoro.

Una delle tesi è in acustica Musicale ed è intitotala "Mobile Composer". Per seguire il bog visitate il link http://www.kthpainsidan.se/blog7/?lang=english

Open symposium at KTH, Stockholm , Sweden. February 11, 2010

For more information please visit http://www.speech.kth.se/music/sim10/ 

Are you a researcher (male or female) whose conference travel is limited due to kids at home? The SMC2010 organization committee is arranging a schooling initiative for children between the ages of 0 and 6 in an attempt to approach such needs.

For more information, please check  here

Scelsi - Trilogia - I tre stadi dell'uomo
per violoncello solo

documentario di Giancarlo Matcovich

in onda su Classica Tv
(canale 728 di Sky)

interpretato da

Frances Marie Uitti

Martedì, 19 Gennaio ore 9,10
Lunedì, 25 Gennaio ore 13,50
Giovedì, 28 Gennaio ore 20.05
Sabato, 30 Gennaio ore 0.55
Mercoledì, 10 Febbraio ore N.A.

Produzione: Fondazione Isabella Scelsi
per altre informazioni potete consultare il sito di Classica TV
www.classica.tv

Call for collaborators
Open Up Workshop: projects for the digital façade of Medialab-Prado

Deadline: February 8, 2010
Dates of the workshop: February 9 through 23, 2010
Venue: Medialab-Prado in Madrid (Spain)

Join us for the Open Up international workshop! This event is focused on the development of 8 selected projects for the digital façade in Medialab-Prado cultural center's building. The goals of the workshop are to explore the relationship between the urban screen and public space, to experiment with the screen’s communicative, narrative and visual capacities, and to investigate its potential to offer new forms of participation.

According to its field of interest, each collaborator can be part of any team, bringing his/her knowledge and ideas to the workgroup and, at the same time, learning from the group and the teachers: Jordi Claramonte, Chandler McWilliams, Casey Reas, and Víctor Viña. Directed and coordinated by Nerea Calvillo.

For residents out of Madrid, Medialab-Prado will cover for the stay of a limited number of participants at a Youth Hostel during the workshop.

No entry fees.

More information, call guidelines and submission form:
http://medialab-prado.es/article/open_up_convocatoria_para_colaboradores
Selected projects: http://medialab-prado.es/article/open_up_proyectos_seleccionados
Email: medianeralab (at) medialab-prado.es

Venue:
Medialab-Prado
Plaza de las Letras
Calle Alameda, 15
28014 Madrid (Spain)

Sound as Art - Sound in History

Sound as Culture - Sound in Theory

Conference on sound studies

University of Aarhus, Denmark

September 23–25, 2010

Call for papers

Today, sound studies provide an important framework for furthering cultural research related to a broad range of historical and contemporary issues. Also, sound studies contribute to the understanding of currents in social and global activity increasingly determined by auditory, sonic, and communicative materiality. At the same time, the exploration of auditivity and auditory cultures raises a series of significant aesthetic, medial, historical, cultural, and theoretical questions.

Cultural changes related to globalization and digital media have questioned traditional paradigms of vision containing notions of visual representation, semiotics, and a hermeneutics based on reading. Such changes suggest an auditive paradigm in which modes of interaction, mobile communications, and spatial and geographic fluidity lead to a renewed sense of orality and listening. In research this new paradigm is establishing itself as the interdisciplinary field of sound studies. It draws on disciplines such as musicology, performance studies, art history, anthropology, cultural studies, urban studies, and histories of technology and media whil e influencing these disciplines with new modes of reflection on and examination of their respective methodologies and subsequent political effects.

The aim of the conference is to profile contemporary sound studies as an interdisciplinary field of studies and to contribute to the discussion and development of the auditive paradigm in general. Key concepts like 'acoustemology’, ‘acoustic space’ or ‘sonic environment’ might be reflected upon and developed as well, both at a theoretical level and with regard to specific cultural, medial and aesthetic contexts.

The programme of the conference will consist of keynote lectures, plenary roundtables, thematic workshops and individual presentations. Individual presentations and entire workshops may draw inspiration from the following array of questions:

- What is the experiential framework of listening and auditive culture, and how is the world constituted (identity, locality, sociality, culture etc) through auditive practice?

- How has musical and technological sound production and perception changed through the last century and how has it contributed to everyday soundscapes, the concert hall, and the media?

- What can we know, i.e., what types of knowledge, identity and meaning are made possible through acoustic practice – are there any limits to sound taken as an experiential framework and as cognition?

- What perspectives might arise from current studies of auditory modes of relating to space, of appropriating, expressing and designing social environments?

- How does sound help define urban environments, and how might issues related to urban planning, architectural design, and noise benefit from a deeper and more complex understanding of sound?

- What are the correlations between listening and other sensory modalities, the body, sociality, materiality, technology and media (sound viewed as a cognitive paradigm isolated from actual resonating sound).

- How do auditive practices appear to be conventional or normative? How do auditive practices, in conjunction with other sensory modalities, articulate value, aesthetics, ethics and morals in culture?

- How do we further the development of academic terminologies for dealing with sound?

- How can transgressions of traditional distinctions between sound, music and art be understood in a socio-cultural perspective?

- What do the specific aesthetic aspects of sound art seek to achieve in contrast to the predominance of visuality and modes of seeing within the arts?

- How is artistic and academic education in sound competence developing?

Proposals for presentations (20/10 mins) or workshops (90 mins) must be submitted to the conference organisers/programme committee by April 1, 2010 as an email attachment (rtf/pdf/doc) to soundstudies@hum.au.dk. Please include the following information:
Paper abstract and title (max. 200 words), name(s), affiliation, e-mail, and technical equipment required (PC/DVD/CD/data projector/over-head projector/etc.).

Notifications of acceptance will be sent no later than May 3, 2010.

Keynote speakers are Dr. Penelope Gouk (University of Manchester), Dr. Jean-Paul Thibaud (CRESSON), and professor Adam Krims (University of Nottingham).

The official language of the conference is English. The conference fee is 1.000 D.Kr/€135. Please contact one of the organisers mentioned below in case you need more information.

The conference is organized by the “National Research Network on Auditive Culture” (http://auditiveculture.ku.dk/), the research project “Audiovisual Culture” (http://www.ak.au.dk/en), and the Nordic Branch of the International Association for the Study of Popular Music.

On behalf of the organisers,

Ansa Lønstrup
University of Aarhus
aekal@hum.au.dk

Morten Michelsen
University of Copenhagen
momich@hum.ku.dk

Davide Rocchesso - IUAV
Department of Art and Industrial Design

2nd Int. Symposium on Ambisonics and Spherical Acoustics
Dates: 2010 May 6-7, Paris, France
ambi10 - Second Call for Participation
http://ambisonics10.ircam.fr

Dear Colleagues,

We would like to announce the 2nd International Symposium on Ambisonics and Spherical Acoustics, which will be organized by IRCAM, together with LIMSI-CNRS and France Telecom/Orange Labs. The Symposium will be held to provide an intensive exchange between industrial and academic researchers working in various research areas on spherical acoustics.

The field of spatial sound reproduction is interdisciplinary by nature and closely related to a number of computer science and engineering areas such as acoustics, mathematics, signal processing, and perception. The symposium focuses on discussing the various problems and solutions concerning the capture, analysis, and re-synthesis of sound fields applying spherical acoustics; for example higher-order Ambisonics (HOA), and spherical microphone arrays.

The symposium is going to be divided into oral presentations (keynotes and submissions), poster sessions, and two demonstration sessions (artistic and technical). This symposium will benefit from a hemi-spherical loudspeaker array that will be installed for the duration of the symposium, which will be held in the Espace de projection, the variable acoustics performance hall of Ircam.

Original contributions are encouraged in, but not limited to, the following topics:

* General considerations on spherical acoustics theory
* Ambisonic for sound scene reproduction and virtual acoustic environments
* Spherical microphone array systems and signal processing
* Capture and analysis of radiation patterns
* Spherical acoustic holography
* Synthesis of directional and focused sound sources
* Spherical loudspeaker array systems and signal processing
* Theoretical considerations on comparative subjective and objective studies
* Standardization, exchange, implementation and hardware issues

Submission
==========

Submissions will be judged based on extended abstracts (1000 words).
Procedures to submit papers, posters, and demo sessions are detailed at the symposium website http://ambisonics10.ircam.fr. Final papers must be camera-ready conforming to the format specified on the submission website.

Several excellent papers will be selected for collective submission to Acta Acustica united with Acustica. These papers will be expanded versions of the presented works, and will go through the standard peer review process.

The official language of the symposium is English.

Important dates
===============

* Extended abstract (1000 words) submission due: January 8th, 2010
* Papers, Notification of acceptance due: February 19th, 2010
* Camera-ready copy (full paper): March 12, 2010
* Registration opens: March 22, 2010
* Late Registration: April 12, 2010
* Submission of Audio Material for Testing: April 19, 2010
* Symposium Dates: May 6-7, 2010

If you have any questions, please contact ambisonics10@ircam.fr

Symposium Chairs
================

General Co-Chairs
Markus Noisternig (IRCAM - UMR CNRS)
Brian FG Katz (LIMSI - CNRS)
Rozenn Nicol (France Telecom - Orange Labs)

Technical Program Co-Chairs
Nicolas Misdariis (IRCAM - UMR CNRS)
Olivier Warusfel (IRCAM)

Administration Chair
Sylvie Benoit (IRCAM)

Lezione di Boxe
by Alvin Curran
- a sound portrait of Achille Bonito Oliva -

Il Ponte Contemporanea gallery, Via Monserrato 23
December 15, 2009 to January 15, 2010
Tues-Sat noon-7.00 pm
for info: call 06 68801351

Susan Levenstein and Alvin Curran
Via Giovanni Pascoli 1, int. 12
00184 Rome, Italy
tel/fax +3906 4880389
www.aventinomedicalgroup.com/levenstein.htm
www.alvincurran.com
susanlevenstein@gmail.com
alvincurran1@gmail.com

The world as instrument

[English version at bottom]

The real world as source for sonic creation
Workshop e installazione sonora immersiva con
Francisco Lopez

Grazie alla importante sinergia tra AntiTesi e l'Accademia di Belle Arti di Palermo e l'ospitalità dell'Atelier Montevergini il workshop di Francisco Lopez attraverserà la sesta edizione del Live!iXem.
Della durata di tre giorni, dal 18 al 20 dicembre, si terrà presso l'Accademia di Belle Arti di Palermo e il Nuovo Montevergini di Palermo e sarà focalizzato sugli aspetti storici, filosofici , sociologici, che vivono il mondo reale come risorsa o ispirazione per una creazione sonora.
Da ancestrali manifestazioni di musica, derivate dalla natura, alla odierna esplorazione sonora del nostro mondo , si analizzeranno i tentativi primitivi di registrare la realtà sonora e trasformarla creativamente, dalla notazione musicale alla tecnologia digitale. Attraverso numerosi esempi sonori, dalla musica tradizionale a quella elettronica, il workshop mirerà a sollevare discussioni e a scardinare stereotipi ed erronee concezioni riguardo il suono registrato in diverse aree e come oggetto di studio dalla bioacustica alla musica sperimentale, dai fonografi ai registratori digitali, dagli uccelli alle emissioni radio nel cosmo.
Il workshop è gratuito per gli studenti dell'Accademia di Belle Arti di Palermo mentre per e un numero limitato di esterni è possibile partecipare tramite il versamento della quota di iscrizione che, grazie al supporto dell'Accademia, viene ridotto a 35,00 euro.

Accesso:
• chiunque sia interessato al tema del workshop sul paesaggio sonoro e della composizione elettronica
• non occorre essere specificatamente musicisti nè avere esperienze pregresse.
• non è necessario portare con sè attrezzature specifiche
• iscrizioni fino ad esaurimento posti disponibili

Alla fine del Workshop verrà rilasciato l' Attestato di partecipazione.

Calendario e Luoghi:

Ven 18 dic: 10:30-13:00 e 13:30-16:00
Sab 19 dic: 10:30-13:00 e 13:30-16:00
Aula 12, Palazzo Fernandez, Accademia di Belle Arti di Palermo
Il primo incontro verrà presentato dal Professore Umberto De Paola, Direttore dell'Accademia di Belle Arti di Palermo

Dom 20 dic 14:00-17:00
Atelier Montevergini, via Montevergini, n.8 Palermo

Costi e Modalità di iscrizione:
Il workshop è gratuito per gli studenti e i docenti dell'Accademia di Belle Arti di Palermo previa presentazione libretto.
Per un numero limitato di esterni è possibile partecipare tramite il versamento della quota di iscrizione di 35,00 euro entro il il 13 dicembre 2009
Il pagamento potrà essere fatto via mail o con PayPal o di persona:

Via email a info@antitesi.org: Indicando nome cognome data e luogo di nascita e indirizzo email. Allegare copia del bonifico bancario della quota di iscirizione intestato a:

Banca Credem Ag 409-4603
Intestazione: Assoc. Culturale Antitesi
IBAN IT79 A030 3204 6030 1000 0001 723
causale Iscrizione Workshop Paesaggio Sonoro Lopez

Con PayPall: 36,75 per l' iscrizione (il 5% in più è la commissione che paypall ci trattiene....) al seguente indirizzo email: payonline"at"ixem.it (ricordate di sostituire "at" con il simbolo @).

Di persona: telefonare al 3381139077 per prendere appuntamento.

Nella quota di iscrizione al workshop è compreso l'ingresso omaggio per la installazione sonora immersiva

Per chi arriva da fuori Palermo sono previste convenzioni per il vitto e l'alloggio, se interessati chiedere espressamente informazioni al riguardo.

INSTALLAZIONE SONORA IMMERSIVA
Completamente immersa nel buio, utilizzerà un sistema di diffusione sonora multicanale ( quadrifonia) e gli spettatori saranno bendati. Quest'esperienza sonora sarà creata utilizzando suoni registrati dall'autore in diversi ambienti: dalle foreste tropicali della Costa Rica ai grattacieli di New York e alle lande della Patagonia e che costituiscono la sua Trilogy of the Americas.

Luogo:
Atelier del Nuovo Montevergini, via Montevergini 8 a Palermo.

Data e Orario:
20 Dicembre 2009 alle 21,30

Costi:
biglietto intero: € 10,00
Ingresso gratuito per i partecipanti al workshop e per gli studenti e i docenti dell'Accademia di Belle Arti di Palermo previa presentazione tesserino di iscrizione o libretto.
NB. I posti a sedere in file circolari concentriche con le maschere oscuranti per una migliore immersione sonora sono limitati. Consigliamo di arrivare con un sufficiente anticipo per poterli occupare. E' comunque possibile stare seduti e in piedi (fermi o in movimento) in qualunque punto della sala.

Evento ideato ed organizzato da AntiTesi con contributo dell'Accademia di Belle Arti di Palermo e l'ospitalità dell'Atelier Montevergini.
Per dettagli info@antitesi.org

[English version]

Francisco Lopez
Dicember 2009, Palermo

18-20/12/2009
Workshop The word as instrument:
The real word as source for sonic creation
The workshop is focused on the historical, sociological and philosophical (rather than technical) aspects of different practices that have the "real world" as a source, or an inspiration, for sonic creation. From ancestral manifestations of music derived from nature to the present massive sonic exploration of our world, analyzing the historical attempts at recording sonic reality and creatively transform it, from musical notation to digital technology. With a multitude of sonic examples, from traditional to electronic music, the workshop aims at stirring up discussion and at challenging many stereotypical and misleading conceptions about recorded sound in many diverse areas and objects of study, from bioacoustics to experimental music, from phonographs to hard disk recorders, from birds to cosmic radio emissions.

20/12/2009
Live immersive performance
Trilogy of the Americas
The live immersive performance is in the dark, using a large multi-channel surround sound system with blindfolds provided for the audience. This sound experience –more a journey through sound than a normal concert- has been created with original environmental sound recordings done by the author in the tropical rainforests of Costa Rica, in large buildings in New York City and in the vast expanses of Patagonia, over a period of ten years, consituting his "Trilogy of the Americas".

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www.antitesi.org - info "at" antitesi.org

Dear colleague,

the upcoming International Conference on Digital Audio Effects will take place in Graz, Austria, between September 1st and 4th in 2010. It is a meeting of all enthusiasts of in signal processing, live-electronics, audio effects, music related disciplines, etc. who come togehter annually to discuss, present and publish their scientific and practical findings. To make it perfect, the schedule of the DAFx-10 also includes a social program with music, art, food, our city, and the countryside for its participants.

This message is a call for papers for the DAFx-10. Briefly, as usual, topics at DAFx conference cover:

• Audio Signal
• Sound
• Sound Field and Music
• Capture and Analysis
• Representation and Transform
• Transmission and Resynthesis
• Effects Processing, and Manipulation
• Perception and Evaluation
• Design and Composition

regarding time, frequency, and space domains.

The DAFx-10 team encourages contributions on:

* Acoustic MIMO-Systems

* Live-Coding

* Gesture Control

* Auralisation

* Sound and Audio Quality

* Emotion in Audio and Voice

* Ambisonics and Spherical Acoustics

* Sonification

Theoretical, scientific, algorithmic, hardware and software related full-paper submissions are desired.

Prospective authors are invited to submit full-length papers before March 12th, 2008 according to one of the following two papers formats:

* Oral Presentation: max. 8 pages in the Proceedings, 20 minutes for presentation

* Poster Presentation: max. 4 pages in the Proceedings

All submissions are subject to peer review. The accepted contributions will be published in the Conference Proceedings, which will be made freely accessible on the conference website.

Important dates:

Full-Paper Submission Deadline March 12th, 2010

Notification of Acceptance May 31st, 2010

Final Paper Submission Deadline June 25th, 2010

Authors will find further details concerning templates etc. at the DAFx-10 website, soon http://dafx10.iem.at .

In case of any further questions, please contact dafx10@iem.at

Gran Raccordo Anulare
Musica Elettronica Viva
Alvin Curran, Frederic Rzewski, Richard Teitelbaum
Aula Magna, Università di Rome "La Sapienza,"
Tuesday December 1, 8:30 pm - martedì 1 dicembre, ore 20.30
Istituzione Universitaria dei Concerti
http://www.concertiiuc.it/Utente/concerto?operazione=dettaglio&idConcert...

Susan Levenstein and Alvin Curran
Via Giovanni Pascoli 1, int. 12
00184 Rome, Italy
tel/fax +3906 4880389
www.aventinomedicalgroup.com/levenstein.htm
www.alvincurran.com
susanlevenstein@gmail.com
alvincurran1@gmail.com