BYTE GALLERY

 
 

INTERNATIONAL EXHIBITION: FALL 2013


BYTE GALLERY INTERNATIONAL EXHIBITIONS feature works that are judged and selected by Transylvania University faculty for inclusion in the BYTE Gallery.  Professional artists, composers, and dramatists from around the world enter this competition.  These exhibits give Transylvania students an exclusive front row seat at the leading edge of international digital art and music scenes.


This exhibition, as part of the STUDIO 300 Festival, presents forty-five works submitted by professional composers and artists from across the globe, including the United States, the United Kingdom, Canada, Germany, France, Italy, Argentina, Ireland, Iran, Japan, Venezuela, Puerto Rico, Poland, and the Ukraine.  These works were selected from a pool of several hundred entries.


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MUSIC SELECTIONS:


Sueño lúcido by Ricardo de Armas, Argentina


A lucid dream, in simplest terms, is a dream in which one is aware that one is dreaming. In this incredible oneiric practice, nothing is impossible and since we, the dreamers, participate and have responsibility in the plot of the dream. This composition presents short textual quotes of fragments of "Ma mère l’Oye" by Ravel and to the “Gymnopedie No 1” by Erik Satie.


Ricardo de Armas is a composer of electroacoustic music, a sound artist, and a cellist, who frequently interacts in his creative work with other means of aesthetic communication like performance, dance, musical drama, video, photography and interventions in public places. Ricardo de Armas has been cellist in the Provincial Symphonic Orchestra of Bahía Blanca since 1988 until now, in parallel with his activity as electroacoustic composer and sound artist.


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Auto Harp by Enda Bates, Ireland


The autoharp is a smaller and simpler version of the orchestral instrument. It's usually played by strumming with a pick or finger while pressing one of a number of levers that cause certain strings to be muted, leaving a chord. This results in an instrument which is very easy to play, but is also quite limited. Auto Harp, is an attempt to extend the musicality of this simple instrument beyond its physical limitations using a number of different electroacoustic techniques, in effect, using the studio as the instrument. Auto Harp was joint winner of the 2010 Música Viva Competition.


Enda Bates is a composer, musician, producer and academic based in Dublin, Ireland. In 2010 he completed a PhD in music composition at Trinity College Dublin, where he now lectures. His work has been performed by, among others, the Crash Ensemble, the RTÉ National Symphony Orchestra, the National Chamber Choir of Ireland, Anne La Berge, the Doelen Quartet, Trio Scordatura, Darragh Morgan and New Dublin Voices. He has received various commissions and awards including the 37th Florilege Vocal de Tours, the 2008 Irish National Choir of the Year competition, the 2009 Gaudeamus Music Prize shortlist & the 2010 Música Viva Competition.


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Aube. RéFlections by Alba Francesca Battista, Italy


A self-portrait is a unique opportunity for every artist. It is a valuable opportunity to investigate themselves, to recognize himself in his work. The result is surprising and, at the same time, at least destabilizing. This work is a shot of my creative process. All musical ideas are a convolution of many musical events, as thoughts are constantly overlapped and melted together in everyone's mind. Movements in space recall the mechanism of the stream of consciousness.


Alba Francesca Battista (1987) graduated in Musica Elettronica at “D. Cimarosa” Conservatoire of Avellino, Italy, with M° D. Meacci. Her compositions and papers are selected for many international contests (ICMC2013, Biennale di Venezia 2013, xCoAx2013, PianoForteMix2012...). She graduated in Piano and in Physics, specialized in Acoustic and Nanotechnologies. She is the author of “Elementi di Acustica Fisica e sistemi di diffusione sonora”(2012). She works as “Electronics” Professor at “D. Cimarosa” Conservatoire.


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Omphalos by Kari Besharse, USA


According to the ancient Greeks, Zeus sent out two eagles to fly across the world to meet at its center, the omphalos, or the "navel" of the world. To mark this point, a stone monument was placed at the oracle in Delphi. James Joyce also references the omphalos several times in Ulysses. In my piece, Omphalos represents a search for mental peace and the connection between outer and inner worlds. The work is in the form of a journey from the far reaches of the universe, through the dissonant, active earth with its traffic and noise, into the soul, where hopefully one can find peace.


Kari Besharse is a composer of acoustic and electroacoustic music, a guitarist, an educator, a sci-fi nut, and an outdoors enthusiast. Her works, which incorporate sounds from acoustic instruments, found objects, the natural world, and synthesis, are often generated from a group of sonic objects or material archetypes that undergo processes of rupture, degradation, alternation, expansion, and distortion. Currently a lecturer at Southeastern Louisiana University, Kari’s education includes undergraduate studies at the University of Missouri at Kansas City (B.M. ‘98), and graduate work at the University of Texas at Austin (M.M. ‘02) and University of Illinois at Urbana-Champaign (D.M.A. ‘09).


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Jabberwockified by Laura Campbell, USA


Composed using a stanza from Lewis Carrol’s famous “Jabberwocky”, “Jabberwockified” manipulates the text to create a vivid sound picture. Using continual repetition of the idea “Beware”, strong emphasis on the consonants of “Jabberwock, claws, catch”, and a percussive manipulation of text, “Jabberwockified” leaves the listener with a sense of ominous absurdity which (hopefully) captures somewhat the effect of the original story.


Laura E. Campbell is a 2013 graduate of Transylvania University, with a B.A. in Theater. Between various theatrical shenanigans, she goofs off on the piano and scribbles tunes occasionally. She began piano lessons in second grade and fell in love with the instrument. Helping to write her family’s annual musical Christmas card introduced Laura to composition, and she quickly found her own quirky style.


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Fides Persevero Orbis by Alan Courtis, Venezuela


Fides Persevero Orbis is an electro-acoustic piece composed by Argentine sound-artist Alan Courtis as part of his “Aurantium Lumino” series. The composition is based on a combination of sounds coming from electronics, field recordings and studio recordings. The blend of recordings, electronics and digital processing gives it a singular sonic quality. This piece was recorded and mastered at Ascorbico Studios, Buenos Aires, Argentina.


Alan Courtis was born in 1972 in Argentina. He has more than 200 solo releases and collaborations on worldwide labels, and has toured extensively in Japan, Europe, USA, Australia, NZ & Latin America. He has collaborated with musicians like: Pauline Oliveros, Eddie Prevost, Lee Ranaldo, Jim O’Rourke, Otomo Yoshihide, Mats Gustafsson, Yoshimi, Rick Bishop, Toshimaru Nakamura, L.A.F.M.S., Tetuzi Akiyama, Rapoon, Uton, C.Spencer Yeh, Okyung Lee & Kemialliset Ystavat. His music always has strong experimental sense and usually based on high-skilled techniques of prepared sound, tape manipulations, field recordings, electronics, objects, computer tools, playing traditional and unusual instruments (eg. unstringed guitar).


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Akheta's Blues by Ana Dall'Ara-Majek, Canada


This work explores the particles world. It is a tribute to microorganisms. The title refers to the minimalist and repetitive song of Acheta Domestica, better known as the House Cricket, upon which the work's structure is based. The original version is multichannels and is the second movement of an electroacoustic cycle: The Nano-Cosmos.


Composer and harpist, Ana explores musical composition strategies combining both instrumental & electroacoustic genres, and the expression forms resulting from their hybridization. She's currently pursuing a doctoral degree at the University of Montreal under the supervision of R. Normandeau and P. Michaud. Her main research focuses on unusual voice practices in the contemporary music combining tape & live electronics.


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Lignes et Pointes by Antonio D’Amato, Italy


Lignes et Pointes is an acousmatic piece in two parts, intended as an etude on simple elements, grouped in two basic categories. Long and slow elements are exclusively dominant in the first part, while impulsive sounds build up the second part. These elements are selected and extensively overlapped in order to develop an abstract study on basic elements of a music vocabulary. Synthesized and acoustically derived sounds are both used, but the focus here is mainly on the overlall shape of the elements. The work is inspired by a gouache included in the first set of Constellations by Joan Mirò.


He is intoxicated by music. He graduated at conservatory in Piano, Harpsichord, Music for multimedia, Instrumental music teaching and Electronic music. He also studied composition for eight years, bassoon for three years, baroque organ and audio engineering. In 2010 he was Ondes Martenot student in Strasbourg and Paris. At university he was student in Media and Communication. He works as piano teacher and sound engineer. At the moment his main interest is joining traditional composition procedures with the wide opportunities of computer-based music. Some of his works are published by Forton Music, U.K.


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There Will Come Soft Rains by Benjamin Fuhrman, USA


There Will Come Soft Rains (2012) is, of course, based on the Ray Bradbury story of the same name. After Bradbury’s death in early June, I decided to take a break from the book I was currently reading, and re-read The Martian Chronicles, a collection of short stories by Bradbury, chronicling the colonization of Mars and the subsequent destruction of Earth. This particular story, the penultimate in Bradbury’s book, details the continued tasks performed by an automated house after its inhabitants are destroyed in a nuclear war, as nature and time progress unabated, and ending with the house’s own destruction.


Benjamin Fuhrman is a composer and multi-instrumentalist from, Lansing, Michigan. He has previously earned a Bachelor’s in violin performance at Hope College, and a Master’s and Doctorate in music composition from Michigan State University. His principle teachers include Sunny Cirlin, Mihai Craioveanu, Mark Sullivan, and Ricardo Lorenz. His works have been performed throughout the world by a variety of performers.


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RadioIllogical by Adam Greene, USA


This piece is composed of three lines of speech, which overlap, and the piece ends with an air raid siren. The text source is a 1960 pamphlet called Personal Preparedness in the Nuclear Age. The three lines of text talk about proper shelter construction, a list of materials to be kept in the shelter, and a description of current nuclear weapon capabilities. This piece was written in an effort to both showcase the sense of unease surrounding nuclear weapons and energy, as well as the strange logic surrounding the creation of personal bomb shelters.


Adam Greene is a Lexington, KY native and currently a senior Music Technology student at Transylvania University. He is a euphonium player, and currently plays in both the Transylvania concert band as well as the Central Kentucky Concert Band. In the summer of 2013, Adam interned at Kentucky Educational Television (KET), and appears in the credits of KET's Jubilee program and recorded background audio for use on Kentucky Collectibles.


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formatBreak0 by Ryan Maguire, USA


formatBreak0 is an experiment in accessing the raw data of formats as sonic material. Formats are filters through which we pass information, transforming it from indecipherable to comprehensible. This transformation leaves a certain residue on the data. Unpack a .txt file in its intended order and you will find the textual information that the document was meant to convey. Unpack that same file as an audio file and you will hear a seemingly random stream of noise, clicks, beeps, and drones. Save the same text file in a different format before opening it as audio, and you will hear something different at the last stage. The data is ordered and thus colored by its format.


Ryan Maguire listens/writes to/for people/computers. He holds degrees from Dartmouth College and the New England Conservatory of Music and is currently a doctoral student in Composition and Computer Technologies at the University of Virginia.


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Cecilia by Thomas McConville, Ireland


It's sort of weird but I think it's pretty.


Thomas McConville is an Irish composer, working in both acoustic and electro-acoustic composition.  His works have been performed worldwide as part of acclaimed concerts, festivals, installations and gallery exhibitions.  He has also been published in the world’s largest selling computer music magazine, broadcast by electronic pioneer Christian Zanesi and is currently finishing work on a new album for Schematic records.  He studied composition at the Dundalk Institute of Technology where upon completion he was invited by the renowned composer Francisco López to work alongside him as part of a South African residency, to compose music inspired by the surrounding area.


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Gates (Kedesh Naphtali) by John Nichols III, USA


Completed in 2013, Gates (Kedesh Naphtali) is a electroacoustic composition that presents a musical mapping of an image of the Pleiades constellation in the middle and at the conclusion of the composition; it can be heard in the “wood block” timbres. The composition displays a complimentary relationship between periodic and non-periodic timbres relating to Luigi Russolo’s use of the term “sound” to describe an audio signal with periodicity and “noise” as the lack thereof. Sustained sonorities are engraved with a variety of successive fleeting noises. This composition expresses the salvation of individuality through the renunciation of egoism.


John Nichols III’s compositions have been selected for performance at events such as the Music Since 1900 Conference, NYCEMF, CICTeM, Slingshot, ICMC, SEAMUS, TES, and WOCMAT, where he was a winner of the International Electroacoustic Music Young Composers Awards. He was awarded a Special Mention and inclusion on the CD for the 2012 Métamorphoses Competition and appears in the SEAMUS 2012 Electro-miniatures “Re-Caged” CD and the Electronic Masters Vol.2 CD (ABLAZE Records, 2013). Mr. Nichols is pursuing a Doctorate in Composition at the University of Illinois, Urbana-Champaign, where he won the Fourteenth Annual 21st Century Piano Commission Competition.



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Vocal Mutations by Gabriele Paolozzi, Italy


Vocal Mutations is built on the elaboration of vocal material of varied origin, from speaking voices to Gregorian singers, through Tibetan monks up to deep Russian basses. The song is characterized by timbral variations, overlays and textural juxtaposition of vocal fragments that mark an evolutionary itinerary that goes through the different registers. Extra-vocal elements are water and bells that create a unique evolutionary sound with the vocal material.


Gabriele Paolozzi Graduated in Electronic Music in March 2011 at the Conservatory of Frosinone, where he is now going to get the second level academic degree in digital audio and visual composition. Meanwhile he obtained several awards with his compositions: Vocal Mutations 2010, which ranks third in Premio Nazionale delle Arti 2010, then with the electroacoustic soundtracks for silent films Kinoglaz 2011 and Il Piccolo Garibaldino 2012 (commissioned by the Ass.Nuova Consonanza), both composed with the collective Heka.


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sen no kioku by Ayako Sato, Japan


“sen no kioku” means the recollections of a line. The composer traveled to get in touch with a certain ”sen” (a line). This piece is the reminiscence of my private memories and a trace of my journey by the sound materials which picked up daily noises on a destination. Noises were abstracted, or told some anecdotes.


Ayako Sato, born in Japan, is currently a master’s student at the Graduate School of Music, Tokyo University of the Arts. She received her Master of Music from Senzoku Gakuen College of Music. Her electroacoustic works have been selected for performances at international conferences and festivals including CCMC (Japan), FUTURA (France), WOCMAT (Taiwan), NYCEMF (USA), SMC (Sweden), ICMC (Australia), ISSTC (Ireland) and ISMIR (Brazil). She was awarded the International Electroacoustic Music Young Composers Awards at WOCMAT (Taiwan, 2012), the honorary mention of CCMC (Japan, 2012) and the honorary mention of Destellos Competition (Argentina, 2013).


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Scrunch by Volker Ignaz Schmidt, Germany


Music derived from a recorded violin sample performed by violinist Erik Carlson.


Volker Ignaz Schmidt was born in 1971 in Leonberg, Germany. He has been a member of different rock and jazz bands playing piano, keyboards, and trumpet, as well as song writing. Originally trained in computer science, he studied composition privately with Franklin Cox (University of Maryland, USA), Bernd Asmus (Freiburg, Germany), Jan Kopp (Stuttgart, Germany) and John Palmer (University of Hertfordshire, England). Volker Ignaz Schmidt has composed for piano, cello, violin, flute, clarinet and trombone, a duo for two double-basses, a string trio, a string quartet, three vocal pieces for female voices, songs and works for chamber ensembles and orchestra.


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Figer by Sever Tipei, USA


Figer(fr.), vb. to clot, coagulate, congeal. Realized with software for computer-assisted (algorithmic) composition and sound design, the work suggests a preoccupation with continuity and narrative in music. Four sections, three interludes, and a coda exploit three types of materials: points, lines, and chords or sound mass textures. They could either coalesce in a tale or prevail as an abstract game.


Sever Tipei was born in Bucharest, Romania, and immigrated to the United States in 1972. He holds degrees in composition and piano performance from the University of Michigan and Bucharest Conservatory. Tipei has been teaching since 1978 at the University of Illinois at Urbana-Champaign School of Music where he also manages the Computer Music Project of the UIUC Experimental Music Studios. Most of his compositions were produced with software he designed including DISSCO, software that unifies computer-assisted (algorithmic) composition and (additive) sound synthesis into a seamless process.


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It's Okay! by Tyler Turcotte, USA


This piece, contrary to the debatable theme of it's inspirational source, was a happy accident. Fooling around with text sound music, I found that one of the sounds I created resembled the eerie and unsettling cry of the mutant baby from one of my favorite films, David Lynch's "Eraserhead". I took this and ran with it, expanding the sounds to become increasingly unsettling and reminiscent of the haunting soundscape from the film. Every sound in the piece is derived from the one sentence that is repeated throughout, a surprisingly enlightening self-enforced limitation.


Tyler Turcotte is a Music Performance/Music Tech Double major and a junior at Transylvania Univeristy. Having played double bass for 9 years, he has just recently extended his reach into the realm of electronic music composition. He aims to find some level of appreciation in all art (and will defend the merit of video games to the death), but especially finds pleasure in surreal, visceral, and philosophically engaging works that push boundaries and aren't afraid to break comfort zones. His musical influences range from a wide variety of metal to jazz to electronic music and beyond.


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Origins by Evan Williams, USA


Origins is primarily concerned with the nature of human/technological interaction, both in our current period of social networks where virtual communities often become substitutes for physical ones, and in the “Singularity,” a hypothesized approaching union of human and artificial intelligence. The work seeks to mimic the organic process of evolution and the human expression of singing through purely synthesized means. It also employs a human voice trying to assert itself against a sea technology. Origins asks what it means to be human, and what aspects of the human experience are lost in these uses of technology.


Evan Williams is beginning his Doctoral studies in composition at the University of Cincinnati College-Conservatory of Music. He also holds degrees from Bowling Green State University and Lawrence University. His primary teachers have been Asha Srinivasan, Joanne Metcalf, Christopher Dietz, Mikel Kuehn, and Marilyn Shrude. His works have been heard across the Midwest with notable performances in Italy by clarinetist Arianna Teighi, a choreographed performance of Origins with the Verb Ballets in Cleveland, and a performance of GRIME, for four strings, at the Make Music Chicago Finale with members of Fifth House Ensemble and participants of their Fresh Inc Festival.


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Can by Tom Williams, UK


Can is an abstract work that interrogates a limited range of sonic material. Can takes two metal cans – a trash can and soda can - and crushes and shreds them sonically. It is a work of disrupted and transformed loops and rhythms shaped by strong spatial trajectories, and where classic compositional techniques of repetition and variation of material, within a strong formal design are at its core.


Tom Williams is an award winning composer and principal lecturer and leader of INTIME experimental music research group at Coventry University, UK. He studied composition at Huddersfield and Keele Universities and completed a doctorate in composition at Boston University. In the 1993 ALEA III competition Ironwork was a prizewinner; Break was a finalist of 2004 Music Viva, and Shelter received an honourable mention at Bourge. In 2010, Can won the medal of the Senato della Repubblica Italiana Music Contest "Città di Udine”. Recent compositions include the dance video work, Voice (a retracing) and Leaf for hulusi, and electronics. www.tw-hear.com


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Reportage by Roberto Zanata, Italy


The world’s soundscape is constantly changing, especially in big urban areas. The soundscape is an invisible and immaterial “cultural heritage”, subject to changes, due to various factors like the level of anthropization and a number of natural phenomena. From the point of view of the soundscape, the general deterioration of living conditions on our planet has also contributed to deterioration in quality of human life to such an extent that we are beginning to talk about the crisis of soundscape, similar to phenomena widely known as biodiversity decline across continents and global pollution.


Roberto Zanata was born in Cagliari, Italy where he also graduated in Philosophy. A composer, musician and musicologist in electronic music, he studied and graduated in composition and electronic music at the Conservatory of Cagliari. In the middle of nineties Roberto became active in Italy and abroad. He wrote chamber music, music for theatre, computer music, electroacoustic and acousmatic music as well as multimedia works.


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After Auster by Kevin Zhang, USA


After Auster was composed as my response to reading Paul Auster’s perplexing novella, Travels in the Scriptorium. The novella depicts a man who suddenly finds himself in a closed, doorless chamber with no recollection of who he is or how he got there. He tries to understand his situation by examining the relics, items, pictures, books, photos, and furniture scattered in the room. Each item produces hints at his identity, but cohesion is elusive.


Kevin Zhang (b.1988) has written for the Contemporary Consort, the Musicians from soundSCAPE, the Now Hear Ensemble, the Ossian Ensemble with members of the London Sinfonietta, the Red Note Ensemble, and the UC Irvine Opera and Chamber Orchestra. He trained in composition and clarinet performance before receiving degrees from the New England Conservatory, where he won the honors competition, and the University of California, Irvine, where he was affiliated with the Body of Sound Collective and the Physical Computing Ensemble. Currently, he is pursuing a PhD in composition at the University of California, San Diego.



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VIDEOMUSIC/ANIMATION SELECTIONS:


Luft Am Morgen by Jon Anderson, USA


Luft Am Morgen is a location-specific acousmatic work, with environmental audio and video captured by the composer one early morning in Frankfurt around the Eiserner Stag and surrounding neighborhood. Abstract aural and visual landscapes, teased out solely from these audio-visual locations, portray an unwillingness to fully awaken. A rejection of one's actual environment unfolds, with clarity and recognition of source material briefly revealed at the conclusion. Audio and visual elements were processed with a variety of software environments including Max, Adobe Premiere, and Nuendo.


Jon Anderson DMA, Assistant Professor of Music at Wayne State University, teaches composition and theory courses. He holds a Doctor of Musical Arts degree in Composition and Theory from the University of North Texas where he studied with Joseph "Butch" Rovan, Joseph Klein, and Cindy McTee. He also holds a Bachelor of Arts degree in Music from Luther College, where he studied composition with John Howell Morrison, and a Master of Music degree in Composition from the University of North Carolina at Greensboro, where his teachers included Eddie Bass, Gregory Carroll, and Craig Walsh.


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+r/\n(e - figUr - /\+10n by Bradford Blackburn, USA


The audio portion of this piece was realized by first recording myself improvising various extended techniques on bassoon (key clicks, portamenti, timbral trills, playing through a removed tenor joint, etc.). The audio files of these recordings were then used as a control signal for a pitch/timbre tracking resynthesis application. The subsequent video processing is a live interactive performance, partially activated by the composer and partially automated by amplitude changes in the music. An historical public-domain video about the "atom bomb" is being used as source material and inspiration for the video processing.


Bradford Blackburn is an Associate Professor of Music & New Media Production at The University of Tampa, where he directs the Music Technology and Composition program and serves as Chair for the Department of Music. His electroacoustic music frequently explores microtonality through the medium of interactive performance. 


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Altération by Florent Colautti & Julien Paumelle, France


Built around diverse aquatic materials and by the meeting between the video director Julien Paumelle and the composer Florent Colautti, this video work invites dives into a macroscopic vision of the diverse states of the cycle of the water.


Florent is a French composer graduated in electroacoustic and instrumental composition from Bordeaux schoolmusic. He then followed in Paris musical education. His music was presented in France and abroad. http://www.florentcolautti.net  Julien is a French self-taught video maker, graduated in geography & communication. He has worked for short film, documentary & art video around several project around the world. http://www.regardcamera.com


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Concrezione by Luca De Siena & Antonello Belgrano, Italy


Concrezione is an audiovisual work by Luca De Siena (music) and Antonello Belgrano (video). It is an attempt of human exploration of the depths generable within a cathodic domain. This work deals with the raw edges of human perception, manipulating phenomena of retinal persistence and psychoacoustic thresholds. We are surrounded by a universe of architectures, materials concretions of thoughts that should represent extensions to our senses. "Concrezione" uses abstraction as a sum not immediately identifiable shapes even though still human in the way of being assembled and perceived. These audio-visual landscapes are microscopically explored, unraveled, untangled and subsequently re-established.


Antonello Belgrano (video) graduated as an audio-video technician at "Scuola di Alto Perfezionamento Musicale" in Saluzzo, Italy. Luca De Siena (music) Luca graduated cum laude in Electronic Music at the Conservatory “L. Refice” of Frosinone under the guidance of Prof. Alessandro Cipriani. The questions underlying his research are about the relationship between tradition and innovation and between art’s functionality and rituality in modern society. His works have been selected in several festivals and concerts in Italy and abroad including Poland, Denmark, England, Taiwan, South Korea, Canada and U.S.A (http://lucadesiena.wordpress.com/)


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10 Roentgens by Thomas Dempster, USA


10 Roentgens seems like a negligible amount of radiation, but the innocuous-looking number is deceptive. Human observers of the Trinity, Castle Bravo, and Christmas Island atomic tests absorbed between 0.2-0.8 Roentgens in less than a minute; some victims of Hiroshima - those who survived the blast, depending on location - absorbed between 0.5 and 10 Roentgens (or more) every second for nearly two minutes; Chernobyl "bio-robot" liquidators - who removed radioactive materials from the roof of the blown reactor - absorbed 8-10 Roentgens in a matter of 45 seconds. Hiroshima's Roentgen per hour count ranged from 3 to over 1500.


Thomas Dempster is a composer of chamber, electroacoustic, and intermedia works. His music has been performed at various new music festivals (University of North Carolina at Greensboro, University of Nebraska at Kearney, University of Alabama in Huntsville, University of Kentucky, Indiana State University, GEMDays [UK], #9 Art [Brazil], Electric LaTex, University of Texas-EARS Series, Electronic Music Midwest, Electroacoustic JukeJoint and Barn Dance) and conferences (ICMC, SEAMUS, SCI, CMS). He studied at the University of Texas (MM, DMA), and the University of North Carolina at Greensboro (BM). He is currently Assistant Professor of Music at South Carolina State University.


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Populating Spaces by Frank Döring, Germany/USA


Architectural spaces are designed to confine, enable, and shape human activity. The spaces are relatively stable, enduring conditions that can be captured in an instant. The activities, by contrast, are mutable processes that can only be grasped over periods of time. I attempt to make spaces and activities visible together in their different temporal natures with composite images and stop-motion sequences.  The composite images share the spaces' immutability, while the stop-motion sequences reflect the dynamism of the activity taking place there. But the two techniques are not entirely opposed: frames in the stop-motion sequences are ingredients of the composite images.


Frank Döring was educated in Germany (Freiburg and Berlin, M.A.) and in the U.S. (Princeton University, Ph.D.). He worked as a cognitive science researcher at the École Polytechnique in Paris, France, and as a philosophy professor at Johns Hopkins University and the University of Cincinnati. He found that his research interest in probabilistic epistemology didn't sit well with his obligations in the classroom and decided to forsake academic fame and fortune for the vagaries of a freelance career in photography. His main subjects are landscape (urban as well as rural), architecture, and people.


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Aural Hygiene by James Keith Fabry & Carolyn Horst, USA


The title stems from the way the sound was produced: A friend and I placed an electric toothbrush on the strings of an electric guitar, hoping to create a steady drone. However, the guitar’s pickups not only captured the vibrating strings but also the gears inside the toothbrush. The machine-like timbres and mysterious harmonies were generated during an improvisation with the toothbrush- guitar, and minimally processed in post to enhance those uniquely beautiful sounds. The careful use of lighting, angles, and effects in the video create images equal in abstraction and splendor to these mystifying sounds.


James Keith Fabry is an American composer, arranger, and audio engineer whose music blends cunning intellect with an emotive sensibility that appeals to the casual listener. He is also the bassist of Madison, WI-based progressive rock band The Mood Manual. Carolyn Horst is a musician and artist from Hartford, Wisconsin. She is holds a bachelor’s degree in Music Performance from St. Norbert College in De Pere, WI. While she spends most of her time living the life of a developing musician, she is also a visual artist whose works span a variety of media including photography, video, and drawing.


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Virtual Body by Iuliana Golub, Ukraine


This project is called “virtual body” and it consists of 6 video portraits. In this project I visualize the notion of virtual body, which is our projection into the internet space. It's all that information we upload to create our virtual identity. This clone, hologram we create starts to have a life of its own, mutates, exfoliates and not just represents our identity but creates it's own one. The gestures performed in the video represent growing restrictions on online freedoms and Internet censorship (limitations on free flow of information and free self expression: prohibition to see, hear and speak).


Iuliana Golub is a young multimedia artist from Kharkiv, Ukraine. She studied art at Repina Art School (Kharkiv) and V. Lenchin Private Art Studio. She graduated from Karazin Kharkiv National University (Master of Arts). andhas showcased her work at several personal (“Inner garden” 2012 “Christmas monsters” 2010) and group exhibitions (“Virtual Urbanism” 2013, “Planetarnik” 2011, “New urban primitivism” 2010, Festival “За життя!” 2010, Gagarin Fest 2009, Nebo Fest, 2008, etc.). Since 2012 she has been experimenting with animation, video art and sound design. She regards her art as a visual method to convey subjective and objective ideas, senses and experiences.


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Magnetic Resonance Music by Jeffrey Hass, USA


Magnetic Resonance Music is a 6-minute video with computer music featuring dance. The video has been extracted from a three-movement work for dance, computer music and video projection entitled The Nature of Human. This work explores three facets of human existence: mind, body, and spirit. My collaborators in this project were Elizabeth Limon Shea, choreographer and Rob Shakespeare, lighting designer and scenographer. The dancers featured in the video are members of the Indiana University Contemporary Dance Theatre.


Jeffrey Hass is currently Professor of Composition at Indiana University, Bloomington, where he serves as the Director of the Center for Electronic and Computer Music (CECM), having previously taught music theory and composition on the faculties of Rutgers University and the Interlochen Center for the Arts. His compositions have been premiered by the Louisville Orchestra, Memphis Symphony and the Concordia Chamber Orchestra, and have had performances at Lincoln Center, and at national conferences of the Society of Composers, International Computer Music Conference, International Double Reed Society, SEAMUS and the College Music Society.


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The Wrestler’s Wrestler (Infinite Training) by TJ Hospodar, USA


The Wrestler’s Wrestler, a collaboration with artist 0H10M1KE, is an ongoing body of work that contemplates the union of virile gestures found in athletics and exercise with the grace movements of dance. “Infinite Training,” a two-frame animation constructed from documentation of live performance as photographed by Andrew Bridge, relies on the endless looping characteristic of GIF technology to emphasize the physical trials endured by the wrestler and all athletes in general.


My primary passions are photography and performance. Hospitality and tourist-versus-neighbor relations are interests of mine that inform my research, while meal-sharing and theatricality pervade my artwork. I am compelled by modes of participation, and invest in work that is activated by the viewer, incorporating correspondence, audience contribution, and/or community-based collaboration. Working in modes such as dinner theatre, car service, hotel concierge, and fitness training, I make work that can be realized as movement, sound, or image.


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Blacked by Dustin Jones, USA


Blacked is from my Hip-Hop/Rap mixtape titled “The Color Wheel.” It pays certain credit to the darker styles of rap that are now becoming more popular. Some refer to such rap as “Horrorcore”, but this track doesn’t completely fall into that category because of its use of jazz-like chords on the piano.  The lyrics express how everyone has inner demons and dark secrets/thoughts. The track builds up tension, and an eventual explosion occurs as inner thoughts finally consumed the vocal performer. I must give thanks to Cory Collins for filming the video and to Paul Brown for editing /mastering it.


Dustin Jones hails from Columbia, Kentucky, where his life was dominated by music. He participated in band during all of high school and attended Transylvania University, where he focused on digital music and production. Additional musical activities include a two-year stint singing with Transy Boys’ A cappella, playing bass guitar in the Cowgill Tippers House Band, four years playing horn with the T.U. Concert Band, and the T.U choir. After graduation, Dustin undertook an internship working at the Edinburgh Music and Arts Festival in Scotland, working as a sound and lighting technician. You can hear his rap/beat music at https://soundcloud.com/f-l-a-c


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Iceline by Cheryl Leonard & Oona Stern, USA


Iceline depicts the Arctic Ocean from the perspective of floating glacial ice. The piece is crafted from video and audio field recordings collected in Liefdefjorden, Svalbard near the calving front of Monaco Glacier. Additional sounds were produced with stone slabs from the region. Iceline is part of Adfreeze Project, Stern and Leonard’s ongoing series of interdisciplinary “portraits” of Svalbard.


Cheryl E. Leonard is a composer, performer, and instrument-builder whose works investigate sounds, structures, and objects from the natural world. Her projects often feature natural-object instruments and field recordings from remote locales. Leonard has received grants from the NSF’s Antarctic Artists and Writers Program, American Music Center, American Composers Forum, and ASCAP.  Oona Stern is a visual artist working with both traditional art media and commercial materials. Her artworks call attention to history, urban development, cultural practice, and the environment. Stern has exhibited internationally and has received grants from Pollock-Krasner, NYFA, Puffin Foundation, Artists' Space, and Manhattan Community Arts Fund.


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Anarrhichthys Loops by Caroline Louise Miller & Richard Johnson, USA


The music for Anarrhychthys loops was composed by Caroline for a musical event at Scripps Oceanographic Instituteʼs Birch Aquarium in early 2013. Richard created the video in response to that music, drawing on footage from the aquarium that night.


Caroline Louise Miller's ideas (and the resulting musical works) can best be described as wholehearted attempts to crystallize sensory input/daydream content into eccentrically meaningful fragments. Her approach to composition is complemented by her romantic views of science; she has ongoing goals of mating lullabies with bromeliads, scorpions with snowflakes, and ancient dances with toxic machines–hybrids that can only be realized within realms of art. She received her BM in Composition from University of Missouri – Kansas City and is currently studying at UC San Diego.



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Deterministic Chaos by Yemin Oh, USA


Chaotic Theory is popularly referred to as the butterfly effect. Small differences in initial conditions yield widely diverging outcomes for chaotic systems. Chaos happens, even though everything is deterministic, meaning that a very intellectually determined choice could become another part of the Chaos. No matter what you decide in your music, it eventually results another new Chaos. On the other hand, finding a deterministic idea in chaotic music could be one of pleasurable motivations for audience. This piece was selected and invited to perform at electronic music concerts at Stony Brook University, SEAMUS 2011, and ICMC 2013.


Yemin Oh is a composer always looking for fascinating and captivating music. Currently he is pursuing a PhD in Experimental Music & Digital Media at Louisiana State University. Previously, he graduated Kyunghee University and University of Hartford for a B.M. and G.P.D. in music composition, and Georgia Southern University for an M.M. in music technology. His works have been performed at several music concerts and conferences, including Ulsan Electronic Music Competition, Kyunghee Music Scholarship Competition, Society of Electro-Acoustic Music in United States (SEAMUS), Electronic Music Midwest festival (EMM), New Interfaces for Musical Expression (NIME), and International Computer Music Conference (ICMC).


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Cloud Fields by Maggi Payne, USA


Ever since I was a child delighting in the play of foot-high early-morning ground fog and snowflakes slowly streaming and skittering in intricate patterns in all directions across an asphalt road we were driving down, I’ve been fascinated by the complexity, mysteriousness, transitory nature, and sheer beauty of water vapor. Incidental interactions between the images intrigue us as we are compelled to try to follow the complex ebbs and flows in all directions of these amorphous forms. The sound is produced by the images.


Maggi Payne is Co-director of the Center for Contemporary Music at Mills College. She also freelances as a recording engineer/editor. Her electroacoustic works often incorporate visuals she creates using images ranging from nature to the abstract. Her works have been presented in the Americas, Europe, Japan, and Australasia. She received Composers and Interdisciplinary Arts Grants from the NEA, and received six honorary mentions from Bourges and one from Prix Ars Electronica. Her works are available on Innova, Starkland, Lovely Music, Music and Arts, Centaur, Ubuibi, MMC, CRI, Digital Narcis, Frog Peak, Asphodel, and/OAR, Capstone, and Mills College labels. www.maggipayne.com


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Time on the Z Axis by Sylvia Pengilly, USA


This piece is based upon scientific theories concerning the nature of time proposed by Einstein, Deutsch, Hawking and others, suggesting time may not be the flowing continuum that we imagine it to be, but that all possible variants of every event have already happened/are happening/will happen, and coexist continuously. Time may not flow from left to right across the X-axis as we typically imagine; perhaps all possibilities coexist continuously.  This piece opens with a four-second burst into which the entire video and audio content has been condensed. After this it unfolds more traditionally, “decompressing” all the visual and musical material.


Sylvia Pengilly has always been fascinated by correlations between what the ear hears and what the eye sees.  Because of this, many of her works integrate both musical and visual elements. Mathematics and physics, including Chaos Theory, Quantum Mechanics, and Superstrings, are of particular interest and frequently provide the basis for her works.  These have been presented worldwide at several festivals, including many SEAMUS National Conferences, the Medi@terra festival, ICMC, the “Not Still Art” Festival, and the “Visual Music Marathon. She was formerly professor of theory and composition in the College of Music at Loyola University, New Orleans.


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Myths of Mysteria: The Lost Ages by Joseph Perkins, USA


I designed this composition as a videogame prototype. The music leads the audience to focus on the scene and reinforces what they are visually experiencing. In addition to the music, I added sound effects to make the tense moments more suspenseful. Katelynn Ralston and Rachel Kimbrough created the game’s world. Rachel designed the character and level models, and Katelynn designed and rendered them electronically through Photoshop. From the visual perspective, my biggest challenge was to get the main character to move around the level.  I used the Max/MSP computer language to animate the scene.


Joseph Perkins was a music technology major and philosophy minor at Transylvania University with an insterest in computer programming.  He has been the sound board operator for a variety of theater productions, including The Bakkai, a rock opera version of Euripides’ play, Caroline, an emotional two-man show written and performed by Transylvania students, and Almost, Maine, a widely produced comedy. He also co-designed the lighting for the student run Today is History.


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En Su Vaivén by Nora Ponte & Yvette Nevares, Puerto Rico


En Su Vaivén is an electronic music-video art piece inspired by "Rockaby" by Samuel Beckett. It takes Beckett's text as starting point, transforming it in sound and image. Mimetic spaces of music and images are equally bare and equally marked by the spatial embedding of empty space. The inner repetition of minimal situations makes us to perceive complete loneliness. Active loneliness, awaiting repetition that only exists in remembrance. Repetition becomes ritornello. The ritornello is a prism, a Space-Time crystal that works on the surroundings, sound or light to extract from it varied vibrations, de-compositions, projections and transformations.


Winner of the Christoph Delz International Composition Competition (Switzerland) and the Municipal Prize of Composition of Buenos Aires, Nora Ponte’s works have been performed around the world. She received grants from the Italian Government and the Antorchas Foundation. She has been guest and participant at numerous festivals and conferences like Borealis Festival (Norway), New Music Festival (North Carolina), International Computer Music Conference, Art, New Music and Sound Experimentation Festival, Caribbean Composers Forum, Interamerican Festival for the Arts, Art Sound Festival (Puerto Rico). She is Associate Professor and Director of the Electronic Music Laboratory at the University of Puerto Rico.


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Miss Candace Hilligoss' Flickering Halo by Fabio Scacchioli & Vincenzo Core, Italy


The beginning is another movie, an american noir of the early 60s: gutted and disemboweled, tortured and "detourned" images organize themselves into precarious and evolving structures, intertwined in multiples and twisted plots in a state of permanent collapse. The aim is to incite the explosion of a closed system through a dispositive of audiovisual implosions. Forget what you see while actually watching it, and soak in a vibrating, optical ancestry- a scream without a reason. This is a film about this distance, about the interval simultaneously separating and uniting, the silence between words, the black between pictures.


Vincenzo Core studied electronic music with Alessandro Cipriani, at the “L. Refice” conservatory of Frosinone. He composes for video, dance, installations and performances, while investigating the relationships between various compositional materials to trace paths of meaning to express the complexity and vitality of Self. Fabio Scacchioli studied in Perugia and Madrid, graduating with a thesis on the semiotics of experimental cinema. His research focuses on the relationship between memory, perception and thought.  He works with film, video and installations.


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across an ocean, across the land…  Jacob David Sudol, USA & Jacek Kolasinski, Poland/USA


The composition uses a collection of 30 short recordings of two Tibetan singing bowls, one pair of tingsha (Tibetan prayer cymbals), and the giant Mikrophonie tam-tam, as well as multiple simple transformations of these sounds to generate a large variety of consistently non-gestural material. In 2013, visual artist Jacek Kolasinski added a video to the work. The video includes recordings Jacek took of the beginning stretch of the Great Wall of China in December 2012. According to a friend from China, Jacek was extremely lucky to see snow on this portion of the Wall.


Jacob Sudol writes intimate compositions that explore enigmatic phenomena and the inner nature of how we perceive sound. He coordinates the Music Technology area at Florida International University. He received his in Ph.D. in composition at the University of California at San Diego. Jacek Kolasinski received his BFA and MFA from Florida International University. His work is rooted in the experience of growing up in two worlds: the “Old World” in Krakow, and the “New World” in multicultural Miami, USA. He is an Associate Professor of video/digital arts and Chair of the Art + Art History Department at FIU.


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Wiretap by Jing Wang & Harvey Goldman, USA


Wiretap symbolizes and illuminates upon an abstracted interpretation of an electronic surveillance. The reverberation of image and sound create a diametric sense of both order and chaos. The struggle and tension between these vacillating degrees of complexity and the viewers’ ability to assimilate them are at the essence of the work. The work is inspired be the writings of novelist William Gibson and Phillip K. Dick.


Jing Wang is a composer and virtuoso erhu artist. She has participated in numerous musical communities, as a composer and a performer of diverse styles of music. Her compositions have been selected and presented in China, Spain, France, Italy, Turkey, Russia, Canada, and throughout the United States. She was the winner of 2006 Pauline Oliveros Prize given by the International Alliance for Women in Music. She has also successfully performed erhu concertos with several symphony orchestras in the United States. Ms. Wang is currently an Assistant Professor of Music at the University of Massachusetts Dartmouth.


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STILL IMAGE/ART WORKS SELECTIONS:


Six Stills by Otto Laske, USA


These six stills all fall under the heading of “digital painting”. They are based on images from my animations (2010-2012) that serve as templates for visual stills, either by providing me with interesting configurations (architectures) or color schemes, or both. I view these works as “frozen music” in that, in all of them, I am aiming at rendering the flow and tension I have focused on in composing electro-acoustic and instrumental-vocal music over 45 years.


Otto Laske is a composer, lyrical poet, and visual artist. His work in the visual arts, developed since 2009, straddles the conventional boundary between “photography” and “painting” which, in the digital domain, is no longer cogent. Otto’s artistic work can be found at www.ottolaske.com.


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Seven Images from "Strings Symphony" by Saeed Rostambakhsh, Iran


Strings Symphony is a series of digital works that reflect my personal experiences.


Saeed Rostambakhsh lives and works in Tehran, Iran.  Trained as a musician, he draws upon his musical experiences in his visual works.



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