>The Stockholm Challenge Award 2006 is open for entries
>THE STOCKHOLM CHALLENGE AWARD 2006 invites excellent ICT projects from all
>over the world to compete for the prestigious Challenge trophies.
>The Challenge is searching for the best initiatives that accelerate the use
>of information technology for the social and economic benefit of citizens
>and communities. The objective is to help local entrepreneurs, who work to
>close the digital divide, by bringing in research communities, development
>organisations and strong corporate initiatives.
>THE AWARDS WILL BE HANDED OUT IN SIX CATEGORIES in the City Hall - on May
>11, 2006. Special focus will be on projects in countries and regions with
>the greatest needs. There will also be an international Challenge conference
>in Stockholm on issues related to the role of ICTs in global development
>THE AWARD IS OPEN FOR ENTRIES until December 31st 2005. The application form
>is easily accessible on the home page.
>The Stockholm Challenge is headquartered at the IT University - a joint
>initiative by KTH (The Royal Institute of Technology) and Stockholm
>University . It is managed by a consortium that also includes the City of
>Stockholm, Ericsson and Sida, the Swedish International Development
>For more information, please contact:
>Telephone: + 46 8 7904469
>Cell: +46 70 678 72 82
>Rules for participation in the Stockholm Challenge Award 2006
>These are the basic rules for the participation in the Stockholm Challenge
>Award. All competing projects must:
>1. Include ICT
>Illustrate how ICT is used to create new or better traditional services
>and/or products, which are beneficial for human and social development.
>2. Be implemented
>All competing projects must be up and running. They should be
>implemented/piloted since no less than three months. The Stockholm Challenge
>Award does not accept drafted concepts and ideas only. The jury will only
>evaluate and compare projects that can show measurable outcomes and impact.
>3. Be linked to and/or supported by an established private or public
>4. Be verifiable, i.e. able to present credible references.
>5. Be free from religious, political or other personal beliefs.
>To be noted:
>Projects that have won one of the Challenge categories in previous years
>cannot enter the competition again.
>All applications must be in English
>Innovation, creativity and the convergence of ICT with many different
>disciplines are some of the qualities that are looked for in the competing
>projects. The jury, a group of international senior experts, base their
>evaluation on the following criteria, most of which all Challenge projects
>Competing projects should illustrate new and innovative ways of using ICT to
>improve the living and economical conditions especially of those with great
>The addition of ICT as a tool to traditional development work can improve
>and widen the scope of the project impact. Projects should show successful
>convergences of different disciplines and sectors.
>It is favourable for the competing projects to show that they bring
>individuals, groups and local organisations into larger communities
>national and global - such as medical, government, educational and cultural
>networks, as well business environments.
>It is important that the initiatives counteract inequality related to the
>likes of gender, origin, age, physical and/or mental disabilities.
>An important factor is sustainability. Not only economic sustainability,
>i.e. how long the project will last and bring benefits to its users.
>Sustainability also includes the contribution of the project to a
>sustainable society and environment at large.
>To enter a project in the Stockholm Challenge Award is not only to
>participate in a prestigious international ICT competition - it is also a
>way to join networks of some of the best ICT entrepreneurs and pioneers in
>the world. Testimonials from many of the projects, which have competed in
>their respective categories over the years, say that it is the inspiration,
>the new ideas, contacts and partners that are the greatest rewards for a
>The Stockholm Challenge represents excellent marketing through the exposure
>to media, and to private and public organizations that are involved in ICT
>work and implementations. It gives promotional opportunities for
>entrepreneurs, universities, cities, cities and regions. The Stockholm
>Challenge Final Events include a Best Practice Exhibition and a Conference.
>It is a meeting place for some the world's most successful IT entrepreneurs.
>Winners and finalists of the Stockholm Challenge are global role models for
>cities, companies, organisations, schools and others who are involved in
>adapting and spreading the use of ICT.
helen varley jamieson: creative catalyst
Hi ADAthe following is my starting point for my discussion around Sound and Noise Silence (does not) = DeathI have been thinking about the topic Sound and Noise for a while. Where the area becomes very interesting for me at present is within this idea of "silence". I had been thinking about it again last night, prompted by Stella's mail. I have had the experience in the past of having P.A. and amplifiers that are powered up but with no signal behaving in a way that seemed appropriate to their designation (amplifiers of signals) but where no signal is feeding into the amplifiers they tend to just exaggerate the resting state, the hum and crackle of electricity in motion. The sound of the components becomes the composition. Last year the Basque sound artist Mattin performed in Dunedin. His set started with an incredibly wild feedback drenched 10 minute lappy controlled sound that abruptly ended. Mattin remained motionless behind the lappy screen, sunglasses reflecting the glow of the lcd panel, and yet the performance had not ended. After a few minutes Rosy Parlane, who was acting as sound engineer that night, made a move to fade in some other music to cover for Mattin's apparently short set. Mattin's response to this was to ask Rosy to turn it down as he had not finished his set! Rosy complied and Mattin remained motionless behind the screen with no "new" noises coming from the lappy. He remained like this for a further 10 minutes while the P.A. hummed and crackled away. It seemed to me at the time like an inspired piece of intervention. To allow the machines to dictate their own composition, not in the way that MIDI or other controllers allow for robotic composition, but for the nature of electricity interacting with metal, ceramic and glass components to perform without the direction of the human directly. Indirectly the human is involved of course from the construction of the components, down to the production and delivery of the electricity. The whole performance reminded me of an updated version of John Cage's 4'33" (a composition that I freely admit to being obsessive about). Silence=Death. While this equation is appropriate for reflecting on discourse in other areas of human endeavour and/or suffering it seems slightly at odds with any discussion around the topic of Sound or Noise (except if you are a commercial radio programmer). Cage seems an appropriate starting point, but I have a number of releases by Bernhard Gunter that also reflect on these concepts. Gunter's compositions are infuriatingly quiet. I was initially repelled by the lack of substance within the recordings, minutes go by without "anything" happening, and I resorted to fast-forwarding through the compact disc to hear for something that could be locked down as a composition. This was a futile exercise as of course there are sounds on the disc, and of course I could hear them, but I refused to recognise the sound as a composition (in fact the act of fast-forwarding through the disc created another composition that seemed "more" listenable than when the disc is played at normal speed). After some time with the disc I began to experience the composition in more detail, and it kind of revealed itself, although this is not to mean it was a mystical revelation at all, rather a slow unfolding and revealing of the compositional depth and the requirement upon the listener to suspend quite a number of preconceptions one has about composition, despite the earlier intervention of Cage. 0_ variations. Bernhard Gunter's compositions rely on a recording, the digital artefact itself to carry the idea of the composition to the listener. It appears that there is certainly a requirement on the part of technology to inform the listener within this project. Marco Fusinato is another artist who is working within this strategy, although in a seemingly different way. Earlier this year a collaborative exhibition by Fusinato and Mutlu Cerkez at the Art Gallery of New South Wales explored this connection between technology and sound. In Fusinato's contribution to the project he presented the 0_ king variations 2004, a group of 100 PVC disc-lathe cut 12" records made by Peter King of Ashburton. The grooves cut into the discs by King are based on drawings by Fusinato. There is no pre-recorded sound artefact, just the pencil drawings created by Fusinato to inform King about the look of each disc. This idea has been further enhanced by the release this year of Fusinato's 4xLP set 0_Synaesthesia Edition.Released in a limited edition of 100, the 4 discs present the idea of the drawing taken one step further. The records are black vinyl with the grooves/drawings stamped into the discs as you would a normal vinyl release. These recordings presented in their black goth-metal sleeves disrupt notions of linear playback and point to endless possibilities arising from the formation of the grooves that will set the stylus on an infinite ride to nowhere.At Marco's suggestion I have begun to experiment with these recordings as the basis of a performance that will be presented during the symposium. kind regards Michael Morley
seeing we're on the audio subject still, these people want free audio
files for their web site ... (as well as doing other interesting
h : )
>just wanted to inform you about NetLach, five-days event on art,
>culture and citizenship in the information society taking place in
>bilbao from november 16th to 20th.
>you can check http://www.netlach.org
>on the 18th Radio Paca (women comunitary net radio from barcelona)
>will be broadcasting live a special program on women and digital
>divide. you can listen to it on streaming at
>http://www.radiopaca.org on nov 18th
>also, we are looking for free audio files to put on the web so if
>you feel like sending something that would be great
>(links and information about musicians will be added to the web).
>there is also an open section for video releases on issues related
>to NetLach (Self-video-service) where anyone can participate.
>for any questions or sending material please contact:
helen varley jamieson: creative catalyst
I've enjoyed the thoughts so far, sorry for being so slow to post on my
own presentation, my thoughts have been gathering pretty slowly on it,
and this is still a bit of a testing of the waters, so i'd like some
This comes out of my phd thesis research, which is about the radio
spectrum: the ways it is defined by different discourses (science, law,
economics, technology etc), and the movements of power and resistance
through processes of control - and the subversion of control - over
radio waves. An important part of it means looking at ways in which
activists and artists respond to radio waves in ways that operate
outside the dominant structures of control established by legislation
Anyway, for this 'sound and noise' session, I've been thinking about
possible intersections and overlaps between R. Murray Schafer's mapping
of the 'soundscape', and my own thinking of radio spectrum as a
spectrumscape. For the conference I'm planning to work through some
analogies and comparisons between the two, and show some sketches of
plans for visualising the spectrumscape. The spectrumscape is the
movement of radiowaves around and through us, and it is even more dense
and omnipresent than the soundscape, we just don't have biological
sensors of our own to perceive it - we have to rely on radios, tv's,
cellphones, scanners etc to translate radio waves into sound waves so
that we can use our ears and eyes to perceive parts of it at a time.
As individuals, we contribute to the soundscape through our audible
sound making - speech, breathing, heartbeat, the rustling of our
clothing etc, but we also add to the spectrumscape with the infrared
radiation we emit. And increasingly, as we carry around cellphones,
itrips, bluetooth headsets, GPS systems, wifi devices, items with RF
stocktracking tags in them, in fact any electronic object, we are
leaking into the spectrumscape at multiple wavelengths, just as our
footsteps, laughter, and the overflow from our headphones and car
stereos extend us into the soundscape. Through our electronic objects,
we exist in both physical and non-physical or semi-physical?)
dimensions at once - English 'critical designer' Anthony Dunne refers
to this sweetly as the 'dreaming' of electronic objects.
Both the spectrumscape and the soundscape are influenced by geography,
and they have both become denser and increasingly dominated by
technological emissions at the expense of natural elements since the
industrial revolution (more recently than that in the case of radio
waves). Both penetrate physical structures to various extents,
predominantly in the low frequencies, and both are constructed of
semi-permanent major sources, and smaller mobile sources.
There are I think interesting relationships to draw between the 'power'
to emit powerful electromagnetic signals, and the 'power' to produce
really big noises. Obviously, this is both social/economic/political
power, and electrical power. Schafer makes some nice points about the
power to make a lot of noise shifting from the church to the factory
with industrialisation, and it's interesting to think about who is
allowed to make a lot of noise now - airports and particular kinds of
factory are the ones that leap to mind at the moment, acting like big
transmitters would in the spectrumscape, with emergency sirens,
concerts, sports games, and police/rescue helicopters as other more
occasional official erruptions, maybe like sporadic radio
communications. Other loud noises exist as rebellious interventions -
like the cars that sometimes trigger other cars' alarms with their
noise on the street outside my house, and have the power to disrupt
ordered interactions in a similar way to pirate transmissions on
official broadcast/communications channels. 'Noise' of course exists in
the spectrumscape as well, in the static produced by interference in
I'm interested in any other ideas about the location and functions of
different noises in the soundscape, particularly the ones that are
either powerful and officially sanctioned, or those that are more
interventionist. Too many to list I'm sure, but I'd like to hear of any
particularly resonant instances anyone has come across. And the same
for 'pirate' transmission interventions in the spectrumscape.
Also, i've been thinking about this in relation to the musings on
silence sparked by Michael Morley's post, and reflecting that since all
electronic objects emit electromagnetic waves, when a laptop, amp,
guitar etc is 'silent' in terms of sound waves, it's still making
'noise' in the spectrumscape (as long as it is turned on). Does this
add anything to or change our ideas about 'silence' in electrical music
And has anyone ever noticed odd moments when seemingly benign,
contained, objects reveal their dreamy electromagnetic selves, creating
strange burst of interference?
for example, I notice a weird point in Auckland where Wellington St
comes up out of Freemans bay on the way into the city, by all those
traffic lights where the motorway interferes with the pedestrian ways.
There's a loud high pitched noise that comes in over the top of fm
radio for a few metres near the traffic island with the trees (i'm
still hazy on street names round there). It happens over both national
radio (101fm) and b (95fm), I'm never listening to any other
frequencies there so i'm not sure how far it stretches. It's really
loud in the radio, and there's nothing I can hear when i take my
headphones off. I can't figure out what it's coming from, it might be
the red light camera, but I'm sure it happens when the camera's not
there. Anyway, it's a weird moment of electromagnetic noise interfering
in my walkman soundscape....
Righto, that's enough for tonight. I'll collect my thoughts together
more fully before the conference, and any ideas, thoughts, responses
etc in the meantime would be excellent...
We've been watching the conversation over on the Audio Foundation list too.
Those not subscribed to both might find this note of interest:
----- Original Message -----
From: "Mark Grimshaw"
Sent: Tuesday, October 25, 2005 4:46 PM
In case you're interested, here's a few selected readings on
Ballas, James A. 1994. Delivery of Information Through Sound. Edited
by G. Kramer. In Auditory Display: Sonification, Audification, and
Auditory Interfaces, Reading MA: Addison-Wesley.
Kramer, Gregory, Walker, Bruce, Bonebright, Terri, Cook, Perry,
Flowers, John, Miner, Nadine, Neuhoff, John, Bargar, Robin, Barrass,
Stephen, Berger, Jonathan, Evreinov, Grigori, Fitch, W. Tecumsah,
Gröhn, Matti, Handel, Steve, Kaper, Hans, Levkowitz, Haim, Lodha,
Suresh, Shinn-Cunningham, Barbara, Simoni, Mary, and Tipei, Sever.
Sonification Report: Status of the Field and Research Agenda. [cited
September 1 2005]. Available from
A fair bit of it's tied up with the related field of ecological acoustics.
On 25 Oct 2005 at 15:51, Andrew Clifford wrote:
> I was just reading through the old Mondo 2000 User's Guide (1992),
> which is full of their usual William Gibson-obsessed hip-speak about
> designer drugs, cyberpunk, virtual reality and whatever other
> was turning them on at the time. Actually, it wasn't a bad magazine at
> the time but it definitely looks like cyber-kitsch now.
Computer Game Audio bibliography:
Audio Foundation (AF) mailing list
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Many thanks for your great responses, comments, suggestions and
contributions. Sorry for ducking out of the conversation for a bit
there, i got overtaken by university stuff...
I tried not to go on at length here, but well you've all set me
thinking so i got a bit carried away...
These examples of radio leakage are great - I will definitely be riding
the trolley buses with my walkman next time i'm in welly, and i love
the truckie conversation over the bus radio. luke's microphone moment
reminded me of one of my formative radio experiences. Once in maybe
1986 I remember surfing the fm dial in my bedroom and suddenly hearing
my mother talking to a friend on the phone. We had just gotten one of
the early cordless phones, and it must have transmitted at the very top
end of the fm spectrum. I was horrified, and i never told anyone cause
i was afraid they would tell me off for eavesdropping (i didn't - i was
too afraid of being caught at the time, as though they might detect me
back through the phone), and that they would listen to me on the phone
the thing is i think, that there is plenty of proprietary spectrum, in
fact nearly all of it is 'owned' by someone, but the only way they can
protect the signals that travel through it is by coding the regular
receivers we use to only receive in certain parts of it, or by encoding
the signals themselves. I've seen ads for cordless phone systems for
offices that encode their signals to protect from scanners. otherwise i
think that if someone has a scanner, the traces of us that leak out
there are almost as open as these mailing list posts, just more
transient... hence scanner's career! Actually, they are probably
protected by the privacy act, if we ever get to find out that someone
has scanned us and used that information.
I'm intrigued by this idea of RFID tags sucking up em emissions for
power, i had only read paranoid accounts of being traceable through the
wee transmissions of the tags on things we buy. your explanation is
much cooler douglas, can you point me towards a resource on them?
And i really love the example from the rubbish area in toronto island.
that's a really nice iteration of the weird mesh of spectrumscape and
soundscape - an elaborate effort to disconnect from the local
soundscape for privacy while trying to connect into the
And staying with the more radio-ey ideas, I love your idea of beaming
out 'alternative' messages of sorts into space Douglas, but we're
already doing that with every reasonably powerful transmitter on the
planet - just not actually very powerfully. This from the Seti @home
webpage: "Early TV shows like I Love Lucy and Ed Sullivan left the
earth about 40 years ago, so have gone out 40 light years, reaching
several thousand nearby stars. But these signals are relatively weak
and SETI@home is not likely to detect the equivalent of Earth type TV
transmitters, even on the nearest stars.... Earth's strongest
transmitters might be somewhat easier to detect, such as those emitted
by military radars, or some radio telescopes. The Arecibo telescope
transmits very powerful signals when it is used as a radar system to
study planets, asteroids and the ionosphere. These radar signals are
powerful enough to be detected 10,000 light years away by searches like
SETI@home." (‘Frequently Asked Questions about SETI(a)Home.xn--evg
http://setiathome.ssl.berkeley.edu/faq.html) So for those closest
starts it's 1965 now, and soon late 60s FM 'free' radio will blow their
minds very faintly...
Nice call about the western springs speedway Janine. the thing about
radio transmissions is that when people buy the rights to a certain
frequency and are allowed to transmit from it at a certain power etc,
they are precisely buying the right to make a lot of electromagnetic
'noise'. Whereas, sonic noise is often just a by-product of something
else, (apart from concerts/big parties maybe) and the right to make
sonic noise falls under a different kind of resource consent process.
There may be complaints about it, like recently with the nighttime work
on the new bits of motorway next to freemans bay, but if the noise is
produced by 'productive' activity, like construction and even airports
+ planes, it's maybe more officially tolerated, compared with renegade
noise, like big parties. The interesting thing about western springs is
that the social context within which that noise happens has changed
around it over the years, changing the perception of the noise by the
majority, or those with more complaining clout. I really like the
anthropological take on noise and transitional periods Alison
suggested. I wonder how/if western springs could fit with that. I
think cars and motorbikes (on the street rather than the speedway) +
car stereos are a particularly interesting example though. they can be
so loud, yet are probably really hard to pin down with a noise
complaint unless they stayed stationary for long enough. They're
probably the best tool for teen sonic defiance. though it always seems
a bit pathetic when a stereo is so loud it makes the car vibrate, like
one i saw on mayoral drive the other day.
Your reference to amsterdam reminds me about those huge piles of boxes
of crackers adolescent boys let off in the streets around new year. I
always wondered how refugees from war-torn countries felt about it, it
took me a while to not feel like there was a gun battle going on down
the street or something. In fact many of my memories of amsterdam are
aural - the sound of bicycle tyres, bells and rattling frames passing
under our window along the red brick paving, the rattle of trams on
Ferdinand Bolstraat, and the ominous drone of scooters speeding up
behind us innocent cyclists in the cycle paths. hmm, all transport
related... transitional states again?
Thinking about the laptop scene there as well, i saw some great stuff
there, but i really missed the visceral nature of the nz noise scene i
left behind. We went to lines of flight in dunedin just before leaving
in 2000, and i think the handful of dust performance i saw there kind
of ruined me for lots of serious germans with g3s. I think nz's take on
laptop music is informed and infused by a more rocknroll spirit in
general (even when it's being gentle and lovely) than i saw in europe
(not a comprehensive survey obviously), and there is some really
interesting mixing up of electronic and acoustic sound sources going on
in the auckland scene.
ok, I need to stop now, but there's been more to respond to, and I'm
looking forward to more chat. nice to know there's so much to say!
btw thanks for the references julaine, Wireless imagination is a real
touchstone books for me, along with neil strauss and dave mandl's
radiotext(e). I actually haven't read noise water meat, must get on to
that. and glad to have a D+G ref, i never know where to start with a
thousand plateaus, other than at the beginning i guess....
it's a busy week this week in UpStage: on Saturday 29 October we have
a live public performance by JeanRichard; and on Wednesday 2 November
we have the regular Open Session and walk-through.
LIFE2 - performance by JeanRichard
This is the first public performance to be staged in UpStage by a
group other than Avatar Body Collision (the creators of UpStage).
JeanRichard is a Swiss family of artists who began using UpStage a
few months ago, and they love it so much they've already reached the
point where they are ready to give their first public performance.
To join the performance, you don't need to be logged in; just go to
http://jeanrichard.ch/Life2/ where there will be a live link to the
stage from one hour before the performance time. And the performance
4am New York
6pm Australia (NSW/Queensland)
9pm New Zealand
http://www.worldtimeserver.com/ for other local times.
UpStage Open Walk-Through
This session takes place on the first Wednesday of the month and is
an opportunity for newcomers to learn about UpStage and for regulars
to have an open jam session. To register for the session and request
a log-in, email me (helen(a)creative-catalyst.com) - even if you're a
regular, please let us know that you're coming.
As usual, we'll begin on the Introduction stage,
http://upstage.org.nz:8081/stages/presentation. Depending on numbers,
some may go to another stage for improv while newbies learn the
basics on the Introduction stage. Those of you who are logging in
will do so from http://upstage.org.nz:8081
The times this month are:
4am New York
7pm Queensland Australia
8pm NSW Australia
http://www.worldtimeserver.com/ for other local times; please note
that European clocks have changed between these two events - if you
are in any doubt over the correct time, find your local corresponding
time for the Swiss time of 10am for the JeanRichard performance on 29
October, and for the New Zealand time of 10pm for the open session on
I hope you can join us for one or both of these events.
h : )
helen varley jamieson: creative catalyst
Hi Zita + all
I have really enjoyed the dialogue created by your post Zita. In response to the issue of power relationships in our soundscapes ...
>I'm particularly interested though in suggestions about the relations of power within
the soundscape, I'm sure there must be lots of work in that area.
...I was reminded of how often the law is evoked by neighbours to police sound. I can think of a few memorable occasions where I was involved in the joyous flouting of noise control regulations - at one party the DJ symbolically ate the second noise control warning. Unfortunately this was (of course) closely followed by the confiscation of equipment.
For a specifically local context your post also reminded me about the debates over noise control at the Grey Lynn Speedway between residents, speedway enthusiasts and the proposed district plan limit of 85 decibels. Russell Brown has a typically no-nonsense summary of this issue on his public address website if you are interested.
Economist Stuart Marshall describes the key issue in the Grey Lynn debate as 'theft of enjoyment' - a case of one party stealing ( the soundspace) from another. Resource management controls have been the death knell for many a proposed outdoor sound event - yet I would be first to complain about a noisy piece of heavy machinery operating after hours. How can we negotiate between the exceptional night of the carnivalesque reveller and the legally permissable thud of the factory or drone of trans tasman flights as we enjoy the westcoast beaches?
looking forward to your paper!
>>> zita(a)ethermap.org 10/24/05 10:14 PM >>>
Hi Caleb + all
thanks for your comments, i think i overedited my original musings and
left out my references to Joyce Hinterding, who is responsible for my
basic understandings in this field - I would have no intention of
leaving her out of an actual discussion! The work of Dunne and Raby in
a more design oriented context is also really important in mapping out
other dimensions of the spectrumscape, such as the leakage from baby
monitors into the street, and the base-finding signals of mobile
Haco's work looks interesting, and I can see some reflections on the
electromagnetic dimensions of objects in examples I have found online -
I'd appreciate some specifically radio-wave based examples from her
work if you know of any, it seems she is mostly interested in
amplifying the sounds of electronic devices, rather than picking up on
their actual electromagnetic emissions, so still falling more on the
sound-side of my sound/spectrum thinking. There are a lot of artists
responding in various ways to issues of electromagnetism -
radioqualia's radioastronomy project, and the work of Marco Peljhan are
other obvious examples - and exploration of those forms an important
part of my broader thesis project.
The connection with the electromagnetic emissions of electronic objects
music devices is a small part of my general thinking, and it is
certainly the best documented of my overall radio-spectrum interest. i
thought it might be something people would have personal interactions
with and reflections on which could spark some productive discussion.
The soundscape bit is something for me to bounce ideas off in relation
to my work on radio waves more generally, a sounding board of sorts, so
it's not something i have great knowledge in. I'm particularly
interested though in suggestions about the relations of power within
the soundscape, I'm sure there must be lots of work in that area.
At ADA, I'll be showing some sketches of mapping projects that trace
some dimensions of the spectrumscape, and try to translate it into
sound to make it more humanly perceptible.
Thanks for you suggestion re Haco, and more generally I'm really
interested in suggestions about other artists, sound or otherwise, who
are engaging with the electromagnetic dimensions of the world.
On Oct 24, 2005, at 9:14 PM, caleb k wrote:
> hi zita and all
> this is a much discussed part of practice. i would be surprised if you
> could talk about this area, in any international context, without an in
> depth discussion of both Joyce Hinterding and Haco (who are on my mind
> after friday night). there are of course a stack of other practitioners
> in the area but i think these guys are working at the centre of your
> you are taking on a lot here and the question might be how you can
> extend the already large amount of discourse in the area.
>> Message: 1
>> Date: Mon, 24 Oct 2005 00:56:37 +1300
>> From: zita <zita(a)ethermap.org>
>> Subject: [Ada_list] soundscape - spectrumscape: ADA Peer Review Topic
>> One - Sound and Noise
>> To: Aotearoa Digital Arts <ada_list(a)list.waikato.ac.nz>
>> Message-ID: <97e509758fb92a587787293504933466(a)ethermap.org>
>> Content-Type: text/plain; charset=US-ASCII; format=flowed
>> And has anyone ever noticed odd moments when seemingly benign,
>> contained, objects reveal their dreamy electromagnetic selves,
>> strange burst of interference?
>> for example, I notice a weird point in Auckland where Wellington St
>> comes up out of Freemans bay on the way into the city, by all those
>> traffic lights where the motorway interferes with the pedestrian ways.
>> There's a loud high pitched noise that comes in over the top of fm
>> radio for a few metres near the traffic island with the trees (i'm
>> still hazy on street names round there). It happens over both
>> radio (101fm) and b (95fm), I'm never listening to any other
>> frequencies there so i'm not sure how far it stretches. It's really
>> loud in the radio, and there's nothing I can hear when i take my
>> headphones off. I can't figure out what it's coming from, it might be
>> the red light camera, but I'm sure it happens when the camera's not
>> there. Anyway, it's a weird moment of electromagnetic noise
>> in my walkman soundscape....
>> Righto, that's enough for tonight. I'll collect my thoughts together
>> more fully before the conference, and any ideas, thoughts, responses
>> etc in the meantime would be excellent...
>> Ada_list mailing list
>> End of Ada_list Digest, Vol 32, Issue 14
> Ada_list mailing list
Ada_list mailing list
hi zita and all
this is a much discussed part of practice. i would be surprised if you
could talk about this area, in any international context, without an in
depth discussion of both Joyce Hinterding and Haco (who are on my mind
after friday night). there are of course a stack of other practitioners
in the area but i think these guys are working at the centre of your
you are taking on a lot here and the question might be how you can
extend the already large amount of discourse in the area.
> Message: 1
> Date: Mon, 24 Oct 2005 00:56:37 +1300
> From: zita <zita(a)ethermap.org>
> Subject: [Ada_list] soundscape - spectrumscape: ADA Peer Review Topic
> One - Sound and Noise
> To: Aotearoa Digital Arts <ada_list(a)list.waikato.ac.nz>
> Message-ID: <97e509758fb92a587787293504933466(a)ethermap.org>
> Content-Type: text/plain; charset=US-ASCII; format=flowed
> And has anyone ever noticed odd moments when seemingly benign,
> contained, objects reveal their dreamy electromagnetic selves, creating
> strange burst of interference?
> for example, I notice a weird point in Auckland where Wellington St
> comes up out of Freemans bay on the way into the city, by all those
> traffic lights where the motorway interferes with the pedestrian ways.
> There's a loud high pitched noise that comes in over the top of fm
> radio for a few metres near the traffic island with the trees (i'm
> still hazy on street names round there). It happens over both national
> radio (101fm) and b (95fm), I'm never listening to any other
> frequencies there so i'm not sure how far it stretches. It's really
> loud in the radio, and there's nothing I can hear when i take my
> headphones off. I can't figure out what it's coming from, it might be
> the red light camera, but I'm sure it happens when the camera's not
> there. Anyway, it's a weird moment of electromagnetic noise interfering
> in my walkman soundscape....
> Righto, that's enough for tonight. I'll collect my thoughts together
> more fully before the conference, and any ideas, thoughts, responses
> etc in the meantime would be excellent...
> Ada_list mailing list
> End of Ada_list Digest, Vol 32, Issue 14
> From: Joel Slayton <joel(a)well.com>
> Date: 24 October 2005 1:42:02 PM
> Subject: ISEA2006_Pacific Call 2
> The ISEA2006 Second Call for Participation for Pacific Rim is now
> open for proposal submission. To encourage participation from
> emerging artists and to outreach to communities and individuals I
> respectfully ask that you distribute the Call through your
> individual networks and professional associations.
> Submission Due Date is Dec 15th. Final decision is February 10th.
> Joel Slayton
> Chair, ISEA2006/ZeroOne San Jose
> Director, CADRE Laboratory