Dear Ada,
Firstly, a happy new year to you all in New Zealand!
As some of you might know, Adam Hyde from r a d i o q u a l i a is in
Antarctica and working on a project called 'Polar Radio'.
r a d i o q u a l i a have just began broadcasting a new FM radio
station in Antarctica.
'Polar Radio' is Antarctica's first ever artist-run radio station.
It transmitted its first programme on FM on 29 December 2006.
Polar Radio is part of a series of projects run by I-TASC - the
Interpolar Transnational Art Science Constellation
<http://www.i-tasc.org/>.
Please see the below announcement for more information about Polar Radio.
CALL FOR CONTENT - DEADLINE: 10 JANUARY 2007
Do you have a song, a message, or a sound that you want broadcast in
Antarctica?
We are looking for your music, sound art, radio plays, radio
documentaries, and any phonically interesting artefacts you have to
broadcast on Antarctica first artist-run radio station. There is a
supply plane leaving for Antarctica from Cape Town on 11 January. We
plan to have a shipment of CDs sent on that supply plane. We are now
looking for CDs of:
- music of all different kinds
- radio art
- radio plays
- audio documentaries
- audio books
- archived news reports
- investigative journalism
- podcasts
- any other audio material you would like to have broadcast in Antarctica
If you have sonic material you want broadcast, please make a CD and send it to:
Siphiwe Ngwenya / I-TASC
c/- Pitch Black Productions
7 Prince Street
Gardens
Cape Town 8001
South Africa
The best formats to send are:
- audio CDs
- MP3 CDs
Very best wishes
Honor Harger
r a d i o q u a l i a
http://www.radio-astronomy.nethttp://www.radioqualia.net
..........................................................
ANNOUNCEMENT - ARTIST-RUN RADIO STATION IN ANTARCTICA
Date: 31.12.06
Location: Antarctica
..........................................................
'Polar Radio' is a community radio station in Antarctica initiated by
I-TASC and r a d i o q u a l i a.
The first prototype station began FM broadcasts on 29 December 2006
in the Dronning Maud Land sector of Antarctica, where South Africa
maintains their base, SANAE IV.
The radio station is broadcasting new music, sound art, documentaries
and live shows to the research community in Dronning Maud Land.
Mobile researchers can tune into the radio station from their skidoos
(snowmobiles used for transport). Residents of SANAE IV can tune in
to the station from FM receivers at the base.
This prototype station is the first step towards establishing a
permanent community radio presence in Antarctica, which may
eventually broadcast in between geographically dispersed Antarctic
bases.
The research phase of Polar Radio is supported by Arts Council England.
..........................................................
ABOUT I-TASC
I-TASC is the Interpolar Transnational Art Science Constellation.
I-TASC is an official project of the International Polar Year
2007-2008. The project was conceived by Thomas Mulcaire and Marko
Peljhan. I-TASC is a decentralized network of individuals and
organisations working collaboratively in the fields of art,
engineering, science and technology on the interdisciplinary
development and tactical deployment of renewable energy, waste
recycling systems, sustainable architecture and open-format,
open-source media. I-TASC is a lichen-like structure sharing and
integrating local knowledge, resources and skills across six
continents in order to symbiotically engage with the air, ocean,
earth and space commons
The members of the first I-TASC Reconnaissance and Communication
Expedition arrived in the Dronning Maud Land sector of Antarctica in
December 2006 and will stay until February 2007. They are guests of
the South African Antarctic Programme <http://www.sanap.org.za/>.
The crew are:
- Thomas Mulcaire (South Africa)
- Adam Hyde - r a d i o q u a l i a (New Zealand)
- Ntsikelelo Ntshingila (South Africa)
- Amanda Rodrigues Alves (Brazil)
The I-TASC crew's journey to the continent on board the ship, SA
Agulhas and their work at SANAE IV base is documented in an online
journal at the I-TASC website <http://www.i-tasc.org/>, under the NOW
section.
..........................................................
RADIO IN ANTARCTICA
Whilst, Antarctica has never had an indigenous population, it does
now have a regular human presence. It hosts scientists from 27
different nations. In the summer more than 4000 people live in
Antarctica. Scientists tend to be located at the scientific bases
operated by their home nation. Because of the immense size of the
continent these bases tend to be far from one another. One of the
only technologies which can bridge the wide expanses of Antarctica is
radio. Whilst radio is primarily used to coordinate science
expeditions and vital activities such as air-traffic control and
search and rescue, the existence of several amateur radio stations in
Antarctica operated by radio engineers in their spare time, is
evidence that radio communication for leisure purposes is viable and
desirable. Like any amateur radio stations, those in Antarctica are
only operational sporadically, and communicate only with other
amateur radio stations, on a one-to-one basis.
..........................................................
POLAR RADIO - THE FUTURE
Polar Radio will draw on the history of amateur radio broadcasting in
the polar regions, taking inspiration from the role radio has played
in the exploration of the Poles, and in facilitating communication
between polar inhabitants and the wider world.
One of the most important functions of Polar Radio station is be to
radiophonically link dispersed bases, creating trans-national,
inter-base connections promoting discussion and collaboration amongst
the researchers living in Antarctica. Should it prove feasible,
following this research phase, it is hoped that Polar Radio will
enable researchers to share information about the living
circumstances and weather conditions of their respective bases, and
to anecdotally communicate the results of their investigations.
In tandem with this community radio function, Polar Radio will also
be a platform for artists. Many of the Antarctic bases have
artist-in-residence programmes and regularly host artists in-situ.
Polar Radio hopes to make it possible for artists in residence to
communicate their work to the residents of Antarctica. It will
pro-actively encourage artists to create audio-based art (sound art,
new music, radio drama and other audio based practices) for
broadcast, thus posing new artistic challenges for artists living in
Antarctica.
It is also hoped that Polar Radio will broadcast creative programmes
produced outside Antarctica. Using internet-based systems, and
posted CDs, we hope to enable an interface between artists and
musicians based around the world and the residents of Antarctica.
It is envisioned that the eventual programme of Polar Radio may be a
combination of news reports from the various Antarctica bases
authored by researchers, music programmes compiled by researchers,
audio art, music, news and magazine programmes, sound art and radio
art documentaries and audio-based art created by artists in residence
at the Antarctic bases.
..........................................................
TRANSMIT YOUR MESSAGE IN ANTARCTICA
We are in the process of compiling programmes for broadcast. The
internet connection at the present South African base in Antarctica
is not fast enough for the crew to download sound material to
broadcast. But we do want to broadcast music made by musicians and
sound artists, radio plays, documentaries, and any other sonically
fascinating ephemera.
So, we need your help!
If you have ever wanted a piece of music you have made, or even just
a piece of music you like, heard in Antarctica, now is your chance.
Make a CD and send it to: Siphiwe Ngwenya / I-TASC
c/- Pitch Black Productions, 7 Prince Street, Gardens, Cape Town
8001, South Africa
DEADLINE: 10 JANUARY 2007
There is not much time between now and when the plane leaves, so
anything you can copy onto CD and post, would be gratefully received.
..........................................................
FURTHER INFORMATION
For data on Polar Radio, contact: r a d i o q u a l i a
Email: adam(a)xs4all.nl or honor(a)va.com.au
http://www.radioqualia.net
For data on I-TASC, contact: Thomas Mulcaire or Marko Peljhan
Email: tm(a)interpolar.org or mx(a)interpolar.org
http://www.i-tasc.org/
--
. . . . . . . . . . . . . . . . . . . . . . . . . . .
r a d i o q u a l i a
((o))
f r e q u e n c y s h i f t i n g p a r a d i g m s
i n s t r e a m i n g a u d i o
listening to space
http://www.radio-astronomy.net
radioqualia(a)va.com.au
http://www.radioqualia.net
supported by virtual artists (VA)
http://www.va.com.au
&
la fondation daniel langlois pour l'art, la science et la technologie
http://www.fondation-langlois.org/
I will be out of the office until Jan 15. Julie Goldsack will be in the School of Art office from Jan 8. I will be checking emails at intervals during the break and will attend to those which require a reply. Enjoy the holiday season!
Art Gallery: Global Eyes Deadline 19 January 2007
5 pm Pacific time HYPERLINK
"http://www.siggraph.org/s2007/presenters/art/"http://www.siggraph.org/s2007
/presenters/art/
The enormous speed by which digital media reach previously isolated cultures
around the world catalyzes a rapid integration of visual and media languages
across the digital and physical spectrum. There is a need to understand not
only ethnic cultures and the vocabularies of their traditional media, but
also how these cultures and languages transform and are being transformed by
digital media, especially computer graphics. What role do digital media play
in the connected global context?
Global Eyes, the SIGGRAPH 2007 Art Gallery, is accepting submissions of
artwork that expand our humanity by extending our awareness of people and
nature. Wearing these new digital "glasses," how do we see each other and
our world in alternative ways?
We are looking for works that:
* Illuminate the role digital media play in shaping, extending, and
reflecting world views and cosmologies.
* Address ecological, social, and political issues in imaginative and
innovative ways.
* Foster respect, tolerance, and empathy among people and nations.
Creative and critical works exploring relationships between people and their
environment, connections between biodiversity and cultural diversity, and
related ethical issues are welcome. A special invitation is extended to
artist-scientists (including collaborations) actively engaged in these
investigations.
We encourage participation by people who are working creatively in all
cultures, including the developing world and indigenous communities, with a
combination of physical and digital processes, including (but not limited
to) digital photography and digital video, handcrafts, folk and fine art,
ethnography, and world music.
By actively bringing the richness of the world's cultural traditions to the
field of computer graphics and interactive media, we hope to catalyze
understanding and collaboration across cultures, and contribute to
development of a more intelligent, responsible, and democratic world
language.
International Participation and Support
Because the theme of this year's show is global, we are encouraging
increased international participation and cooperation. To support this, we
will be working with ACM SIGGRAPH Professional and Student Chapters around
the world and other organizations to help identify and assist artists and
scientists worldwide, with a special welcome for those in countries and
communities historically under-represented at the SIGGRAPH conference.
If you have a proposal that addresses the goals of the SIGGRAPH 2007 Art
Gallery and are working either independently or together with an
international cultural organization, we want to hear from you. We want to
make it possible for creative people everywhere, including those in
developing countries working with limited resources, to participate. We will
try to support as many deserving projects as we can.
Please contact the HYPERLINK
"http://www.siggraph.org/s2007/comments/index_0.html"Art Gallery Chairs
and/or the HYPERLINK
"http://www.siggraph.org/s2007/comments/index_8.html"International Resources
Chair. Be sure to let us know about any special considerations you may have,
including financial, technological, or other.
If English is not your first language, the HYPERLINK
"http://www.siggraph.org/s2007/volunteers/international/english.html"English
Review Service is available to help with grammar and spelling.
The SIGGRAPH 2007 Art Gallery is considering (but not limited to) the
following types of work:
* Still images
* Time-based work
* Art installations and environments
* Art sculptures and objects
* Digital communities, including alternative networks, mobile, and
locative media
* Electronically mediated performances
* Interactive art, including CD-ROM, DVD-ROM, web-based, and
responsive media
* Trans-forms: emerging forms at the intersection between computing
and the sciences, arts, and/or humanities
We are delighted that the California Institute for Telecommunications and
Information Technology (HYPERLINK "http://calit2.net"Cal-IT2) and the Center
for Research in Computing and the Arts (HYPERLINK
"http://crca.ucsd.edu"CRCA) at the University of California, San Diego are
making their state-of-the-art facilities available for installations and
performances. Artists are invited to propose projects for these specific
HYPERLINK
"http://crca.ucsd.edu/SIGGRAPH_2007_call/NMA-resources.html"venues.
A subset of accepted artists will be selected to talk about their work in
two ways:
* Gallery Talks
* Panel Discussions
We recommend that artists also consider submitting their artwork to the
following SIGGRAPH 2007 programs:
HYPERLINK "http://www.siggraph.org/s2007/presenters/caf/index.html"Computer
Animation Festival
Computer animation that is artistically expressive in any genre, including
experimental, narrative, or non-narrative should be submitted to the
Computer Animation Festival.
HYPERLINK
"http://www.siggraph.org/s2007/presenters/etech/index.html"Emerging
Technologies
If your work has an aesthetic component but is mainly a technology
demonstration, please submit it to Emerging Technologies.
HYPERLINK "http://www.siggraph.org/s2007/presenters/sap/index.html"Sketches
& Posters
Artists wishing to speak about the technology in their work should submit to
the Sketches & Posters program.
HYPERLINK "http://www.siggraph.org/s2007/comments/index_0.html"Vibeke
Sorensen
SIGGRAPH 2007 Art Gallery: Global Eyes Chair
Arizona State University
HYPERLINK "http://www.siggraph.org/s2007/comments/index_0.html"Lina
Yamaguchi
SIGGRAPH 2007 Art Gallery: Global Eyes Associate Chair
Stanford University
Cheers,
Brit
NEW EMAIL ADDRESS "brit.b(a)xtra.co.nz"
--
No virus found in this outgoing message.
Checked by AVG Free Edition.
Version: 7.5.432 / Virus Database: 268.15.25/593 - Release Date: 12/19/2006
1:17 PM
I thought this post to the Australasian Computer Music list (ACMA) would be
of interest to ADAers due to recurring discussion here of
conference-structures in the age of digital networks.
Andrew
----- Original Message -----
From: "Kevin Austin"
Sent: Thursday, December 07, 2006 5:12 AM
Subject: Re: [Acma-l] [WAVE_LIST(a)UNT.EDU] well, hey - here ya go
Hmmm ...
I began to question the real continuing value of conferences a couple
of decades ago before there was an alternative. Technology has made
the conference, in my view, an anachronism that will go the way of
the symphony concert. But maybe it has a different community function
than the 'exchange of information'. Kind of like the annual office
party.
Have many people read the 1995 Proceedings from ICMA (ICMC) lately?
Bourges has an archive of materials which one needs to go to read /
hear them. But that's in the tradition of the european monastery,
where knowledge is power.
The "third option" appeared about 15 years ago in the concept of
creating an international association that existed only in the
virtual world. There would be some kind of large 'sonic archive',
supported by a relational database connected to some form of
web-publication. Articles would remain available indefinitely
(depending upon technology), and there would be two or three other
layers of information flow.
The other layers would include an on-line conferencing system for
announcements and day-to-day discussions, perhaps an email list. At a
(temporal) level below would be some kind of slower moving source of
information, ideas, resources, references, dictionary ... Once again,
the technology was not available 20 years ago, but today the Wiki is
filling that gap.
There was the possibility of the development of this 'third stream'
(the others being CIME / ICEM and ICMA), and now a new "third player"
is emerging, the EMS network that appears to be working on the
'softer edge' of the ea community ... annual conferences with topics
drawn from the philosophical / sociological side of ea, but not
really into the 'global aesthetic' found in the visual arts and
communication studies.
The EMS association has its journal (OS) and a secondary source
dictionary, and (if I read correctly) will announce a membership
policy in December 2007, so that ea practitioners around the
(english-speaking) world will have the option of ICMA - Computer
Music Journal, and EMS - Organized Sound, while the (non-anglophone)
'individual member' is still in a quandary of working through
national associations that may or may not have broken with CIME.
My limited experience with a younger generation is that this model of
activity, promotion and ... even community, is a dead end. Elizabeth
has pointed out that the 'academic motor' of the university is
failing (or has failed) with the younger generation. I get emails
asking "what can I do with my degree in ea" on a regular basis. My
replies are drawn from the information I get from my students ...
Academia is not where "it" (whatever that is) is 'happening', but how
to make a living doing 'sound'. The answers come to me in the general
sense of "the media" (idiot!!). Sound design for video, film, web,
commercials, games ... etc etc are where the paying jobs are going to
be, and it's growing.
... Well, I didn't get a performance of my laptop dancing piece at
the conference, but I got a 9 month contract to do sound design ...
$45,000 ...
The long term viability of existing national / international
organizations ... from here, not very good. They are on academic life
support. How many people who went to ICMC or SEAMUS or EMS paid with
their own money? If the registration budget was (say 100 people at
$150 per head) $15,000, of which 75% was academic funding, $11,000
was "university to university" transfer. But it cost the academic
institution much more, because while registration was $150, three
days plus transportation comes in at around $1000.
Is this a good use of limited academic resources?
But wisdom is not genetic.
A sad day here:
http://archives.cbc.ca/IDD-1-70-398/disasters_tragedies/montreal_massacre/http://en.wikipedia.org/wiki/École_Polytechnique_Massacre
Best
Kevin
[ (A) r4wB!t5 micro.Fest PRESENTS ]
][]P3|\|.|=r(a)/\/\3.\/\/()r|<][ AKA 0P3NFR4M3W0RK AKA Open Frame Work
[ @ The Art Gallery of Knoxville TN .US opening 2007.01.05 ]
[ as a component of the Distribution Religion Exhibition ]
[ 1rst DEADLINE == 2007.01.04 ]
[ 2nd DEADLINE == 2007.02.04 ]
][]P3|\|.|=r(a)/\/\3.\/\/()r|<][ AKA 0P3NFR4M3W0RK AKA Open Frame Work
is an open archive of dirty new media + digital still art exhibited
as an aspect of the 2007.01.05 (A) r4wB!t5 micro.Fest to be held @
The Art Gallery of Knoxville in the Distribution Religion exhibition.
0P3NFR4M3W0RK is an open DIY digital art exhibition ware every artist
will receive equal time (length of event divided by number of
participants) in the display of their digital art [works/worlds]. ][]
P3|\|.|=r(a)/\/\3.\/\/()r|<][ is potentially the interweb's,
dataspheres' ++ world's largest open exhibition of digital art. all
work submitted w/the following conditions will be displayed in the
The Art Gallery of Knoxville + will be listed as work shown in the
2007.01.05 (A) r4WB1t5 micro.Fest. the current Open Frame Work will
include all materials submitted to the previous instances, i.e. from
the 2005.08.27 (A) r4WB1t5 micro.Fest @ Alterspace in Chicago IL .US
+ will be including in the ongoing (A) r4WB1t5 micro.Fest.
[ INSTALL YOUR DIGITAL IMAGE ART DATA ]
send images via email, attaching your *.ANSII, *.BMP, *.BUM, *.CLP,
*.CUR, *.EPS, *.GIF, *.ICNS, *.ICO, *.JIF, *.JPG, *.JP2, *.PDB,
*.PDF, *.PICT, *.PSD, *.PNG, *.RAW, *.RSRC, *.SVG, *.SGI, *.SUN,
*.TIFF, *.YUV, *.X-FACE, etc files to:
install(a)0p3nfr4m3w0rk.org
or via Flickr, by uploading + then tagging your images w/the
"0P3NFR4M3W0RK" tag:
http://www.flickr.com/photos/tags/0P3NFR4M3W0RK
or via bookmarking the images that are already online using
del.icio.us + then tagging your images w/the "0P3NFR4M3W0RK" tag:
http://del.icio.us/tag/0P3NFR4M3W0RK
or by uploading your data directly:
http://0p3nfr4m3w0rk.org/install
(A) r4wB!t5 organizers will harvest files from these interwebbed
locations 11:59 PM on 2007.01.04
+ EVERY IMAGE (AKA ALL DATA SUBMITTED!) WILL BE SHOWN IN THIS EVENT.
--=-=-=--=-=-=--
-= 2007.01.05 =-
--=-=-=--=-=-=--
(A) 2007.01.05 r4WB1t5 micro.Fest in Knoxville TN .US is an open
collaborative aspect of the "Distribution Religion" exhibition at The
Art Gallery of Knoxville. (A) 2007.01.05 r4WB1t5 micro.Fest is being
organized around themes of sharing, systems of {exchange|
distribution} + creating crossroads of digital punk, blues musics +
freak folktronics as forms of protest + resistance to current socio-
economic situations + political contingencies.
on the night of 2007.01.05 The Distribution Religion exhibition will
open at The Art Gallery of Knoxville + will include the r4WB1t5
projects Open Frame Work + Radio Play Back Boom Boxor. these ongoing
components of (A) r4WB1t5 micro.Fest feature artists from around the
earth-planet.
simultaneously, (A) 2007.01.05 r4WB1t5 micro.Fest will occur @ The
Pilot Light in Knoxville TN .US, across the tracks from The Art
Gallery of Knoxville. the (A) 2007.01.05 r4WB1t5 micro.Fest @ The
Pilot Light will feature a folksonema screening, open source artware
distribution + realtime audio + video performances by r4WB1t5
participants from Knoxville, Chicago + beyond. a live data stream
will also connect these physical-virtual spacestations across the
global wide interweb.
=- ---= --= '--' =-- =--- -=
=- (A) r4WB1t5 micro.Fest -=
=- ---= --= '--' =-- =--- -=
(A) r4WB1t5 micro.Fests are international, decentralized, self-
organized + independent instantiated situations of raw bits of
digital art + dirty new media. (A) r4WB1t5 micro.Fest is itself an
open platform or framework for creating these events in alternative +
conversational contexts such as bars, basements, art spaces,
apartments, galleries, etc... (A) r4WB1t5 micro.Fest extends out of +
feeds back into DaDaist, Situationist, Fluxist, punk, digital art +
New Media theories + practices... (A) r4WB1t5 micro.Fests are always
free + open collaborative projects, available to anyone interested in
self-organizing Digital Arts + dirty New Media.
http://r4wb1t5.org
=--=-=--=-=--=
= FOLKSONEMA =
=--=-=--=-=--=
folksonema is a bi-weekly screening evnt @ the flowershop (2159 w
21st pl, chicago il), inspired by the `][]P3|\|.|=r(a)/\/\3.\/\/()r|<]
[ (aka open frame work)` program developed by jon.satrom for r4wb1t5
2005.08.27. every two weeks, jake elliott propagates information
about a certain tag to use (ie “ravepartyinaspaceship” or
“thatrobotatemysandwich”) on sites like youtube, del.icio.us, flickr,
etc. for each screening, jake elliott scrapes the tagged media
(images, mp3’s, exe’s, videos, web pages, txt’s, etc.) from those
sites && screens them in the greenhouse of the flowershop, a space
inhabited by various artists, projects && public initiatives.
folksonema == folk + taxonomy + cinema
http://folksonema.nothingistrueeverythingispermitted.comhttp://www.flowerglass.net
--=-=-=---=-=-=---=-=-=--=-=-=--
= THE ART GALLERY OF KNOXVILLE =
--=-=-=---=-=-=---=-=-=--=-=-=--
The Art Gallery of Knoxville is a new experimental space, dedicated
to the discussion of emerging Art. Located in Knoxville Tennessee,
the Gallery coordinates the exhibition + publication of work in all
media. Project proposals may extend from all disciplines. Regular
performances + events include avant-garde + experimental music, video
screenings (every Wednesday night at 7 PM), + public discussions of
contemporary artists. Exhibits change monthly. Open Submissions
Accepted.
The Art Gallery of Knoxville
317 N Gay St
Knoxville, TN 37917
Gallery Hours: Wednesday - Sunday (2 PM - 9 PM)
http://www.theartgalleryofknoxville.com
--=-=-=-=-=-=--
= PILOT LIGHT =
--=-=-=-=-=-=--
since may 2000: knoxville's home for experimental and independent
musics, film, and performance. we've hosted well over 1500 different
local, national, and international bands (many of them multiple
times) since inception. all volunteer. we are bringing it here for
you. come find a new favorite band.
Pilot Light
106 E Jackson Ave - Knoxville, TN 37915
865.524.8188
http://www.thepilotlight.comhttp://www.myspace.com/pilotlightclub
hi everyone,
the last UpStage open walk-thru for 2006 will be combined with the
last ADA Swaray for the year, and held today - wednesday 6 december,
at 9pm NZ time.
to join the online festivities, just point your browser at
http://upstage.org.nz:8084/stages/swaray at party time (we have some
surprises up our cyber-sleeves!)
to find your local time, go here: http://tinyurl.com/uuva3
if you'd like to log in and play, email me for a username.
helen : )
--
____________________________________________________________
helen varley jamieson: creative catalyst
helen(a)creative-catalyst.com
http://www.creative-catalyst.comhttp://www.avatarbodycollision.orghttp://www.upstage.org.nzhttp://www.writerfind.com/hjamieson.htm
____________________________________________________________
The Audio Foundation with the generous support of AUT presents a
practical and theoretical introduction to experimental music and sound
art:
This workshop aims to provide a hands-on practical and theoretical
framework to contextualize the practice of experimental music and sound
art in contemporary sound culture. Students will be introduced to
processes and technology of generating, recording and manipulating
sound and will be encouraged to present their sound work in progress
over the duration of the workshop. Over the three weeks, students will
receive an introduction to the history, key individuals (New
Zealand/international) and methodology of this practice. Content will
include a rich range of listening material, readings, lectures,
practical sound exercises and discussion.
--------------------------------------------------
Tutors:
Clinton Watkins (MFA) - Sound artist/Installation/ Musician
Richard Francis (MCPA)– Sound artist/Musician, Eso Steel, independent
record label owner 20city/CMR
Guest Lecturers:
Philip Dadson – Sound artist/musician, Arts Laureate 2001, From Scratch
Dean Roberts - Sound artist/musician, Thela, White Winged Moth
John Kennedy - Sound artist/musician, Audible 3, Vit S Improvisation
Workshops
Joyoti Whylie - rm 103, Performance art
Tim Coster – Sound artist/musician, Field recordist, Independent record
label owner
Sam Hamilton – Sound artist/musician, Festivals, Film sound
Andrew Clifford – Writer, curator, The Herald
Jon Bywater – Writer, The Wire, Listener
Times:
22nd Jan – 9th Feb 2007
Mon - Fri, 9pm – 4pm
Fee: $630.00
Bookings are essential.
For more details please contact:
admin(a)audiofoundation.org.nz