FETA Prize in Sound Art 2014 Awarded to Nicolas Bernier

With 35 blind submissions from 8 countries in the Americas, Nicolas Bernier is selected as the 2014 winner of the FETA Prize in Sound Art for his work frequencies (synthetic variations).

The FETA Prize in Sound Art was established last year to promote a broad range of contemporary American sound and installation arts. In the second edition, we received 35 submissions from artists residing in Argentina, Brazil, Canada, Chile, Colombia, Mexico, Peru and the US. Through a two-stage blindfold evaluation process, the judges Seth Cluett, Ron Kuivila and Douglas Repetto selected a small pool of finalists: Matthew Ostrowski’s Negative Differential Resistance, Mark Hirsch’s All Yellow, and the town we live in, Sara Dittrich’s Going/Staying and Nicolas Bernier’s frequencies (synthetic variations). Our honorable master judge Maggi Payne selected the winning work frequencies (synthetic variations) by Nicolas Bernier. In addition to a 1,000 USD monetary prize, the writer Michelle Aldredge will profile Nicolas Bernier and his work in the Gwarlingo online magazine. Furthermore, frequencies (synthetic variations) will be presented in a gallery space in Miami, FL.

About frequencies (synthetic variations):
“This second installment of the «frequencies» series is an audiovisual composition purely based on synthetic sound and synthetic physical matter. Tightly composed together, sound and light are bursting within acrylic structures, bringing a sense of extreme precision where one can either hear the light or see the sound. The is built out of short audiovisual sequences organized and processed in real time, designed to be listened to at random and then offering a new duration and dynamics with every hearing.” NB

About Nicolas Bernier:
Nicolas Bernier creates musique concrete, live electronics, post-rock, noise improv sound performances, installations and video art pieces, in addition to dance, theatre, moving image and interdisciplinary projects. In the midst of this eclecticism, his artistic concerns remain constant through the balance between the cerebral and the sensual, and between organic sound sources and digital processing. Awardee of the prestigious Prix Ars Electronica’s Golden Nica (Austria) in 2013, his work also caught the interest of SONAR (Spain), Mutek (Canada), DotMov Festival (Japan) and Transmediale (Germany) and have been published on labels like Crónica (Portugal), LINE (US), leerraum (Switzerland) and Entr’acte (UK). He holds a PhD in sonic arts from the University of Huddersfield (UK). He his a member of Perte de signal, a media arts research and development center based in Montreal. He his teaching in the Digital Music program of the Université de Montréal.

For images, video, and additional information about frequencies (synthetic variations), please visit: http://www.vimeo.com/nicolasbernier/frequencies-sv http://nicolasbernier.com/page/works.htm

Read the Gwarlingo article about our last year winner Ted Apel here:

http://www.gwarlingo.com/2014/a-sonic-boom-ted-apel-a-new-generation-of-artists-explore-the-art-of-sound/

For more information about the FETA prize in Sound Art, please visit our website: http://fetafoundation.org/Feta_Prize-Winner-2014.html

or contact Spencer Topel at topel@fetafoundation.org

With the support of Foundation of Emerging Technologies and Arts, Harold Golen Gallery, Gwarlingo and the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.

CfP - Tuning Speculation

Tuning Speculation II: Auralneirics and imaginary networked futures

7-9 November, Toronto (Canada)

Organized by The Occulture (David Cecchetto, Marc Couroux, and eldritch Priest)

Plenary Speakers: Frances Dyson, Nandita Biswas Mellamphy, and Dan Mellamphy

In the context of ubiquitous media not only is the sheer volume of data notable, but so too are the ways in which we encounter, interact with and articulate its abstract mass. This is particularly significant where contemporary social experiences are increasingly interpellated by a technical apparatus in a way that makes the former available only through the invention and deployment of extra-sensory algorithms. The implication of technology in human activity (while always present) in this instance raises new challenges, for the algorithmically negotiated data-bloom of digital networks intensifies the problem of agency by distributing its expression across material and virtual domains that belong to both organic and inorganic systems, as well as actual and fictional entities.

Building on last year’s meeting, this three-day workshop seeks to examine how aurally inflected mediations might address the complexities of agency and its relation to the counterfactual when one’s actions, feelings, thoughts, competences, desires, failures, and daydreams are implicated in the self-adjusting operation of nonlinear networks. For instance, we are interested in the ways that aurality conjures alternative sensitivities to data flows and rhythms of change that allow for both increased agency in existing networked settings but also for the envisaging and summoning of new vectors of agency itself. While several approaches can catalyze such speculations, we propose to concentrate on sounding art—broadly understood—in order to leverage the fated semiotic parasitism, differential production, relational expression, and perceived multiplicity that informs such practices. However, alongside such concentrating we also welcome various reflections on sono-distractions, phonochaosmosis, rhythmanalysis, harmelodic-prescience, audio pragmètics, chronoportation, h/Hypermusic and other invocations of impossible and/or imaginary networked aural futures.

Please send an abstract (maximum 250 words) and bio tounsound@yorku.ca no later than 21 July 2014.

JSS 7 Online

The seventh issue of the Journal of Sonic Studies, a proceedings issue of the first international European Sound Studies Association Conference, which took in Berlin in October 2013, is online. This issue contains high quality papers, offering many different perspectives on the topic of (functional) sound.

Contents:

• Editorial - Functional Sounds in Sound Art and Popular Culture: Proceedings of the First International ESSA Conference 2013, Part I - Julia Krause, Holger Schulze and Marcel Cobussen

• An Exceptional Purity of Sound: Noise Reduction Technology and the Inevitable Noise of Sound Recording - Melle Kromhout

• Affective Soundscape Composition for Evoking Sonic Immersion - Mark Nazemi

• Sound and Narrative: Acousmatic Composition as Artistic Research - James Andean

• MAXIMUM VOLUME YIELDS MAXIMUM RESULTS - Olivia Lucas

• A Paleontology of Quiet - Neil Verma

• Remaking Pittsburgh: Permaculture Soundscapes - Jeremy Woodruff

• Music Dematerialized? - Francisco López

RoadTrip Mixtape

It’s easy enough coming up with playlists for road trips — just bring a phone with your whole music collection and hit shuffle. But if you want to spice things up a bit, there’s this new web app called Roadtrip Mixtape that ties up the music playing on your phone or tablet with the place you’re visiting. Let’s say you’re driving from New York to San Francisco: simply type those places in, and the app will tap into Spotify data to show lists of musicians who hailed from each place you’re passing through. The app even plays 30-second samples of each musician’s songs (in our case, Lady Gaga and Nicki Minaj were first in line), but you need to access Spotify itself to hear full songs and albums. Just take note that since the service bases its recommendations on location data, the results are a mishmash of artists from various genres. Sadly, it doesn’t have a phone app version for download, so you may want to bookmark the website if you love listening to soothing tunes one moment and death metal the next.

Alive With the Sound of Music, and More

The New Museum in New York is alive with the sound of music, as well as talking, chanting, spitting, electronic tics and sputters and, occasionally, the tinkling of 47 small bronze bells. Its six current exhibitions all involve sound. One is almost nothing but sound. This loose, fluctuating connection illuminates some of the many roles sound plays in contemporary art while allowing the shows to amplify one another in unexpected ways.

More info can be found here and/or here

Art, Science, and Technology

Art, Science and technology: International artists exhibiting at CHV Noordkade Veghel.

Nieuwe Koek is an exhibition by nine international artists working on the intersection between art and science. The project took shape during a three-week residency at Kunstgroep De Compagnie at CHV Noordkade in Veghel, where the artists worked with the architechture, history and geography of the former feed mill.

Nieuwe Koek embodies the transition from history to future, and marks the opening of the new cultural cluster at CHV Noordkade. The visitor is invited to explore the grounds through the placement of the artworks and a soundwalk. Local rituals, edible sound, breathing spaces, crystalline worlds, sounding architecture, fascinating narratives and audible growth are a portion of the fresh cake served to the audience. A soundwalk composed by the artists accompanies the visitors across the site, not just functioning as a guided tour but to take them on a auditory journey.

The participating artists are: Mischa Daams, Virginie Dubois, Roel Heremans, Charlotte ’t Hart, Sebastian Frisch, Jonathan Reus, Jet Smits, Angela de Weijer, and Emily Whitebread.

Please see our Facebook page for the latest details; our performance schedule will be announced soon: facebook.com/nieuwekoek

Official opening: Saturday May 31st at 14:00

Exhibition open: June 1 - 8, 2014 from 10:00 - 17:00 and until 22:00 on Friday 6th of June.

Location: CHV Noordkade, N.C.B.-laan 52a, Veghel (NL)

From Silence to Noise

Electric cars must make noise under new EU rules

Electric car plugged inStepping out in front of quiet cars is a particular hazard for blind people

Electric and hybrid cars will have to generate noise to make them safer for pedestrians, especially the visually impaired, the European Parliament says.

MEPs agreed that in future the vehicles must be fitted with devices to make them “sound similar” to cars with combustion engines.

The move has been welcomed by campaigners.

MEPs also voted to tighten noise emission standards for cars, vans, lorries and buses over the next decade.

The new law is expected to be rubber-stamped by the European Council.

Under the revised rules, new models of electric and hybrid vehicles will have to make a noise by 2019 and all new electric and hybrid cars must be audible by 2021.

However, with the number of quiet cars increasing all the time, it said the 2021 deadline was too late.

NordiCHI’14 Helsinki 26-30.10. 2014

Performances

Quick Facts about NordiCHI’14 Performance submissions

  • Deadline for submissions: August 14, 2014
  • Submission: by email to performances@nordichi2014.org
  • Notification: September 11, 2014
  • Camera-ready deadline: September 18, 2014
  • Submission format: 2–4 pages in SIGCHI Extended Abstracts Format
  • At the conference: Monday evening, 27.10.2014
  • Archiving: Extended abstracts available for conference attendees on USB stick

A message from the Performances chair
For the first time, NordiCHI invites submissions of provocative, sophisticated, fun, fast and foundational music/sound art performances for the performance program of the conference, which will take place as part of NordiCHI’14 in Helsinki, October 26-30th 2014. We strongly encourage submissions that represent a diverse range of practices in any form of live music/sonic art, exploring the conference topic:
- artistic and aesthetic aspects of interaction and interface design

Koray Tahiroğlu, Aalto University
performances@nordichi2014.org

Performances at NordiCHI’14
The performances will take place in a casual environment during the conference get-together event. Maximum duration of 10 minutes is strongly encouraged for each submission. All the associated electronics, hardware, software must also be provided by the performer. The venue will include a decent sound system and video projection.

Performance submission content
Maximum 4 pages in SIGCHI extended abstract format; unanonymous.
Selected proposals will be included on the NordiCHI’14 USB stick.

The proposal must include:
• Title of work
• Name of composer/performer
• Description of piece
• Video URL of submitted proposal – links to any relevant media file of the performance
• Biographical note
• Duration, number of performers
• Technical requirements for the performance

Performance selection process
A jury will select the performances through a single-blind review process.

AudioHEARth

AudioHEARth is the collective name for an exciting series of events specifically designed to nurture the social side of Audiograft. Our eclectic programme, running alongside Audiograft, includes a buffet for Audiograft artists and audiences, a book club on Sounds & Literature, a Sound Art pub quiz, family friendly workshops, a Sonic Bingo and most importantly the Audiograft after-party, a unique chance for the artists, audiences and organisers to come together, network, drink and celebrate on the last night of the festival!