ARCHIVED EVENTS

Entanglement

Runs Feb 7 - Mar 1, 2008 ( Wed-Sat Noon-5PM)

-Artist name: Juan Pampin, Eunsu Kang, Joel S Kollin
-Name of art work: Entanglement
-Medium: telematic sound installation
-Size: variable size installation in two spaces (about 25'X15'X12' for each space in the Simultaneity show)
-Year: 2008

-Project statement:

Entanglement draws a symbolic acoustic line between two distant locations, SOIL and 911 Media Arts Center in Seattle. A hyper-directional sound beam linearizes the acoustics of the two galleries creating the illusion of a single, infinite line of sound into which both sites get trapped. This fragile acoustic construction can be physically disturbed by the participants at each location. Using their body, participants can interfere with the acoustic waveguide, spilling over particles of the linear sound field into the room as they block their transit to the other site. The piece not only provokes the "entanglement" of the participants with their own sonic perception locally but also remotely, as the acoustic shadow of their bodies gets cast onto the other space. In this way, Entanglement explores the concept of "tele-absense" (rather than tele-presence), using a virtual acoustic channel to telematically project the disembodied presence of participants interacting with the acoustic waveguide.

This collaborative installation is part of the Ultrasonic Sound Beams in Media Arts research project, supported by the Center for Digital Arts and Experimental Media (DXARTS), University of Washington.

911 Media Arts Center
402 9th Ave N Seattle
http://www.911media.org/

SOIL Gallery
112 Third Ave. S Seattle
http://soilart.org/


-Artist bios:

Juan Pampin: Argentine composer and sound artist who lives and works in Seattle, where he is faculty at the Center for Digital Arts and Experimental Media (DXARTS), University of Washington. Before being appointed professor at the UW, Juan received a DMA in Composition from Stanford University and a MA in Composition from Conservatoire National Supérieur de Musique de Lyon, France. His music and sound art works explore the territory articulated by the concepts of space, site, memory, and material. Juan Pampin's compositions, including works for instrumental, digital, and mixed media, have been performed around the world by soloists and ensembles such as Les Percussions de Strasbourg, Arditti Quartet, and Sinfonia 21. His sound installations have been exhibited at galleries and specific sites around the world. For more information please visit: www.dxarts.washington.edu or www.pampin.tk.

Eunsu Kang is an international media artist from Seoul, Korea. For last ten or more years, she has been known as a visual artist, a movie director and a graphic designer and has been invited to numerous shows around the world. In addition to her three awarded solo exhibitions she has received many awards, including the Korean National Fund for Emerging Artists which supported her collaborative international telematic project, Seonang in 2005. She was introduced as one of the most promising young artists in the book, Young Korean Artists 45: Interviews in 2006. Her life as an innovative artist in Seoul, a very crowded metropolis of the country with high speed internet access everywhere, and her MFA and MA in Media Arts and Technology degrees gave her chances to explore various materials and technologies. Currently she is focusing on more genuine use of sound, body and space to enhance immersive art experiences as a PhD student at the Center for Digital Arts and Experimental Media (DXARTS) in the University of Washington. Her current research interests center on the use of non-verbal languages as a part of cyborg communication and interactive audiovisual installations representing questions, but not necessarily pursuing answers. For more information please visit:http://www.kangeunsu.com.

Joel S Kollin is a PhD student at the University of Washington’s Digital Art and Experimental Media (DXARTS) program, where he is developing an artistic agenda which utilizes immersion and perception at the extremes of sensory awareness to examine the interplay between identity, memory, surveillance, and empathy in an increasingly dissociative, media-centric world. His recent interests include fully immersive installations, environmental sound, synthaesthesia, and systems art where humans form a critical part in a network of complex emergent behavior. Prior to arriving at DXARTS Mr Kollin worked primarily in the field of display technology for 17 years. He holds several key patents on personal, holographic, and autostereoscopic displays as well as many derivative patents.

DXARTS presents an evening of Experimental Music with WireGriot

Admission: General $10; Students/Seniors $5
Seattle, WA-October 22, 2007

Formed in 2006,WireGriot (re)constructs a repertoire for solo voice that is actively challenged and enhanced by the use of technology through a shared desire to explore the blurry borders of contemporary music. By showing the voice in three stages-highly exposed and alone, manically disguised, and calmly blended within an electronic albeit “natural” surrounding- Camille Hesketh and Juan Parra seek contrasting ways in which a human voice can be used to express to both the cognitive and intuitive senses.

MEMBERS:

Juan Parra Cancino (b. Osorno, Chile, 1979)
Studied Composition in the Catholic University of Chile and Sonology at The Royal Conservatory of The Hague (NL) His Compositions, that include pure electronic and electro acoustic mixed media have been performed in Europe, North and South America in festivals such as “RUMOR” (NL), “Primavera en La Habana” (Cuba), “Synthese “(FR) “Sonorities” (Belfast, UK), ICMC 2006 ( USA) venues like, Stanford University (USA), Muziekgebouw (NL), Colon Theater (COL), Sucre Theater (EC) and have been awarded at the Bourges Electroacoustic Music Competitions of 2003 and 2004. His recent collaborations/projects include live electronics for dance, silent movies, and performances with musicians like Richard Barrrett, Anne Faulborn and Yutaka Makino. He is founder and active member of The Electronic Hammer, a Computer and Percussion Music Ensemble devoted to the promotion, creation and diffusion of the music of the XXI century. They have support of The Gaudeamus Foundation and the Institute of Sonology of the Royal Conservatory of The Hague.

Camille Hesketh (b. Vancouver, Canada, 1980)
Ms Hesketh completed her Bachelor's in Music at the Vancouver Academy of Music in 2003 with Phyllis Mailing and David Meek, and continued her graduate studies at The Royal Conservatory of The Hague, Netherlands with Maria Acda, Barbara Hannigan, and Manon Heijne. She has received awards & scholarships from The Canada Council for the Arts, The BC Arts Council, The Vancouver Foundation and The Leon & Thea Koerner Foundation. Ms Hesketh has performed new commissioned works with the Nieuw Ensemble (Netherlands), Modern Baroque Opera (Vancouver), the Shanghai Int’l Multicultural Festival, as well as in the Lucerne Festival (CH) with conductors Daniel Reuss and Pierre Boulez. Ms Hesketh is currently a member of the Nederlands Vocaal LaboratoriumAbout the Composers and the music:

PROGRAM:

Ton Bruynèl.....................Denk mal das denkmal
Luigi Nono.......................Djamila Boupachá
James Tenney.................Voices
Luigi Nono.......................La Fabbrica illuminatta
Juan Parra C..................Tu Recuerdo
Georges Aperghis..........Recitations I
Juan Parra.....................Accumulation of Hesitation II
Richard Karpen.............Il nome

ABOUT THE COMPOSERS AND THE MUSIC:

Ton Bruynèl (1934- 1998)
Ton Bruynèl was born in Utrecht January 26th 1934. From 1952 to 1956 he studied piano with Wolfgang Wijdeveld at the Utrecht Conservatory of Music and composition with Kees van Baaren. He focused enthusiastically on the French musique concrète. He chose his instrumentation with the reproduction of concrete sounds in mind, and oriented himself with the Electronic Music Studio at the universities of Utrecht and Delft, later renamed the Institute for Sonology. In 1957 he established his own studio in Utrecht - the first private studio in The Netherlands - specializing in writing music which combines electronic and acoustic sounds. In the 1970s and 1980s he taught electronic composition at the Utrecht Conservatory. His compositions Chicharras and Adieu Petit Prince earned Bruynèl an award at the 1986 International Festival for Electronic Music in Bourges, France.

Denk mal das denkmal (1984)
This piece, written originally for bass baritone and tape, was intended to be a comment on the redundancy of erecting war memorials, and a sarcastic comeback to bureaucratic attempts to allow people to forgive and forget. The title itself, a play on words, roughly translated.."think badly of the memorial" sets the ironic tone of this somewhat political piece. This arrangement by WireGriot enhances the behaviors of the tape by means of real-time spatialization.

Luigi Nono (1924-1990)
Luigi Nono studied with Malipiero at the Venice Conservatory (1941-5) and with Maderna and Scherchen, both of whom orientated him towards 12-note serialism. His avant-garde partisanship was inseparable from a commitment to socialism, twin aspects of a revolt against bourgeois culture: hence his avoidance of normal concert genres in favour of opera and electronic music, his frequent use of political texts and his work in bringing music to factories. His works include the operas Intolleranza 1960 (1961) and Al gran sole carico d'amore (1975), the cantata Il canto sospeso (1956), orchestral works and tape pieces.

Djamila Boupacha (1962)
From Canti di vita e d'amore sul ponte di Hiroshima for soloists and orchestra The song of the Algerian woman Djamila Boupacha survives as a symbol of hope in the possibility of freedom on whose path Nono travelled, both politically and philosophically. Strained intervalic harmony, consisting largely of 7ths and 9ths, use of different mouth positions and extreme dynamics aims at a wider range of vocal colors in order to transcend the meaning of the words.

La Fabbrica Illuminata (1964)..................Luigi Nono
La Fabbrica Iluminata consists of a quadraphonic tape which uses pure electronic sounds, chorus and concrete sounds recorded from the steel factory Italsider in Genoa which at the time was guilty of grossly abusing its workers. It was accused of exposing its workers to sometimes fatal conditions of noxious fumes, minimal pay and extreme heat which in some cases lead to impotence or even death. "The mornings will pass, the anguish will pass, it won't be like this forever, something will be gained."

James Tenney (1934-2006)
James Tenney was born in Silver City, New Mexico, and grew up in Arizona and Colorado, where he received his early training as a pianist and composer. His teachers included Eduard Steuermann, Chou Wen-Chung, Lionel Nowak, Carl Ruggles, Lejaren Hiller, Kenneth Gaburo, and Edgard Varèse. He was active in the field of electronic and computer music, working with Max Mathews and others at the Bell Telephone Laboratories. He taught at the Polytechnic Institute of Brooklyn, California Institute of the Arts, and the University of California, and was Professor of Music at York University in Toronto.

Voice(s) (1982-83)
For female voice(s) with optional and variable instrumental ensemble and multiple tape- delay system
This piece, originally 18 minutes in length, was written for Joan La Barbara and Morton Subotnick as a timbral exploration on the harmonic series of D. Instructions are to improvise on the series while following the score’s indications of temporal density. Arranged for solo voice and digital delay system by C. Hesketh & J.Parra.

Georges Aperghis (b.1945)
Born in Athens in 1945, he moved to Paris in 1963 where he learned about the serialism of the Domaine Musical, the musique concrète of Pierre Schaeffer and Pierre Henry, and the work of Iannis Xenakis, (which inspired some of Aperghisís first works). In 1970 he decided to investigate a more free and personal musical language and completed the synthesis of his work in the form of opera: here the text is the unifying and determining element, the voice is the principal means of expression. He composed seven lyrical works. Georges Aperghis himself summarises his work as follows: “I Make music of everything.”

Récitation 1 (1977-78)
from Récitation for solo voice
(Arranged for solo voice and computer by C. Hesketh & J.Parra)
Formal investigation into the perpetual recompostion of identical notes and their appointed syllables - (tresses / femme / elle / jeune...). Initial sound groups grow or decay, their relentless reiteration and emerging subgroups eventually giving way to a gentle oscillation of two notes. Comical transformations of timbre and elocution are obtained by placing resonators in front of the singer's mouth.

Juan Parra Cancino (b.1979)
Tu Recuerdo Manda (hommage a Victor Jara) (2007)
With this piece I challenged myself to integrate both my emotional and aesthetic influences in music. The text is a reconstruction of various lyrics of the Chilean songwriter Victor Jara, passing from love to political declamation, from sadness to hope. The computer's relationship to the voice searches for its own timbre universe, without being intrusive. More than a duo, this piece aims to take Jara's musical legacy and spread it over two persons.

Accumulation of Hesitation II (2006)
This piece aims to expose a journey through the apparent densities of chaotic behaviors towards silence. The exposition of the firsts are done through sequences of semi- autonomous soundscapes that are shaped throughout the piece by means of deconstruction, transposition and displacement. Silence manifests by itself..if we are lucky.

Richard Karpen (b. 1957)
Richard Karpen is a native of New York, where he studied composition with Charles Dodge, Gheorghe Costinescu, and Morton Subotnick. He received his doctorate in composition from Stanford University, where he also worked at the Center for Computer Research in Music and Acoustics (CCRMA). He has been the recipient of many awards, grants and prizes including those from the National Endowment for the Arts, the ASCAP Foundation, the Bourges Contest in France, and the Luigi Russolo Foundation in Italy. Along with numerous concert and radio performances, his works have been set to dance by groups such as the Royal Danish Ballet and the Guandong Dance Company of China. Karpen's compositions have been recorded on a variety of labels including Wergo, Centaur, Neuma, Le Chant du Monde, and DIFFUSION i MeDIA. He was Founding Director of the Center for Digital Arts and Experimental Media (DXARTS) at the University of Washington and currently serves as Divisional Dean for Research in the College of Arts and Sciences.

Il Nome (1988)
Il Nome is a work for soprano and computer-realized sounds. It was composed in 1987 for Judith Bettina whose voice is also the basis for some of the computer-realized materials. The piece is a setting of two texts, Il Nome de Maria Fresu, by Andrea Zanzotto and a fragment from the libretto of Monteverdi’s L’Orfeo by Alessandro Striggio. Zanzotto composed his short poem in response to the August 1980 bombing of the train station in Bologna, Italy by neo-fascist terrorists that killed 84 people. Maria Fresu was one of those lost in the bombing but whose body was never identified. The two texts contrast and compliment one another; the harshly ironic objectivity of the Zanzotto text depicting the mindless anonymity of the act on the one hand, the sad lament of Orfeo after the death of Euridice evoking the reality of the human loss on the other. The Zanzotto text is mostly fragmented in this setting and not sung straight through until near the end of the piece while the Striggio text is presented intact and is the basis the middle of the piece. The work was composed at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University and premiered there in 1988

Slam Festival

The Seattle Latin-American Music Festival will include performances by DXARTS faculty and students: Juan Pampin, Hugo Solis & Nicolas Varchausky.

The Chapel is part of the Good Shepherd Center
4649 Sunnyside Ave. N

For more info

Juum Duet Net Concert

The Juum Duet (Hugo Solis and Gabriela Villa) will give a net-concert in conjunction with the Auro duet as part of the Encontro de Ani+ activities. The event will take place at the Evora University in Portugal this June Thursday 14th. As part of this concert, the Juum duet will perform a set of three improvisations in Seattle USA. The musical material will be analyzed and the parameters will be send over the Internet on real-time. The values will be used by the Auro duet for reconstructing the material at the Grande auditorio do Colegio Espirito Santo, at the Universidade de Évora.

AIR AND OBJECTS PERFORMANCE

by Juum Duet
Electroacustic music improvisation
(viola and electronics)
Viola: Gabriela Villa
Electronic: Hugo Solis

Dúo Juum is an improvisational electroacoustic ensemble featuring Gabriela Villa (viola) and Hugo Solís (electronics). Juum (the Mayan word for noise) hints at the aesthetic direction of this duet that has played in Italy, México, and the United States since it was founded in Barcelona, Spain at the beginning of 2006. For this concert, they will perform a set of improvisations based on new methods, structures and technologies.

DXARTS Visiting Artist Marie Jager at Northwest Film Forum

On May 23rd, DXARTS Visiting Artist, Marie Jager, will be presenting a program of her short film and video works at the Northwest Film Forum on May 23rd at 8pm. Purchase tickets: Brown Paper Tickets

Marie's work is currently on display at the Henry Art Gallery through June 21, 2007. Marie will also be a guest lecturer in various DXARTS courses during the week of her visit.

dxarts open house and orientation

On April 27th we will be hosting orientations to the DXARTS program during the UW Arts Open House, part of Washington Weekend. This is the single best opportunity to learn about this creative research program for artists and scholars who are pioneers of an unfolding new era in the arts and to find out more about the Center for Digital Arts an Experimental Media. During the Open House event, which starts at 2pm and ends at 7pm, we will be giving orientation meetings at 2:30PM, 4:00PM, and 5:30PM. Meetings will take place at Raitt Hall. Current and prospective students, families and other interested individuals are welcome to attend. Faculty will be on hand to present information as well as answer your questions. Throughout the entire Open House event, our art labs and facilities in Raitt Hall will be open for touring, with specialists present in each area and examples of work created by both undergraduate and graduate students. There will also be refreshments on hand. Please set aside the date on your calendars, we are looking forward to meeting with you then!

James Coupe presents (re)collector, commisioned by Enter_

April 25-29, 2007

(re)collector is a public art installation that produces a series of daily films using footage captured from custom built cameras distributed throughout Cambridge. The cameras are programmed to recognize and extract 'cinematic moments' from peoples' everyday routines, and automatically reorganize them into stories. The generated films are then played back on a large screen in the city center, with the audience composed of many of the people who feature in it. (re)collector looks to dramatically reconnect us with the city, using its simultaneous perspective to locate us within grand meta-narratives that we cannot experience any other way.

Enter_Unknown Territories is a five-day international festival and two-day conference of new technology arts, taking place throughout Cambridge, where James Coupe will be presenting "(re)collector".

public lecture by dxarts assistant professor candidate ed osborn


Ed Osborn is a sound and media artist whose work takes many forms including installation, sculpture, video, performance and public projects. He has exhibited throughout the US, Canada, Europe, and Australasia, and has been a Guggenheim fellow and a resident in the Daad Artists in Berlin Program. He is currently assistant professor of electronic and digital media in the Art Department of the University of California at Santa Cruz.

Ed Osborn's talk discusses the conceptual background and development of his sound-based installations, sculptures and video works. Ranging from rumbling fans and sounding train sets to squirming music boxes and delicate feedback networks, the works demonstrate a visceral sense of space, aurality, and motion combined with a precise economy of materials.

an evening of new and classic computer music

A evening of new and classic computer music in surround sound.

Program includes:
Eclipse by Richard Karpen
Water Music I by Bill Schottstaedt
Kitchen <-> Miniatures by Fernando Lopez-Lezcano
Stria by John Chowning
as well as a new work for improvised piano and live electronics by DXARTS graduate student Hugo Solis.

Program Notes:

Eclipse – Richard Karpen

I have always been be drawn towards large-scale forms and symphonic textures, even while most of my work has been completely for computer-realized sound or for soloists with live or recorded computer-realized sound parts. Eclipse, composed in 1985-1986, is one of my most overtly “orchestral” works composed using sound materials that are completely synthetic (so much computer music these days is based on recorded sound that this my be worth mentioning). Eclipse, composed while I was a doctoral student at Stanford, is the first piece for which I used a certain algorithmic canonic process that I developed to generate the events (notes) to be “played” on the synthetic “instruments.” It’s a technique I used in a number of subsequent pieces. Eclipse was composed at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University during 1985-1986 using the Stanford Artificial Intelligence Language (SAIL) with the Samson Box and a Foonly Computer (both hand-wired computers, among the first specialized systems for real-time digital signal processing) and the PLA language, an early algorithmic composition programming environment. At that time, multi-channel works had to be recorded on analog tape. That combined with other “issues” of computer music technology from that time give this work a somewhat dated sound and it’s not one of my works that I have kept in wide concert circulation although a stereo version does was released on a commercial CD in 1989. The multi-channel version has not been played since the late 80s.

Water Music - Bill Schottstaedt

The first movement of Water Music grew out of its first note, a long
FM violin note reverberated beyond any reasonable bound. The "out of
tune" portions are actually based on a diatonic 13 tone tuning with
occasional forays into 48 tone schemes. Although most composers
interested in microtonal music say they are pursuing perfect
consonances, the desire here is to create ear-catching disonances. The
underlying music is obviously tonal and diatonic.

Kitchen <-> Miniature(s) - by Fernando Lopez-Lezcano

A good quality sound recorder and a kitchen. Humanity tuned to common
shapes and sizes that create shared resonances I have come to
recognize everywhere there is a kitchen. These tightly chained
miniatures explore a few of the many kitchen utensils and small
appliances that I recorded (that is, anything that would fit with me
inside my bedroom closet). Featured prominently through the piece is
the mechanical timer of a toaster oven, as well as cookie sheets,
plates, trivets, the klanging sound and inner resonances of the lid of
a wok and many more kitchen instruments. More than 3000 lines of
Common Lisp code are used to create large scale forms and detailed
sound processing. Without Bill Schottstaedt's CLM (Common Lisp Music),
Juan Pampin's ATS (Analysis, Transformation and Synthesis) and Rick
Taube's Common Music this piece would not have existed. Grani (a
granular synthesis software instrument) and other old software friends
I have created over the years helped as well.

public lecture by dxarts assistant professor candidate suguru goto


Suguru Goto is a composer, performer, inventor and multimedia artist. His interests focus on the artistic research of man/machine interfaces as well as technical experiments focused on achieving radical artistic advancements in this field. His works develop new technologies for interactive installations and experimental sound performances. He is working on virtual instruments that interface between human movements and the computer where sound and video image are controlled by virtual musical instruments in real time. Most recently he has been creating robots that use virtual interfaces to perform real acoustic instruments, moving closer toward constructing a full robotic orchestra.

Goto will present work developed using virtual musical instruments and robotics from the past 15 years. He has developed innovative gesture interfaces and sensor technologies that are used in conjunction with Max/MSP/Jitter as a method to generate advanced tool systems for musical performance and theater. Further evidence of his research can be seen at http://suguru.goto.free.fr/contents/works/bodysuit/bodysuit-e.html

public lecture by dxarts assistant professor candidate james coupe


James Coupe is an artist whose mechatronic installation work has been exhibited internationally, including Camden Arts Centre, Sunderland Museum, Folly, Artsadmin, Stills Gallery Edinburgh and Seattle University. Previous commissions have included projects for New Contemporaries, Metapod, SCAN, Low-Fi, Lancaster City Council and Enter_Unknown Territories. He was educated in Fine Art at the University of Edinburgh, Creative Technology at the University of Salford, and Digital Art at the University of Washington. He is currently a Research Fellow at DXARTS, University of Washington.

In his lecture, he will discuss his art projects as a series of self-organizing discovery systems, pursuing lines of enquiry that result in shared sensations of monumental inter-connectivity. He is interested in building art without edges: asking us to explore the irresistible human urge to find a point of reference, to rationalize, to create and discover meaning from the intricate physical, social and biological environments in which we find ourselves.

Hugo Solis' Seminar at the National School of Music


DXARTS PhD student Hugo Solís will offer two intensive courses at the National School of Music, Universidad Nacional Autónoma de México. Improvisation, Computational Musicology, and Automatic Listening on Real Time and Art and Technology: new paradigms of creation will be offer from Friday March 16th to Saturday 24th 2007. The courses are part of his contribution for having received the Apoyo para Estudios en el Extranjero del Fondo Nacional para la Cultura y las Artes (FONCA). The courses are hosted by the Laboratorio de Informática Musical y Música Electroacústica (LIMME).

Cynthia Breazel Lecture


“The Art and Science of Social Robots”

Cynthia Breazeal (Associate Professor of Media Arts and Sciences, Massachusetts Institute of Technology) directs the Robotic Life Group at the MIT Media Lab. Internationally known for blending scientific theories, artistic insights, and engineering principles to create compelling robotic creatures, Breazeal has helped develop some of the world’s most famous robots. Her research program at MIT strives to revolutionize the art and science of human-robot interaction and cooperation and to develop robots that will ultimately play a valuable role in the everyday lives of ordinary people.

The University of Washington is part of the Humanities, Arts, Science, and Technology Advanced Collaboratory (HASTAC) which is sponsoring In|Formation 2006-2007, a year dedicated to promoting the human and humane dimensions of technology and to forming new creative networks.

University of Washington co-sponsors: Simpson Center for the Humanities, Center for Digital Arts & Experimental Media (DXARTS), Center for Advanced Research Technology in the Arts and Humanities (CARTAH), Department of Communication, Department of Computer Science & Engineering, the Information School, and UW Libraries. For more information about HASTAC please go to www.hastac.org

The University of Washington is committed to providing access, equal opportunity and reasonable accommodation in its services, programs, activities, education and employment for individuals with disabilities. To request disability accommodation contact the Disability Services Office at least ten days in advance at: 206.543.6450/V, 206.543.6452/TTY, 206.685.7264 (FAX), or e-mail at dso@u.washington.edu.

Free and open to the public.

Stefan Ostersjo Performs New Music for Guitar and Electronics

In conjunction with the School of Music, the Center for Digital Arts and Experimental Media presents guitarist Stefan Ostersjo in concert, featuring new music for guitar and electronics by Natasha Barrett, Viking Eggeling, Michele Tadini, Henrik Frisk, Kent Olofsson, Paul Doldern, and Richard Karpen.

Ostersjo is at present one of the most active musicians in the contemporary field in Sweden. He studied with Gunnar Spjuth and Professor Per-Olof Johnsson at the Malmo Academy of Music and also with Peder Riis and Magnus Andersson in Stockhold and Darmstadt. He is at present engaged in artistic research on the performance of new music at the Malmo Academy of Music.

Admission is free.

dxgrads Annie Wan & Eunsu Kang Present Work at Upgrade! Seattle

Upgrade! Seattle presents

annie on ni wan + eunsu kang

Annie On Ni Wan is a young activist in audiovisual performance, interactive art and an innovator in interactive technologies. She achieved a Bachelor of Arts in Creative Media from School of Creative Media, City University of Hong Kong, in 2002. She has lived in Singapore, London, Brighton and Gothenburg (Sweden), earned a Master of Science in Art and Technology at Innovative Design, Chalmers University of Technology, Sweden in 2005. Her work includes locative media, audiovisual performances and interactive installations.

Eunsu Kang is an international media artist from Korea. She has been invited to more than sixty exhibitions and film festivals around the world. She was awarded her first and second solo exhibitions for her video installations. Her third solo exhibition was held on cellular phones with wireless internet connections. She is also a winner of the Korean National Fund for Emerging Artists in 2005, the Insa Web/Mobile Art Project Award in 2003 and the Korean National Juried Project for 2000: the Year of New Arts. Kang received her MA in Media Arts and Technology from the MAT program at the University of California, Santa Barbara, and her MFA and BFA from the Ewha Womans University in Seoul, Korea.

For additional information: http://www.911media.org/upgrade

A once a month magnet group for new media artists working in the Seattle area that aims to gather, promote, critically discuss, and present Seattle new media work hosted by the 911 artists2artists group at 911 Media Arts Center.

dxarts research associate james coupe at lee center for the arts

Exhibit: Screen Shots
Artists: James Coupe, Justin Beckman, Tivon Rice

Seattle University presents Screen Shots - a reflection on the changing shape of contemporary art. Through a range of technologies -- including computer-generated algorithms, digital video and audio, and projection -- Screen Shots explores the relationships between mass media, new media and artistic production.

James Coupe will exhibit "The Difference Engine"

Opening: Thursday 2 November, 6-8pm
Show runs November 3 - December 2 & January 3 - January 19
Gallery Hours: Tuesday - Saturday, 1:30 - 6:00 p.m.
Admission: Open to the public, always free
Location: Seattle University, Lee Center for the Arts, 901 - 12th Avenue, Seattle
For more information: 206.296.2244

Simon Penny on Digital Arts and Computer-Human Interaction

Simon Penny, Professor of Arts and Engineering
Founder, Arts Computation Engineering Graduate Program
University of California Irvine

PRODUCTIVITY, CRITICALITY AND PLEASURE : Digital Arts and Computer-Human Interaction.

A comparison of the so-called New Media Arts and HCI is a fascinating case-study in the historic tensions in the west between humanistic-cultural practices and technico-scientific practices. HCI and Digital Media Arts are approximately the same age, share a common concern with interaction between people and technology and depend on similar technologies. Yet the intellectual, philosophical and theoretical traditions from which they arise are starkly different and belie radically different motivations, commitments, approaches and solutions. This paper takes an historical and theoretical overview of the differences and similarities in HCI and Media Arts. .

Sponsored by the Center for Digital Arts and Experimental Media and the Simpson Center for the Humanities, University of Washington

An Evening of Experimental Music, Video, and Dance

The Center for Digital Arts and Experimental Media at the University of Washington presents an evening of experimental music, video, and dance at Meany Hall on October 24th, 2006 at 7:30 pm.

Program:
Aperture (2006) – for amplified viola and live electronics by Richard Karpen
ProVocative Machines (2006) for computer realized sound by Daniel Peterson
Palimpsest (2006) for electric guitar and real-time electronics by Joshua Parmenter
To Stand Between (2005-6) for digital video by Scott Carver
Tre Marie (2005-6) an RF-ID audiovisual dance performance by Annie On Ni Wan, Hiroki Nishino and Pamela S. Pietro.
Immodesty (2006) for digital video by Karolina Sobecka
Nada (2006) for viola and live-electronics by Juan Pampin

Tickets are $10 general, $5 students.

Melia Watras recital: Prestidigitation, New Music for Viola

DXARTS and the School of Music present violist Melia Watras performing five world-premieres of new music for viola that explore the realms of music, technology, and theater. Compositions by renowned composers and DXARTS faculty Richard Karpen and Juan Pampin, as well as Diane Thome, Heinrich Taube, and Brent Michael Davids will lead to an unforgettable concert experience. Vancouver tenor William George appears with Watras.

More information about this recital may be found at http://uwnews.org/uweek/

Tickets: $15 general admission, $10 students/seniors. Notecard. Cash/check/credit card at the door, or in advance at 206-543-4880

Tickets may be purchased online at: www.meany.org.

DXARTS Research Associate James Coupe Presenting at Panel Discussion

911 Media Arts Center is pleased to announce the formation of 911 artists2artists - a once a month magnet group for new media artists working in the Seattle area that aims to gather, promote, critically discuss, and present Seattle new media work through 911 Media Arts Center. 911 artists2artists invites artists/curators/thinkers to anchor events, which in turn become launching points for making connections in the Pacific Northwest.

Transcontinental: Initiating the 911 artists2artists group we begin by extending our focus outward: across geographical, political, and cultural terrain. For artists working in the public and site specific domains, this encompasses the inquiry of what we coin public and how this notion of public relates to its site and its surrounding. For artists concerned with approaches to bridging, extending, and expanding, we address questions of origin, distance, direction, power, emerging systems of non-site, and the spanning across invisible boundaries. We invite you to share a night with us!

This evening of artists presentations and topic discussions is centered around the theme of Transcontinental. Invited artists will be asked to present a 15-20 min. presentation of their work. We invite a guest moderator to establish connections between artists and open discussions up for audience response as basis for an evolving dialogue.

http://www.911media.org/events/911artists2artists.html

Bachelor of Fine Arts Exhibition

The Center for Digital Arts and Experimental Media is pleased to announce the thesis exhibition of its first class of undergraduates from this innovative and cutting-edge program. Consolidated Works, a multi-disciplinary contemporary arts center located in the heart of South Lake Union, provides the venue for this BFA exhibition of work by six emerging artists who have made original and innovative contributions in the creative and technical realms. Participating artists: Peter Brun, Scott Carver, Johnathan Lyon, Matt McDowell, Kevin Olsen and Alan Strathmann.

Please visit the official website: http://www.dxarts.washington.edu/~DXBFA/2006/ for more details

For a recent news article on this exhibition, please see: http://uwnews.org/uweek/uweekarticle.asp?articleID=24571

Exhibit runs June 2 - June 26. Admission: free

Exhibition hours are:
Thursday 4 - 8 p.m.
Friday 4 - 8 p.m.
Saturday 1 - 7 p.m.
Sunday 1 - 7 p.m.

Dancing in the Digital Domain

The University of Washington is pleased to present the inaugural concert of a unique collaboration between the UW dance program and the Digital Arts (DXArts) program. Seven MFA graduate dance students have teamed with graduate and post-graduate DXArts students to create original works of choreography utilizing cutting edge technology.

In Der Engel, choreographer Carl Brittain has collaborated with Joel Kollin to create a lyrical fantasy in three dimensional film set to an art song by Richard Wagner, exploring the notion of angels looking out for us from above. Choreographer Rhonda Cinotto has collaborated with Eunsu Kang and Pete Moss to create In Communicado, a dance for four that uses small speakers attached to their bodies to create dynamic soundscapes representing human communication. Floating Calligraphy, with choreography by Li Hengda and video by David Cho uses original music by Paul Moore which will be performed live in a dance for thirteen. Fritha Pengelly has collaborated with Joel Kollin to create Undone, an athletic dance for eight highlighted by tangled partnering and the use of digital video. Choreographer Pamela Pietro has collaborated with Hiroki Nishino and Annie On Ni Wan to create a dance for three that incorporates motion sensored video controlled by the dancers. In Random Access Movement, choreographer Elizabeth Spatz has teamed with Allison Kudla and Pete Moss to create a highly improvisational dance for five using data gleaned from tracking the movement of the audience to determine the order of the dance’s sections. Choreographer Erricka Turner has choreographed A Study on Shakeology, a play of classical ballet, hip-hop, modern and a whole lot of shakin’.

Meany Studio Theater is located in Meany hall on the University of Washington campus on 41st Street and 15th Avenue NE. Tickets are available at the Arts Ticket Office, 4001 University Way NE or by calling the box office at (206) 543-4880. Tickets are also available online at www.meany.org.
Tickets are $10 for Adults and $8 for Students and Seniors

dxarts Open House

On April 28th we will be hosting orientations to the DXARTS program during the UW Arts Open House, part of Washington Weekend. This is the single best opportunity to learn about this creative research program for artists and scholars who are pioneers of an unfolding new era in the arts and to find out more about the Center for Digital Arts an Experimental Media. During the Open House event, which starts at 2pm and ends at 7pm, we will be giving orientation meetings at 2:30PM, 4:00PM, and 5:30PM. Meetings will take place at Raitt Hall, room 205. Current and prospective students, families and other interested individuals are welcome to attend. Faculty will be on hand to present information as well as answer your questions. Throughout the entire Open House event, our art labs and facilities in Raitt Hall will be open for touring, with specialists present in each area and examples of work created by both undergraduate and graduate students. There will also be refreshments on hand. Please set aside the date on your calendars, we are looking forward to meeting with you then!