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Leonardo Network News

Leonardo Network News Leonardo Network News The Newsletter of the International Society for the Arts, Sciences, and Technology and of l’Observatoire Leonardo des Arts et Technosciences LMJ Editorial Board Leonardo Music Journal welcomes four new members to the LMJ  Editorial Board: Christoph Cox, Yan Jun, Andrea Polli and Tara  Rodgers, who have been enlisted to help bring expertise in  emerging areas of sound work such as Phonography, Sound  Art, Circuit Bending, Experimental Pop Music and Sonification, while also extending the journal’s reach into new communities, voices and viewpoints. LMJ Editor in Chief Nicolas  Collins expressed his gratitude for the many years of valuable  support of LMJ Editorial Board Members Larry Polansky, Marc  Battier, Ricardo dal Farra and Jody Diamond, who are stepping  down from their posts this year. Visit the LMJ web site to learn  more about new and returning LMJ board members:  . Christoph Cox is currently working on two books: a philosophical examination of sound art and experimental music  and an edited collection on the aesthetic potential of the new  realist and materialist philosophies. His essay “The Alien Voice:  Alvin Lucier’s North American Time Capsule” was just published in Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts, edited by Hannah Higgins and  Douglas Kahn (University of California Press, 2012). Another  essay,  “Beyond  Representation  and  Signification:  Toward  a  Sonic Materialism,” recently appeared in The Journal of Visual Culture. Last summer, Cox produced the mix “Submerge” for  the London-based curatorial office SIM (officesim.org) and  the mix “How Do You Make Music a Body Without Organs?”  for Radio Enemy Beijing  .  This month, Cox will speak at two conferences: Ephemeral  Sustainability (Lydgalleriet, Bergen, 1–3 November) and “The  Status of Sound: Writing Histories of Sonic Art” (CUNY, 30  November). Beijing-based sound artist and improviser Yan Jun carried  out his Living Room Tour project in Shanghai in July 2012.  He  asked  audiences  to  book  him  for  concerts  in  their  own  homes. About 10 concerts took place at various spaces, from  tiny student dorms to old luxury houses. He generally played  for audiences of one or two, with sounds picked up with contact  microphones in the environment and from his portable instruments, which included micro feedback (earphone feedback  with the built-in microphones of a digital recorder) and modified stethoscopes (through which audience members listened  to each other’s heartbeats). For some of the performances,  Yan Jun created sound installations as well. Each performance  was a site-specific work. He charged 50RMB for each audience  member—the usual price for a concert in China. This project started in 2011 in Beijing. As Yan Jun found it difficult to  find a proper sound system and environment for concerts, he  decided to try working in a low-end setting: “It’s about transforming an everyday life space into an event space.” For more  information, see  . Andrea Polli was Artistic Director for ISEA 2012 Albuquerque: Machine Wilderness, which explored the global discourse  on art, technology and nature. The symposium consisted of  a conference 19–24 September 2012, based in Albuquerque,  New  Mexico,  with  outreach  days  along  the  state’s  “Cultural  Corridor” in Santa Fe and Taos and an expansive regional collaboration throughout the fall of 2012, including art exhibitions, public events, performances and educational activities.  This  project  brought  together  a  wealth  of  leading  creative  minds  from  around  the  globe  and  engaged  the  local  community through in-depth partnerships. Machine Wilderness  referenced the New Mexico region as an area of rapid growth  and technology alongside wide expanses of open land. The  conference aimed to present artists’ and technologists’ ideas  for a more humane interaction between technology and wilderness, in which “machines” can take many forms to support  life on Earth. Machine Wilderness focused on creative solutions for how technology and the natural world can sustainably co-exist. The lead organizations hosting ISEA2012 were  516 ARTS, the University of New Mexico and the Albuquerque  Museum of Art & History. There were over 50 partnering organizations, including museums, colleges, nonprofit arts organizations, environmental organizations and the scientific and  technological communities. See   for more    information. Tara Rodgers has been working on writing a cultural history  of synthesized sound, some of which can be previewed in American Quarterly 63,  No.  3   and on the Sounding Out! blog  . She presented a  retrospective of sound compositions made with SuperCollider,  Patterns of Movement: Data and Sound Works, 2005–2012, at the  Stamp Gallery, University of Maryland, College Park, 23 July–24  August 2012. She has also been archiving her music and sound  projects  at    and  . In Memoriam: Leonardo Honorary Editor Ray Bradbury Leonardo Honorary Editor Ray Bradbury passed away 5 June  2012. Bradbury was a long-time Leonardo Editorial Board member. He had been a friend and colleague of founding editor  Frank Malina. Their connection was an interest in space travel,  which began to develop in the 1920s and 1930s as its reality was  also being explored by science fiction writers. Writers such as  Bradbury, Jules Verne and Leonardo Advisor Arthur C. Clarke  were exemplars of the shared intellectual roots in the cultural  imaginary that developed symbiotically between the arts, sciences and engineering. In some cases, writers such as Bradbury  anticipated future developments; in other cases they warned  of possible dystopias. More about Ray Bradbury can be found  at  . Leonardo Network News Coordinator: Kathleen http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

Leonardo Network News

Leonardo Music Journal , Volume December 2012 (22) – Dec 1, 2012
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Publisher
MIT Press
Copyright
© 2012 ISAST
Subject
Leonardo Network News
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/LMJ_x_00116
Publisher site
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Abstract

Leonardo Network News The Newsletter of the International Society for the Arts, Sciences, and Technology and of l’Observatoire Leonardo des Arts et Technosciences LMJ Editorial Board Leonardo Music Journal welcomes four new members to the LMJ  Editorial Board: Christoph Cox, Yan Jun, Andrea Polli and Tara  Rodgers, who have been enlisted to help bring expertise in  emerging areas of sound work such as Phonography, Sound  Art, Circuit Bending, Experimental Pop Music and Sonification, while also extending the journal’s reach into new communities, voices and viewpoints. LMJ Editor in Chief Nicolas  Collins expressed his gratitude for the many years of valuable  support of LMJ Editorial Board Members Larry Polansky, Marc  Battier, Ricardo dal Farra and Jody Diamond, who are stepping  down from their posts this year. Visit the LMJ web site to learn  more about new and returning LMJ board members:  . Christoph Cox is currently working on two books: a philosophical examination of sound art and experimental music  and an edited collection on the aesthetic potential of the new  realist and materialist philosophies. His essay “The Alien Voice:  Alvin Lucier’s North American Time Capsule” was just published in Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts, edited by Hannah Higgins and  Douglas Kahn (University of California Press, 2012). Another  essay,  “Beyond  Representation  and  Signification:  Toward  a  Sonic Materialism,” recently appeared in The Journal of Visual Culture. Last summer, Cox produced the mix “Submerge” for  the London-based curatorial office SIM (officesim.org) and  the mix “How Do You Make Music a Body Without Organs?”  for Radio Enemy Beijing  .  This month, Cox will speak at two conferences: Ephemeral  Sustainability (Lydgalleriet, Bergen, 1–3 November) and “The  Status of Sound: Writing Histories of Sonic Art” (CUNY, 30  November). Beijing-based sound artist and improviser Yan Jun carried  out his Living Room Tour project in Shanghai in July 2012.  He  asked  audiences  to  book  him  for  concerts  in  their  own  homes. About 10 concerts took place at various spaces, from  tiny student dorms to old luxury houses. He generally played  for audiences of one or two, with sounds picked up with contact  microphones in the environment and from his portable instruments, which included micro feedback (earphone feedback  with the built-in microphones of a digital recorder) and modified stethoscopes (through which audience members listened  to each other’s heartbeats). For some of the performances,  Yan Jun created sound installations as well. Each performance  was a site-specific work. He charged 50RMB for each audience  member—the usual price for a concert in China. This project started in 2011 in Beijing. As Yan Jun found it difficult to  find a proper sound system and environment for concerts, he  decided to try working in a low-end setting: “It’s about transforming an everyday life space into an event space.” For more  information, see  . Andrea Polli was Artistic Director for ISEA 2012 Albuquerque: Machine Wilderness, which explored the global discourse  on art, technology and nature. The symposium consisted of  a conference 19–24 September 2012, based in Albuquerque,  New  Mexico,  with  outreach  days  along  the  state’s  “Cultural  Corridor” in Santa Fe and Taos and an expansive regional collaboration throughout the fall of 2012, including art exhibitions, public events, performances and educational activities.  This  project  brought  together  a  wealth  of  leading  creative  minds  from  around  the  globe  and  engaged  the  local  community through in-depth partnerships. Machine Wilderness  referenced the New Mexico region as an area of rapid growth  and technology alongside wide expanses of open land. The  conference aimed to present artists’ and technologists’ ideas  for a more humane interaction between technology and wilderness, in which “machines” can take many forms to support  life on Earth. Machine Wilderness focused on creative solutions for how technology and the natural world can sustainably co-exist. The lead organizations hosting ISEA2012 were  516 ARTS, the University of New Mexico and the Albuquerque  Museum of Art & History. There were over 50 partnering organizations, including museums, colleges, nonprofit arts organizations, environmental organizations and the scientific and  technological communities. See   for more    information. Tara Rodgers has been working on writing a cultural history  of synthesized sound, some of which can be previewed in American Quarterly 63,  No.  3   and on the Sounding Out! blog  . She presented a  retrospective of sound compositions made with SuperCollider,  Patterns of Movement: Data and Sound Works, 2005–2012, at the  Stamp Gallery, University of Maryland, College Park, 23 July–24  August 2012. She has also been archiving her music and sound  projects  at    and  . In Memoriam: Leonardo Honorary Editor Ray Bradbury Leonardo Honorary Editor Ray Bradbury passed away 5 June  2012. Bradbury was a long-time Leonardo Editorial Board member. He had been a friend and colleague of founding editor  Frank Malina. Their connection was an interest in space travel,  which began to develop in the 1920s and 1930s as its reality was  also being explored by science fiction writers. Writers such as  Bradbury, Jules Verne and Leonardo Advisor Arthur C. Clarke  were exemplars of the shared intellectual roots in the cultural  imaginary that developed symbiotically between the arts, sciences and engineering. In some cases, writers such as Bradbury  anticipated future developments; in other cases they warned  of possible dystopias. More about Ray Bradbury can be found  at  . Leonardo Network News Coordinator: Kathleen

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Leonardo Music Journal – MIT Press

Published: Dec 1, 2012

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