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Peter Greenaway

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“The current tools that are available to artists have always been part of the vocabulary of anybody who has anything worthwhile to say… so, I think you are obliged if you are a contemporary artist to use the tools of today, otherwise you’ve admittedly become a fossil ” Peter Greenaway.

Artists’ bio:

http://www.egs.edu/faculty/peter-greenaway/biography/

 

Halperin

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‘Today’s performing artist profoundly wants a partnership which will involve the audience as much as himself. This conception means much more to us in the design and scoring of our communities than it does for the theatre. Cities themselves are beginning to be scored like theatre, in an intricate interrelationship between artist and communities. A community has the right to make scoring decisions itself, based on its own understanding of the implications of action… This comes back full cycle to our early discussion on scores in music and theatre, to the new attitude about involvement and against specialization. The new theatre, the new art, wishes once again to involve the people.’

HALPERIN, RSVP Cycles, 175

Realtime Sound Spatialization with Wave Field Synthesis Seminar in Barcelona

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This 3-day seminar will deal with both musical and technical issues surrounding spatial composition, focusing in particular on working with wave field synthesis systems. The semina…r will be taught by Arthur Sauer and Wouter Snoei, two of the core members of the The Game Of Life Foundation‘s team. The foundation’s unique mobile wave field synthesis system (composed of 192 speakers and 12 subwoofers) will be available on-site for participants to learn to operate the system and gain hands-on familiarity with space as a compositional parameter.

Wave field synthesis is a technique for sound spatialisation. It produces “artificial” wave fronts synthesized by a large number of individually driven speakers. Such wave fronts seem to originate from a virtual starting point. Contrary to traditional spatialization techniques such as stereo, the localization of virtual sources in WFS does not depend on or change with the listener’s position. As opposed to most multichannel systems, WFS has no sweet spot and allows for a wider optimal listening area.

Language: English

Level: Aimed at musicians, composers, sound and media artists, music software developers. Participants will be organized into two groups according to their background and experience. The first group will work with a graphical GUI interface and requires just basic sound editing knowledge. The second group will use the SuperCollider interface to the wave field synthesis system and thus requires previous familiarity with this environment. Don’t hesitate getting in touch with us for further detais.

Tutors: Arthur Sauer and Wouter Snoei.

Dates:
Monday 18.06.2012, 10:00-18:00 (with lunch break)
Tuesday 09.06.2012, 10:00-18:00 (with lunch break)
Wednesday 20.06.2012, 10:00-18:00 (with lunch break)

Location: Fabra i Coats – Fàbrica de Creació. Sant Adrià, 20. Barcelona. Metro Sant Andreu.

Price: 160€ (limited places available, include free entry to evening concerts and lectures)

To sign up or request further information, please send an email to info@lullcec.org.

+info: [ http://lullcec.org/en/2012/concerts/espacialitzacio-del-so-amb-wave-field-synthesis/ ]

MIA-AIM: “Low Close Vast”

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Excerpt from live performance at the Music in Architecture – Architecture in Music (MIA-AIM) Symposium, held 19-22 October, 2011 on the campus of the University of Texas at Austin. Organized and funded by the Center for American Architecture and Design (CAAD), The Sarah and Ernest Butler School of Music, the School of Architecture, and the College of Fine Arts. For more information about the event, visit soa.utexas.edu/caad/mia-aim

http://vimeo.com/groups/118544/videos/42177859