CV
29th July 2010, 08:43
Carla Scaletti
Keynote on the conference theme "Symbolic Sound"
Cristian Vogel
Zencoded. What’s inside a sound that has no meaning?
People expect listening to be more than listening and so sometimes they speak of inner listening or the meaning of sound when I talk about music it finally comes to peoples minds that I am talking about sound that doesn’t mean anything…
I love sounds just as they are and I have no need for them to be anything more than what they are.
Brian Belet & Stephen Ruppenthal
System of shadows. A non-semantic dialogue and interactive performance environment for trumpet/flugelhorn and Kyma
This presentation focuses on the gestural and abstract performance lexicon that fuses System of Shadows, and positions the work securely within the realm of real-time non-semantic dialog and symbolic interchange.
Scott Miller & Pat O’Keefe
Constructing realities with Kyma
Scott Miller (Kyma) and Pat O’Keefe (clarinet) will demonstrate the creative and the analytical applications of Nelson Goodman’s theory of aesthetics, specifically of expression and world making.
Beyond how a work of art can express something, the goals of an artwork are the same as for all symbolic activity, to advance understanding by changing our perception of the world and how we classify it
Steve Everett
Auditory roughness and ecological listening in electro-acoustic music
Examining the perceptual conditions for determining musical meaning in electro-acoustic compositions
Peter Rantasa
Keynote on the conference theme "Symbolic Sound"
Brigitta Boedenauer & Michael Strohmann
Sound moving matter – the conglobing effects of oscillation, an Installation
Saturday | September 25, 2010
Hannes Raffaseder
GEMMA (generative music for media application) The computer as realtime moviesound orchestra.
How can algorithmic and generative composition methods from the field of experimental New Music can be transferred to the applied sector of media production.
A software tool is going to be developed, which is meant to simplify selection and production of media music by an optimized user interface as well as (partially) automated composition without the need for profound musicologist know-how.
Marin Vrbica & Clemens Taubmann
From color to noise: combining picture and sound to unified symbols
A sound becomes a symbolic sound when its being associated with an image, an emotion or a feeling by the listener. How to give audible signals a further meaning by putting them in context to video.
David Moss
An alternative method of controlling symbolic sounds in performance
I have chosen source sounds which I feel carry deep symbolic meanings to certain people, using the idea of religion as a jumping off point for exploring the new meanings that can arise from combining these sounds and controlling them live in ways which only Kyma has ever allowed me to.
Lowell Pickett
The Pentagon – an experiment using Kyma for live 3D audio manipulation in the music venue of the future
The purpose of 'The Pentagon' is to present a new type of performance space that provides the audience with a unique social and musical experience in surround sound. The performer is positioned at the center of The Pentagon (in the middle of the audience) and uses Kyma to spatially mix and manipulate audio - alternatively, an assortment of performers can be positioned around the edges of The Pentagon. This experiment aims to heighten the audience's awareness of the real and virtual space around them.
Hector Bravo Bernard
The role of symbols and representation in musical creation
Systems of representation and the flow of information in music. The role of notation in different styles of contemporary musical practice.
Avi Benjamin
Soundtracks for movies that don’t yet exist
How Kyma can change not only timbre palette of Beethovens sonata, but let you also „play“ with harmony, rhythmic structures etc.
Jim Brashear
Excitable speech
An attempt to foster a potential relationship between two producers of symbolic languages of sound: Kyma and the human voice
U.S.O. Unidentified Sound Object (aka Federico Placidi - Matteo Milani)
Empty rooms, an audio‐visual self‐organized performance space.
Kyma computes the data and performs real‐time evaluations between different types of numerical information (audio‐visual) producing a “sonorous response” to the asynchronous streams of audiovisual content.
Evening concert:
Works by Brian Belet, Didi Bruckmayr& Michael Strohmann, Bruno Liberda, Carla Scaletti, Andrea Young
Sunday | September 25, 2010
Kyma master class with Carla Scaletti
Evening concert:
Session at the Rhiz with works by Samuel Pellman, Theo Lipfert, Lowell Pickett, Sarth Calhoun & Leah Coloff (Lucibel Crater), Peter Rantasa, Carla Scaletti, Bruno Liberda
http://www.tonsalon.at/KISS2010/index.php/program/schedule
Keynote on the conference theme "Symbolic Sound"
Cristian Vogel
Zencoded. What’s inside a sound that has no meaning?
People expect listening to be more than listening and so sometimes they speak of inner listening or the meaning of sound when I talk about music it finally comes to peoples minds that I am talking about sound that doesn’t mean anything…
I love sounds just as they are and I have no need for them to be anything more than what they are.
Brian Belet & Stephen Ruppenthal
System of shadows. A non-semantic dialogue and interactive performance environment for trumpet/flugelhorn and Kyma
This presentation focuses on the gestural and abstract performance lexicon that fuses System of Shadows, and positions the work securely within the realm of real-time non-semantic dialog and symbolic interchange.
Scott Miller & Pat O’Keefe
Constructing realities with Kyma
Scott Miller (Kyma) and Pat O’Keefe (clarinet) will demonstrate the creative and the analytical applications of Nelson Goodman’s theory of aesthetics, specifically of expression and world making.
Beyond how a work of art can express something, the goals of an artwork are the same as for all symbolic activity, to advance understanding by changing our perception of the world and how we classify it
Steve Everett
Auditory roughness and ecological listening in electro-acoustic music
Examining the perceptual conditions for determining musical meaning in electro-acoustic compositions
Peter Rantasa
Keynote on the conference theme "Symbolic Sound"
Brigitta Boedenauer & Michael Strohmann
Sound moving matter – the conglobing effects of oscillation, an Installation
Saturday | September 25, 2010
Hannes Raffaseder
GEMMA (generative music for media application) The computer as realtime moviesound orchestra.
How can algorithmic and generative composition methods from the field of experimental New Music can be transferred to the applied sector of media production.
A software tool is going to be developed, which is meant to simplify selection and production of media music by an optimized user interface as well as (partially) automated composition without the need for profound musicologist know-how.
Marin Vrbica & Clemens Taubmann
From color to noise: combining picture and sound to unified symbols
A sound becomes a symbolic sound when its being associated with an image, an emotion or a feeling by the listener. How to give audible signals a further meaning by putting them in context to video.
David Moss
An alternative method of controlling symbolic sounds in performance
I have chosen source sounds which I feel carry deep symbolic meanings to certain people, using the idea of religion as a jumping off point for exploring the new meanings that can arise from combining these sounds and controlling them live in ways which only Kyma has ever allowed me to.
Lowell Pickett
The Pentagon – an experiment using Kyma for live 3D audio manipulation in the music venue of the future
The purpose of 'The Pentagon' is to present a new type of performance space that provides the audience with a unique social and musical experience in surround sound. The performer is positioned at the center of The Pentagon (in the middle of the audience) and uses Kyma to spatially mix and manipulate audio - alternatively, an assortment of performers can be positioned around the edges of The Pentagon. This experiment aims to heighten the audience's awareness of the real and virtual space around them.
Hector Bravo Bernard
The role of symbols and representation in musical creation
Systems of representation and the flow of information in music. The role of notation in different styles of contemporary musical practice.
Avi Benjamin
Soundtracks for movies that don’t yet exist
How Kyma can change not only timbre palette of Beethovens sonata, but let you also „play“ with harmony, rhythmic structures etc.
Jim Brashear
Excitable speech
An attempt to foster a potential relationship between two producers of symbolic languages of sound: Kyma and the human voice
U.S.O. Unidentified Sound Object (aka Federico Placidi - Matteo Milani)
Empty rooms, an audio‐visual self‐organized performance space.
Kyma computes the data and performs real‐time evaluations between different types of numerical information (audio‐visual) producing a “sonorous response” to the asynchronous streams of audiovisual content.
Evening concert:
Works by Brian Belet, Didi Bruckmayr& Michael Strohmann, Bruno Liberda, Carla Scaletti, Andrea Young
Sunday | September 25, 2010
Kyma master class with Carla Scaletti
Evening concert:
Session at the Rhiz with works by Samuel Pellman, Theo Lipfert, Lowell Pickett, Sarth Calhoun & Leah Coloff (Lucibel Crater), Peter Rantasa, Carla Scaletti, Bruno Liberda
http://www.tonsalon.at/KISS2010/index.php/program/schedule