[NetBehaviour] Neural #43, Networked Tangibility
Subscribe now! 3 issues + extra Europe, 34,90 Euros - World, 54,50 U.S. Dollars. http://www.neural.it/subscribe.phtml . . . . . . . . . . . . . . . . . . . . . . . . . Digital Subscription, accessing all issues since #29, 16.50 Pound Sterlings http://www.exacteditions.com/neural . . . . . . . . . . . . . . . . . . . . . . . . . Back Issues Pack, get all the previous 22 issues (till they are all available) http://www.neural.it/art/2006/01/neural_back_issues.phtml . . . . . . . . . . . . . . . . . . . . . . . . . Neural Facebook Page, like it if you want http://www.facebook.com/neural.magazine . . . . . . . . . . . . . . . . . . . . . . . . . Neural @ Twitter, follow it if you like http://twitter.com/_neural . . . . . . . . . . . . . . . . . . . . . . . . . Summer 2012, ISSN: 2037-108X . . . . . . . . . . . . . . . . . . . . . . . . . Neural #43, Networked Tangibility Centerfold: 'The Algae Opera', by Louise Ashcroft. interviews . Evan Roth . Annie Abrahams . Helen Varley Jamieson . Invisible Playground Team . Peter Traub . Niels Post . Rui Guerra articles . Bits that matter . Sound and physical effect of networked transmission reports . Sound Art - ZKM, Karlsruhe . Werkeleitz festival, Halle .news CorruptArt in Prague, Oh Bright Coins, PirateBox DIY, Little Bird, Pixelhead, Compro Auri, Noisolation, Microsonic Landscape, I Love the Internet the Internet Loves Me, Voice Array, Street Ghosts, I wish I said hello, Plinko poetry, Optical De-dramatization Engine (O.D.E.), Inside Out. .books/dvds: Shoshana Amielle Magnet / When Biometrics Fail Geert Lovink / Networks Without a Cause edited by Michael Mandiberg / The Social Media Reader Carolyn Guertin / Digital Prohibition Marcus Wohlsen / Biopunk edited by Caleb Kelly / Sound edited by Brandon LaBelle, Claudia Martinho / Site of Sound Eduardo Navas / Remix Theory: The Aesthetics of Sampling Anaïs Prosaic / Eliane Radigue: L'écoute virtuose People Like Us Ergo Phizmiz / The Keystone Cut Ups Peter Cusack / Sounds From Dangerous Places Charlie Gere / Community without Community in Digital Culture Madeline Schwartzman / See Yourself Sensing edited by Ryszard W. Kluszczynski / Towards the Third Culture edited by Sarah Cook, Sara Diamond / Euphoria Dystopia Alexander R. Galloway / The Interface Effect .cd reviews: Terre Thaemlitz, Francisco Meirino Michael Esposito, Økapi Aldo Kapi Orchestra, Simon Scott, Yann Novak Robert Crouch, Florian Wittenburg, Philippe Petit, Frank Bretschneider, v4w.enko and sanmi, Rodolphe Alexis, Yannick Dauby, Thomas Köner, F.C. Judd, Stephen Cornford, VNDL, Andrea Belfi, Størm, Maurizio Bianchi, Richard Garet, Isnaj Dui. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] ArtsIT 2013 - call for poster session
Dear All, I highlight you the following call for posters at ArtsIT 2013 http://artsit.org/2013/show/cf-panels *Submission deadline: 15 January 2013* The ArtsIT 2013 conference will be held in Milan, Italy, next March. The ArtsIT 2013 poster session aims at presenting innovative and cutting-edge projects at the boundary between Arts and Information Technology performed *by Ph.D. and master students*. Students working at art and technology related projects will have the possibility to present their findings to peers and discuss their topics with a panel of experts. All the submitted contributions will undergo a selection process driven by a specific committee. Accepted works will be presented within a specific event (*student poster session*), where students may discuss with the participants of ArtsIT 2013. All accepted works (abstracts and posters) will be published online at the conference webpage. *Authors of posters will be charged with the student discounted fee, which will let them to attend also the paper section.* *The abstracts of the best posters will be considered for the inclusion in the International Journal of Arts and Technology (Inderscience).* * * Best regards, Diego -- Diego Bernini http://www.disco.unimib.it/go/6298012461888581288, Ph.D. *Research fellow* | *Program vice Co-Chair ArtsIT 2013http://artsit.org/2013/show/home * Software Architecture Lab (SAL http://www.sal.disco.unimib.it/) Department of Informatics, Systems and Communication (D.I.S.Cohttp://www.disco.unimib.it/ .) Building U14, Office n. 1003 viale Sarca, 336 University of Milano-Bicocca 20136 Milano, Italy ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Response to Sandler
In Irving Sandler’s “Art Criticism Today” in the Brooklyn Rail, there were a number of issues put forth, including the death of polemic, the “molecularization” (Guattari) of discourse about art away from any sort of movements, and laid out a number of questions about the state of criticism in today’s art ecosystem. First, I salute the mention of Artforum’s original mission in combating the emergent cycle of art-capital as the “art industry” became the gluttonous frenzy of fairs, galleries and countless sycophants banging at the gates. Don’t misunderstand me. I am not a “sour grapes” artist who is discounting the art market because I have had no successes. I have either shown in or been involved with projects for the Whitney, Venice, and Maribor biennials, and am in several permanent collections. But I don’t drive a Lexus either, and this is not why I left a lucrative job in engineering to pursue art, either. I did it for love and for the fact that I was supposed to be blind by 30, and now at 50, am blessed with having made the best decision of my life. Also, I am a “New Media Artist/Curator” which made Hyperallergic’s “Top 10 Most Pathetic” list this year, so if I were truly concerned with being a blue-chip darling, I should have gone and slit my wrists long ago. That being said, I’d like to reply to Mr. Sandler’s article, and then to his answers. Mr. Sandler mentions Jerry Saltz’ derision of “art fair frenzy, auction madness, money lust, and market hype” and whether it influences criticism. Let’s just say that it does, and set that aside. Sandler then says, “that as critics we should investigate the art industry’s values, infrastructure, and practices.” To that, I say, “Well, that’s just great.”, as I wrote in a recent entry of the blog RealityAugmented that curation, and might I say criticism as well, is no longer a pyramid, but a logarithmic “power curve”. Here, the pyramid’s sides sag into a steep saddle where power is concentrated amongst the metaphorical 1%, then to a eroding group of “Lower-upper and Middle-Class” critics, curators and gallerists. They fight to stay above today’s sea of pop-up, residential, and independent spaces, which sit upon an even larger sea of online content. At first, it might seem a bit depressing, but I think there is a silver lining that ties back to Artforum, and to a seminal book by activist art scholar Gregory Sholette. The point is that there is too much made of the art market, and to be perfectly honest, that isn’t where the best art is. In Sholette’s book, Dark Matter, he describes that like dark matter comprises 95% of the known universe, the majority of art practice is unseen by the magazine critics, gallerists and the lot. Much of the activist work he describes is largely uncrecognized by the institution, although the PAD/D archives is at the MoMA, and Marc Fischer, et al’s Temporary Services projects has been featured globally. My contention is that the bulk of art is at the bottom of the “long tail” of the sagging pyramid that I speak of, with its pop-ups, apartment shows, and the like, and in some ways, it reminds me of the 1960’s where studio events, Happenings, and so on proliferated much art of the time. However, it is also important to note that the Internet has totally changed the landscape, and has produced abysses of art across the gamut, along with the abject curatorial gesture of the “like” and funding methods like Kickstarter and stores like Etsy. This is not the 60’s, nor do I intend to imply it is. I also believe that the “art world” to wonder about its primacy in this age is also akin to the recording industry’s worries about downloads and independent distribution. And with self-curated image sites like Pinterests and tumblrs (realizing these will become anachronistic in the next five years), curatorial practice is upended and possibly even banalized, even though quasi-movements like The New Aesthetic use these technologies for dissemination of its ideologies. Bottom line: the ‘art world’ currently only matters to a given body of people, and those people are of Sandler’s ‘art industry’; but that is to ignore certain things. The first of these is a larger definition of Sholette’s ‘dark matter’ that culture is awash with to include all the grass-roots art production that happens today which is off the tabloid radar. This assertion also makes visible the idea that art is only as good as its value in the art world ecology of capital, which becomes less and less accessible as the pyramid sags, and more power concentrates in the hands of fewer people. The work, in following, affects fewer people. Therefore, I want to frame my response to Irving Sandler’s questions in saying that as the art world becomes smaller and more concentrated, it becomes more irrelevant to culture and the importance of ‘dark matter’ starts to take over. In the online forum of the Brooklyn
[NetBehaviour] Residency in Montreal - Perte de Signal.
RESEARCH-CREATION RESIDENCIES Deadline to apply: 15th of February 2013 http://perte-de-signal.org/ DESCRIPTION This program offers research-creation assistance to local and national artists and artist collectives for the creation of digital arts, installation and performance projects. The residency provides space and equipment at Rustines|Lab for the production of a three to six week research creation project. A curator, critic or theoretician will be invited to collaborate with the artist-in-residence to draft a text on the research creation project or on the artist’s creative process. PURPOSE Residencies are privileged moments for reflection and creativity in the evolution of an artist’s practice. This program seeks to offer the artists a space of encounter to support the development of a creative process. Meeting with the artist and drafting of a text, an author will participate in the process and in the artist’s reflection on his or her work. ELIGIBILITY • To be engaged in media , audio or digital arts practice . SELECTION CRITERIA • The artistic merit of the applicant. APPLICATION INCLUDES • A resumé and a biography; • An artist statement; • Audiovisual support material (Website or DVD); • A statement regarding desired residency periods. TERMS OF THE RESIDENCY • The residency lasts from 3 to 6 weeks; • An artist fee of $1,750 is provided; • A $300-production budget is available, for purchasing equipment or for hiring specialized assistance; • The artist in residence will have full and exclusive access to Rustines|Lab; • The artist in residence will have access to the Lab equipment; • A selected author will write a critical text either on the artist’s work or on a specific project; • The author is chosen by Perte de Signal: • This year, the centre cannot not fund the resident’s accommodation or transportation. APPLICATION • Deadline is February 15 every year; • Application may be individual or collective; • Information requests and submissions should be made to rusti...@perte-de-signal.org; • Additional support material should follow by regular mail; • Application may be submitted in either French or English; • Rustines|Lab hosts one residency per year. PAST RESIDENTS Blake Carrington (Brooklyn), Lynn Pook (Berlin), Pascale Barret (Bruxelles). Bruno Rebeiro aka NOHISTA (Paris). Link: http://dl.dropbox.com/u/17224976/Rustines_2012_public.pdf Address: Perte de Signal 2244, rue Larivière Montreal, Quebec H2K 4P8 Canada -- .·:*¨¨*:·. www.darsha.org.·:*¨¨*:·. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Response to Sandler
Looks like a few months worth of themed discussions here for empyre or CRUMB. best Simon On 14 Dec 2012, at 15:13, Lichty, Patrick wrote: In Irving Sandler’s “Art Criticism Today” in the Brooklyn Rail, there were a number of issues put forth, including the death of polemic, the “molecularization” (Guattari) of discourse about art away from any sort of movements, and laid out a number of questions about the state of criticism in today’s art ecosystem. First, I salute the mention of Artforum’s original mission in combating the emergent cycle of art-capital as the “art industry” became the gluttonous frenzy of fairs, galleries and countless sycophants banging at the gates. Don’t misunderstand me. I am not a “sour grapes” artist who is discounting the art market because I have had no successes. I have either shown in or been involved with projects for the Whitney, Venice, and Maribor biennials, and am in several permanent collections. But I don’t drive a Lexus either, and this is not why I left a lucrative job in engineering to pursue art, either. I did it for love and for the fact that I was supposed to be blind by 30, and now at 50, am blessed with having made the best decision of my life. Also, I am a “New Media Artist/Curator” which made Hyperallergic’s “Top 10 Most Pathetic” list this year, so if I were truly concerned with being a blue-chip darling, I should have gone and slit my wrists long ago. That being said, I’d like to reply to Mr. Sandler’s article, and then to his answers. Mr. Sandler mentions Jerry Saltz’ derision of “art fair frenzy, auction madness, money lust, and market hype” and whether it influences criticism. Let’s just say that it does, and set that aside. Sandler then says, “that as critics we should investigate the art industry’s values, infrastructure, and practices.” To that, I say, “Well, that’s just great.”, as I wrote in a recent entry of the blog RealityAugmented that curation, and might I say criticism as well, is no longer a pyramid, but a logarithmic “power curve”. Here, the pyramid’s sides sag into a steep saddle where power is concentrated amongst the metaphorical 1%, then to a eroding group of “Lower-upper and Middle-Class” critics, curators and gallerists. They fight to stay above today’s sea of pop-up, residential, and independent spaces, which sit upon an even larger sea of online content. At first, it might seem a bit depressing, but I think there is a silver lining that ties back to Artforum, and to a seminal book by activist art scholar Gregory Sholette. The point is that there is too much made of the art market, and to be perfectly honest, that isn’t where the best art is. In Sholette’s book, Dark Matter, he describes that like dark matter comprises 95% of the known universe, the majority of art practice is unseen by the magazine critics, gallerists and the lot. Much of the activist work he describes is largely uncrecognized by the institution, although the PAD/D archives is at the MoMA, and Marc Fischer, et al’s Temporary Services projects has been featured globally. My contention is that the bulk of art is at the bottom of the “long tail” of the sagging pyramid that I speak of, with its pop-ups, apartment shows, and the like, and in some ways, it reminds me of the 1960’s where studio events, Happenings, and so on proliferated much art of the time. However, it is also important to note that the Internet has totally changed the landscape, and has produced abysses of art across the gamut, along with the abject curatorial gesture of the “like” and funding methods like Kickstarter and stores like Etsy. This is not the 60’s, nor do I intend to imply it is. I also believe that the “art world” to wonder about its primacy in this age is also akin to the recording industry’s worries about downloads and independent distribution. And with self-curated image sites like Pinterests and tumblrs (realizing these will become anachronistic in the next five years), curatorial practice is upended and possibly even banalized, even though quasi-movements like The New Aesthetic use these technologies for dissemination of its ideologies. Bottom line: the ‘art world’ currently only matters to a given body of people, and those people are of Sandler’s ‘art industry’; but that is to ignore certain things. The first of these is a larger definition of Sholette’s ‘dark matter’ that culture is awash with to include all the grass-roots art production that happens today which is off the tabloid radar. This assertion also makes visible the idea that art is only as good as its value in the art world ecology of capital, which becomes less and less accessible as the pyramid sags, and more power concentrates in the hands of fewer people. The work, in following, affects fewer people. Therefore, I want to frame my response to Irving Sandler’s
Re: [NetBehaviour] Response to Sandler
Hi Simon, patrick others, I've just finished writing a paper about DIWO, which relates to the subject being discussed in detail. Currently wondering where to put it - perhaps on P2P FOUNDATION WIKI... Chat soon. marc Looks like a few months worth of themed discussions here for empyre or CRUMB. best Simon On 14 Dec 2012, at 15:13, Lichty, Patrick wrote: In Irving Sandler's Art Criticism Today in the Brooklyn Rail, there were a number of issues put forth, including the death of polemic, the molecularization (Guattari) of discourse about art away from any sort of movements, and laid out a number of questions about the state of criticism in today's art ecosystem. First, I salute the mention of Artforum's original mission in combating the emergent cycle of art-capital as the art industry became the gluttonous frenzy of fairs, galleries and countless sycophants banging at the gates. Don't misunderstand me. I am not a sour grapes artist who is discounting the art market because I have had no successes. I have either shown in or been involved with projects for the Whitney, Venice, and Maribor biennials, and am in several permanent collections. But I don't drive a Lexus either, and this is not why I left a lucrative job in engineering to pursue art, either. I did it for love and for the fact that I was supposed to be blind by 30, and now at 50, am blessed with having made the best decision of my life. Also, I am a New Media Artist/Curator which made Hyperallergic's Top 10 Most Pathetic list this year, so if I were truly concerned with being a blue-chip darling, I should have gone and slit my wrists long ago. That being said, I'd like to reply to Mr. Sandler's article, and then to his answers. Mr. Sandler mentions Jerry Saltz' derision of art fair frenzy, auction madness, money lust, and market hype and whether it influences criticism. Let's just say that it does, and set that aside. Sandler then says, that as critics we should investigate the art industry's values, infrastructure, and practices. To that, I say, Well, that's just great., as I wrote in a recent entry of the blog RealityAugmented that curation, and might I say criticism as well, is no longer a pyramid, but a logarithmic power curve. Here, the pyramid's sides sag into a steep saddle where power is concentrated amongst the metaphorical 1%, then to a eroding group of Lower-upper and Middle-Class critics, curators and gallerists. They fight to stay above today's sea of pop-up, residential, and independent spaces, which sit upon an even larger sea of online content. At first, it might seem a bit depressing, but I think there is a silver lining that ties back to Artforum, and to a seminal book by activist art scholar Gregory Sholette. The point is that there is too much made of the art market, and to be perfectly honest, that isn't where the best art is. In Sholette's book, Dark Matter, he describes that like dark matter comprises 95% of the known universe, the majority of art practice is unseen by the magazine critics, gallerists and the lot. Much of the activist work he describes is largely uncrecognized by the institution, although the PAD/D archives is at the MoMA, and Marc Fischer, et al's Temporary Services projects has been featured globally. My contention is that the bulk of art is at the bottom of the long tail of the sagging pyramid that I speak of, with its pop-ups, apartment shows, and the like, and in some ways, it reminds me of the 1960's where studio events, Happenings, and so on proliferated much art of the time. However, it is also important to note that the Internet has totally changed the landscape, and has produced abysses of art across the gamut, along with the abject curatorial gesture of the like and funding methods like Kickstarter and stores like Etsy. This is not the 60's, nor do I intend to imply it is. I also believe that the art world to wonder about its primacy in this age is also akin to the recording industry's worries about downloads and independent distribution. And with self-curated image sites like Pinterests and tumblrs (realizing these will become anachronistic in the next five years), curatorial practice is upended and possibly even banalized, even though quasi-movements like The New Aesthetic use these technologies for dissemination of its ideologies. Bottom line: the 'art world' currently only matters to a given body of people, and those people are of Sandler's 'art industry'; but that is to ignore certain things. The first of these is a larger definition of Sholette's 'dark matter' that culture is awash with to include all the grass-roots art production that happens today which is off the tabloid radar. This assertion also makes visible the idea that art is only as good as its value in the art world ecology of capital, which becomes less and less accessible as the pyramid sags, and more power concentrates in
[NetBehaviour] 'Training for a Better World' by Annie Abrahams.
'Training for a Better World' by Annie Abrahams. By Michael Szpakowski. Michael Szpakowski takes us through Annie Abrahams’ show at the Centre Régional d'Art Contemporain Languedoc-Roussillon in Sète. Annie's work, he says, has no message, is not confined to any one medium, collaborates in multiple ways, borrows, steals (and gives) and presents us with a set of marvellous and mysterious objects which afford us a spectrum of entirely new pathways to the world, to seeing it, talking and thinking about it. http://www.furtherfield.org/features/reviews/training-better-world-annie-abrahams Info - Abrahams. Annie Abrahams has a doctorate (MPhil) in biology from the University of Utrecht and a MA from the Academy of Fine Arts of Arnhem. In her work, using video, performance as well as the internet, she questions the possibilities and the limits of communication in general and more specifically investigates its modes under networked conditions. She is an internationally regarded pioneer of networked performance art. Abrahams creates situations meant to reveal messy and sloppy sides of human behaviour, to trap reality and so makes that reality available for thought. She has performed and shown work extensively in France, including at the Pompidou Centre, Paris; the CRAC in Sète; the Paris–Villette theater and in many international galleries and museums including among others The Museum of Contemporary Art in Zagreb; the Black Mountain College Museum + Arts Center in Asheville, North Carolina; the Espai d’Art Contemporani de Castelló, Spain; the New Musem, New York; the Armenian Center for Contemporary Experimental Art, Yerevan; Furtherfield gallery in London and NIMk in Amsterdam, and in festivals such as the Moscow Film Festival; the International Film Festival of Rotterdam and the Stuttgarter Filmwinter (1prize 2011), and on online platforms as Rhizome.org and Turbulence. http://www.bram.org/ Info - Szpakowski Michael Szpakowski is an artist, composer writer. His music has been performed all over the UK, in Russia the USA. He has exhibited work in galleries in the UK, mainland Europe the USA. His short films have been shown throughout the world. He is composer video artist for Tell Tale Hearts Theatre Company a joint editor of the online video resource DVblog. http://www.somedancersandmusicians.com ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Glass houses, Roman numerals and shady worlds.
Glass houses, Roman numerals and shady worlds. Annet Dekker in conversation with Femke Herregraven. ‘About 50% of global trade is channelled through tax havens and 83 of the 100 largest multinationals are based in the Netherlands for fiscal reasons. The flow of money seeks the path of least resistance – but where exactly do those paths lie today?’ Annet Dekker interviews graphic designer Femke Herregraven about her latest online game Taxodus, a game about offshore tax avoidance. Taxodus is an accessible way to discover how you can avoid paying taxes, and if you can’t get away with it completely, how you can make sure you pay the lowest possible amount. My primary intention, says Femke, is to make these flows of money visible and question them, because once it’s out in the open people can decide for themselves if this is our idea of a sustainable economy. http://www.furtherfield.org/features/interviews/glass-houses-roman-numerals-and-shady-worlds-annet-dekker-conversation-femke-her ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] sorrow
sorrow http://lounge.espdisk.com/archives/995 (best) http://espdisk.com/alansondheim/sorrow.mp3 -- azure carter tambura -- -- alan sondheim viola and flute -- sorrow for everyone, and sorrow for everything sorrow for everywhere, worlds of song and sorrow music of sorrow, and mournful thinking thinking of death and nurseries, thinking of you of ballads and cradles, of swaying thinking of you and of nurseries, and of ballads and sorrows sorrows of ballads and cradles, and thinking of you ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Call For Proposals - X-Border Art Biennial
Call for Proposals - X-Border Art Biennial The X-Border Art Biennial is the only art biennial to be arranged simultaneously in three different countries, using exhibition spaces in in Luleå, Sweden; Rovaniemi, Finland and Severomorsk, Russia. We invite artists from around the world to explore and review the issues of borders, identity, cultural diversity and knowledge in an era of globalization. X-Border Art Biennial 2013 invites proposals for works that address and examine what a border might mean to human beings – in all its aspects – social, political, existential, philosophical, technological, scientific – in the 21st century. We are looking for artworks that create a ‘bridge’ from Luleå, via Rovaniemi, to Severomosk. We are also looking for works that reflect on the influence of the internet on our worldview, space and time experience, social interaction and understanding of borders. We ask, is the internet a utopia where every empty or silent domain represents a free, unclaimed space? What would you do with this space? Who would this space reach, connect or isolate? Selected artworks will be presented in online exhibition as part of X-Border biennale. The X-Border Art Biennial is a cooperation between the University of Lapland, Rovaniemi, Finland; “the centre of socio-cultural technologies of Municipal formation of the closed administrative territorial formation of the town of Severomorsk”, Russia and Luleå Art Biennial / Kilen Art Group, Luleå, Sweden. More information: http://www.kilenartgroup.org/ Link: http://www.kilenartgroup.org/wp/wp-content/uploads/2009/11/Call-for-proposals-PDF.pdf Deadline: Mon Jan 14th, 2013 Location: X-Border Art Biennial Kronan H5 Lulea, Rovaniemi, Severomorsk, Luleå 974 42 Sweden ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Bell Telephone Labs - Computer Speech.
Bell Telephone Labs - Computer Speech. This recording contains samples of synthesized speech - speech artifically constructed from the basic building blocks of the English language. A machine which produces synthesized speech is callled, fittingly, a talking machine. There are many possible kinds of speech synthesizers or talking machines. Instead of building and testing a variety of them, scientists at Bell Telephone Laboratories simulate their behaviour with a high-speed, general puropse computer. The computer is instructed (programmed) to accept in sequence on punched cards the names of the speech sounds which make up an English sentence. It then processes this information, in accordance with the linguistic rules governing the English language, and produces an output analogous to the output of the talking machine it is programmed to simulate. The talking machine simulated by the computer in this recording would normally be operated by continuosly feeding it a set of nine control signals. The signals correspond to voice pitch, voice loudness, lip opening and other speech variables. When every instant of sound is specified, and every variable accounted for, such a machine produces human-sounding speech. more… http://www.ubu.com/outsiders/365/2003/062.shtml ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Open Call | International open call for soundscape miniatures
Open Call | International open call for soundscape miniatures Sound Devices is currently looking for miniature soundscapes with a literary connection, to be presented to the public in historical Rathmines Library in Dublin, Ireland. Submitted works, of maximum 8 minutes duration, can be about a specific book (classic or contemporary), character, writer, genre, or reflect on literature as a practice in a more abstract form. All selected sound miniatures will be grouped by themes. A programme with running order and artists’ biogs will be issued to the audience every event night. Sound works with accompanying video or still images are also welcome. more info http://sounddevicesdublin.wordpress.com/open-call/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] mantra yantra
mantra yantra http://www.alansondheim.org/manyantra.mp4 download or watch, repeatedly, lose focus, generate, procreate, complete, immerse, coming home, dwelling, living among us, the hand moves, gestures, towards, from the tips of the fingers, virtual place, within, within beyond, living among us, for mike and nancy and hh dalai lama ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
