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The 1955 Fender Tweed amp now lives in software

The art of modeling at a handful of the best software shops continues to progress. And so it is that Universal Audio say they’ve simulated every tiny detail, “from speaker paper and heat dissipation, to filter caps and transformers,” of one of the world’s best-known amplifiers – the Fender Tweed. It’s the cranked sound of Neil Young; it’s the clear lead of Larry Carlton. It’s a lot of other things. It’s now on a computer, too.

Universal Audio this week added to their stable of hardware DSP plug-ins with the 8.6 release of their software, including an emulation of the boutique Chandler Curve Bender Mastering EQ (built by the folks at Softube). The biggest news for day-to-day use is probably actually the Oxford Limiter v2, a powerful update to a fairly indispensable tool. But I figure you can set to work with those – it’s really the Fender that captures the imagination.

Simple controls here give you in fact a lot of sonic directions. Just changing the volume knob gives you a range of levels of tube distortion (once you drive into that area); mic choice is also closely modeled. Photo courtesy UA.

Simple controls here give you in fact a lot of sonic directions. Just changing the volume knob gives you a range of levels of tube distortion (once you drive into that area); mic choice is also closely modeled.

The design itself is Leo Fender original, from just after the War. The “’55” here means the stock, classic Tweed made in 1955 – the best-known variation of the line. You get your choice of different takes on that. A knob that exists only thanks to modeling, you’ve your choice of a 55 Jensen P12R standard, a “greenback” (25-watt) Celestion, or a JBL D120F 120-watt option, each with different tone. Beyond that, part of what makes the Tweed unique is that everything else is just volume and tone – which also makes this an interesting effect to play with creatively beyond its normal use (like adding the amp to drums or melodic parts, even).

Way back when Universal Audio first talked about the Apollo Twin, I said I thought it’d be interesting to use something like a guitar amp model. So, here we are. Using what UA call “Unison,” the audio interface works with the software model together to simulate the impedance, gain, and circuit behaviors you’d get on the original. And, in case you wondered why you weren’t just using native software for the same job, you also get near-nothing latency for tracking through the Apollo.

The software also gives you lots of choices for how you want to simulate mic placement and selection, with a model of a ’60s Beyer M 160, a Sennheiser MD 421, a modern Royer R-121, plus a vintage Neumann U 67 (that particular one apparently selected from Ocean Way Recording’s studio).

Here are some sounds:

I also asked UA’s engineers about what the modeling process was like. Forgive the simplicity of my questions, but – I’ve found talking to engineers modeling gear at different developers that these innocuous questions tend to yield very different answers, depending on the task at hand and what’s being modeled and what the design goals are.

CDM: What were some of the challenges you faced when modeling the Tweed?

UA: Since we’re talking about 60 year old guitar amps, finding a few great ones was the first challenge. Many old units that we tested looked practically brand new but didn’t have the vibe of others that had obviously seen many gigs and sessions. In fact, the one we based the sonics off has a giant rip and comb over in the tweed. But, on the inside, it was completely stock right down to the original speaker.

What was the toughest to model, as far as sound characteristics?

It’s a non-linear emulation in every way. Each section of the tweed Deluxe, from the preamp, power amp and speaker was its own algorithm. It’s the unique way they interact that makes or breaks the sound, but more importantly the feel of the amp model, so that took a bit of added focus.

What did you use as sources while working on modeling / what was the process for developing this plug-in?
There was a large battery of exclusive audio tests done on the real hardware and model. Since it’s a guitar amp, the most critical became the interaction with several industry standard guitar types and playing styles. Just like the 60 year old hardware, our model had to be just as dynamic to the touch when playing jazz on a hollow-body, country on a Telecaster, rock and pop on a Les Paul, Stratocaster, etc. One special area of development became the speaker and microphone interaction, as we had to develop a dynamic method in DSP that goes outside the common “static” convolution method most models use.

And that’s all I’ve got to say. Mostly in that I’m leaving for the studio to play with the 8.6 software on some tracks, and probably use the Tweed for something it wasn’t intended to do, because… well, I don’t color inside the lines, normally. If you have a look at this – or if you’re a Tweed owner, or have another emulation you’re interested in – we’d love to hear from you.

More:
http://www.uaudio.com/store/guitar-bass/fender-55-dlx.html

And here’s a look at the other stuff also included in 8.6:

The Chandler EQ is also an interesting choice - vintage-tinged, but new boutique, another authorized model. (That seems to be the trend for hardware makers: sell once in physical form, sell the license to a software vendor to make, too.)

The Chandler EQ is also an interesting choice – vintage-tinged, but new boutique, another authorized model. (That seems to be the trend for hardware makers: sell once in physical form, sell the license to a software vendor to make, too.)

The Oxford Limiter is an essential; it gets a major refresh here.

The Oxford Limiter is an essential; it gets a major refresh here.

v8.6 software

The post The 1955 Fender Tweed amp now lives in software appeared first on cdm createdigitalmusic.

Lords of Synth is an epic parody from Adult Swim

In a gift to synthesizer lovers everywhere, the comiticians of Adult Swim have produced an extended retro electronica opus imagining an alternate-universe battle of the bands between Wendy Carlos, Vangelis, and Giorgio Moroder.

Basically, all your Halloween costumes are sorted for you and your friends – and it’s only May.

This could have gone badly wrong (well, and the transgender jokes about Carlos seem unnecessary and in poor taste) – but the sketch saves itself with some clever wordplay, nice gear-spotting, and spot-on musical parodies of the three styles (even down to some Wendy Carlos tritones). It’s not quite Synthesizer Patel, but it will get us through Wednesday.

Things likely to become memes among CDM parts – use this as your vocabulary guide or, if you like, drinking game (no spoilers, don’t worry):

Fingoric dexterity
Necropolis
Polyharmonics Expert
Synthtestants
MIDIology
Synthsters
Zorg Poly-proto-synclavitronulator
Dangerous low-end territory
Earblood
Synthocimetrix
Synth morse-coding

Your mission, should you choose to accept it, is to find some obscure astronomical happenstance and be sure to stage your own synthtest among your electronitribe of MIDIographers. Send us footage – on VHS, natch.

The post Lords of Synth is an epic parody from Adult Swim appeared first on cdm createdigitalmusic.

Venetian Snares has a new album and warms up Poland

Summer music season, like summer movie season, can feel, well, repetitive. It’s blockbusters and popcorn fare, both ways. But there are some diversions from that narrative. And one is the award-winning festival Tauron Nowa Muzyka, in Katowice. That town is building on its industrial past, literally – the festival takes place on the site of a coal mine. But it also suggests a new direction both for electronic music and Poland itself.

Now in its eleventh edition, Tauron Nowa Muzyka is reaching beyond its normal premises. And this makes a perfect excuse to talk about raw source of fresh energy on the artist side, too.

Tonight, Tauron Nowa Muzyka is for the first time reaching beyond Poland to get some attention, starting tonight in Berghain.

Warning: animated GIF ahead. (though if “Venetian Snares” didn’t put you off this headline, I expect you can take it)

GIF_Berghain

Headlining is none other than Venetian Snares. And now that Winnipeg-born artist, turning 40 this year, has new sounds for us, yet again. Let’s drop all the dumb names for what Aaron Funk does and just say he is a force of dynamic power befitting a former power plant as a stage. There’s a new record out from him on Bandcamp, last bastion of weird music for consumption, and it’s best described I believe as “frenetic hyperactive odd-meter sequenced synthesizer dancing.”

It seems worth getting in on the next vinyl pressing; the first one sold out. You could use it, for instance, in place of anti-depressants or caffeine.

Traditional Synthesizer Music by Venetian Snares

But part of why it’s worth mentioning this artist in the context of the festival in Katowice is the collision with unique music coming from Poland. And whereas countries like Poland can sometimes fall back on looking to their western neighbors for models to copy, here are artists forging their own path.

Take RSS B0YS – who have delighted Berlin before by way of Unsound programming transposed to CTM Festival.

Disguised in top-to-bottom lace burkas, the mysterious RSS B0YS deconstruct club and folk music alike. The results are dirty, surprising, and impossible to categorize.

https://www.facebook.com/RssBoys

Joining them tonight in Berlin is a similarly genre-smashing good time, NERVY, who combine unruly, angry electronic blasts with live horns. It sounds like what happens after the singularity, when the AI machines decide to take over your college marching band and come after you to kill you, or at least to throw a really amazing party and then kill you.

Amidst the madness, it’s all beautifully composed stuff.

www.nervy.pl

Sensing a pattern here?

And all of this insanity works on dance floors and on club PAs. It’s a reminder that we can escape four-on-the-floor “my washing machine just added a metronome now dance until you hurt” monotonous torture and, you know, get a bit crazy and actually have a good time.

In other words, it’s perhaps time to come out of those mines and have fun.

Just as a thought.

And it makes me especially happy that this revolution might bridge Silesia and Poland with Manitoba. Thank you, Internet – we hate you some days, but you still just might make the world a better place for music.

More:
http://www.tixforgigs.com/site/Pages/Shop/ShowEvent.aspx?ID=15744
http://www.koka36.de/venetian+snares+%2B+nervy+%2B+rss+boys_ticket_71946.html
https://www.festicket.com/festival/tauron-nowa-muzyka-festiwal-2016/
http://berghain.de/event/1628

Hope to see you tonight and stay tuned for what they’re cooking up in Katowice.

The post Venetian Snares has a new album and warms up Poland appeared first on cdm createdigitalmusic.

This is the new DJ mixer from Xone creator and Richie Hawtin

If a DJ mixer could be anything you wanted, what would it be?

That question isn’t actually that easy to answer. DJ mixers have a fairly defined set of functions, and not a lot of obvious room for variation. They have become more or less a commodity product as a result. And even as we’ve seen high-end mixers, those have tended to be simply a spendier version of the same commodity.

So, maybe the news that Richie Hawtin was working on a new mixer, teased out over the past few months, didn’t interest you at first. But, having had a look at it, it should.

And one reason is that Andy Rigby-Jones is part of the project. Apart from having the most English name this side of a P.G. Wodehose character, Mr. Rigby-Jones is essentially the Dave Smith of DJ mixer engineers. He’s been at Allen & Heath since the early 90s, and designed the legendary Xone set of mixers – one of the only designs, indeed, able to make something new happen in the DJ booth in this generation.

Andy isn’t working on Allen & Heath-branded mixers any more – and now we find out what he’s been up to. This.

DSC02319

I got a hands-on yesterday with Richie Hawtin, and I’m already liking the design direction.

The PLAYdifferently mixer is a high-end mixer, make no mistake – made in initially limited qualities in the UK. (Price: 2500 GBP before tax, so over 3000 EUR / USD.) It’s all analog, and Richie Hawtin tells CDM that the focus is absolutely on quality, for those who can tell the difference. (Rich mused that as clubs have invested in expensive PAs, the mixer often hasn’t kept up – whereas the speakers were once the weak link, now the mixer is.)

But what’s most significantly new about the PLAYdifferently MODEL 1 is that it’s really designed as a performance instrument. The name promised to do that, but the architecture actually delivers.

Photo courtesy PLAYdifferently.

Photo courtesy PLAYdifferently.

Sound quality

So, okay, the basic architecture: 6 stereo channels, 2 stereo sends, 2 stereo returns, and 3 phono pre’s. Nothing new there, though you do get an all-analog signal path. Andy was directly involved in that in collaboration with Rich, but so, too, was Richie Hawtin’s father, a robotics engineer with a background at GM who also collaborated on the last Hawtin/Allen&Heath project.

“All-analog” is not terribly interesting on its own; engineers, though, should take note that the power rail in the entire mixer is 12V throughout. Rich also tells CDM that a considerable amount of work went into the RIAA equalization circuitry for the phono pre’s.

But if this were just a sort of audiophile DJ mixer, I think it’d be a bit dull. Where the MODEL 1 gets interesting is what it adds in the “shaping” department.

Here's the bit where things get interesting. You have to give up the usual EQ you're used to - but in its place is something potentially more creative.

Here’s the bit where things get interesting. You have to give up the usual EQ you’re used to – but in its place is something potentially more creative.

Performance and shaping

This is where I get interested. The MODEL 1 doesn’t have conventional fixed-frequency EQs on each channel, for instance. Instead, you get a complement of features intended to encourage you to re-shape the sound with filters and sends.

Contour and sculpt. Each channel has a low-pass and high-pass filter dubbed “Contour,” with a fixed, low Q – so these cut sound gently, without boosting the signal. I couldn’t really yet hear the sound of the MODEL 1 without a connected PA, but I could hear the filters, and they’re incredibly smooth. They’re also being mapped so that you can sweep quickly to the 12-o’-clock position for an immediate impact on the sound, then get more nuanced control as you turn past that point.

“Sculpt” lets you sweep through a seven-octave range, then cut or boost a particular frequency with a high Q. Found a problematic frequency you want to notch out of a record? Want to creatively boost a particular frequency? This is where you’d do that.

And interestingly, that’s it – no conventional EQ on the channel strip itself. So the channel strip is more about “fixing” sound or creatively re-shaping it as part of a performance. This of course is naturally suited to Richie Hawtin’s playing style, in using minimal elements but then reworking the record dynamically as it’s played, but I can imagine other people might also perform with it to other unexpected effects.

Master EQ. If you do want a three-band EQ, that’s there on the master. You can then enable/disable that EQ on any particular channel you want.

Analog drive. Now we’re out of just audiophile pissing contests and have something that adds some dirt, too. The “drive” control adds harmonic distortion to a signal. It’s controlled by a very small, LED-lit knob (think the ones on the KORG volca series), but it’s terrifically fun. Now, crucially, this isn’t just the same as clipping your signal at the fader; it’s a feedback circuit in the pre-amp. So “trim” and “drive” operate independently on the channel strip. That lets you dirty up a signal independent of adjusting its level on the trims, which is critical on the channel strip.

There’s also a feedback Drive circuit on the sends, though that works differently – there, gain and “drive” are linked.

This bit. By providing a separate, feedback-based Drive circuit, you can adjust Trim and Drive separately for just a little extra punch or a lot more dirt, as you like. (Apologies for the actual dirt/lint in this photo. Let's assume it's metaphorical.)

This bit. By providing a separate, feedback-based Drive circuit, you can adjust Trim and Drive separately for just a little extra punch or a lot more dirt, as you like. (Apologies for the actual dirt/lint in this photo. Let’s assume it’s metaphorical.)

I think the combination of drive, the effects sends, and the filters mean that the MODEL 1 could be just as appealing in the studio as on the road. And given that it’s a significant investment, that helps justify the purchase – you’re potentially getting a creative stage and studio mixer all once.

So, to be sure, I’ll be testing both roles when we get one for CDM to test.

Pulling all this together, there are quick enable/disable switches for each of these. The intention is to make this fast, which Rich showed me in action – turn on a filter, make a quick sweep, and so on.

Gig friendly

The MODEL 1 have done a number of things to make this friendlier to the gigging DJ:

1. You can swap turntables.
2. You get loads of headroom – 28dB.
3. There’s a booth EQ – HF and LF – so you can assist your monitoring levels at those moments the sound tech has disappeared.
4. There are dual headphone cue outs. That’s advertised for two DJs playing together, but Richie noted he sometimes used the second cue out as an additional send for effects (see below and D-SUB).
5. The power supply is external.
6. There’s “zero crossing” circuitry throughout. Remember those kill switches for the filters? To eliminate pops and clicks, they’re constantly waiting for a zero signal.

It’s fairly easily luggable, too – pretty much like the previous Xone series, only in my opinion, more interesting.

Those D-SUB connectors make balanced I/O to the computer and even back again easy. That's Richie Hawtin, celebrity hand model to CDM.

Those D-SUB connectors make balanced I/O to the computer and even back again easy. That’s Richie Hawtin, celebrity hand model to CDM.

Computer connectivity

The other big feature on the MODEL 1 is D-SUB (TASCAM DB25) connectivity to a laptop, which provides 8 simultaneous balanced connections on a single cable. That could I imagine again justify laptop DJ performance onstage as well as make the MODEL 1 more indispensable when you get back to the studio.

In either context, D-SUB gives you multi-channel connectivity to a computer both in and out – so it’s powerful both playing and getting your returns.

It does mean I need to consult my spec sheets and remember which audio interfaces have DB25 on them, because they just got more useful.

Oh, and there were two extra pins, since the D-SUB is eight channels and the mixer is six. That means you can use channels 7 and 8 as a third effects send using the cue B phones and level.

You can also link two mixers together, but unless we’re all going on tour with Dubfire and Chris and Rich and Ellen and so on, let’s dream of the one MODEL 1 at a time first.

Finally, sticker shock time: the MODEL 1 comes in at 2500 GBP. There’s no question this is a high-end box, though it’s still shy of some boutique mixers (including a recent unveiling from Funktion One).

On the other hand, I do hope this isn’t just a tool for rich DJs. I think for DJs a couple of tiers down, who are investing more in synthesizers and gear and then differentiating themselves for higher fees, could use this creatively. In fact, I’m going to skip entirely over the celebrity endorsements for the MODEL 1, even though they’re people I generally like – I’m far more interested in what some unknown DJs will do with this.

With that audience in mind, we’ll get our hands on a model for review soon, and give it a workout both as a studio tool and connected to a proper PA.

To get some indication of that, we’ll be at Arena in Berlin tonight for the product unveiling later today. You can tune in on Boiler Room (not so much for audio quality, but at least to see how this DJ lineup uses it).

It’s another chapter in the new generation of analog. On the other hand, it also makes a computer more useful. And it’s not only that the MODEL 1 is analog that’s significant. It is significantly more focused – it’s not just a bundle of everything you might do, but rather the realization of the greatest capacity of what the designers believe you want to do most. That seems very much the present zeitgeist, so I look forward to testing it.

http://playdifferently.org/

This isn’t an Allen & Heath mixer, but it will be available via Allen & Heath distribution from the 30 of June. That initial run I think will sell out quickly, but more units are planned.

And see you on Boiler Room at 8pm Berlin time.

The post This is the new DJ mixer from Xone creator and Richie Hawtin appeared first on cdm createdigitalmusic.

This month, a far-reaching convergence of ideas in music

What will the next wave of invention in music technology look like? Will it follow a narrow course of iteration – a new interface, a new synthesis technique? Or will the next leaps come from networks of ideas, from what happens when different disciplines and cultures collide, when music technology turns to the broader matters of how music is made and how it impacts people?

I rather believe in the latter. And that could be why Berlin is the place where so often people gather to work out the next big thing. There’s no single music research center, no formal lab (private or academic) that stands out. But this is the stage on which wall come down and people collaborate.

And that could make the end of May in Berlin very important indeed. Because in a year full of big music tech events here, the end of May might be the broadest in scope – and the most collaborative. It’s the tenth edition of Music Tech Fest, which has in a short time already been from London to Slovenia to New Zealand to America and then some. But this one has the most multi-layered program yet.

A week of laboratories and cooperative investigations leads to an extended weekend that has so much going on, that it’s a little hard to describe. Conversations go like this. “Hey, have you heard about MTF?” “What?” “Well, it’s a huge … um … music … thing. Like a … music and tech … sort of festival something.”

If you missed the Superbooth, this returns to the beautiful DDR-era Funkhaus, whose sprawling studios and halls provide an ample village full of nerd havens. And it’s really at its heart three things:

It’s a lab. Laboratories and hackathons and trackathons and jams mean a chance to make new stuff, technological and musical both.

It’s a conference and fair. Talks and meet-ups and showcases cover everything from startups and manufacturers to deep research and ideas.

It’s a festival. Artists rare and famed are premiering new music and producing new experiments that culminate in a series of performances that stretch late into the night (hence the “lates” track).

This video gives you a taste of what emerges – in all its blinky, shiny glory.

And all of this produces a scene in which Berlin can be hub to what’s happening Europe-wide (and globally) as far as supporting a technological ecosystem driven by music. Given that music has had a roll in helping computers sing for the first time and understanding how to make computer interaction function, that’s a very big deal.

Some underlying threads:

Transhumanism. Music can help people to expand who they are as humans – especially powerful for people who are differently abled. Our own event includes an amputee pop star who has extended herself beyond being an amputee. We also look at extensions of the body through senses and wearable technology.

Self-sustainability. DIY is everywhere, from junkyard-assembled instruments to giving kids the tools they need to make their own instruments – all with a “gunk” or geek punk aesthetic. Beyond just interesting one-off projects, that extends to systematic efforts to make open blocks on which other research can build, including the #MusicBricks program which binds together European research and innovation.

Social transformation. There’s also strong support for examining how music is interwoven with society – and new ideas about how music is spread, particularly with an extended lab investigating the use of the Blockchain to give musicians more power over how their music is shared. (Imogen Heap, who has championed that idea, will be on hand to introduce this.)

Some artists you can expect to meet:
Emika, with exclusive premiere of Symphony No. 1 and a discussion of her process
Matt Black, co-founder of NinjaTune and Coldcut, with his new “ICH BIN”
Graham Massey of 808 State (yes, that one!)
Scanner
Grave Savage (beatboxing champion, whom ELLE dubbed one of the 100 most inspiring women in the world)
Martin Molin, the guy who made that musical marble machine you’ve probably seen
Mercury prize winner ESKA
TOA Mata Band, who built a band out of LEGO…
…and the list goes on from there.

Zoe Robertson.

Zoe Robertson.

ESKA photo by Jaroslav Moravec.

ESKA photo by Jaroslav Moravec.

Emika, who is not only performing but inviting us into her studio process.

Emika, who is not only performing but inviting us into her studio process.

Graham Dunning; photo by Julien Kerduff.

Graham Dunning; photo by Julien Kerduff.

Groups like DRAKE music will focus on disability and music tech… but there’s also Blamis a musical Minecraft mod. (You can see why this is hard to sum up.)

You can join a marathon production session, here in the world’s largest music recording facility (thanks, Communism!) – but you can also go to a networking session with leading industry investors and innovators. (Thanks, Capitalism?)

And the programming tracks:

#MTFLabs are collaboration-driven laboratories producing new inventions on-site. You can witness the results of a performance lab (which I’m leading along with Jasmine Isdrake), a group of people tackling the blockchain and sharing, a vocal lab, and an audience hacking mobile track run by IRCAM.

#MTFStage combines performance, show-and-tell, and hands-on workshop, on all manner of themes from androids to wearable tech and fashion and body extension to junkyard machines and Emika’s own crowd-funded symphony.

#MTFAmplifier connects industry, investors, startups, and more.

#MTFSoundpit is a science fair – slash – convention floor of tech inventions like startups and interactive dance floors and so on.

#MTFSpace fills the rest of the halls with immersive experiments and a data-driven cassette store and interactive installations.

#MTFLates are mobbed performance evenings in the halls of MTF. I kind of think we aren’t sleeping. (The artist lineup above is a tiny, tiny taste – there’s more.)

The hackathons and trackathons for kids and adults are already full up, but you can check out the results, and there’s an open jam plus loads of opportunities to learn and interact.

Finally, following the long weekend, there are Europe-wide conferences on research (neuroscientists to composers) and on Internet-of-Things innovation (from startups to Siemens). That helps cement Berlin’s role as the European musical capitol, yet again.

And of course, I hope to share specifically what we’re working on. We’re entering the absorption chamber, a massive empty concrete space around the concert halls built as an acoustical experiment, where we’ll create a series of immersive performance experiments involving dance, fashion, light, sound, music, and play.

Get tickets here:

http://www.ticketbase.com/events/mtfberlin

We don’t want you to miss any of the late programming, so add code ‘CDM’ to any ticket and get all the lates for free.

Viktoria Modesta is an icon and inspiration to us in reimagining one’s identity.

Channel 4 'Born Risky' – Viktoria Modesta 'Prototype' from Rogue Films on Vimeo.

The image here featured a collaboration by Anouk Wipprecht for Viktoria Modesta with the ‘sonified carbon fibrebody suit’ by Selina Bond and Adam John Williams. Photo courtesy Music Tech Fest.

The image here featured a collaboration by Anouk Wipprecht for Viktoria Modesta with the ‘sonified carbon fibrebody suit’ by Selina Bond and Adam John Williams. Photo courtesy Music Tech Fest.

Inside the Absorption Chamber. Photo: CDM.

Inside the Absorption Chamber. Photo: CDM.

More images of the folks included:

MTF kids in action.

MTF kids in action.

Toa Mata Band - they play with LEGO to make music.

Toa Mata Band – they play with LEGO to make music.

Grace Savage

Grace Savage.

John Kelly and the Kellycaster - part of the new wave of making music tech work better for people of all abilities. Photo courtesy MTF.

John Kelly and the Kellycaster – part of the new wave of making music tech work better for people of all abilities. Photo courtesy MTF.

http://www.ticketbase.com/events/mtfberlin

musictechfest.org

The post This month, a far-reaching convergence of ideas in music appeared first on cdm createdigitalmusic.

10 jours pour changer le monde : Appel de propositions pour le Sommet mondial du design

Extrait du communiqué de presse :

« Montréal, le 27 avril 2016 – Architectes, Architectes de paysages, Designers graphiques, Designers industriels, Designers d’intérieur, Urbanistes et membres de la Communauté internationale du design, vous êtes invités à participer au Sommet mondial du design qui aura lieu à Montréal, du 16 au 25 octobre 2017. La date limite pour cet Appel de propositions est le 29 juillet 2016.

Le thème du sommet est une invitation et un défi : 10 jours pour changer le monde.

L’architecture, le design graphique, le design industriel, le design d’intérieur, l’architecture de paysage et l’urbanisme, ainsi que toutes les disciplines interstitielles ou hybrides influencent notre environnement. Toutes ces disciplines affectent l’économie, la politique, la culture, nos manières de vivre, travailler et de nous distraire.

Quelles idées permettront au design de réinventer l’avenir ? Comment le design peut-il répondre aux défis de notre temps ? Voilà les questions qui guideront les échanges lors du Sommet.

Cet Appel de propositions a été lancé la semaine dernière par le Secrétaire général, M. Alain Dufour, Mme Kathryn Moore, Membre fondatrice du Comité de pilotage des Organisations internationales et de Mme Raquel Penalosa, co-présidente, architecture de paysage, du Comité professionnel et scientifique du Sommet monsial du design devant un public réunissant 54 pays pour l’Assemblée annuelle de l’International Federation of Landscape Architects (IFLA), à Turin en Italie. »

Pour lire la suite du communiqué de presse…

Pour visiter le site internet du Sommet mondial du design Montréal…

Cet article 10 jours pour changer le monde : Appel de propositions pour le Sommet mondial du design est apparu en premier sur Kollectif.

Finissants en architecture et en design urbain | Vernissage + Conférence

Annonce :

« Dans le cadre du vernissage des finissants en architecture et en design urbain de l’Université Laval, les finissants vous convient à venir souligner la clôture de leur parcours académique. Les étudiants exposent le meilleur de leurs acquis. C’est un moment significatif qui précède leur entrée dans le monde du travail.

Cet évènement se tiendra le vendredi 6 mai 2016 17h30 à la Chapelle du Musée de l’Amérique francophone au 2 côte de la Fabrique. Nous vous invitons à réserver dès maintenant cette date à votre agenda.

La soirée sera inaugurée par une conférence de nos présidents d’honneur de chez STGM architectes : Stéphan Langevin et Dominique St-Gelais. Ensuite, l’exposition des projets prendra place à l’École d’architecture. La remise des prix et bourses couronnera l’évènement.

Les finissants seront honorés de vous compter parmi les invités de ce vernissage. Notez qu’il sera possible de consulter les projets des finissants sur la page Web suivante : http://assetar.wix.com/finissants à compter du 2 mai 2016.

Veuillez agréer l’expression de nos meilleurs sentiments et au plaisir de vous y voir en grand nombre,

La promotion 2016 de l’École d’architecture de l’Université Laval
1 côte de la Fabrique, Québec,
G1R 3V6
promoarchi2016@gmail.com »

Pour visiter le site internet de l’École d’architecture de l’Université Laval…

Cet article Finissants en architecture et en design urbain | Vernissage + Conférence est apparu en premier sur Kollectif.

Lancement du 9e « Guide annuel – 300 adresses design » à Québec

** Kollectif est fier partenaire d’Index-Design

Annonce :

« Index Design et Cabico ont le plaisir de vous inviter au lancement de la neuvième édition du Guide annuel – 300 adresses design.

L’événement se tiendra à la salle d’exposition de Cabico à Québec le 2 juin dès 18h.

Cocktails et bouchées y seront servis.

L’événement s’adresse aux professionnels designers, architectes seulement.

RSVP avant le 27 mai minuit »

Pour réserver son billet…

Pour visiter le site internet d’Index-Design…

Cet article Lancement du 9e « Guide annuel – 300 adresses design » à Québec est apparu en premier sur Kollectif.

Des architectes de 15 villes nommés fellows en 2016

Extrait du communiqué de presse :

« OTTAWA, le 28 avril 2016 – Un chef de file dans la réhabilitation des condominiums à Vancouver, une spécialiste du patrimoine de Montréal qui a participé à des travaux de restauration sur la Colline du Parlement, un architecte de Toronto qui remodèle sa ville et la conceptrice de quelque 150 projets au Nunavut figurent parmi les architectes canadiens qui seront intronisés fellows en 2016.

Le Collège des fellows de l’Institut royal d’architecture du Canada (IRAC) attribue le titre de fellow en reconnaissance d’une contribution remarquable à la profession en se fondant sur les critères de l’excellence en design, de la contribution exceptionnelle en tant que chercheur ou universitaire ou de services éminents à la profession ou à la collectivité.

Représentant le Canada d’un océan à l’autre, les 41 nouveaux fellows viennent de Charlottetown, Pokemouche, St. John’s, Dartmouth, Halifax, Montréal, Ottawa, Toronto, Winnipeg, Saskatoon, Edmonton, Sherwood Park, Calgary, Burnaby et Vancouver.

[…]

Québec
Ewa Bieniecka, FIRAC, Montréal
Guy Favreau, FIRAC, Montréal
Maxime-Alexis Frappier, FIRAC, Montréal
Bruno St-Jean, FIRAC, Montréal »

Pour lire la suite du communiqué de presse…

Pour visiter le site internet de l’Institut royal d’architecture du Canada…

Cet article Des architectes de 15 villes nommés fellows en 2016 est apparu en premier sur Kollectif.

Au coeur de la métropole, trois nouveaux circuits guidés pour découvrir le centre-ville !

Extrait du communiqué de presse :

« Trois nouvelles visites guidées présentées par Héritage Montréal en partenariat avec Ivanhoé Cambridge

Montréal, le 26 avril 2016Du 10 mai au 16 juin 2016, Héritage Montréal en partenariat avec Ivanhoé Cambridge est heureux de présenter la nouvelle mouture de la série de visites guidées Au cœur de la métropole. Tous les jours, les Montréalais parcourent le centre-ville à pied, à vélo ou en voiture, mais prennent rarement le temps de contempler la ville qui les entoure. Ces trois parcours guidés offrent la parfaite occasion de prendre une pause de la routine « métro-boulot-dodo » pour jeter un regard nouveau sur les trésors architecturaux qui composent le cœur de Montréal.

À partir du portail Roddick – porte d’entrée principale du campus de l’Université McGill –, les trois circuits exploreront différents quartiers méconnus du centre-ville, mais qui ont joué un rôle déterminant dans son évolution. Du « ghetto McGill », secteur résidentiel à l’architecture fascinante et variée, au vaste campus de l’Université, une des forces génératrices du centre-ville, en passant par l’architecture moderniste, ces parcours jettent chacun un regard sur une période distincte – de la fin du 19e siècle jusqu’au début du 21e.

  • Bâtir une habitation montréalaise : les résidences du 19e siècle
    Les mardis 10 et 31 mai ; les jeudis 19 mai et 9 juin
  • Bâtir un centre-ville moderne : le boulevard De Maisonneuve après 1945
    Les mardis 24 mai et 14 juin ; les jeudis 12 mai et 2 juin
  • Bâtir une université contemporaine : le campus McGill des années 1960 à aujourd’hui
    Les mardis 17 mai et 7 juin ; les jeudis 26 mai et 16 juin« 

Pour lire la suite du communiqué de presse…

Pour visiter le site internet d’Héritage Montréal…

Cet article Au coeur de la métropole, trois nouveaux circuits guidés pour découvrir le centre-ville ! est apparu en premier sur Kollectif.

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  • Senior Director of Development for Campaign Priorities
    Tower Foundation of San Jose State UniversitySan Jose, CAMay 4, 2016The Aspen Leadership Group is proud to partner with the Tower Foundation of San José State University in the search for a Senior Director of Development for Campaign Priorities. More... […]
  • Director of Development for Student Success Programs
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  • CLIENT SUPPORT SPECIALIST I, IS&T IT Help Center (3345/E0316)
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  • Senior Director of Development for Campaign Priorities
    Tower Foundation of San Jose State UniversitySan Jose, CAMay 4, 2016The Aspen Leadership Group is proud to partner with the Tower Foundation of San José State University in the search for a Senior Director of Development for Campaign Priorities. More... […]
  • Director of Development for Student Success Programs
    Tower Foundation of San Jose State UniversitySan Jose, CAMay 4, 2016The Aspen Leadership Group is proud to partner with the Tower Foundation of San José State University in the search for a Director of Development for Student Success Programs. More... […]
  • ASSISTANT TO THE CHAIR, College of Arts & Sciences, Biology (3331/E02016)
    Boston UniversityBoston, MAMay 4, 2016Provide support and coordination for the functions of the Chair which includes faculty related searches, and faculty appointment, promotion and tenure cases. Coordinate faculty sabbatical paperwork, annual teaching plans, faculty annual reports and external activity reports, and the annual faculty merit review process. P […]
  • ASSISTANT DIRECTOR, Development and Alumni Relations, Student Giving (3305/E0316)
    Boston UniversityBoston, MAMay 4, 2016As a key member of the Annual Giving team, increase alumni participation and annual giving by the universitys youngest alumni and current students. Manage programs, events and marketing efforts to increase engagement and giving by the ten newest undergraduate alumni classes (with an emphasis on the tenth, fifth, and firs […]
  • BUSINESS ANALYST II, IS&T Project Management (3337/E0316)
    Boston UniversityBoston, MAMay 4, 2016Responsible for discovering, validating, documenting and communicating business processes and requirements for medium to large projects. Facilitate requirements gathering and business process re-engineering with groups of clients, typically from 1 or 2 domains. An integral part of project teams and responsible for unders […]
  • BUSINESS WORKFLOW ANALYST, Enrollment Services Operations (3321/E0216)
    Boston UniversityBoston, MAMay 4, 2016Analyze cross-functional processes, recommend improvements, document requirements and procedures, and implement changes. Develop and manage project plans and lead small to midsize process improvement projects for enrollment and student services initiatives. Use business process analysis techniques, facilitation skills, a […]
  • DATA ANALYST,MED School of Medicine, Genetics, Molecular Med (8120/B0516)
    Boston UniversityBoston, MAMay 4, 2016Works closely with Biomedical Genetics Division faculty and collaborators in implementing various genetic analysis strategies for multiple ongoing and emerging projects in a highly collaborative environment; directs the development and maintenance of genomic analysis pipelines and the implementation of various analysis s […]
  • PROGRAM MANAGER, CAMPUS/CLINICAL SAFETY, Research Compliance (8241/E0316)
    Boston UniversityBoston, MAMay 4, 2016v More... […]
  • CLIENT SUPPORT SPECIALIST I, IS&T IT Help Center (3345/E0316)
    Boston UniversityBoston, MAMay 4, 2016Split time between Service Desk intake and resolving client support issues at the first and second technical levels. Answer questions and provide help to faculty, staff, and students who use Microsoft Windows and Macintosh OS-based personal computers, a wide variety of personal computing applications, general web support […]
  • Student Services Coordinator, Multicultural Programs - Seminary
    Azusa Pacific UniversityAzusa, CAMay 4, 2016Azusa Pacific University is a comprehensive, evangelical, Christian university located 26 miles northeast of Los Angeles, California. A leader in the Council for Christian Colleges & Universities, APU is committed to excellence in higher education. Offering over 80 bachelors, masters and doctoral programs on ca […]

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  • Appel à projets + résidence MAP Transcultures – Pépinières européennes pour jeunes artistes 2016
      Dans le cadre du programme MAP (mis en œuvre par les Pépinières européennes pour jeunes artistes), Transcultures, Centre interdisciplinaire pour les cultures numériques et sonores, associé avec la Ville de Mons (Belgique) et avec le soutien du Ministère de la Culture de la Fédération Wallonie-Bruxelles, lance un appel à résidence de création de 3 mois pour […]
  • Appel à projets/résidence arts numériques – SCAM<>Mundaneum<>Transcultures 2016
      Appel pour une résidence artistique et le développement d’un projet de création multimédia à partir des archives du Mundaneum Le présent appel à projet s’inscrit dans un partenariat entre la Scam, le Mundaneum (dont les archives personnelles des fondateurs Paul Otlet et Henri La Fontaine, sont désormais dans le domaine public), et Transcultures (Centre des […]
  • APPEL À PROJETS INTERNATIONAL – Arts & Technologies – Maintenant 2016
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  • Appel de propositions Klondike
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  • Appel à projets enseignement supérieur "Arts & Technologies" // Festival Maintenant 2016
    Crédits photos : Barnabé © Joséphine Herbelin / Spirodraw © Romain Coulon   Créez un projet innovant au croisement des arts et des technologies ! L’association Electroni[k] lance un appel à projets aux étudiants pour l’édition 2016 du festival Maintenant qui aura lieu en octobre 2016 à Rennes, pour la création d’une installation et d’une performance autour d […]
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  • Job - Art lab Manager au Château Éphémère (78)
    Le Château Éphémère de Carrières-sous-Poissy recherche sa/son Art Lab en CDD ou CDI. Date de cloture des candidatures au 25 février.  Consultez l'offre d'emploi ici. […]
  • Mixage Fou, le concours qui repousse les limites de la création sonore
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  • Date limite du 10ème Prix International Arte Laguna repoussée
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  • VIDEOPHONIC : l'appel à projets 2016-17
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  • Appel à projets + résidence MAP Transcultures – Pépinières européennes pour jeunes artistes 2016
      Dans le cadre du programme MAP (mis en œuvre par les Pépinières européennes pour jeunes artistes), Transcultures, Centre interdisciplinaire pour les cultures numériques et sonores, associé avec la Ville de Mons (Belgique) et avec le soutien du Ministère de la Culture de la Fédération Wallonie-Bruxelles, lance un appel à résidence de création de 3 mois pour […]
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  • Appel à projets enseignement supérieur "Arts & Technologies" // Festival Maintenant 2016
    Crédits photos : Barnabé © Joséphine Herbelin / Spirodraw © Romain Coulon   Créez un projet innovant au croisement des arts et des technologies ! L’association Electroni[k] lance un appel à projets aux étudiants pour l’édition 2016 du festival Maintenant qui aura lieu en octobre 2016 à Rennes, pour la création d’une installation et d’une performance autour d […]
  • VIDEOPHONIC : l'appel à projets 2016-17
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  • Call‬ / Appel à participation ‪‎video‬ - City Light @ Transnumeriques / Mons2015
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  • Appel à candidatures pour la résidence Te Ataata offerte à un praticien professionnel français du numérique à Auckland
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