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Drones Doing Good

Charles Devaney uses aerial drone photography to map disaster areas and help direct aid where it is most needed.Check out the winners of the Drone Social Innovation Award, and a few interesting runners-up. The Drone User Group Network established this prize to promote use of drones for the public good.

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Eagle Scout Project: 3D Printing In A Public Library

DSCN1157 (Medium)A large part of obtaining Eagle scout status is to do a project that benefits the community. Often these are things like park benches, drinking fountains, etc. Jacob Bruner had different ideas though. He wanted to bring 3D printing to his community. I especially loved the fact that this project […]

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Klapthor’s Robots and the Atlanta Maker Faire

tunneling botIf you live in or around Atlanta, Georgia, or will be there on the weekend of October 4th and 5th, you should consider attending Maker Faire Atlanta. It will take place in downtown Decatur, and parking and other information on attending the event can be found here. If you’re wondering […]

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Meet Bazille, the Obscenely-Massive Monster Modular Synth Plug-in from u-he

Um... excuse me. I'll see you in February or so.

Um… excuse me. I’ll see you in February or so.

Simple, lightweight, minimal.

No, not really.

This is a total monster, the grandest synth yet from plug-in maestro Urs Heckmann, aka u-he. ACE, aka “Any Cable Everywhere,” already introduced us to computer plug-ins with massive tangles of virtual cables – in a good way. Bazille, then, is the plug-in that ate the plug-in that ate Chicago.

And after first making an appearance in 2009, it’s finally here, like a beast foretold in legend.

Its oscillators are digital, with FM (frequency modulation) and phase distortion and the wild-sounding fractal resonance. And then it has analog-style filters. And then it has effects and processors up the wazoo. But, most importantly, it has insane parallel outputs all over the place and the ability to patch anything to anything without ever running out of cables.

It’s not just a bunch of connections and oscillators and effects, though. There are clever wave shapers called mapping generators with drawing tools and the like. There’s a 8x 16-step “morphing” sequencer. When you combine all those oscillators and filters and wave shapers and effects and sequencers, you really have a complete modular sound design environment. There’s not a whole lot of software I want to test at the moment – just being plenty busy with what I’ve got – but this just made the short list. You can test it, too; there’s a free demo download for Mac and Windows.

It’s also on sale for US$89 (before VAT, Europe), which I think is about a third of what users of physical modulars pay for their cabinet, if they’re lucky. (Or, perhaps the IKEA desk it sits on.) Yes, there are advantages to digital and software (ducks). After the intro, it rises to $129.

Watch:

The specs alone will make your eyes bleed:

4 digital oscillators with simultaneous FM (frequency modulation), PD (phase distortion) and FR (fractal resonance)
4 multimode analogue type filters with up to 6 parallel outputs each
4 modelled effects: stereo delay, distortion, phaser, spring reverb
2 LFOs with 3 parallel outputs each
4 ADS(S)R type envelope generators
signal processors: Inverter, rectifier, sample & hold, lag generators and quantizer
2 mapping generators (waveshapers) with a variety of drawing tools and controls
8 x 16-step morphing sequencer
multiplex modules for signal mixing, RM (ring modulation), AM (amplitude modulation)
single-page alternative skin included
microtuning support (.tun files)
multichannel MIDI support
user interface zoom in 10% steps
over 1700 presets…

Bazille @ u-he.com

Bazille_1_tweak

The post Meet Bazille, the Obscenely-Massive Monster Modular Synth Plug-in from u-he appeared first on Create Digital Music.

Spatial Audio, Explained: How the 4DSOUND System Could Change How You Hear [Videos]

It was inspired by Nikolas Tesla’s radical ideas about energy in air – and site-specific opera. It breaks every notion you have of how to mix, how to set volume, and what “panning” or “stereo” means. It’s, specifically, the forest of metal columns filled with omni-directional speakers we’ve come to know as 4DSOUND. And it’s all coming to Amsterdam Dance Event in October in a big way.

But what’s most important about 4DSOUND isn’t just this particular, not-inexpensive and specific installation. It’s the fact that once you start imagining sound as virtually projected into three-dimensional space, you probably won’t really think about sound in the same way.

Taking something like a site-specific spatial audio system and putting it into an online video is a recipe for failure. But the team at Ableton have done a pretty bang-on job of doing just that in two films, one focused more on the system in general and its significance, and one on specifically how the technique works.

Various composers have worked on 4DSOUND; this film focuses on Stimming. That makes an interesting choice, because his set is so live. In his work, Ableton Live is mostly a control interface for the spatialization; its audio duties are limited to mixing in the system and adding some clips. Everything else is outboard, like the MFB Tanzbär drum machine, a Teenage Engineering OP-1, and an acoustic piano.

Just as important, 4DSOUND’s Paul Oomen, a classical composer, talks about the connections to Tesla and theater. See the deeper meaning introduced at top, then the technical – and thoughts for the future – below.

With that conceptual background, it’s likewise important to understand that this system is neither a surround setup like those in cinemas (most recently Dolby’s Atmos), nor Wave Field Synthesis.

Cinema sound is generally a different animal. Those systems, or crude systems like quad (or even stereo), are capable of spatializing sounds, but they’re dependent on listener position. Wave field synthesis is closer, in that it does produce virtual sonic locations, as if sounds are in specific places beyond the speakers, even as you move around. Wave field is also interesting in that it has been adopted by MPEG. But wave field synthesis, while very precise, works on a horizontal plane, and requires very specific settings and speakers. (Dolby Atmos is something of a hybrid, using both conventional multichannel and projected positioning via a proprietary system – but that’s a topic for another article, and because Atmos is still aimed at cinemas, 4DSOUND is worth considering on its own.)

4DSOUND takes a different approach, using something called vertical phantom imaging. By taking advantage of omni-directional speakers, they get the advantages of virtual projection – that illusion that sounds fill specific locations or volumes – without requiring so many speakers or particular environments. That makes a unique sound space in which artists can play, and while this isn’t cheap or yet ready for club environments, it is able to make it to festivals. 4DSOUND came to Berlin’s Atonal Festival last month, for instance, and in a series of events (including a lab co-hosted by CDM), will next head back to Amsterdam Dance Event.

I’ve been working with 4DSOUND now in my own music, in a collaboration with Robert Lippok, and it’s been a unique learning experience. I couldn’t agree more with Stimming that it can change how you listen to music and sonic environments. Stereo is artificial enough that it’s easy to lose sight of sounds in terms of how they exist in space. It’s simply too distant from how we hear. But when you can manipulate sounds in a virtual environment, you really begin to appreciate the spatial as a compositional element.

In our project, we’re working to use those elements to create our own virtual architectures. It’s a first opportunity to see how you might perceive architecture purely as sonic, non-physical form. We’re working with Berlin’s Arno Brandlhuber, who constructed a form in a proposal for housing that perfectly fits the grid of the 4DSOUND – real and virtual.

lippokkirn

lippokkirn2

lippokkirn3

Above: Translating architecture into sound, in process on 4DSOUND. Photos by Robert Lippok.

As seen in the video, you’re not only positioning sounds: you can produce volumes, paths with motion, and create effects that are calculated around the space (for reflections, delays, and more). You can add Doppler effect and other filtering to enhance the illusion that sound sources are moving around you. You can create sonic perceptions that seem real, and others that would normally be impossible.

To implement this system, you’re granted per-voice controls of each sonic object. Ableton Live is a bit ill-equipped to work in this way; music software in general is built around mixers that assume stereo recordings are the end result. But those voices are represented by graphical controls added to an Ableton session, built in Max for Live. It in turn is a front-end, alongside a Lemur remote control communicating over OSC, for a back-end system that does the processing necessary to pipe 57 channels of audio out the RME audio interfaces to the amps. (The back end is built in Max/MSP, with apparently heavy use of gen~ DSP objects for performance.)

So many of our sonic habits have been constructed by the stereo mixdown and its crude virtual space that we may be unaware how much it impacts our composition and sound design. So it’s interesting to listen to a binaural recording of Stimming. You’ll want to not only listen to headphones, but be patient as the work builds up. Obviously, even binaural recordings don’t really capture the impact. But you will begin to hear panning that’s vertical, with a great deal of distance in the mix rather than the packed recordings common in dance music. This will be less evident if you haven’t heard the 4D in person, but a lot of the timbres you hear, the sense of these sonic objects in some real space and the way they reverberate, is also a feature of working in this way. It will no doubt transform habits producing and mixing even in stereo – once you’ve done this, you can’t ever go back to even mono and stereo in the same way.

Stimming explains:

Equipment used: MFB Tanzbär, Clavia Nordrack2, TeenageEngineering OP-1, Arturia Microbrute and AbletonLive as master clock, sampler and midi sequencer.

Everything on the 4D sound was tweaked by hand in real-time, as well as the whole arrangement. I preprogrammed some chords and grooves on my machines though.

The 4D System is an advanced spatial sound system and the set is binaural (also called dummy head) recorded – in order to get an idea of how it sounded you need to use your headphones.

For the full binaural experience, I made the lossless AIFF file available for download. Please note that the download is over 1 GB in size.

Imagine being INSIDE the music, and the sounds move around you in all three dimensions.

It really is thinking in four dimensions – the three spatial dimensions, plus time (and adding that fourth element truly feels like a fourth dimension).

And the 4DSOUND setup is complex enough to feel like an instrument, the combination of its spatial capabilities and various effects and live controls.

So, it’s significant that in Amsterdam, we’ll have a full program of new music for the 4DSOUND (including Stimming, a Raster Noton showcase including Robert and myself along Grischa Lichtenberger, Frank Bretschneider, and Senking), Max Cooper, and Vladislav Delay.

It’s just as important that we’ll have developers from Ableton joining a select lineup of artists and researchers of lots of backgrounds on Spatial Audio Hack Lab we’re co-hosting. We have everyone from doctoral experts in spatialization to singers.

This isn’t a gimmick or a fad or some cool new toy. There is a lot of work remaining to be done, on 4DSOUND and spatial audio in general. The 4DSOUND itself is a canvas for all kinds of work; it’s not obvious how to work with it or what it should do. Imagining how interfaces should look is a wide-open question. And on 4D and spatial audio in general, there’s a huge opening for people to suggest new ideas for sound, composition, performance, and control. That can relate to architecture, to data sonification, to simulation. In Paul’s case, sensors on singers can produce a new way of enhancing theatre with amplified and electronic sound, as audio follows performers.

And the whole field is about to blow wide open. New microphone and headphone technology could make 4DSOUND’s specific system still more relevant – a playground for challenging ideas that will become increasingly commonplace.

So, if you’re in Amsterdam, I hope you’ll join us. If not, we’ll keep piping these spatial possibilities to you.

thinkingin3d_1

thinkingin3d_2

thinkingin3d_3

Thinking in 3D – or 4D – will be a new challenge. Above, photos from our recent working sessions.

Amsterdam events:
http://www.facebook.com/4dsoundonline

More of the latest from 4DSOUND:
http://4dsound.net/news/

The post Spatial Audio, Explained: How the 4DSOUND System Could Change How You Hear [Videos] appeared first on Create Digital Music.

Do You Know How To Gut A Fish?

gut-a-fish-1If, by some mysterious turn of events, you end up with a fresh fish on your hands, make sure you know how to handle the situation with this basic tutorial from FOOD52.

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The Radio Confessional

I built this tiny broadcast room complete with live mics that broadcast to the local radio.  The structure is made of scrap steel and scrap plywood with a faux stucco paint job (paint and bead styrofoam) . The walls on the inside are strung making the entire structure a musical instrument.  The walls […]

International PhD Scholarship

Cardiff University’s School of Journalism, Media and Cultural Studies has one scholarship for one exceptional international student to begin PhD studies in January 2015.
The deadline for our current scholarship competition is Friday 7th November 2014. To meet this deadline you need to make sure you have submitted a full formal application to the University for PhD study no later than 7th November. Instructions on how to do this are here:
If you plan to apply, you should alert the two people who you want to write your references. We will need their reference by this date too. Also, you should provide scans of your degree and other certificates, plus, of course, a full research proposal (see below). All of these must be submitted by 7th November.
A panel will assess scholarship applications in the 2nd half of November, and we will inform the successful applicant by the very end of November. The successful applicant must be ready to start their PhD studies in January 2015. We cannot defer the award, so if the applicant cannot start at this time, they will lose the award.
The amount of the scholarship is:
1. Coverage of full international fees (currently £13,500 p.a.) for three years;
2. An annual stipend (£10,860 p.a.) for three years.
In addition, all PhD students in JOMEC are able to apply for paid teaching work on our BA and MA degrees, as well as other paid work that becomes available.
To be eligible for the award, the University must agree that you fulfil the entrance requirements for the PhD programme. Therefore, your application will be assessed within JOMEC and passed on to the University Registry. If the University does not agree to offer you a place, you cannot be considered further for the scholarship. However, if you are offered a place on the PhD programme but are subsequently unsuccessful in the scholarship competition, you can still take up your place if you find alternative means to pay the fees and support yourself.
If you hope to be successful in your application, you should make sure that your proposal is something we are likely to be able to supervise here. Ideally, you should suggest a supervisor. 
The next step for you would be to write a thesis proposal for us to consider. The proposal should include the following elements:
- A provisional thesis title
- A short abstract of your project which offers a concise summary of what you want to do, how, and why the work is important (around 300-500 words)
- An indication of the academic literature which will inform your research (including reference to relevant studies which have already been carried out relating to your field, and the academic theories which will influence you in your work) (around 300-500 words)
- A statement of the objectives of your research along with a statement of your principal research questions (you should include the main questions that your thesis will set out to answer and give reasons why you think they are important questions) (around 300 words).
- A summary of the research methods you will use. This section should explain how your methods will allow you to answer each of your research questions, and give details of exactly what your objects of analysis will be and why they have been chosen (if you want to look at media content which media will you analyse and why? How big will your sample be? If you want to carry out audience research which parts of the audience will you work with, in what way, and why? If you want to do media production work who will you interview and/or where will you carry out your ethnographic observations, for example?) (around 500-700 words)
 
- A full and accurate list of references to any works you have cited in your proposal
 
Along with the proposal you should include a covering letter which explains why you want to carry out your work at Cardiff and with whom as a possible supervisor (with reference to how your work fits in with the research done by your preferred supervisor, and the research that’s carried out at the school more generally). You can find info about what we do here:
And you’ll find info about the relevant research carried out in the school here (before writing this part of the letter I suggest you read about all of our research):
You should indicate where you plan to live when writing your PhD, and how willing you would be to participate in PhD community life. We need to know this because we consider it to be quite important that PhD students live in or near Cardiff so they can participate fully in the postgraduate community here (we see building and maintaining an academic PhD community as very important, and we have a range of different formal and informal learning opportunities including taught seminar series’, PhD peer-review and support clubs, a PhD film club, etc). Where you live is also important if, later on in your time at Cardiff, you wish to contribute to undergraduate seminar teaching (many of our PhD students wish to gain valuable experience as teaching instructors supporting our academic staff in teaching on a range of undergraduate modules). 
Your covering letter should also include information about how you plan to pay your tuition fees, if you don’t get a JOMEC Award. Information about how much it costs to do a research degree at Cardiff is here:
If you click this link you’ll also find some information about other possible studentships (and we suggest you look into other avenues of funding that might be available to you as well):
If you can think of any other supporting documents that might strengthen your application then please do send them through as well. In addition to all of this, if your first language is not English we ask that you have a minimum IELTS score of 7.5.
Enquiries and queries should be directed to Paul Bowman (BowmanP@cardiff.ac.uk)

The Mathematical Art of Vladimir Bulatov

vladimir-thumb (1)Vladimir has been making mathematical and geometric art for some time. At 3D printshow we caught up with him and he shares how 3D printing has changed his art work. Filed under: Art & Design

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Watch Adriano Make Surprising Objects, Laser Beams into Triggers for Wild Music

adriano

Now that anything can become an instrument, musicianship can become the practice of finding the spirit in the unexpected. It’s what Matt Moldover championed in the notion of controllerism, what years of DIYers have made evident. It’s not just a matter of finding a novelty or two. It’s really taking those novelties and making them a creative force.

Adriano Clemente, the Italian-born, Brooklyn-based artist (aka Capcom), is a shining light of just that sort of imagination. Regular CDM readers will see some familiar techniques. There’s a laser harp, a circuit-bent toy, mic transducers making objects into triggers, a Numark Orbit controller, a LEAP Motion, a Kinect, an Ableton Push, and I’m fairly sure that’s fellow Italian Marco Donnarumma’s wonderful Xth Sense controller in VICE/Motherboard’s featurette on the artist. But it’s the way Adriano puts it all together that becomes the magic.
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To put it simply, it’s hard not to get infected by his enthusiasm. He doesn’t just play these unusual objects – he really plays. He’s exploring the reality around him.

This is in fact the perfect companion to last week’s story by Matt Earp, with Spanish artist Ain TheMachine:
Music That’s All Human Body and Objects, No Instruments: Biotronica with Ain TheMachine [Interview]

The scene for this kind of work, once limited to isolated experiments and academia, is really heating up. It’s actually becoming a realm in which people are outdoing one another, as the world community of experimental performance grows.

I think readers here will also respond to what Adriano says about encountering conservatism – about the people who try to put these different approaches into boxes. (The “that isn’t real music” argument is something we’ve all certainly found.)

Watching the VICE video, you may miss out on Adriano’s musical versatility – and there’s a lot. So, here’s more to see. He isn’t just using odd DIY tools; he mixes familiar options like Ableton Live and conventional MIDI controllers with more experimental approaches, and teaches both, as well. (He’s on the faculty at New York’s Dubspot – and now runs their mysterious and intriguing Dubspot Labs.)

I find his music across genres to be really evocative. Here’s a quick experiment with custom Rutt Etra-style visuals and rather lovely music.

Analog Cubes Processing / Rutt Etra Studies- Adriano Clemente from adriano clemente on Vimeo.

In Den Haag, NL, he turned Leap Motion into a triply gestural controller for light and sound – a kind of Theremin light and sound organ. Done before? Oh, indeed. But by mixing in clever, glitchy rhythmic element, he ramped up the expressive, fun quality of that interaction. Implementation is everything. Visuals here are produced by Resolume Arena with sound by Ableton Live.

But he’s just at home improvising on more conventional controllers. Here he is (for Dubspot) on Ableton Push and (for KORG) on the Korg Tra. I actually think this is a better demonstration of Push improvisation than the promo videos Ableton themselves produced – but, then, Adriano has done a lot of expert work with setup. Ahem – that is to say, he can make the rest of us look clumsy. (I’d better practice my Push routines.)

Adriano on the setup:

In this video, I’ve made an effort to concentrate on the major features and options that users have to perform with in Ableton Push. I want to clarify that I don’t necessarily define Push as a performance controller, nor do I use it Live as a only component of my rig, it’s more a studio buddy which helps me to transport the experience of making music into a more engaging dimension and let me escape the classic keyboard-mouse setting. – Adriano Clemente

This sure does look like a performance to me, though I understand that he’s choosing different tools in his main performance rig. But maybe that’s the point: this sort of live improvisation can invigorate studio work, too.

He goes into more detail on the Dubspot blog.

With KORG taktile, he blows a huge hole with my previous argument that you don’t necessarily want pads on a keyboard by showing just what you can do combining a keyboard with X/Y controller and pads all in one device. (This is part of what makes KORG taktile an interesting rival to Native Instruments’ Komplete Kontrol – the NI option is more minimal, which could be a factor depending on your tastes.)

None of this would be worthwhile if it was just flailing arms around. Fortunately, his music can send you into a state of glitches-out mental vacation. For instance, here he is going nuts in a trippy, game-inspired world:

And there’s a lot more on SoundCloud:

adrianobrooklyn

Previously, I covered his Kinect work.

Ableton has the best profile of his background and inspiration – as much about the nature of the interactions he explores as it is about their products:
Adriano Clemente: Human Interaction

You’ll find lots more via his official site (including links to social media):

http://www.adrianoclemente.com

Thanks, Adriano, for the latest inspiration!

The post Watch Adriano Make Surprising Objects, Laser Beams into Triggers for Wild Music appeared first on Create Digital Music.

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  • Open Source City: access to resources and radical democracy September 30, 2014
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    In the last ten years, various initiatives have promoted projects enabling citizens to run their own digital infrastructures and produce publicly shared data to make them possible, from measurement sensor networks to wireless networks, data sets for maps or alternative, unofficial information services.A talk by José Luis de Vicente within the frame of Madrid […]
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    Mesa sobre innovación en el sector cultural y creativo, dentro de las jornadas organizadas como parte del el proyecto de investigación INNOC (Hidden Innovation: Change of Paradigm in Innovation Studies, FFI2011-25475, Ministerio de Economía y Competitividad de España). La innovación oculta es aquella que no recogen los indicadores tradicionales. Su estudio r […]
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    Social Movements and Their Technologies explores the interplay between social movements and their "liberated technologies". It analyzes the rise of low-power radio stations and radical internet projects ("emancipatory communication practices") as a political subject, focusing on the sociological and cultural processes at play. By Stefania […]

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  • call: 10th Cologne International Videoart Festival
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    New study finds that STEM fields aren't actually worse than other disciplines in attracting talented students to doctoral study. Editorial Tags: Sciences/Tech/Engineering/MathGraduate education […]
  • Mumia Abu-Jamal as Commencement Speaker
    Goddard College has announced that Mumia Abu-Jamal, who is in prison, convicted of killing of a Philadelphia police officer in 1981, will be the commencement speaker this week. (Goddard has numerous commencements to reflect the individualized programs of its students.) Abu-Jamal received a bachelor's degree from Goddard, remotely, and he has recorded hi […]

RSS inside higher ed: outside architecture

  • Protests and controversy over how U. of Michigan responded to athlete's concusssion
    University's lack of immediate response to a concussion leads to mass student protests and demands for dismissal of athletic director. Editorial Tags: AthleticsImage Source: Twitter […]
  • U. of Chicago Expands Aid for Low-Income Students
    The University of Chicago today announced an expansion of efforts to help low-income students. Under the efforts, loans will be replaced with grants in need-based financial aid packages, no application fees will be charged to those applying for financial aid, the aid application process will be simplified, and the university will hold more than 100 free sess […]
  • U. of California Will Review Out-of-State Admissions
    The University of California System plans to review its recent push to admit more out-of-state applicants, the Associated Press reported. Janet Napolitano, president of the university system, told the AP, "There are enough people that are concerned about it and have expressed that concern to me — and I've seen it myself by looking at the numbers — […]
  • Biomedical Patents
    With new technological advances come unforeseen legal issues. In today's Academic Minute, Rice University's Kirsten Matthews addresses the patenting process in the biotechnology field. Matthews is a fellow in science and technology policy at Rice. A transcript of this podcast can be found here. Section: Academic MinuteFile:  10-01-14_rice_biotech_p […]
  • Survey shows training and support remain top issues among IT officials
    Chief information officers have for years said they care about training professors and students, but a new survey shows they have yet to figure out how. Editorial Tags: TechnologyImage Source: Inside Higher EdImage Caption: Harvard Business School professor Clayton M. Christensen delivers a keynote speech during the 2014 Educause conference. […]
  • Academic Minute: Biomedical Patents
    In today's Academic Minute, Kirsten Matthews, fellow in science and technology policy at Rice University, addresses the patenting process in biotechnology. Learn more about the Academic Minute here.   Ad keywords: faculty […]
  • New JSTOR online magazine seeks to expand access to archives
    New daily online magazine from the digital archive seeks to be "where news meets its scholarly match." Editorial Tags: BloggingLibraries […]
  • Faculty Strike at General Theological Seminary
    Eight faculty members at the General Theological Seminary of the Episcopal Church went on strike last week, citing concerns about the seminary’s dean and president of one year, the Very Rev. Kurt H. Dunkle. “These are times of great reform in centers of theological education,” reads a letter sent to students from the eight professors, who make up the majorit […]
  • Are STEM fields more gender-balanced than non-STEM fields in Ph.D. production?
    New study finds that STEM fields aren't actually worse than other disciplines in attracting talented students to doctoral study. Editorial Tags: Sciences/Tech/Engineering/MathGraduate education […]
  • Mumia Abu-Jamal as Commencement Speaker
    Goddard College has announced that Mumia Abu-Jamal, who is in prison, convicted of killing of a Philadelphia police officer in 1981, will be the commencement speaker this week. (Goddard has numerous commencements to reflect the individualized programs of its students.) Abu-Jamal received a bachelor's degree from Goddard, remotely, and he has recorded hi […]

RSS residency unlimited

RSS media art platform

RSS digalarti

  • [Appel à projet] Résidence au Château Éphémère
    Le Château Éphémère est un nouveau lieu de création sonore et numérique à Carrières-sous-Poissy. L'association Caserne Éphémère a réhabilité l'ancien château Vanderbilt qu'elle a équipé spécialement pour offrir un espace de résidence et d'ateliers : lab, studios son et image, ateliers… En septembre, l'ouverture du bar restaurant perm […]
  • Appel à projets - Anthropologies numériques 3ème édition
      APPEL À PROJETS ANTHROPOLOGIES NUMÉRIQUES - 3e édition CLÔTURE DES CANDIDATURES : LUNDI 27 OCTOBRE 2014   Les Écrans de la Liberté et Le Cube organisent la 3e édition de la manifestation "Anthropologies numériques" qui propose un espace de rencontres et d’échanges (projections, débats ...) autour d’écritures visuelles, sonores et médiatiques qui […]
  • [Concours] Proposez vos teasers pour la Semaine Digitale de Bordeaux
    Depuis quatre ans, la ville de Bordeaux rattrape son retard dans le secteur du numérique en organisant la Semaine Digitale. Elle rassemble des artistes, chercheurs, innovateurs sur différentes actions : expositions, workshops, conférences, spectacles. La prochaine édition se déroule du 13 au 18 octobre 2014 sur le thème "La donnée et les objets connecté […]
  • [Appel à projet] Mapping
    Les Rencontres Audiovisuelles lancent un concours international de mapping vidéo, ouvert aux étudiants et professionnels de l’audiovisuel, du film d’animation, des arts numériques, du graphisme… dans le cadre des Journées européennes du patrimoine 2014. Les créations devront être conçues pour le Monument aux Morts de la place Rihour à Lille, à partir d’une m […]
  • [appel à projet] Faites parler les objets
    Nous connaissons bien les objets connectés, voici venu le temps des objets conversationnels. Ces objets se connectent à vos réseaux sociaux et conversent pour vous en postant une image, un tweet, etc. Justin Blinder a réalisé un plaid connecté qui partage avec vos amis votre satisfaction à être enveloppé par lui.  Dans le cadre de la première MakersFaire par […]
  • APPEL À PROJETS D'EXPOSITION | PROGAMME MAPPE 2014-2015
    La galerie d'art contemporain Les Territoires à Montréal lance un appel à projet pour Automne 2014 - Hiver 2015 dans le cadre de son programme MAPPE. Dates limites :
 Pour automne 2014 : 30 mai 2014
 Pour hiver 2015 : 15 août 2014 MAPPE est un programme d’exposition et de mentorat qui fournit aux artistes de la relève les outils essentiels au démarrage […]
  • [Agenda] Printemps numérique à Montréal
    Cette année, Les célèbres festivals MUTEK et ELEKTRA fêtent leur quinzième anniversaire et joignent leurs programmations pour la première fois du 27 mai au 1er juin. Baptisé EM15, l'évènement couvrira toutes les disciplines des arts numériques, électroniques et des nouveaux médias. Vous verrez donc des musiciens bien connu des dance floors comme Ricardo […]
  • Appel à candidature Prix Cube 2014
                                                                                                     L’APPEL À CANDIDATURE EST OUVERT ! CLÔTURE : LUNDI 12 MAI 2014 - 12h CANDIDATURE SUR WWW.PRIXCUBE.COM   Le Cube organise la 2ème édition de son Prix Cube, un prix international pour la jeune création en art numérique, et lance l'appel à candidatures qui doit […]
  • Deuxième édition du Prix Cube
    Le Cube, haut-lieu de la création numérique implanté à Issy-les-Moulineaux, lance son appel à candidature pour la deuxième édition du Prix International Jeune Création en Art Numérique. Jusqu'au 12 mai, les artistes de moins de 36 ans pourront proposer une œuvre dans les domaines suivants : interactivité, générativité, réseau, internet, mobilité. Attent […]
  • Concours de création vidéo par les inRocKs et Sosh
    Depuis 10 ans, Sosh aime les inRocKs lab parcourt la France à la recherche de musiciens. Pour la première fois, le concours s'ouvre à la création vidéo : vidéo d’art, film court, court métrage d’animation et clip. Un jury de professionnels de l’art contemporain, du cinéma et des cultures numériques remettra deux prix : celui de la création vidéo ouvert […]

RSS digelarti appel a projet

  • Appel à contribution : City Lights – Festival VIA 2014 - deadline : 08-03
    Le projet évolutif City Lights (Digital Video Windows), initié par l'insitut numediart et déjà été présenté en avril 2013 lors du 175è anniversaire de la Faculté Polytechnique, vise à créer, sur la façade du bâtiment de l’UMONS, rue de Houdain, un espace de mapping architectural ouvert à la participation citoyenne. Numediart, (Institut de recherche pour […]
  • فͤ҈ͥ҉ͦ҈ͧ҉ͨ҈ͩ҉ͪ҈ͫ҉ͬ҈ͭ҉ͮ҈ͯ҉ͨ҈ͬ҉ͧ҈ͣ҉ͨ҈ͧ҉ͯ҈ͮAppel à projets - Mobile Art(s) & Network(s) Awards 2014 - spamm.be - deadline : 10 mars
    Dans le cadre du festival VIA (le manège.mons) et en partenariat avec la Coupole Numérique (regroupement des opérateurs numériques de la région montoise) initié par Mons2015 Capitale européenne de la Culture, Transcultures, Centre des cultures numériques, propose, avec le soutien de Mons 2015, une introduction à la diversité du Net Art via 3 journées consacr […]
  • Sélection de projets Art Numérique en crowdfunding
    En tant que membre "Mentor" de KissKissBankBank, nous soutenons régulièrement des projets liés à l'art, ou parfois plus largement à la création numérique. Voici les récents projets que nous suivons, n'hésitez pas à leur apporter vorte soutien (en contribuant à leur collecte, ou plus simplement, en les partageant à vos contacts). Et si vou […]
  • [appel] Coordonnateur du Prix des arts médiatiques de l'Alliance des Arts Médiatiques Indépendants
    L'Alliance des arts médiatiques indépendants (AAMI) recherche un Coordinateur de son Prix des arts médiatiques, à Montréal (Québec). Afin d'aider dans les domaines de la communication et du développement et de promouvoir l’Alliance des arts médiatiques indépendants et le secteur des arts médiatiques aux donateurs actuels et potentiels, aux bailleur […]
  • Call - Prix Transcultures Mobile "Art(s) en Réseau(x)" 2013 - appel à projets - deadline : 01 sept.
    Dans le cadre de La quinzaine numérique de la Fédération Wallonie-Bruxelles (21 septembre > 06 octobre 2013), Transcultures organise, en partenariat avec la Commune de Saint-Gilles (Bruxelles), Les Transnomades 2013 (arts en réseaux), un événement spécialement dédié au Net Art, dans sa diversité innovante. A cette occasion, Transcultures avec ses partenai […]
  • [Appel à projets] Prix Vidéoformes
    Depuis sa création en 1984, Vidéoformes accompagne la video et les arts numériques dans le champ de l'Art contemporain. Une manifestation annuelle, des éditions de DVD, résidences d'artistes, constitutions d'archives… Et des compétitions qui donnent de la visibilité à tous les créateurs, confirmés, underground ou jeunes talents. L'appel p […]
  • [Appel à projets] A vous de jouer !
    Grâce aux appels à projet, les structures rencontrent de nouveaux talents. Parmi ceux que nous avons sélectionné, vous verrez des propositions très différentes, résidence, aide financière, diffusion… Vous pouvez retrouver la plupart des centres d'art numérique et leurs caractéristiques sur www.guideartnumerique.fr.   Résidence à la Maison Populaire de M […]
  • [Appel à projets] Frontières
    Les technologies ont fait profondément évoluer la notion de frontière au 21e siècle. AntiAtlas des frontières se propose d'examiner ces mutations et leur impact sur les individus. Au croisement de la recherche et de l'Art, cette manifestation transdisciplinaire proposera séminaire, colloque et expositions. L'appel à projet concerne l’expositio […]
  • [Appel à projets] Park in progress
    Depuis 2003, le festival international City Sonic explore les arts sonores sous ses formes les plus variées. Pour son édition 2013, Transcultures lance l'appel à projet Park in progress. Les artistes sont invités à présenter des petites formes (performances, installations, installations, concerts…) inter ou multidisciplinaires intégrant une dimension so […]
  • [Appel à projets] Une bourse pour les créateurs numériques de moins de 30 ans
    La Fondation Lagardère attribue des bourses dans divers domaines de création, dont les arts numériques. La condition, avoir moins de 30 ans et une expérience réussie dans son domaine professionnel. Le dossier est à télécharger sur le site de la fondation et à renvoyer au plus tard le samedi 22 juin 2013. La bourse Créateur numérique s'élève à 25 000 €. […]

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  • ISEA

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    Ends: 10:00 am, November 22, 2014

  • ISEA deadline

    Starts: 9:00 am

    Ends: 10:00 am, December 19, 2014

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