electro class: a crunk genealogy


cross posted to the riddim method | giffordization by 893

next tuesday is the first meeting of my electronic music class at the harvard extension school. this will be the second year i've taught the course, and i'm excited that this year the class can be taken from a distance as well as here in cambridge. i look forward to having some non-local perspectives added to the already rather diverse set the extension school attracts.

we'll be starting off with a bang--or at least an eerie sort of hum: the renowned--and awesome--theraminist, pamelia kurstin, (who's playing at beat research the night before) will be the first of many talented guests to share perspectives on techniques and technologies with us (and usually, hopefully, a wicked demo). over the course of the semester we'll also be joined by paul dailey, DJ C, DJ axel foley, david day, DJ BC, keith fullerton whitman, and DJ flack.

i've been making gradual changes to the syllabus, and i still view it as a work in progress and as a growing resource for various people hoping to learn more about some of these musics, these artists, and their socio-cultural and historical contexts. [Much more, including a nice track list....]


This looks like a great class! ~marisa

Originally posted on wayne&wax by Rhizome



CALL FOR WORK AND PARTICIPATION ++Art Work and Creative Practices

++Papers Presentations, Panels, Workshops, Intellectual Environments and Practices

Perform.Media ��'�" A Transdisciplinary Festival of Creativity, Research, Theory and Technoculture
September 29th-October 14th, 2006, Indiana University, Bloomington, Indiana

Website: http://performthemedia.net

Deadline for Abstracts: April 30th, 2006

Deadline for Proposals: April 30th, 2006

Deadline: May 15th, 2006

Perform.Media is an international media arts festival and symposium creating an innovative venue for creative and intellectual work around the momentary process and performance in new media art and culture. We begin with the premise that newer media, along with modes of representation and narrative, embody momentary processes from roots in cybernetics and the biological, to the embodied performance of interface, improvised network exchanges and spontaneous social acts in multi-user synthetic worlds. Such mediated experiences and actions form meaning in sense experience and performance along with interpretive processes like depiction and reception. The dynamic, reciprocal process of the user(s) generating, configuring, interacting, choosing and authoring is an important component of new media and technologies, expressed in both the design of the media and in the momentary, improvised performance of the participant.
The festival and symposium seeks the accordance and collision of ideas through the lens of interdisciplinarity, exploring the performance of new media and the performative qualities of human-computer and technologically mediated social interaction. Perform.Media will examine sense experience and meaning at the threshold and in the performing action, along with the reflexive construction of narrative, where creative play, social practices, augmented embodiment and exploratory methods establish processes that spin out, overlapping locales of influence, in networked, ��'��"glocal��'�, mobile, participatory, socially interactive, live processed, locative, responsive and multi-user realms.
Perform.Media ...


Originally posted on Rhizome.org Raw by andrew bucksbarg

Helen Evans and Heiko Hansen


HeHe (Helen Evans and Heiko Hansen) reverse cultural engineers the technological systems that surround us: From transport design to pollution monitoring, from public advertisement to meteorology, from architecture to public lightning. Their work seeks to go back in time, re-work past and as a result, re-phrase the existing into a new critical usage, a social function, with the spectator in its epicentre. Here's a quick synopsis of their projects over the past couple of years that I found most relevant to interactive architecture

Interactive Architecture related Projects
'~Atteindre le Silence'

'~Atteindre le Silence' is a site-specific work that amplifies the vibrations of a space. The installation rendered the listed parquet floor into a sensitive surface, so that as people walked, they caused fluctuations in light and triggered sounds in the space. The idea corresponds to the past and present usage of the space; which was built as a grand ballroom and now serves as a space for theatre, dance and exhibitions. Following the symmetry and pattern of the rococo architecture, an interactive electronic system was integrated with the interior so that it is hardly noticeable to the visitor. It operated as an oversized electronic circuit, designed to metamorphose any micro vibrations within the space. The salon of the château became a reactive space that was stirred by those who moved within it. '~Atteindre le silence' is a work that asks people to be still. As people moved, any vibrations on the floor manifestly shifted electrical voltages around the space. The force, duration and location of vibrations coming from the ballroom floor determined the sound oscillations in space and altered the intensity of the light pulses coming from the chandeliers.

Bruit rose

Bruit rose (Pink noise in English) is a musical term that describes a random electronic noise across all ...


Originally posted on Interactive Architecture dot Org by Ruairi

Control Freaks


Control (or the illusion thereof) defines the relationship between the gamer and the game. This power dynamic is key in 'Controller: Artists Crack the Game Code,' an art arcade that opens at Toronto's InterAccess Electronic Media Arts Centre on February 24. By manipulating code and elements in video games, five artists--Myfanwy Ashmore, Tasman Richardson, Anita Fontaine + Yumi-co, Prize Budget for Boys, and RSG--subvert game designers' god-like status in the virtual worlds they create. Myfanway Ashmore's 'Mario Trilogy' offers three versions of the original Super Mario Brothers game, all designed around the inevitability of Mario's death. Anita Fontaine + Yumi-co's 'CuteXdoom' implicates coders and gamers alike as slaves to the consumerism underlying our cultural 'addiction to cuteness.' And Tasman Richardson's 'Apollo Shrapnel: Part 01' video (abstract canvases created from captures of Atari game manipulations) signals complete appropriation of media control by the artist. - Peggy MacKinnon



Originally posted on Rhizome News by Rhizome

Pneumatic Parliament



Instant Democracy

The icon that combines the western democracies and that self-legitimizes them in a millennial historical tradition is the parliament, the physical place where the people's designated representatives rule. This icon has also become the holy symbol of the western crusades against the so-called 'regimes'. These are forms of government, just located in economically strategic areas not by accident, that employ less linear elective systems. The Pneumatic Parliament project by Peter Sloterdijk and Gesa Mueller van der Haegen brings a sarcastic thrust to the pretended western democracies' supremacy, and to their claim of exporting their own model to other states. The work has been developed in the context of the 'instant democracy' project and it consists of a structure for parliamentary assemblies that can be air-dropped and that self-opens into almost the final form. After minimal corrections of positions it automatically becomes self-sufficient also for its own energy supplying. Perfectly placing itself in the psychological territory of the so much pushed 'fight the international terrorism' propaganda, the project narrates of fictional (but sadly plausible) institutions, that commissions to a single entity the building of the supporting infrastructure of their invasive politics. [via neural]


Originally posted on networked_performance by jo

Copyright Criminals Remix Contest extended; New Chuck D and George Clinton samples added


Great news for all you producers, DJs, and remixers: the Copyright Criminals Remix Contest over at ccMixter has been extended by two weeks, ending on March 14. Additionally, new vocal samples from influential rapper Chuck D (of Public Enemy) and pioneering funk musician George Clinton (of Parliament-Funkadelic) have been made available for use in the competition. Check out our latest press release for more info.


Originally posted on Creative Commons Blog by Eric Steuer




Multimedia Performances

This month in LEA, guest editors Annette Barbier and Marla Schweppe look at multimedia performances through four refreshing and different essays that explore different aspects of the topic.

We begin with Joe Geigel's Virtual Theatre - One Step Beyond Machinima, which introduces a technical framework for defining and performing a theatrical work in a virtual space. As proof of concept for this framework, a real time, distributed improvisation is showcased.

In Cybernetic Performance Art; The Trouble with Blurring the Distinction Between Art and Life, Jason Van Anden and Lauri Goldkind look at developing technology to make artworks improvisationally simulate emotional behavior in real time and space, and discover how a boundary was crossed between the disciplines of static sculpture and live performance.

Following that, we embark on a Patchwork in motion: A practice-led project investigating the shifting relationships and processes associated with the performing body in interactive and non-interactive visual environments with Maria Adriana L. Verdaasdonk.

Finally, Paul Hertz deals with VR as a Performance for an Audience, which contemplates the possibility of creating VR performances in a traditional musical performance or theatrical situation, with an audience, as a hybrid or intermedia art form.

Amnon Wolman's desktop performance unfolds differently, in real time, each time it is played. It addresses not only our ever-varying sense of time, but also the intimate space of the desktop in creating a unique, individualized performance for every listener.

Accompanying the issue is a specially curated gallery. Jack Ox's networked performance proposes multiple points of entry as well as of reception. While creating a live, real-time event, she also incorporates static images, visualizations of musical sequences.

Benoit Maubrey incorporates sound and video "accompaniment" into the body of the moving performer. Christina Ray and Glowlab challenge our notion of performance by using ...


Originally posted on networked_performance by jo

The Lure of Internet2


this is post2.0. The comments below were made in response to the previous version. 

Internet2-- if that does not sound like the future!! Next week on a panel at The conference of the College Art Association in Boston we will discuss Internet2 as vehicle for global artistic practice. What is Internet2? If you speak acronym-- just call it "I2." Slate.com writer Alexander Russo introduces the issues surrounding I2 in his article "Internet 2. It's better, it's faster. You can't use it." He describes I2 as the academic answer to what he calls the commercial Internet1. He envies students at Columbia University who can download the film The Matrix in 30 seconds.


Originally posted on 'journalisms' by Rhizome