Michael Arnold Mages
Since the beginning
Works in Erie, Colorado United States of America

PORTFOLIO (1)
BIO
Michael Arnold Mages is an artist, designer and composer. He received a degree in Music Composition from the University of Arizona, Masters in Digital Media Studies at the University of Denver and currently teaches in the Digital Media program at the University of Denver, and in Interactive Media program at the Rocky Mountain College of Art and Design.

His works deal primarily with sound, economies of power, and perceptions of space. He is currently working on several projects, among them a digital archive of the photos and writings detailing the experiences of his Grandfather during World War II.
Discussions (22) Opportunities (0) Events (2) Jobs (0)
EVENT

August on -empyre- .microsound with Trace Reddell, john hudak, Glenn Bach, John Kannenberg, and tobias c. van Veen


Dates:
Fri Aug 01, 2003 00:00 - Fri Aug 01, 2003

Please join us at -empyre- for a month's discussion of .microsound with five practitioners of the art form. Sound at the molecular level - slices of sound that are less than .1 second in length, made accessible by digital sound editing technologies - are the realm of .microsound. Microsound artists stretch and massage these tiny bits of sound into spatially intense, surprisingly expressive works that cover a wide range of styles.

---> Trace Reddell { http://www.du.edu/~treddell/ } has been exploring the intersections of audio and multimedia production, digital networks, media theory, literary criticism, and the history of drug culture for almost fifteen years. He resides in Lafayette, Colorado, where he spends much of his time in Pharmakopolis. Trace's literary sound and multimedia pieces include LITMIXER (2001) { http://www.altx.com/ebr/ebr12/litmix/index.htm }, featured in Electronic Book Review's music/sound/noise issue, and "Machinery for Dreaming" { http://llc.du.edu/faculty/treddell/palimpsest/reddell_machinery_for_dreaming.mp3 }, an exercise in .txt-to-.midi conversion exploring the work of Thomas De Quincey. Collaborative projects and affiliations include the pharmakon.t remix { http://www.djrabbi.com/ } work at djrabbi.com with Mark Amerika, Chad Mossholder of Twine, and Rick Silva; and Pharmakopolis Broadcasting Services, an upcoming series of live webcast animations created for Randall Packer's Tel-SPAN network. Publications on networked laptop performances are forthcoming from Leonardo Music Journal and Electronic Almanac and Contemporary Music Review.

---> john hudak { http://www.johnhudak.net/ } bio: I began piano lessons in first grade. I remember the teacher was Japanese, and her home had a feeling of preciseness. The piano I had my lessons on was immaculate... the keys were smooth, cool, ivory, with a definite weight under my little fingers.

---> Glenn Bach { http://www.csulb.edu/~gbach/sound.html } is a sound artist who maps the sonic terrain of the city through detailed sound walks, manipulated field recordings, blind sound drawings, and found poems. His audio works include a recently released four-track EP on the Stasisfield label { http://www.stasisfield.com/ }. With a recent appearance at Sound/Shift Oakland, Bach has upcoming performances at the Big Sur Experimental Music Festival and the CPEACH Summer Series in Eureka, California. He improvises with two other musicians as Luminous Flux, and directs a larger group, The Double Blind Ensemble, for his composed works. His poetry has been published in numerous small press literary journals, and he received three Pushcart Prize nominations for his poetry in print. He currently lives in Long Beach, California, with his future wife.

---> Sound and visual artist John Kannenberg { http://www.whistlingpariah.com } formed the experimental improvisational duo Wireshock with guitarist Scott Kane in 1997 and began exploring electronics and computer-aided composition. In 1999, John began work as a solo sound artist using manipulated field recordings as the foundation for loop-based generative electronic pieces. His major audio and visual works deal with a variety of themes, including atmospherics, transmissions and interference { http://www.stasisfield.com/releases/aero/ }, melancholy and nostalgia { http://www.stasisfield.com/releases_02/2002-miles/ }, and abstracted narrative tales. John has exhibited several sound art installations, alone and as part of a collective known as J3. In April 2002 John created Stasisfield.com { http://www.stasisfield.com/ }, an experimental mp3 record label and digital art gallery.

---> tobias c. van Veen { http://www.quadrantcrossing.org } is a sound & net.artist { http://www.thisistheonlyart.com }, curator, techno-turntablist, and writer. He has been enmeshed with musikal resistance culture since 1993 / working with -- tactical radio { http://www.citr.ca }, TAZ occupations { http://www.shrumtribe.com } / performance & tactical media { http://www.quadrantcrossing.org/blog }. || tobias is currently a researcher on the "Culture of Cities" Project { http://www.arts.mcgill.ca/programs/ahcs/cultureofcities/ } at McGill University in Montreal, Canada, where he is completing his MA in Communications on the politics of sonic microcultures { http://amsterdam.nettime.org/Lists-Archives/nettime-l-0307/msg00035.html } & remixing a book of collaborative sonic writings on electrofied sounds and events.


DISCUSSION

July on -empyre-: Net Blackness with Mendi + Keith Obadike and damali ayo


-empyre- takes great pleasure in welcoming three artists whose work explores the politics of race and identity.

The plasticity of identity over the internet is a well known phenomenon. Internet utopians exalt in a genderless, colorless society that is available only though a digital medium. However, race remains a inextricably formative part of identity, and plays a central, contextualizing role in the nature of communication and social discourse.

In the zealous search for terrorists, racial profiling has become a tool of US security agencies, and more palatable to that nation's population. Skin color has again become an acceptable way to identify those that may pose a threat to the hegemonic culture. Increasingly, the questions that surround stereotyped or commodified portrayals of race and ethnicity require satisfactory answers.

Please join us at -empyre- for the month of July, to participate in the discussion where artists Mendi and Keith Obadike, and damali ayo explore and debate these issues.

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Mendi and Keith Obadike are interdisciplinary artists working with music, live art, and conceptual internet artworks. Their works conduct inquiry into the implications of social and cultural networks as relates to blackness. Other areas of exploration include sex toys, current events, and commodification of race and identity. In August of 2002, they exhibited The Interaction of Coloreds, commissioned by the Whitney Museum of American Art. At Yale University Mendi and Keith premiered their Internet opera The Sour Thunder, which was commissioned by the Yale Cabaret and will be released on CD by the classical music label Bridge Records.

The Interaction of Coloreds
http://www.whitney.org/artport/gatepages/august02.shtml

Blackness for Sale
http://Obadike.tripod.com/ebay.html

The Sour Thunder
http://blacknetart.com/sour

damali ayo is a self-described junk artist--defining junk as "things
we once bought (or bought into) and keep around because we are accustomed to their presence." Working from her studio in Portland, Oregon, ayo uses installation, assemblage, sound, paint, fabric--whatever it takes--to investigate concepts that engage her curiosity as well as social and community issues in the US. Her most recent online work,
http://www.rent-a-negro.com/
is a performance work enabled by the internet.

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DISCUSSION

May on -empyre-: Electronic Poetry with Jim Andrews and HazelSmith


May 2003 on -empyre- soft skinned space:

-empyre- is pleased to welcome two new guests...

Jim Andrews (CA) and Hazel Smith (AU) : Electronic Poetry

Jim Andrews (May 1-15)

has published http://vispo.com since 1995. It's the centre of his work as a writer, programmer, critic, visual and audio guy. His work typically focuses on language, drawing it into relation with other media, other arts, and programming. He conceives reading and writing as activities synthetic through media, arts, and programming. His interactive audio work NIO opened on turbulence in 2001

http://turbulence.org/Works/Nio

Hazel Smith (May 16-31)

works in the areas of poetry, experimental writing, performance, multi-media work and hypertext, online at http://www.australysis.com
She has published two poetry volumes, the most recent of which is "Keys Round Her Tongue: short prose, poems and performance texts", Soma Publications, 2000. A theorist in literature, performance and hypermedia, she edits InfLect, a multimedia journal that launches this month at

http://www.ce.canberra.edu.au/inflect

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EVENT

-empyre- +open source to open art +


Dates:
Sat Feb 01, 2003 00:00 - Thu Jan 30, 2003

-empyre- takes pleasure in introducing +open source to open art+ : Felix Sattler and the artists of backup.lounge]lab - http://www.backup-festival.com.

How is open source theory possible in collaborative artistic practice? What are the implications, limitations and choices in an open source approach?

These questions are explored in February on -empyre- by the artists and curators of backup.lounge]lab which served as the experimental playground for the backup_festival/new media in film Nov 7-11th, 2002 in Weimar, Germany.

19 artists including 'Artificial paradises' 'Luna Nera' and 'D-Fuse' (London); 'Dijital Riot' (Weimar); Laura Kavanaugh & Ian Birse, (Montreal), Sebastian Hundertmark, Stephan Jacobs, Tobias Finauer (Weimar), Catherine Moriwaki, and Pearl Gluck (USA); Helena Jonsdottir (IS, Reykjavik), Jon Fawcett (GB, Cardiff), and Micz Flor (CZ, Praha), created a network of open accessible ideas, tools, media, molecules and pieces that would eventually melange in the display at the festival.

The artists of backup along with curators Carine Linge, Alexander Klosch and Felix Sattler will have a look at the process and results of backup's theory that "open source" might be translated into a working model for a conception of "open art".

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