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The Pixelache Software of the Year 2012 title is this time given to din – din is noise.

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din is a Free software musical instrument exclusively for the GNU/ Linux operating system made by the Indian programmer S. Jagannathan.
din – din is noise presents an innovative way of generating live music from a simple visual interface based on Bezier curves, and is a good example of how creative and DIY technologies can foster new approaches and solutions that escapes the leading rules of the software industry.

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It forgets history,
To not repeat it.
It doesnt hide analog music hardware,
In digital music software.

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You had pulse, sine, triangle and sawtooth,
And went forth and made electronic music.

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Now there is just the Bezier curve.

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Pixelache Software of the Year is an initiative by Pixelache Network, started in 2008. The chosen software for the first year was Animata, a live animation software by Kitchen Budapest. In 2010 it was divided between the live CD distributions pure:dyne by GOTO10 and APODIO by APO33.

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More information:
www.piksel.no
www.pixelache.ac
din – din is noise: http://dinisnoise.org

Here we go.
Beam festival was a great event, no doubts.
It’s a pity I couldn’t give you a glimpse of the festival sooner, I’ve been travelling all summer; today I woke up and thought “hey, I’ve got time now, I could finally publish a report of BEAM!”.

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BEAM was organized by Sarah Nicolls and her team at Brunel University. BEAM (consistently) stands for Brunel electronic and analog music, and the event was pretty much about it. Curiously enough the main venue was a building named after Antonin Artaud.
Whereas the hospitality of the organization was very good and informal (and I do appreciate that, specially for “academic” events), the strongest aspect though was an incredibly heterogeneous, yet top-notch line up.
BEAM managed to bring together some of the most advanced – both aesthetically and technically – live acts around Europe. Me and Christos Michalakos were awarded a bursary for “outstanding work”, respectively for the pieces Music for Flesh II and Frrriction, and got to perform in the main, awesome concert hall along with old and new friends. Among the others, the line up included Stelarc, Atau Tanaka and Adam Parkinson (CultureLab, Newcastle), Ryan Jordan (Noise=Noise, London), Dj Sniff and Alex Nowitz (STEIM, Amsterdam), Ben Knapp and his team (SARC, Ireland), Chikashi Miyama (ZKM, Germany), your writer and my colleague Christos (SLE, Edinburgh).

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The performances program was complemented by an equally interesting array of audio installations, workshops and hands-on DIY sessions. Some good and original ideas were materialized in the labyrinth-like corridors of the Artaud building – such as the Stroviols project – and I gladly realized that the workshop were actually a pretty important aspect of the event, offering several hours a day of open sessions hosted by the practitioners present at the event.

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I’m sorry the pictures are not the best, I struggled a bit with the lighting at the main venue, but I hope you can imagine the lovely mood.
I highly recommend to keep an eye on this event, Sarah seems to be already working on the next edition and also accepting proposals… I’m personally very much looking forward to it!

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This is absolutely brilliant, if you are a fan of noise synths you can’t miss this one.

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From the website (by Martin Howse and others the creators of Blackdeath):

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“Inspired in part by Leif Elggren’s Virulent Images/Virulent Sound (if images can be virulent, can sound be virulent too?), blackdeath is the first open hardware/free software noise synthesiser with the plague inside.
Embedding epidemic and plague simulations amongst other data generation algorithms for granular re-synthesis of incoming audio signals or self-generated feedback, blackdeath represents a virulent yet highly controllable noise/audio engine with built-in, switchable distortion.”

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Further info at http://1010.co.uk/org/blackdeath.html

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Make sure to check out the other works of the Berlin/London group, you will find some inspiring insights on software, metasoftware and data aesthetics.
http://www.1010.co.uk/org/

via microsound list announce

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_discos invisibles :: workshop march 2011 / taller marzo 2011
1 Nuevo taller de ‘sonido organizado’ en Lima / New workshop of ‘organized sound’ in Lima.
- – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - -
1 ruido = sonido = música [no tan] nuevas estratégias para el arte sonoro
1er taller intensivo de sonido organizado, arte sonoro, música electronica, y artes afines.

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_historia de la música electrónica,
_arte sonoro
_sonido académico y electrónica popular
_máquinas > software y hardware
_ruido y sonido
_composición musical

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cuándo >
22, 24, 26, 29, 31 de marzo
2 de abril
quién >
josé ignacio lópez ramírez gastón
discos invisibles ( d-i-net.org)
Center for Research in Computing and the Arts (CRCA)
Universidad de California, San Diego
donde >
la casa ida, nicolas de pierola 767, tercer piso

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INSCRIPCIONES
http://www.lacasaida.org/formacion

Via Pd-announce list.

Here you are the latest release by noise artist Noish~.

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Noish~ ::”AQHG”::…> UZUCDR-10

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Coded, edited and mixed at Txcucrut Studio Bcn.
Field recordings, synthesis, diy software pure data
Experimental generative techniques for de-composing.
Graphic ///lcpino///

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:::::::::::::::::::::::::::::::::::::———track_A
:::::::::::::::::::::::::::::::::::::———track_B

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Uzusounds >>>>>>>>>>>>>>>>>>http://www.uzusounds.com
Net//Cdr label managed by Aurel {zorei}, where you can find people like Kenji Siratori,
Phroq / Francisco Meirino,Manuel Knapp & Tim Blechmann, the tropicals fish(s) of the
bilbao’s RIA “”Mubles””,and more..

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full download here: http://www.archive.org/details/noish_aqhg

This is a free work, you can copy, distribute, and modify it
under the terms of Yves Degoyon's license

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the noise published here can be studied,
modified, used by anyone that
provides all the original credits
and sources in derivative projects.

there are restrictions on its use,
it cannot be used for :

* military amd/or repressive use
* commercial installations and products
* any project that promotes : racism, nationalism, xenophobia, sexism,
homophobia, religious hatred or missionarism .. ( expandable list)

this is not a standard license.

sevy.

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The Third Guthman Musical Instrument Competition – Call for Entrees – Deadline Extended to October 15th

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http://gtcmt.coa.gatech.edu/?p=2582

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Submit Entrees Online by October 15th 2010

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Inventors, composers, creators, and designers are encouraged to submit their musical instrument inventions to the 2011 Margaret Guthman Musical Instrument Competition. The event is hosted by the Georgia Tech Center for Music Technology and features a grand prize of $5,000. In total, $10,000 in cash prizes will be awarded to the best novel musical instruments. Entries will be accepted through October 15, 2010 via an Online Submission Form and notification of acceptance will be provided November 15, 2010.

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The competition, which will take place February 24-25 2011, will be judged by an expert panel including Tom Oberheim, inventor of the first polyphonic music synthesizer, Sergi Jorda, inventor of the Reactable tabletop musical instrument, Georgia Tech professor Jason Freeman, and Wired.com music journalist Eliot Van Buskirk. This annual competition is supported by the philanthropic gifts of Tech alum Richard Guthman in honor of his wife Margaret. It showcases new uses of technology to enhance participation in music performance and music creation.

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For more information about previous iterations of the competition, judging criteria, submission format etc. go to our website.

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We are looking forward to receiving your submissions, and please feel free to distribute this information to other interested parties.

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Please note that we have extended the submission deadline due to a technical glitch in our submission system that has now been resolved. If you previously had trouble submitting your work to the competition, we thank you for your patience and welcome your submissions.

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Sincerely,

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Jason Freeman
Assistant Professor, School of Music
College of Architecture
Georgia Institute of Technology
http://www.jasonfreeman.net

via Rhizome

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Deadline: August 20, 2010

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Download Pdf http://gli.tc/h/glitchcon_cfe_rough_7_10_10_em.pdf

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CALL FOR ENTRIES: GLI.TC/H

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**********http://gli.tc/h ***********
GLI.TC/H is an international gathering of noise & new media practitioners in Chicago from September 29 thru October 03, 2010!

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GLI.TC/H is a physical and virtual assembly of artists, hackers, moshers, dirty mediators, noise makers, circuit benders, p/h/i/l/o/s/o/p/h/e/r/s, and those who find wonder in that which others call broken.

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GLI.TC/H seeks: Realtime + time-based performances (audio/video), utilizing broken/bent technologies/strategies. Workshops, sharing knowledge of hardware/software hacking, cracking, breaking, kludging, piracy, & tool building. Artworks and Projects, artware, videos, games, films, tapes, code, interventions, screen-captures, systems, websites & installations. Texts, lectures, essays, code, articles, & hypermedia.

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: : : : : : : : : : : : : : : : : : : : : : : : : : : : :
DEADLINE: 2010.08.20
: : : : : : : : : : : : : : : : : : : : : : : : : : : : :

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send an email to glitch [at] gli [dot] tc
link to your work, abstract, or other documentation
please include a short explanation and your bio
let us know your geolocation and if you want to physically (or electronically) attend the conference. If applicable, send spatial, technical or temporal requirements for the project.
: : : : : : : : : : : : : : : : : : : : : : : : : : : : :

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NOTIFICATIONS WILL BE SENT BY 2010.09.10 : : : : : : : : : : : : : : : : : : : : : : : : : : : : :
GLI.TC/H
submissions: glitch [at] gli [dot] tc
queries: i [at] gli [dot] tc
home: http://gli.tc/h
: : : : : : : : : : : : : : : : : : : : : : : : : : : : :

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Ex Klangst Schwartz Swan is a brand-new polish/italian collaborative live audiovisual project, conceived and performed by multimedia artists Deftoo à La Yoa (digital piano, voice, trumpet, live electronics, live visuals) and The !S.A.D! (electric bass guitar, noises, live electronics, live visuals).

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The performance is conceived around the live action on musical instruments and multichannel body-gesture-responsive videos.

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The augmented sounds and the cinema format, multi-screen images – processed exclusively live, no playback – react in real-time to the gesture and the score artists play, creating synesthetic performative act where technology disappears to leave space for human emotions and body language, giving life to a new live-cinema experience.

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The live act is nervous, disrespectful, screaming for attention, melting down the different influences of the duo, inspired by the masterworks of Beethoven, the avant-garde studies of John Cage, Giacinto Scelsi and the DIY ethic of DNA and Sonic Youth, influenced by the visionary social esotherism of Jonathan Glazer and celebration of obsessive paranoias in masterwork such as ‘Elephant’ by Gus V. Sant and ‘Pi – Faith in Chaos’ by Darren Aronofsky.

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The performance is powered by C::NTR::L – free and open source Human Computer Interface developed by Marco Donnarumma – which exploits the physical computing technology transforming standard musical instruments into augmented audio-visual tools.

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http://www.thesaddj.com/cntrl

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Extracts from Ex Klangst Schwartz Manifesto

“It was the moment. A transitional period when suddenly there were no rules worth respecting.”
Mark Cunningham – Mars – about the No Wave scene
2004 April

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Living our lives as observers inside of the society, crashing and raising again, we feel the same conditions surrounding us – no rules worth respecting.
We cannot draw the line between normality and paranoia, we cannot define the border between rationality and absurdity anymore. Loosing  respect to the uniqueness and beauty of the human being, trying to save ourselves.

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Ex Klangst Schwartz Swan is not meant to be classified as any genre type, does not mind to analize any common content, does not create and compose inside of the written rules.

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Ex Klangst Schwartz Swan does not compromise its feelings with gifts of technology, but express them freely playing with its own instruments, voices and images.

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Ex Klangst Schwartz Swan play augmented musical instruments transforming its natural sound in unexpected realm of sounds, noises and voices.

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More infos, images and videos coming soon..

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Check the myspace profile for upcoming audiovisual concerts and music:

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http://www.myspace.com/xkss