Computer Music and Digital Arts Week
July 29-August 3, 2002
University of California, Santa Barbara
July 29-August 1 2002: SuperCollider and Macromedia Director
Workshops
August 1-3, 2002: Conference and Festival: Beyond Noise
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Detailed information:
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Monday, July 29 - Thursday, August 1: Four day workshops and
tutorials on SuperCollider and Macromedia Director
Instructors: Alberto de Campo, Stephen Pope, Andi Schlegel and Ioannis
Zannos.
SuperCollider and Macromedia Director belong to the most advanced
state-of-the art tools for computer music and media art. Four-day
intensive tutorials and workshops will offer a hands-on introduction
for beginners as well addressing specific topics for advanced users.
In addition to lectures by experienced practitioners there will be
laboratory sessions for developing your projects with expert
assistance. Students are encouraged to bring in project material or
ideas for realization within the workshop. Techniques for
audiovisual installations involving camera tracking and
communication between SuperCollider and Director will be introduced.
All three workshops will take place in parallel and last for the
entire four days. Participants are encouraged to bring their own
laptops for working independently on the course material.
Note: The course will be taught entirely on Apple Macintosh computers.
1. SuperCollider Basic Tutorial: Learn how to program music and audio
in SuperCollider
This course is geared towards beginners with very little or no
programming experience. It is a hands-on course with examples that
participants will be able to work on using either classroom
workstations or their own macintosh computers. It will first
introduce the basics of using the SuperCollider software and then
systematically cover the fundamental aspects of sound synthesis,
sound processing from disc and from live input, Graphical User
Interface construction, MIDI handling and interactive control
techniques, and programming event (note) structures with
quasi-musical parameters as coded in the "Pattern" class library of
SuperCollider. Finally, free creative exploration of the software
will be encouraged through mini-projects at the end of the tutorial.
2. SuperCollider Advanced Workshop: Advanced techniques in
interaction, GUI development, networking, algorithmic composition
and sound synthesis with Supercollider
Intermediate or experienced SuperCollider programmers as well as
those with a background in other sound programming software can
profit from this course. The course will explore advanced issues
such as patterns, programming gui for complex interaction, networked
live performance via OSC and MIDI. It will be based on a collection
of libraries from existing contributions to SuperCollider as well as
software developed by the instructors. We will cover several
libraries and explore a significant number of sound patches,
discussing their combination, tweaking and optimization.
3. Macromedia Director Tutorial and Workshop: Programing interactive
art, communicating between graphics (Director) and sound
(SuperCollider) via OSC and their applications in interactive
installations employing camera -tracking techniques.
Registration: Participation to any one workshop costs $200. Please pay
by check, cash or money order to: "UC Regents".
Location: Center for Research in Electronic Art Technology (CREATE),
University of California at Santa Barbara.
UCSB, Music Department,
Contact:
sc@create.ucsb.edu
Phone: (805) 893 8352 (Ioannis Zannos)
Fax: (805) 893 7194 (Music Dept. / attn. CREATE, Ioannis Zannos)
http://www.create.ucsb.edu
CREATE
Center For Research in Electronic Art Technology
Department of Music and Media Arts and Technology Program
University of California Santa Barbara, CA 93106, USA
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1-3 August, 2002:
Conference: "Beyond Noise - Acoustic, Technical and Metaphorical
Aspects of Noise in Music and Visual Arts"
Call for Works and Papers
The concept of noise has played an important role in the recent
decades both in the creation of and reflection on music. In the
mid-eighties it appeared as the name for a new genre of electronic
music, while at the same time it appeared on the title of an
influential book by Jacques Attali ("Bruits: essai sur l'economie
politique de la musique", 1977, English translation: "Noise: The
Political Economy of Music", 1985). As a result of these and other
discourses, noise became closely associated with radical aesthetics,
interaction (human-human, human-machine and machine-machine),
indeterminacy, and system dynamics. The conference and festival will
address the concept of noise in time-based media arts (music, media
art, film) jointly in its sociopolitical, aesthetic and technical
dimensions and will examine its role in the future of music-making
and in the emerging fusion of visual with auditory dimensions in
art.
Composers, ethnomusicologists, media and culture theorists and
psychoacoustics experts are invited to discuss ways of reaching
beyond noise conceptually technically, and stylistically. The word
"beyond" is understood in all its implications. That is:
transcending or leaving current notions or ways of dealing with
noise behind, building on or developing them further, but also
exploring the laws underlying the synthesis and perception of noise,
interaction and indeterminacy and finally the role of noise in both
electronic and acoustic musics from diverse cultures. Areas for
submission of abstracts and works are:
Noise in electronic and acoustic music
Noise in interactive digital arts, installations and human/machine
interaction
Visual noise, noise in cinema and video, noise and atmosphere, noise
and repression
Semiotic dimensions of noise
Noise and timbre: Synthesis techniques
Noise as timbre: Perceptual issues and principles
Noise and interfaces: Indeterminacy and control factors in
interfaces for computer music performance
Noise and Interaction: Indeterminacy and feedback in improvised
computer music
Noise as stylistic or compositional element
Noise and "anti-noise": "Signal to noise" ratio, noise (or chaos)
vs. order, low-frequency and low-amplitude noise, noise and silence.
Submissions: Papers: Abstracts of up to 400 words should be
submitted in plain text per email to beyondnoise@create.ucsb.edu by
July 1st. Works: Work submissions should include a brief description
(1 to 4 pages) and a recording of the work itself on CD, ADAT, DVD
or NTSC format Video.
Registration fees for the conference: $80 (non-student), $50 (student)
Please pay by check or money order to: UC Regents.
beyondnoise@create.ucsb.edu
iani@create.ucsb.edu (Ioannis Zannos)
Phone: (805) 893 8352
Fax: (805) 893 7194
CREATE Department of Music and Media Arts and Technology Program
University of California Santa Barbara, CA 93106, USA
Conference Organizers:
Nina Fales (Ethnomusicology Program, Music Department)
fales@music.ucsb.edu
Lisa Parks (Department of Film Studies) parks@filmstudies.ucsb.edu
Ioannis Zannos (CREATE) iani@create.ucsb.edu, telephone (805) 893-8352
http://www.create.ucsb.edu
___________________________________
George Legrady
Art Studio/ Media Arts & Technology
University of California Santa Barbara
Santa Barbara, CA 93105
http://www.georgelegrady.com
legrady@arts.ucsb.edu
tel. 805.886.6549
