1. LABS:

MEDIALAB Prado http://medialab-prado.es/article/14_encuentro_avlab_sao_paulo

MEDIALAB Yakarta https://www.facebook.com/pages/Medialab/174786226017234?id=174786226017234&sk=info

NAISA http://www.naisa.ca/

HANGAR medialab http://hangar.org/en/news/playing-the-stage-2-tallers-descenografia-multimedia-a-carrec-de-jan-mech/

CEC Canadian Electroacoustic Community http://cec.sonus.ca/econtact/14_2/

LEAP Lab for Electronic Arts and Performance  http://www.leapknecht.de/

LJUDMILA http://wiki.ljudmila.org/Posebno:Prijava

HACKSPACE http://musichackspace.org/

HACKSPACE http://caveofsounds.com/    The Cave of Sounds is an interactive sound installation exploring the prehistoric origins of collective music making through the contemporary music hacker scene. The work has been created by Tim Murray-Browne in collaboration with members of the Music Hackspace during a ten month residency and debuts in London in August 2013.The Music Hackspace’s composer in residency programme with Tim Murray-Browne has come to its ending and with better results than anyone could have anticipated. The past three months has seen the Cave of Sounds at the Barbican Centre with Hack the Barbican, at the V&A with their Digital Design Weekend as part of the London Design Festival and at Watermans Arts Centre at the Digital Art and Performance Weekender. The exhibitions were hugely enjoyable with great feedback from visitors. Tim hired our friends from Mind the Film to document some of the shows and they have produced this fantasticvideo. Tim and the rest of the Cave of Sounds group -formed by Music Hackspace members Dom Aversano, Sus Garcia, Wallace Hobbes, Daniel Lopez, Tadeo Sendon, Alex Sonom, Panagiotis Tigas and Kacper Ziemianin- are currently deciding about the future of the installation. Sure will be a good one! You can also find in this link an awesome review by John Dugan for the Creators Project (Intel and VICE).

LEAP Lab for Electronic Arts and Performance (LEAP) is a non-profit interdisciplinary project for electronic, digital media arts and performance that aims to initiate the dialogue between art, science and technology. LEAP’s central concept is based on experimental research in digital technologies and media, which shape and change our present and future society and stimulate new discourses, discussions and questions. The human being (or body) is thus in performative interaction with these technologies and their impact on society and culture. It stands in a transformative process with its environment and thus is prompted to challenge the limits of its exterior and interior. The conceptual and substantive program of LEAP deals with the discussion of new discourses, critical issues and provides a bridge between theory and practice. With its exhibitions and projects, LEAP is interested in this direct involvement of the urban environment outside the gallery, incorporating this relationship into its experimental context and in exploring the progressive fusion of real and virtual space. http://www.leapknecht.de/



G.HACK http://ghack.eecs.qmul.ac.uk/



SOPI http://sopi.media.taik.fi/news-events/

Goldsmith http://www.gold.ac.uk/interaction/

Goldsmith EAVI http://eavi.goldsmithsdigital.com/

TEI http://www.tei-conf.org/13/program   http://www.tei-conf.org/13/program#panel

MIT Massachussets Institute of Technology http://web.mit.edu/ http://media.mit.edu/research/groups/responsive-environments    MIT http://web.mit.edu/aeroastro/labs/halab/index.shtml

ETPI LAB http://regen.eyetap.org/ eye tap personal imaging lab university of toronto

Real Time Visuals http://www.realtimevisuals.org/

IRZU Institute for Sonic Arts Research http://www.irzu.org/index.html

LCC Sound  Art&Design http://www.soundarts.co.uk/

CNAMT Center for New Music & Audio Technologies http://cnmat.berkeley.edu/

EMMA Lab  http://accad.osu.edu/Projects/emma/courses/courses.php

– MIT Massachussets Institute of Technology  http://web.mit.edu/ http://media.mit.edu/research/groups/responsive-environments Responsive Environments  How sensor networks augment and mediate human experience, interaction, and perception. We explore how sensor networks augment and mediate human experience, interaction and perception, while developing new sensing modalities and enabling technologies that create new forms of interactive experience and expression. Our current research encompasses the development and application of various types of sensor networks, energy harvesting and power management, and the technical foundation of ubiquitous computing. Our work is highlighted in diverse application areas, which have included automotive systems, smart highways, medical instrumentation, RFID, wearable computing, and interactive media. http://resenv.media.mit.edu/lighting/

– Goldsmith EAVI http://eavi.goldsmithsdigital.com/ image Synaesthesiatron by Scott Amos, developed with Justin Love/Limbic Media Schneiderbanger, Matthias.   visiting fellow at the Embodied AudioVisual Interaction Research Group (EAVI), will present his ongoing research project here at Goldsmiths. He is member of the well known live-coding band, Benoit & the Mandelbrots. His research is based on the approach that staging of electronic music is part and parcel of every audiovisual or interactive music performance. As a first starting-point to determine this discipline he is working with Michel Chion’s terminology of audio-visual phenomena, described in his book Audio-Vision. He will present first results of how Chion’s terminology is adaptive to interactive music performances.


– CNAMT Center for New Music & Audio Technologies http://cnmat.berkeley.edu/ University of California. Department of Music. CNMAT houses a dynamic group of educational, performance and research programs focused on the creative interaction between music and technology. CNMAT’s research program is highly interdisciplinary, music, architecture, mathematics, statistics, mechanical engineering, computer science, electrical engineering, psychology, physics, space sciences, the Center for New Media, and the Department of Theater, Dance, and Performance Studies. Sound Spatialization Theater. CNMAT facility includes research labs, seminar rooms, performance spaces, offices, and digital audio recording, analysis and synthesis facilities. The building itself was renovated in 1992. Studios and laboratories are constantly being refined to maintain professional standards and provide unique resources essential to our mission. CNMAT’s main room has been equipped as a high-quality multichannel Sound Spatialization Theater with Meyer speakers. software synthesis programs (such as cmusic, csound, and cmix), sound analysis software, DSP software (filter design programs, signal analysis, and real-time instrumentation and control), various programming environments (C, C++, Java, Scheme, Common Lisp, Processing Smalltalk, Max/MSP, SuperCollider, FTS, Matlab, Mathematica, OSW etc.). Real-time control of music synthesis, both at the gestural (OSC, MIDI) and at the audio (DSP) level, is possible through the use of the Max/MSP programming environment. research areas: – Protocol and encoding development including Open Sound Control (OSC) and the Sound Description Interchange Format (SDIF). – New sensor technologies and interface modalities: sensor fusion, integration. New sense-enabled media: conductive/resistive fibre, malleable media. – eTextile and other materials for the New Lutherie – Many-channel digital audio interfaces; hundreds of channels over common ethernet. FPGA-based audio systems development. – Parallel computing theory in music/audio computing; algorithms, requirements. – Musical interactivity tools including Digitizing tablets, multitouch and manytouch surfaces. – New user-interfaces for interaction with expressive musical/auditory environments, e.g. spatial mapping with dimensionality reduction. – Theoretical and applied spatial acoustics of loudspeaker and microphone arrays, especially in spherical configurations – Musical quality; metrics, augmentation, compression, hearing loss. – Signal-theory for musical gestures; requirements on jitter and latency, expressive bandwidth estimation – Semantics, requirements and cognitive models of music performance and their implications for software design patterns, – Sound analysis for event detection, pitch and noise estimation and auditory perceptual models. – Machine learning applications in audio synthesis and musical control – Auditory psychophysics and music cognition – Curation and Development of real-time music and audio software tools. – http://www.chischedule.org/2013/playlist.html?videos=AZX



EMS Stockholm http://www.elektronmusikstudion.se/

Ars Electronica Linz http://www.aec.at/news/

New Media Caucus http://www.newmediacaucus.org/

ISEA http://www.isea-web.org/2012/05/isea2014/

ZERO 01 http://zero1.org/ 

Transmediale http://www.transmediale.de/

WRO Media Art Biennale http://www.wrocenter.pl/

Sonic Circuits http://dc-soniccircuits.org/

Mutek http://www.mutek.org/

Spill Festival http://www.spillfestival.com/welcome/

Kernel Festival www.kernelfestival.net

PIKSEL http://piksel.no/

Ars Electronica Linz http://www.aec.at/news/ . Klaus Obermaier . For two decades, media artist, director and composer Klaus Obermaier has created innovative works in the area of dance, music, theatre and new media. His performances have been presented at major festivals and theatres in Europe, Asia, North & South America and Australia. His large oeuvre includes interactive installations, video art, web projects, computer music, radio plays as well as large intermedial outdoor events for tens of thousands of people.  Apparition Wins Angel Award at the Brighton Festival . (Linz, May 25, 2012) “Apparition,“ a dance performance developed collaboratively by composer/media artist Klaus Obermaier and the Ars Electronica Futurelab, has been honored at the Brighton Festival, England’s largest art festival, with an Argus Angel Award for outstanding artistic achievement.  Apparition . “Apparition” is an extraordinary dance & media performance. It innovatively integrates sensor & tracking technology that enables the dancers to interact with their graphical and musical environments and to influence them. “Apparition” was produced by composer/media artist . Klaus Obermaier and the Ars Electronica Futurelab, and co-produced by the Brucknerhaus, Southbank Centre London and the Shanghai Arts Festival.  The Futurelab is a model of a new type of media art laboratory in which artistic and technological innovation engender reciprocal inspiration. The members of the lab’s staff bring a wide range of knowledge and skills to their assignments; their approach is characterized by interdisciplinarity and international networking. The Futurelab’s broad spectrum of activities includes the conception and realization of exhibition projects and artistic installations, collaborative R&D work with academic associates, as well as joint ventures with partners in the private sector.


ISEA http://www.isea-web.org/2012/05/isea2014/  artists working atisea usethe festival as a platoform to launch their own decives, mostly d.i.y. produces in collaboration universities, research, granted or own fundedn. a part, they support independetn economic structures as self-funded project, bitcoins, goteo, etc… normally the festival is a platform to present deveices, artworks or installations. opensource and other devices are used. here is an example working with sensors, or movement deteectors, developed by artist who funded itself in an opensource creativity tools. http://www.xspasm.com/x/sfu/vmi/ISEA95.html

Mutek http://www.mutek.org/ http://show.zonefestival.com/spectacle.asp?f=mutek&form=6&p=100&l=LS&key=&utm_source=MUTEK_NEWS+-+September+2013&utm_campaign=Newsletter_April_2012_EN&utm_medium=email

SPILL Festival is produced by Pacitti Company – a UK based arts organisation that creates and presents experimental performance work internationally. Convened in 1990 by artist Robert Pacitti, the Company has spent the past two decades making and touring an award winning body of radical live performance around the world, including On Landguard Point, a multi-platform mass engagement project and feature film. SPILL Festival has taken place in London in 2007, 2009 and 2011. In 2012, the Company produced its first ever bi-regional SPILL Festival in Ipswich Suffolk. Ipswich also became the permanent home for the Company’s Think Tank, providing an open resource for on-going public exploration into experimental arts practice. Pacitti Company approaches performance making as investigation through research. The Company blends formal disciplines and techniques with social sciences and personal politic. This bespoke process enables Pacitti Company to serve diverse audiences with works of vital artistic and cultural value, whilst always remaining accessible. Pacitti Company is a National Portfolio Organisation of Arts Council England .    Ex. EMPRESS STAH. Empress Stah in Space is part of an ongoing project with a long-term ambition; to create a performance in outer space. As part of this, Empress Stah has floated in ‘Zero Gravity’ and made a film as ‘The Stah Ship Trooper’ in the red light district of Amsterdam. Set on the plane of immanence, the show’s concepts have been transcribed through trance and writing sessions between Empress Stah and seminal artist Ron Athey, which took place at Bentwaters in Suffolk, the site of the biggest purported UFO/Military incident in Europe. Eleven interconnected actions are bought to life using 3D animation and video mapping technologies, and include original tracks by electro clash super star, Peaches, and spoken word by legendary punk poet, Lydia Lunch. Hailing from the underground cabaret circuit, Empress Stah delivers genre-defying performances that fuse sublime aerial artistry and thought provoking acts. Ron Athey is an internationally renowned performance and body artist from Los Angeles.  Performed by Empress Stah. Directed by Ron Athey. Original Track by Peaches. Spoken Word by Lydia Lunch. Performance Development with Marisa Carnesky. Face Corset Designer Patrick Ian Hartley. Sound Track by Jose Macabre. Video and Animations by VJ Nemo. Video by Shaun Prick Image. Costume by Claire Ashley   Production Management by Al Orange. Stage Management by Tsubi Du. 16+.   Supported by: Arts Council England, Queen Mary University, The Circus Space, Carnesky Productions, TG Productions, Supper Club London   Other ex. Ron Athey. Julia Bardsley http://www.spillfestival.com/performance/medea-darkroom/   http://www.spillfestival.com/performance/the-woman-who-walks-on-knives-2013/



Live Art Development Agency  http://www.thisisliveart.co.uk/

Opera digital http://opera-digital.com/



Southbank http://southbanklondon.com/

National Theatre http://southbanklondon.com/2/National-Theatre/216

ZKM http://on1.zkm.de/zkm/e/

Whitney Museum  Biennial  http://whitney.org/Exhibitions/2014Biennial

EAI Electronic Arts Intermix http://www.eai.org/index.htm

NTT Inter Communication Center ICC http://www.ntticc.or.jp/index_e.html

The White Building http://thewhitebuilding.org.uk/  

National Theatre http://southbanklondon.com/2/National-Theatre/216 Audio Visual
The National Theatre’s Audio and Visual department has installed high specification equipment to enhance or support any event whether you just want background music playing through the PA system or if you require a more complex AV set-up for presentations and speeches.
Equipment supplied
1 YAMAHA LS9-16 digital mixer (16in/8out)
1 SONY CDP-D12 CD player c/w mains cable
1 SENNHEISER SK50 Ch69 lavaliere radio microphone
1 SENNHEISER 3072 Ch69 handheld radio microphone
6 d&b E3 loudspeaker c/w rigging
2 d&b E0 loudspeaker c/w rigging
2 d&b D12 (NL4) amplifier c/w mains cable
1 BEYER microphone stand boom arm
1 BEYER tall microphone stand
10 JBL Control 25 loudspeakers (outside)
1 LABGRUPPEN lP1150 Q 4ch amplifier
1 pair of Audio Technica ES935ML lectern mics connected via
their AT8681 and AT8684 modules (lectern)
1 balanced laptop audio output connection (lectern)
1 lightwand (lectern illumination)
Visual Equipment
1 PANASONIC TH-65PF9EK 65in 16:9 plasma Full HD 1080p
1 KRAMER VP3 3-way VGA distribution amplifier
If you require specific AV equipment for your event in addition to what The Deck provides, our AV Technicians will be happy to advise and to hire in additional equipment from our recommended supplier. A National Theatre AV Technician must be booked for all events which require use of the AV equipment beyond playing background music or a simple welcome speech. This will attract an additional charge.
Lighting. The National Theatre’s lighting department has installed a sophisticated lighting system in The Deck which can be used to achieve a variety of visual effects at night. By day the semi-translucent walls allow maximum natural light in. Please note that daytime presentations are best viewed on high-definition plasma screens and projection is not advised.
Equipment supplied
LED wall, roof and floor lighting
4 x ETC Source 4 Junior zoom profiles
8 x ETC Source 4 Par lanterns fitted with 70W Mastercolour CDMT lamps.
If you require specific lighting for your event in addition to what is already provided our Lighting Technicians can hire in extra lighting and provide technical support and advice. This will attract an additional charge.




Sonic Process  MACBA

Telematic Embrace http://telematic.walkerart.org/timeline/index.html

Digital Shoredicht http://digitalshoreditch.com/the-great-digital-exhibition/

Decode V&A http://www.vam.ac.uk/microsites/decode/

Visual music museum of  contmp.art los angeles, hirschorn museum, Washington, 2005

Soundings  SUNYpurchase 1981

Rodney Graham, Central Saint Martins http://afterall.org/events/afterall-exhibition-rodney-graham-phonokinetoscope?utm_campaign=September+2013&utm_medium=email&utm_source=item

Thinking with the body: Mind and movement in the work of Wayne McGregor | Random Dance, Welcome collection   http://www.wellcomecollection.org/whats-on/exhibitions/thinking-with-the-body.aspx

Audio 79, Modern Art Galerie, Vienna  http://kunstradio.at/HISTORY/AUDIOSCENE/

– Audio 79, Modern Art Galerie, Vienna. http://kunstradio.at/HISTORY/AUDIOSCENE/  Audio Scene ’79 was held from 17 May until 5 September 1979 at the Modern Art Galerie,Vienna. The program included an exhibition of phonograms, sound installations, a series of performances and a symposium dealing with the history and conceptual background of the border crossings between visual arts and sound as well as experimental music. With works by Laurie Anderson, Aperque, Pinuccia Bernardoni, Michael Brewster, Hank Bull, Norbert Brunner, Georg De Cristel, Peter Downsborough, Terry Fox, Bob George, Peter Grass, Jana Haimsohn, Julia Heyward, Joe Jones, Christina Kubisch, Joan La Barbara, Tom Marioni, Ian Murrey, Maurizio Nannucci, Bruce McLean, Fabrizio Plessi, Fritz Ruprechter, Arleen Schloss, Michael Schuster, Peter Weibel. Boy Can See With His Ears. This was front page news recently in the popular tabloid, “National Enquirer”. The Russians are apparently developing an audio aid for blind people that will allow them to literally see with their ears! The Romantic concept of “synesthesia” developed in Vienna by E.T.A. Hoffmann and others, is now, after a hundred and sixty years, becoming a physical reality. 




MIT Press Journals http://www.mitpressjournals.org/

Open Air Library http://www.openairlib.net/

Sound Art Archive http://soundartarchive.net/

A History of Sound Art http://suborg.net/a-history-of-sound-art/

The Wire Weekly http://www.thewire.co.uk/audio/on-air/

NTS Radio http://ntslive.co.uk/


Archive.org http://archive.org/


Resonance F.M.

San Francisco Sounds http://sfsound.org/

The Creators Project   http://thecreatorsproject.vice.com/en_us

Microsounds http://microsound.org/

Designing Sound http://designingsound.org/resources/sfx-independence/#JFFX

OHM The early guru’s of electronic music

Creative Digital Motion http://createdigitalmotion.com/

Digicult – Occupied-Sound http://www.digicult.it/news/occupied-sound/

The Creators Project .  project in collaboration beetwen vice and intel. developing cutting edge devices and spectacles for music , design   http://thecreatorsproject.vice.com/blog/exclusive-video-from-sketchboard-to-crystal-palace-the-making-of 


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