STEIM http://steim.org Studio for Electro-Instrumental Music Thu, 28 Aug 2014 17:21:05 +0000 en-US hourly 1 http://wordpress.org/?v=3.9.2 Fascinate Conference http://steim.org/2014/08/fascinate-conference/?utm_source=rss&utm_medium=rss&utm_campaign=fascinate-conference http://steim.org/2014/08/fascinate-conference/#comments Thu, 28 Aug 2014 14:09:17 +0000 http://steim.org/?p=8069 Read more

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STEIM master students Peter Edwards and Dan Gibson will perform at this years Fascinate Conference in Falmouth, UK. Kristina Anderson is also going to present a keynote talk entitled ‘GENERATIVE, LIVE & DANGEROUS’

 
fascinate
 
The themes of the conference include:
 
- The use of digital technologies in location based cultural practices and socio-environmental issues
- Digital technologies in music, theatre, choreography and dance performance
- The application of contemporary arts and crafts practices in digital games worlds
- Current developments in networked and immersive telepresence performances
- Generative music, digital composition and digitally augmented musicians
 
for more information check the website at:
http://www.fascinateconference.com/

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Modern Body Festival http://steim.org/2014/08/modern-body-festival/?utm_source=rss&utm_medium=rss&utm_campaign=modern-body-festival http://steim.org/2014/08/modern-body-festival/#comments Thu, 28 Aug 2014 12:41:20 +0000 http://steim.org/?p=8064 Read more

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A Modern Body Festival is a new initiative by artists/makers Stelios Manousakis and Stephanie Pan. The festival will explore what the notion of ‘body’ means in today’s culture, through an intimate, one-day, full day event featuring installations, performances and a lecture.

 
modern body festival
 
DETAILS:
DATE: October 18th, 2014
COST: €19 (via the kickstarter, see link below)
ADRESS: Raamweg 47, 2596 HN, Den Haag

 
What is the ‘modern’ body?
 
Philosophy, religion, sprituality, science and technology all challenge the idea of limiting the body to what is contained within the skin. The purpose of the festival is to investigate this extension of how we define our bodies, and how we experience them, through art.
 
The first edition will take place on October 18, 2014, at the former Europol building in The Hague, a beautiful turn-of-the-century building now re-purposed as a location for artists, musicians, a dance company and other cultural organisations based in The Hague.
 
Check out the website at:
http://modernbodyfestival.org/
 
Also… tickets can be purchased via their Kickstarter:
https://www.kickstarter.com/projects/1554310220/modern-body-festival

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Evan Parker: Might I Suggest #2 featuring Joel Ryan http://steim.org/2014/08/evan-parker-might-i-suggest-2-featuring-joel-ryan/?utm_source=rss&utm_medium=rss&utm_campaign=evan-parker-might-i-suggest-2-featuring-joel-ryan http://steim.org/2014/08/evan-parker-might-i-suggest-2-featuring-joel-ryan/#comments Wed, 13 Aug 2014 08:57:13 +0000 http://staging.steim.org/?p=7692 Read more

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BIMHUIS CITY LINKS is a new concert series created especially for the 40th anniversary of the Bimhuis in 2014. Since its foundation the Bimhuis has supported exchange between Amsterdam’s improvised musicians and similarly interesting scenes from other cities. The series will highlight the scenes of Chicago, Oslo, Berlin and London, complemented in the future by other dynamic cities and unique musicians.

 

Evan Parker and Joel Ryan

DETAILS:
DATE: Friday the 10th of October
LOCATION: BIMHUIS
TICKET: € 20 / € 17 (CJP, student card, stadspas)
PASSEPARTOUT € 34

The first BIMHUIS CITY LINKS concentrates on London and consists of two evenings curated by Evan Parker, key figure in European improvised music and an absolute innovator of the saxophone. The British saxophone player has developed a stunning improvisational style including circular breathing, double tones, overtones and live-sampling. The subtitle MIGHT I SUGGEST refers to his eponymous monthly evening at the London jazz club Vortex.

Pioneering computer musician Joel Ryan will initiate both evenings with electronic variations on the solo music of Evan Parker. Since 1984 Joel has been an active participant of STEIM (Studio for Electro-Instrumental Music) in Amsterdam. He will be followed by two groups every night.

Friday opens with the part electric, part acoustic group of Evan Parker, drummer Michael Vatcher and electronics specialists Richard Barrett and Peter van Bergen. This group has its origins in an earlier carte blanche concert curated by Michael Vatcher.

Groupcomposing Revisited – For Misha is a collaboration between Evan Parker and members of Amsterdam’s ICP Orchestra. The group name refers to the 1971 album Groupcomposing, a wonderful document of the tumultuous development of European improvised music towards composing on the spot. The meeting of great minds from British, Dutch and German music, including Evan Parker, Derek Bailey, Misha Mengelberg, Han Bennink and Peter Brötzmann, expressed itself in an explosion of energy.

ALSO IN BIMHUIS:
Carte Blanche: Bram Stadthouders

The Bimhuis offers carte blanche to guitarist Bram Stadhouders, known for his adventurous playing and his experiments with electronics and soundscapes. Within the new generation of Dutch jazz musicians, guitarist Bram Stadhouders can be seen as the heir to his great examples Pat Metheny and Arve Henriksen: adventurous improvisations, experiments with electronics and atmospheric soundscapes are important ingredients in his music.

More info: BIMHUIS

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Greifen project – Multiple loudspeaker installation – Gabriel Paiuk http://www.steim.org/projectblog/2014/07/31/greifen-project-multiple-loudspeaker-installation-gabriel-paiuk/?utm_source=rss&utm_medium=rss&utm_campaign=greifen-project-multiple-loudspeaker-installation-gabriel-p http://www.steim.org/projectblog/2014/07/31/greifen-project-multiple-loudspeaker-installation-gabriel-paiuk/#comments Thu, 31 Jul 2014 11:21:44 +0000 http://www.steim.org/projectblog/?p=5720 Read more

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Last February I carried out a residency at Studio I in STEIM. It was a fantastic opportunity which I´m grateful to STEIM for. Within this residency I worked in developing further a project I´ve been working on for some time, entitled Greifen.

Greifen is a multiple-instance project for violin and diverse sound reproducing media. Its three main instances consist of: a performative work for violin and 5 channel soundtrack, a sound installation for a specifically devised multiple-loudspeaker setup, and an audio streaming website. Other instances may spring from the core of the project in the future, all constituing themselves as diverse forms of dealing with the same main material and problematics. The work is dedicated and composed for violinist Ekkehard Windrich.

The main aim of my residency in STEIM was the development of the sound installation instance of the project, through the study for the design of the particular multiple loudspeaker setup.

 

 

 

 

Greifen (to grasp, understand, get hold of) deals with the conditions that shape sound perception in our media-saturated culture, through focusing on the sensitive components inherent in the practices and technologies of sound reproduction media. Within our sound environment, we are probably more frequently exposed to the sound of recorded violins than to the direct acoustic impression of a violin. We are constantly exposed to material impressions of the sound production devices and the diverse steps involved in the process of sound production, including the spatial renderings arising from diverse loudspeaker systems. Our listening is populated by memories inherent in the way the tools themselves deploy sound, memories which reciprocally constitute the conditions we use to grasp sound around us.

Greifen tackles the ambiguous blur between medium and source, the physical conditions of our interaction with the sound production device (the loudspeakers) and the affective and signifying implications of those material characteristics which populate the circulation of media.

This is dealt with in the installation by superimposing a series of diverse loudspeaker constellations and loudspeaker types. Each layer enhances the particular material qualities of the loudspeaker and their relationship with the acoustic circumstance, each combination of loudspeakers establishing a particular spatial materialization in relationship to a (moving) listener.

During the residency we recorded extra material with violinist Ekkehard Windrich, which was to be added to material we had previously recorded. This recording was carried out with a set of differing stereo configurations using diverse microphone types.

After this first step, I started to work on setting up a 16 channel system utilizing a gamut of diverse loudspeaker types (several of them part of STEIM´s resevoir) in diverse placement and relationships to the physical space of the studio, together with a set of un-enclosed loudspeaker drivers of diverse kinds and size. These were set up in diverse layers including a 4-channel equidistant system using conventional p.a. loudspeakers, a pair of studio monitors which were located in an elevated position and creating a reflected front by projecting towards the ceiling, diverse versions of indirect sound fronts created by loudspeakers projecting into diverse wall combinations and diverse geometrical superimpositions (on the horizontal and vertical axys) of arrays of loudspeakers drivers. The loudspeaker drivers included full range 5-inch drivers, as well as diverse type of lo-fi midrange woofers and piezo horn tweeters.

One of the main outcomes of this exploration was the relevance in the way these setups relate to particular “hearing dispositions” that conform to habitual practices of sound projection. Noticeable differences not only arose at subtle variations in acoustic results arising from superimposing the same (or similar) sound signals through diverse loudspeakers or loudspeaker constellations, but rather substantially on the superimposition of particular habits of listening attached to these distributions.

Furthermore, the physical, personal interaction of the moving listener proved significant. The reduced space of the studio and controlled (dry) environment reinforced the slight difference and almost tactile sensitivity arising from small movements and shifts of the listening position in space. Particular frequency response, distortion artefacts and projection patterns differences got articulated in enhancing a blur between what was apprehended as a recorded instance (representation) and what was perceived as an excitation of the room´s acoustic characteristics.

The residency meant a big advance in the development of Greifen, for this kind of development would have been quite difficult without the opportunity to devote this kind of intensive time on the studio.

The Greifen project has received support from the Nederlands Fonds voor Podiumkunsten and is meant to be presented publicly within the upcoming season.

Thanks again to STEIM for giving me the possibility to work in such a great place.

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Solo saxophone and analog electronics http://www.steim.org/projectblog/2014/07/11/solo-saxophone-and-analog-electronics/?utm_source=rss&utm_medium=rss&utm_campaign=solo-saxophone-and-analog-electronics http://www.steim.org/projectblog/2014/07/11/solo-saxophone-and-analog-electronics/#comments Fri, 11 Jul 2014 02:22:53 +0000 http://www.steim.org/projectblog/?p=5703 Read more

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Last March Steim gave me the opportunity to use Studio 1 and the apartment for a week, to work on my new solo project. I am a saxophone player (with a jazz and free improvisation background) and have been interested in playing solo saxophone for since the late ’90s, but never in playing the saxophone alone. I love the improvisational interaction with musicians and other sound sources, so when i first started experimenting with solo playing i worked with effect pedals and loop machines that would give me back my own sound in whatever unexpected or party expected way to respond to. The fine art of looping is to make constant variations (I got really into multi-tempo and multi-rhythmic layering, inspired by Ligeti and Ornette Coleman), so the loop is not the same all the time. Only a few loop machines can actually do that in a flexible way, and that already took a while to figure out.

I was never interested in playing with the computer (yes I did a short Steim residency exploring LISA many years ago), the digital cleanliness of the sound turns me off. Plus I don’t like sitting in front of a screen while playing music, like the energy of turning knobs, stamping on pedals, bending over backwards to reach the pedals, while balancing all that with playing the saxophone and keeping the flow and energy happening.

So after playing with loop machines and effects pedals for many years (and breaking my back carrying the gear) for this residency I wanted to explore overdubbing as an improvisational device. I got into playing short solo saxophone improvisations, keeping in mind that the next layer around I needed to have certain musical triggers and hooks to grab the next improvisational layer onto, like another saxophone player’s improvisation. After the first take I would right away do another overdub layer, to keep the flow happening, and another layer, balancing density with sparseness, and keeping the flow/swing alive. Like in real life when you play with an improvising duo partner. Other topics of exploration were microtonal textures, and this is where my Lyricon came in as well. the Lyricon is an amazingly well designed analog wind synth from the seventies, operating on control voltages only, so it does not have any midi capabilities. Back in the ’80 Steim was involved in building some midi extensions to the Lyricon, to no avail. Last fall i purchased myself a nice rig of Eurorack analog synth modules, that work fantastically with the Lyricon. It’s analog synthesis at it’s best, because the Lyricon controller gives out pitch, volume and lip tension CV’s (3 control voltages), for maximum expression. It really sounds like a wind instrument and it is extremely accurate and precise, if used properly. Then combined with all the amazing possibilities of the different Eurorack modules a world to explore opens.

Next November I will be at Steim for another week, to finish recording my new solo CD. I would like to focus more on overdubbing, getting the improvisations and interactions more clear, more to the point, and fresher, completing a nice collection of pieces. I would also like to experiment further with different layers of feedback, caused by a microphone in the bell, and who knows yet where else. I will present my work on November 13th at a concert at Steim, and for the second set Knalpot will join me in an improvisation. I am very excited!

Photos by Francesca Patella

 

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Ben Neill – Mutantrumpet hardware and software residency http://www.steim.org/projectblog/2014/07/10/ben-neill-mutantrumpet-hardware-and-software-residency/?utm_source=rss&utm_medium=rss&utm_campaign=ben-neill-mutantrumpet-hardware-and-software-residen http://www.steim.org/projectblog/2014/07/10/ben-neill-mutantrumpet-hardware-and-software-residency/#comments Thu, 10 Jul 2014 13:26:30 +0000 http://www.steim.org/projectblog/?p=5679 Read more

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It was a thrill to be back at STEIM for a residency to develop the next version of my mutantrumpet and to learn about new developments in STEIM software from June 1-13, 2014. Since first coming to STEIM in the late 1980′s, the ideas and technologies from this remarkable institution have been the essential components of my work as a composer/performer. The software and hardware tools from STEIM are truly unique, and integral to the way I create and perform.

The first part of the residency was devoted to redesigning the electronic hardware of my hybrid electro-acoustic instrument, the mutantrumpet. Currently I am still using the STEIM Junxion board which was implemented in my last residency 6 years ago, but this device only works on computers with the older USB protocol so it needs to be updated. I worked with Frank Balde to create a new design using an Arduino board that will be implemented on a new mutantrumpet. New York based designers James Lo and Terry Pierce will work with me to complete the new instrument over the coming months, incorporating Balde’s configuration.

The instrument will debut next year at Stanford University in the premiere performances of The Demo, an electronic opera about computer pioneer Douglas Engelbart.

The Demo, live performance at the University of Illinois, February 2014

I also spent time learning the new RoSa software, Frank guided me through the structure of the program and I spent a considerable amount of time moving some of my LiSa configurations over to RoSa. While I don’t plan to switch immediately away from the LiSa XC setup I currently use for performing, it was great to get a start learning this new software, particularly spending time working with OSC rather than MIDI as the primary control medium.

The work with RoSa also gave me a new focus on Junxion since quite a bit of the control capability of LiSa has been removed from RoSa. I spent time working on a new piece that will utilize timers in Junxion to synchronize live sampling with RoSa and Ableton Live. This ability to work with rhythmically synchronized patterns in both programs will be essential to the new project, which is based on the sonorities and rhythmic structures of early Baroque music.

During my stay I spent time in the STEIM studio working on my new piece for a unique brass quintet and electronics, Manitoga. In this work I am utilizing 8 natural brass instruments in conjunction with the mutantrumpet in an outdoor, site-specific performance that incorporates field recordings and live sampling. It was helpful to work without distraction and the piece took its final shape while I was at STEIM.

 

I also had the opportunity to meet with Ivo Bol, another artist who is using LiSa and Junxion. It was great to compare our approaches and discuss the upcoming changes in the STEIM software platform. We discussed the possibility of creating a new LiSa users group or social media site to share ideas and solutions among STEIM products users.

Every experience I have had at STEIM has been extremely rewarding and productive, and the same was the case this time. The weather was beautiful, and the city felt less crowded than when I’ve visited before. Reflecting back on all of my wonderful times at STEIM made me a little nostalgic; I am ever grateful to the administration and staff for the amazing support I have received for my work here over the years. I love STEIM!

 

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STEIM & The Beach – Gangmakers Wind-instrumenten http://steim.org/2014/07/steim-the-beach-gangmakers-wind-instrumenten/?utm_source=rss&utm_medium=rss&utm_campaign=steim-the-beach-gangmakers-wind-instrumenten http://steim.org/2014/07/steim-the-beach-gangmakers-wind-instrumenten/#comments Wed, 02 Jul 2014 12:03:15 +0000 http://staging.steim.org/?p=7689 Read more

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Op vier dinsdagen deden negen enthousiaste kinderen van de Kraemerschool en de St. Lukasschool mee aan de gangmakers ontwerp workshops. Zij leerden hierin individueel, maar ook samen windinstrumenten ontwerpen.

the beach

De workshops stonden in het teken van wind en muziek, waarin de jonge ontwerpers onder begeleiding van STEIM (studio voor elektronische muziek) en the Beach instrumenten van alledaagse materialen leerden maken, versieren en bespelen. Er werd veel gemaakt: trompetten van tuinslang en PET flessen, blokfluiten van PVC en kurk, panfluiten van rietjes en tape en windgongen van stalen cilindertjes en houten plankjes. Met deze instrumenten leerden de kinderen een orkest te vormen, het samen aanhouden van ritme was hierin belangrijk. Ook maakten zij kennis met digitale technieken als een microfoon en een loopstation.

Meer info: The Beach

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Peter Edwards at the _V2 Test_Lab: Graduation Edition 2014 http://steim.org/2014/07/peter-edwards-at-the-_v2-test_lab-graduation-edition-2014/?utm_source=rss&utm_medium=rss&utm_campaign=peter-edwards-at-the-_v2-test_lab-graduation-edition-2014 http://steim.org/2014/07/peter-edwards-at-the-_v2-test_lab-graduation-edition-2014/#comments Wed, 02 Jul 2014 08:47:26 +0000 http://staging.steim.org/?p=7685 Read more

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V2_ presents the 2014 graduation edition of Test_Lab – a special evening showcasing a selection of installations, demonstrations, performances, prototypes and experiments by a new generation of artists and designers graduating this year from European art academies.

 

peter edwards

 

Young people are the innovators and change agents of society, revealing the future to us by creating it. Therefore, at the end of every academic year, Test_Lab takes a close look at a selection of outstanding art and design work created by young artists and designers graduating in emerging arts across Europe.

This year Peter Edwards is one of those freshly graduated artists that will show the work and research he has done as part of his ‘Instruments and Interfaces Master Program’, a collaboration between the ‘Institute of Sonology’ and STEIM.

More information on Test_Lab
More information on Instruments and Interfaces Master Program

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Noisefold presents: 4D Home at the OT301 http://steim.org/2014/07/noisefold-presents-4d-home-at-the-ot301/?utm_source=rss&utm_medium=rss&utm_campaign=noisefold-presents-4d-home-at-the-ot301 http://steim.org/2014/07/noisefold-presents-4d-home-at-the-ot301/#comments Tue, 01 Jul 2014 12:52:09 +0000 http://staging.steim.org/?p=7682 Read more

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NoiseFold presents the European premiere of 4D Home, a live electronic music cinema performance utilizing real-time audio-visual processes to re-imagine, mine and plunder the visual “landscape tradition”.

 

noisefold

The performance blends unlikely media elements including, system noise, signal glitches, and visual sonification techniques to emulate and interweave vivid states of consciousness in the form of sensuous topologies and hyper-kinetic data fields. 4D Home acknowledges the rich lineage of pictorial landscapes practiced by diverse global cultures, east, west, north and south. The “landscape tradition” is often construed as an easy entry into the arts, a kind of aesthetic common denominator bridging culture, class and historical epochs through its depiction of pleasing pastoral vistas, effusive spiritual mythos and familiar surroundings. Today we no longer can view the landscape solely as a refuge, a pleasantry or as an unending wilderness for the taking, as much of the world as we know it is under siege. NoiseFold infuses this new transfigured land of strip mines, chemical dumps, deforested expanse and glacial decline with an elemental techno-animistic awareness, where the rocks sing, the light howls and the vibrating world hums as the familiar perspective, a distant horizon, shudders, rolls and contorts. The soft graphite blush of video noise opens into a chasm of fractured coal lined gnashing teeth, undulating hills and distant clouds convulse in a red pallor and ice sheets groan and shoot upward in cataclysmic events. The pastoral and familiar slides away in successive waves of transformation unearthing a cascade of visual quotes from the luminous modernism of Georgia O’keeffe to early experimental scratch films and Chicago style video glitch to the austere minimalism of Agnes Martin, the vibrant detailed mozaics of the Huichol people and the mysterious icebound expanse of Caspar David Friedrich.

More info: link

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Xbox Kinect and Invisible instruments http://www.steim.org/projectblog/2014/05/27/xbox-kinect-and-invisible-instruments/?utm_source=rss&utm_medium=rss&utm_campaign=xbox-kinect-and-invisible-instruments http://www.steim.org/projectblog/2014/05/27/xbox-kinect-and-invisible-instruments/#comments Tue, 27 May 2014 20:36:20 +0000 http://www.steim.org/projectblog/?p=5662 Read more

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I think most of the percussionists feel weary about transporting our instruments. That is why I have the idea of invisible instruments. This crazy idea leads me to the best computer player I have ever known, Felipe Ignacio Noriega. After a short meeting, we started this interesting project.

Felipe suggested we use the Kinect from Xbox, which contains camera inside to sense my movement, and he programs the sound for me so I can play in the space. We don’t have much of a budget, so we bought a second-hand Kinect and began experimenting. We went through lots of experimenting sessions to research what was possible, even finding out how to communicate with it through Felipe’s Hackintosh. This lead us to install the Open-Ni and NITE libraries, and other open source programs developed by other creative people who faced similar problems.

Slowly, we realized that most of the sessions were being spent in communicating and calibrating the sensor, finding coordinates, marking the space, debugging the OSC communication and other technicalities that were still very far from the actual musical piece.

Given that I had 2 planned presentations in the beginning of June we had to take a development shortcut so we could focus on the sounds and the music. We found a great software, Ni-mate, which allowed us to go to the next step. Ni-mate made the sensor a lot more stable and the OSC communication became easily customizable.

Now, in STEIM, we are able to focus on Supercollider and on how we are translating the movement and OSC messages into meaningful music events.

Big Thanks to STEIM to have us in residency. This is the best place for us to develop the whole performance. These studios are more than amazing. We have the best audio system, super great microphones to record the sound, friendly and nice people to support us in everything we need and a huge space for me to roll, to move, to dance to jump. We are very happy to be here two full days (26th and 27th of May) and these sessions will surely result in successful concerts next week!


 

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