B Y T E  G A L L E R Y o  f   d  i  g  i  t  a  l   a  r  t   &   m  u  s  i c

Mitchell Fine Arts Center

300 North Broadway, Lexington, Kentucky

 

The BYTE Gallery Kiosk is located on the wall across from The Rafskeller grill in lower level of the center.

Studio 300 Exhibition

 

INTERNATIONAL EXHIBITION: 2015-16

 

BYTE GALLERY INTERNATIONAL EXHIBITIONS feature works that are judged and selected by Transylvania University faculty for inclusion in the BYTE Gallery.  Professional artists, composers, and dramatists from around the world enter this competition.  These exhibits give Transylvania students an exclusive front row seat at the leading edge of international digital art and music scenes.

 

This exhibition, as part of the 2015 STUDIO 300 Festival, presents over 30 works submitted by professional composers and artists from across the globe, including Argentina, Austria, Canada, Germany, Italy, Japan, Lithuania, Sweden, Switzerland, the United Kingdom, and the United States.  These works were selected from a pool of several hundred entries. Artists and works for the BYTE Gallery are listed on its web page, BYTE Gallery International Exhibition: FALL 2015

 

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MUSIC SELECTIONS:

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A Passing On Noises by Jakob Riis, Sweden

 

The first part was revealed in a process of carving out from a block of sounds created on the Serge Analogue Modular Synthesizer at Elektronmusikstudion (EMS) in Stockholm, Sweden. The second part investigates three different Vietnamese hand cymbals. For both parts an extra layer of sounds was created in a further manipulation of the material through an electronic feedback system. Composed in November 2014 at Inter Arts Center, Malmö, Sweden.

 

Jakob Riis is primarily active in the fields of experimental music. A former trombonist, a laptop pioneer on the danish experimental scene, now focusing on electronics making, noise and electroacoustic music - often playing improvised music within open structures. As a composer he has composed music for loudspeaker orchestras, bigband, chamber ensembles as well as electronic and electro acoustic music, for ensembles like Copenhagen Art Ensemble, The Orchestra and The Ghettoblaster Ensemble. Studied trombone at the Rhythmic Conservatory (RMC) in Copenhagen, Denmark, where he graduated in 1990. In 1997-1999 he studied composition with Bob Brookmeyer at RMC.

 

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Ballistichory by Nikos Stavropoulos, United Kingdom

 

The title of the work refers to a mode of seed dispersal. Fracturing of the seed pod releases stored elastic energy into kinetic energy launching its contents. The term reflects musical processes as well as timbral qualities of the work. The events portrayed in this piece are fictitious, and any resemblance to real events, past, present, or future, is entirely coincidental but highly probable.

 

Nikos Stavropoulos was born in Athens in 1975. His works range from instrumental to tape and mixed media. He has composed music for video and dance and his music has been awarded mentions and prizes at international competitions (Bourges, 2000,2002, Metamorphose, Brussels 2002, SCRIME, Bordeaux 2003, Musica Miso, Potrugal, 2004, Metamorphose, Brussels 2008, Punto de Encuentro Canarias International Electroacoustic Composition Competition 2008). Other interests include the performance practice of electroacoustic music and diffusion systems. He joined the Music, Sound & Performance Group at Leeds Metropolitan University in 2006 and is a founding member of the Echochroma New Music Research Group.

 

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Big Gizmo by Sever Tipei, USA

 

Big Gizmo is a computer-assisted (algorithmic) composition using additive synthesis sounds.  It was produced with an, original software for composition and sound design. It is also a composition class: the total duration of the piece, the durations of sections and events, their start times as well as various characteristics of the sounds (spectrum, frequency, loudness, modulations, spatialization, reverb, etc.) depend on random within set limits. Multiple runs produce multiple variants of the same structure, a family of compositions whose members are equally valid. Big Gizmo employs some of the features of the software to create alternate worlds of improbable sounds.

 

Sever Tipei was born in Bucharest, Romania, and immigrated to the United States in 1972.  He holds degrees in composition and piano performance from the University of Michigan and Bucharest Conservatory, now National Academy of Music at Bucharest.  Tipei has taught since 1978 at the University of Illinois at Urbana-Champaign School of Music where he also manages the Computer Music Project of the UIUC Experimental Music Studios. Most of his compositions were produced with software he designed. Tipei regards the computer as a collaborator whose skills and abilities complement those of the human artist.

 

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Illumina! Arabidopsis thaliana by Benjamin Whiting, USA

 

This piece represents the ongoing artistic and scientific collaboration between genomic biologist Aleel K. Grennan and myself. Grennan is studying the rate of photosynthesis between a natural wild type of Arabidopsis thaliana leaf and three genetically engineered mutants with different sizes of chloroplasts. I took the data she provided me, sonified and incorporated the results in an 8-channel piece of electroacoustic music. I designed the majority of the sonic material in DISSCO and KYMA, incorporating Grennan’s data into several parameters (such as ADSR envelopes, spatialization, &c.), thus creating a wealth of stylized sounds.

 

Benjamin D. Whiting received his BM in Music Composition and his MM in Music Theory and Composition from Florida State University, and is now pursuing his DMA at the University of Illinois at Urbana-Champaign. He is an active composer of both acoustic and electroacoustic music, and has had his works performed in the United States and abroad, and released on the ABLAZE and University of Illinois Experimental Music Studios labels. Whiting currently studies with Scott Wyatt in the Experimental Music Studios of the University of Illinois, and resides in Champaign.

 

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Lullaby for Humanity by Drew Raleigh, USA

 

“Lullaby for Humanity” is a 9-minute minimalist sound-art story told from a non-human, artificially intelligent perspective. The story is an allegory for the human condition, conveying a black and white understanding of human action by machines these actions created. The 20+ tracks are comprised of various MIDI instruments, sequencer tracks and samples that give atmosphere to the story being told.

 

Drew Raleigh (b. 1994) is a Music Technology major at Transylvania University, currently in his Junior year. Drew is a guitarist and performs vocals with Transy’s own Pioneer Voices. He enjoys spending his free time toying with the gear in Transy’s DART Lab, and aspires to one day run a studio of his own.

 

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Mapping of hypothetical islands on the scale of 1:1 by Ludwig Berger, Germany

 

Not a landscape, but a map of the land. No phantom connections, but phantom islands. No field recordings, but fieldwork. All material of the piece derives from a picture file played as soundfile.

 

Ludwig Berger works on electronic, soundscape and radiophonic compositions, installations, and music for theatre. He is interested in dynamic relationships between time/space, landscape/mapping, recording/remembering, microphony/macrophony, narration/music, image/sound. After a Master in musicology, art history and literature, he studied Electroacoustic Composition with Robin Minard at the Liszt School of Music Weimar.

 

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Melt by Thomas Dempster, USA

 

As water freezes and melts and crystals form or dissolve, interesting sonic worlds take shape. Slowing these down and finding tiny universes in the instants of freezing, I found similarities to the overall shapes of tides, sleet falling, snow being crunched, and streams moving toward lower ground engorged after heavy rains. The playfulness and witty action of some of these sounds is underscored by the slow (yet accelerating) process of climate change, as oceans rise, glaciers and ice fields melt and dissolve into the sea, becoming water again, posing massive challenges and dangers upon the people who continue to hasten the global melt.

 

Thomas Dempster is a composer of chamber, electroacoustic, and multimedia works. His output ranges from solo miniatures to extended works for orchestra with soloists. His music bears accessible yet decidedly individualistic traits, from tonal references to extended techniques, from works touching on classical forms to experimental soundscapes and video works. His music has been performed widely throughout North America and Europe. Dempster is a recipient of awards, honors, and grants from BMI, ASCAP, the South Carolina Arts Commission, and others. He holds degrees from the University of Texas (MM, DMA) and the University of North Carolina at Greensboro (BM).

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Message in a Bottle  by Gintas Kraptavicius, Lithuania

 

Granules, small melodies, noises, memories, stories… Technique, software: Bidule Plogue software program + midi keyboard + midi controller buttons signed to vst plugins. Sonar software program used as sequencer. Gintas K (Kraptavicius) a Lithuanian sound artist, composer living and working in Lithuania.

 

Gintas has been a part of Lithuanian experimental music scene since 1994. He became known for his sound manipulations, theatrical performances and conceptual art in the manner of Fluxus. His compositions are based on granulated sounds, improv, new hard digital computer music, small melodies and memories. In over a decade he has released numerous of records. He is making music for films, sound installations and in international festivals. He graduated higher education institution Lithuanian Academy of Music and obtained diploma of the 2nd stage studies –Master’s degree.

 

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Paling by Frederic Anthony Robinson, Switzerland

 

Paling’s sound material consists mainly of recordings of a decrepit Roland System-700 synthesizer. Over the course of the piece, chaotically varying noise floors, low frequency impulse waves and partly defective circuits develop a life of their own and play in their gestures with the idea of “getting controlled”. Associations to soundscapes outside the machine are explored and developed, but are always led back into the controlled environments of electronic sound production.

 

Frederic Anthony Robinson was born in Munich, Germany in 1992. After a basic violin education he got interested in electronic sound creation and manipulation and did a Bachelor in Audiodesign at the Electronic Studio Basel in 2014. At the moment he is pursuing a Master in the same field with a focus on composition, live electronics and improvisation under the supervision of Erik Oña, Volker Böhm, Alfred Zimmerlin and Fred Frith.

 

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Piano study I  by Antonio D'Amato, Italy

 

The short piece is built purely from piano samples, recorded both playing in traditional way and as an unconventional percussive instrument, hitting or rubbing some parts of the instrument, and involves the use of complex DSP processes throughout. Convolution processes, selective spectrum saturation, and resonant notch bank filtering are used primarily with the addition of numerous other processes on more select occasions throughout the composition. The esthetic for this work comes from the intent of generating an imaginary landscape in which the mystical sensations of exploring a piano factory is depicted and experienced by the listener.

 

He graduated at conservatory in Piano, Harpsichord, Music for multimedia, Music Pedagogy and Electronic music. He also studied composition for eight years, bassoon for three years, baroque organ and audio engineering. In 2010 he was Ondes Martenot student in Strasbourg and Paris. At the moment his main interest is joining traditional composition procedures and the wide opportunities of computer-based music. Some of his instrumental works are published by Forton Music, U.K. His first electronic composition was selected for a performance during the ICMC 2012 Conference. His works have been performed in Australia, Brazil, Greece, Italy, Mexico, Slovenia, Taiwan and USA.

 

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sen ni kazamado by Ayako Sato, Japan

 

“sen ni kazamado” means air windows for a line. The composer traveled to get in touch with a certain ”sen” (a line). This piece is the 4th work by the reminiscences of her journey... The total lunar eclipse. I was in a quiet place. The moon was floating beyond the railroad crossing. In the train, people looked at the black sky, and watched that the moon was going to be eaten. I recollect a "sen" that was lengthened a little...

 

Ayako SATO is a doctoral student in Tokyo University of the Arts. She composes and researches electroacoustic music. She was awarded the third prize of International Electroacoustic Music Young Composers Awards at WOCMAT 2012 & 2013 (Taiwan), the honorary mention of CCMC 2012 (Japan), the honorary mention of Destellos Competition 2013 (Argentina), the third prize of Prix PRESQUE RIEN 2013 (France) and Acanthus Prize at Tokyo University of the Arts (Japan). She is a board member of Japanese Society for Sonic Arts (JSSA), a member of Japanese Society for Electronic Music (JSEM) and International Computer Music Association (ICMA).

 

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The Four Sands by Lucy Figueiredo, USA

 

The Four Sands is a four part cello composition that was made up from improvised recording sessions. The recordings were then cut apart and pieced together. Copious amounts of reverb were added to create a ghost like effect.

 

Lucy Figueiredo is currently a music technology major at Transylvania University. She plays cello in the orchestra and is learning piano. Lucy completed an internship at Radio Eye where she ran the soundboard for live broadcasts and worked on database management.

 

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Three Acousmatic Miniatures  by Daniel Weymouth, USA

 

"Three Acousmatic Miniatures” owe their genesis to Rob Voisey’s brilliant “60x60” concept. This is a short—three minute—version of the same idea. #1) The sounds used in A Breath for Rob were originally from a production of Macbeth. #2) No Rest features something I never do: use recordings of acoustic instruments, in this case from my Metronome Etudes for piano and digital metronome. It is fast, and then I take out all of the rests. #3) having to do with motion is a “boundary piece”: playing with sounds that are just perceptible. All sounds are from the text.

 

Daniel Weymouth composes electroacoustic music, as well as non-electronic music that tends to sound, well, electronic. He is interested in highly kinetic works, perhaps because of a couple of decades spent as an itinerant musician, playing jazz, C&W, rock, disco (yes, you read correctly), R&B. folk and funk. But he also worked at French computer-music institutions—Iannis Xenakis’s CEMAMu and Pierre Boulez’s IRCAM—so that’s all right. Recordings are on SEAMUS, Bridge, and New World Records. He is the Head of Composition at Stony Brook University and is heavily involved in multi-disciplinary work of various kinds.

 

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Tranquility  by Kyong Mee Choi, USA

 

This piece is inspired by the image of a tranquil pond at dawn. It starts with mystic and hazy scenery of the pond represented by a relatively wet sound. Gradually, dry and more transparent sonic material is introduced. While the essence of the piece, tranquility, is presented, subtle tension is still achieved through dynamics and articulations of sonic gestures. The majority of sound samples are processed by CLM (Common Lisp Music); utilizing instruments such as expandn, grani, expsrc, ring-modulate, vkey, fullmix, and nrev.lisp.

 

Kyong Mee Choi, composer, organist, painter, and visual artist, received several prestigious awards and grants including John Simon Guggenheim Memorial Foundation Fellowship, Robert Helps Prize, Aaron Copland Award, Illinois Arts Council Fellowship, First prize of ASCAP/SEAMUS Award, Second prize at VI Concurso Internacional de Música Eletroacústica de São Paulo among others. Her music was published at CIMESP (São Paulo, Brazil), SCI, EMS, ERM media, SEAMUS, and Détonants Voyages (Studio Forum, France).  She is an Associate Professor of Music Composition at Roosevelt University in Chicago where she teaches composition and electro-acoustic music. Samples of her works are available at http://www.kyongmeechoi.com.

 

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Xaev1uox by Luis Valdivia, Argentina/Austria

 

The piece was finalized on August 2014, and was made with the program Supercollider. I'm working here with two-dimensional Cellular automaton from Conway's Game of Life. In this game, you can find different types of structures. The cellular automaton output the numbers 0 and 1 in two dimensional matrices. These numbers are mapped to musical structures. These structures are permanently evolving to new states, or are repetitive or still life. The antagonism between life and death, still and evolving structures, is the subject of the piece.

 

Luis Valdivia was born in La Plata, Argentina. He studies Electronic Music Composition (Master of Music) at the Folkwang Hochschule (Essen, Germany) with Prof. Thomas Neuhaus since 10.2009 and Computer Science at the Salzburg University. He studied Guitar at the Conservatory Gilardo Gilardi. Private Study with Eduardo Fernandez (Guitar), Monica Cosachov (Chamber Music) and Enrique Gerardi (Compostion). He studied Composition from 2004-2009 at the University Mozarteum, Salzburg with Achim Bornhöft.

 

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YAOYOROZU by Kazuya Ishigami, Japan

 

"Yaoyorozu" is "Yaoyorozu no kami". "Yaoyorozu no kami" is Japanese gods, an expression literally meaning "eight million gods". This work is dedication to "Yaoyorozu no kami". Adoration to the life of everything. Awe to a noble soul. Thanks to ancestors. And warning to oneself.

 

Kazuya Ishigami, is composer, sounds performer and sounds enginee born in 1972, in Osaka/JAPAN. He received Osaka University Of Arts in 1994, B.A. Music Engineering. He received B.A. degree from Osaka University Of Arts and M.A. in Master of Urban Informatics from Osaka City University. He learned electro-acoustic composition at INA- GRM in 1997. His pieces were performed at DR(DeutschlandRadio/Germnay) ,WDR(westdeutscher rundfunk/Germany), CCMC(Japan), JSEM(Japan), FUTURA(France), MUSLAB(Mexico), SR(Radio Saarbruecken/Germany), HR(Hessischer Rundfunk/Germany), ISCM(Stuttgart/Germany), Spark(USA), NICOGRAPH(Japan), SILENCE(Italy), and so on. He has an independent label “NEUS- 318”. He is currently lecturer at Osaka University of Arts, Kyoto Seika University and Doshisha Women's College.

 

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26 (D-Poetry) by Nikki Smith, USA

 

This piece is a sound text work based on the idea that at any given time our lives can be described by the various arrangements of 26 letters. Our language, the means in which we express ourselves, the books we read, can all be broken down to the same 26 letters. The main focus of this piece are lyrics stating this idea and then the supporting voices are the rearrangement and distortion of the 26 letters. The goal is to draw attention to the power of these 26 letters and then make the familiar different and new by distorting it.

 

Nikki Smith, born in 1994, is originally from Frankfort, Kentucky. Currently, she is a senior at Transylvania University in Lexington, Kentucky. She is majoring in Music Technology and plans on graduating in May 2016. She has composed a variety of electronic pieces as well as acoustic works for select instruments. She also plays flute in the Transylvania Concert band. After graduation she hopes to pursue career opportunities in this field and continue working on her own compositions.

 

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Bird in a Bell Jar (D-Poetry) by Carrie Green, USA

 

"Bird in a Bell Jar" is a poem by Carrie Green. Guitarist Scott Whiddon and multi­instrumentalist J Tom Hnatow developed music to accompany this poem in Summer 2014 as part of a larger project dealing with spoken words and found sounds.

 

Carrie Green's poems have appeared in Blackbird, Cave Wall, Arts & Letters, DIAGRAM, Crab Orchard Review, and Louisville Review. The Kentucky Foundation for Women awarded her a grant for her chapbook, It’s Not My Birthday, That’s Not My Cake. J. Tom Hnatow serves as a producer at Shangri-la Productions and has played on over 50 recordings with bands such as Vandaveer, The Mynabirds, and Joe Pug. His work with the band These United States was featured in the New York Times. Scott Whiddon is a writer, teacher, and musician. He is an Associate Professor and Writing Center director at Transylvania University.

 

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Dadá soirée (D-Poetry) by Juan Angel Italiano,  Uruguay

 

Dada soirée, proposed through simultaneous readings and sound improvisations, recreate the evening of Cabaret Voltaire. Texts of the authors, fragments of ""Ursonate"" Schwitters (1932), "Please do not shake hands" of Alfredo Mario Ferreiro (1930), "Structures" by Ernesto Cristiani (1960) in addition to phonetic-vocal and sound improvisation, which transiting the structures of free-jazz. Audio CD "On lap of the voice" (2014)

 

Juan Angel Italiano was born in Montevideo City, Uruguay. Their work builds on the research of the various expressive possibilities of poetic language (verbal, visual, sonic, phonetical, performative, objetual, audiovisual, digital, etc.) On this subject he has published numerous works in digital and print media (books, folders, CDs, interactive CD ROM and DVD's). His works integrate different print and digital media in foreign anthologies. He is founder of the publishing alternative "edicionesDELcementerio". He has organized meetings and exhibitions, written articles and participated in national and foreign linked to experimental poetry, photography, performance, video art, electronic poetry and mail art events.

 

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Instructions (D-Poetry) by Click Nilson, Sweden

 

This relaxing exercise should reveal the full (anti?)-algorithmic splendour of the listener's mind as they non-deterministically parse the messages concealed within.

 

Click Nilson is a Swedish avant garde codisician and code-jockey. He has explored the live coding of human performers since such early self-modifiying algorithmic text pieces as 'An Instructional Game for One to Many Musicians' (1975). He is now actively involved with Treating Online Potential Like Artistic Programming (TOPLAP, www.toplap.org), after being in the right bar (in Hamburg) at the right time (2am, 15th February 2004).

 

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Language is (slithering) in no particular order (D-Poetry) by Brian Belet and Stephen Ruppenthal, USA

 

Language is (slithering) in no particular order is part of the composers’ Disconcerting Speech series: pre-conceived texts for two vocal performers (reel time) – each text composed separately and combined only during performance; and then performed with provisions for dialog interaction and improvisation (real time). All processing is done using Kyma, with both performers guiding and shaping the computer processing in performance real time via interactive controllers. Language is … originates with the lineage of text-sound composition, and incorporates present-day real-time computer processing to emphasize the live performance context of the genre.

 

Brian Belet and Stephen Ruppenthal have collaborated on several compositions in the past decade. They cofounded the ensemble SoundProof with Patricia Strange in 2009, and have toured nationally. Separately and together, all three have performed at numerous ICMC, SEAMUS, EMM, SCI, and other festivals of contemporary electro-acoustic music. Belet’s music is published on several CD compilations, and his music and theoretical articles are widely published. See: www.BeletMusic.com. Ruppenthal is Principal Trumpet and Contemporary Music Advisor for the Redwood Symphony Orchestra (California), and he was a founding member of the Electric Weasel Ensemble.

 

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Mahtavaa (D-Poetry) by James Andean, Finland

 

Mahtavaa is built from a single phrase of Finnish text: "Mahtavaa – nyt se pulputtaa tuossa" ("Wonderful, now it's burbling there"). This short text is repeated, in the process becoming its own rhythm and melody; it is then increasingly layered with itself, creating evolving rhythms and timbral artefacts. This is then filtered through the individual formants of the reader's voice, with the strongest formant areas reinforced, while the rest of the spectrum begins to drop away. The text has thus been made literal: the words "nyt se pulputtaa tuossa" – "now it's burbling there" – have been made to pulse and burble.

 

James Andean is a musician and sound artist. He is active as both a performer and a composer, including electroacoustic composition and performance, improvisation, sound installation, and sound recording. He is a founding member of improvisation and new music quartet Rank Ensemble and interdisciplinary improvisation ensemble The Tuesday Group, and one half of audiovisual performance art duo Plucié/DesAndes. He has performed throughout Europe and North America, and his works have been performed around the world. He is completing a doctorate in acousmatic composition at the Centre for Music & Technology of the Sibelius Academy, in Helsinki, Finland.

 

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Thanksgiving (D-Poetry) by Christopher Bailey and Molly Connolly, USA

 

It’s a work for samples, recorded voice, and electronic sounds. The text is self-explanatory in its dark ambiguity.

 

Christopher Bailey turned to music composition in his late 'teens, and to electroacoustic composition during his studies at the Eastman School of Music, and later at Columbia University. He is currently based in Boston, but frequently participates in musical events in New York City. He is currently working on a concerto for pianist Shiau-Uen Ding, with string orchestra, to be premiered at a portrait concert of his music in Magdeburg, Germany, autumn 2014. His music explores a variety of musical threads, including microtonality, acousmatic and concrete sounds, serialist junk sculpture, music in flat forms and its consequences, and constrained improvisation.

 

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The Garbanzo Poem (D-Poetry) by Maxine Heller and David Mooney, USA

 

In his novel A Comedy of Gestures, Felipe Alfau has children taunting one character with, "He eats garbanzos like a cat." Contemplating the effect of our cats' ingesting said legumes inspired Maxine Heller to write "The Garbanzo Poem," which she reads for this twisted rendition.

 

David Mooney: Born at the crest of the Baby Boomer wave, Mooney continues to surf through life with open eyes and ears. This sensory input has emerged in various visual and aural forms that have been shown or heard in venues on most of Earth's populated continents. Details: opaquemelodies.com Maxine Heller: Born in Pittsburgh in 1946, she has been a fiber artist for over 40 years. Long married to electroacoustic composer David Mooney, she has performed the vocals for a number of his text pieces and, in several cases, written the texts themselves.

 

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VIDEOMUSIC/ANIMATION SELECTIONS:

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All That Glitters and Goes Bump in the Night by Linda Antas, USA

 

All that glitters isn’t treasure—but it glitters nonetheless; not everything that goes bump in the night does us harm; and most things are nearly equal parts “glitter” and “bump”. Negative things often carry an equal measure of good, if only we deal with them in constructive ways. Faulty logic, ignorance, and strong emotion can inhibit our understanding of the people, objects, and situations around us, causing undue negativity, unfounded positivity, and overall confusion about the causes of both happiness and suffering.

 

Dr. Linda Antas is a composer, music technologist, flutist, and educator. Her compositions have been performed and broadcast around the world and are published on the Ablaze, TauKay, Centaur, EMS, and Media Café labels. A Fulbright Fellowship recipient, Antas has also been recognized by the the Musica Nova International Electro acoustic Music Competition, the International Music Contest Citta' di Udine (TauKay Edizioni Musicali), and has received commissions from the International Computer Music Association and various internationally-renowned performers. She serves on the faculty of Montana State University, teaching music technology, interdisciplinary multimedia courses, and composition.

 

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Breach of the primary pressure boundary results in burn everything/kill by Josh Simmons, USA

 

“Breach...” is a set of three meditations on nuclear themes.

 

The internationally performed works of multimedia artist Josh Simmons are an immersive experience for audience members and performers. Josh aims to engage all of the senses through use of digital multimedia, believing that it is an unnatural phenomenon to hear sound divorced from spectacle. His multimedia works have been featured at the Joint ICMC ­ SMC 2014 Conference in Athens, and at ACMC 2014 in Melbourne, his music has been read by members of the Toledo Symphony Orchestra, and he was commissioned to create animations for the entirety of Olivier Messiaen’s two hour, piano tour de force, Vingt regards sur l’enfant­Jésus.

 

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Cités by Myriam Boucher, Canada

 

Material to digital cities. the world is reversed. inhabited space dies and reborn ruin or dust. no matter. trace has resonance in us a noise that lasts.

 

Myriam Boucher is a Montreal based artist. Since 2006, she has extended the field of artistic projects on the North American music scene. From hers early experience as a keyboardist for various instrumental music projects through to hers visual work, she breaks down anyone’s attempts to conveniently classify her. Since 2013, she creates video music, electroacoustic music, A/V performance and installation. Inspired by natural phenomena, she deals with sound and image from organic and synthesis materials. Her work was prized in the JIM Electroacoustic Compositions 2015 Competition and Bourse Euterke 2015 in video.

 

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Contrapture by Daniel Swilley, Germany/USA

 

Contrapture (2009 rev 2012), video and electroacoustic music designed for 5.1 surround, draws inspiration from a variety of noisy devices or machines: airplanes, typewriters, printing presses, and others.  The title originates with a verbal mishap that I heard once; I’m still not sure if the intended word was contraption or capture. In either case, this work resonates with both words due to the sounds sources, various processes used in its creation, and the imagery of the video.

 

Daniel Swilley (b. 1980) is a German-American composer of acoustic and electroacoustic music based in Champaign, IL. He holds degrees in composition from University of Illinois Urbana-Champaign (DMA), Georgia State University (MM), and Valdosta State University (BM). While at UIUC (2007-2011), Swilley served as the Operations Assistant for the Experimental Music Studios. Since 2011, he has taught courses in composition, electroacoustic music, and music theory as an Adjunct Instructor of Music at Illinois Wesleyan University. Swilley’s composition teachers have included Tayloe Harding, Mei-Fang Lin, Heinrich Taube, Stephen Taylor, Sever Tipei, Robert Scott Thompson, and Scott Wyatt.

 

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Gamma by Roberto Zanata, Italy

 

Gamma is an audio/video abstract work made with Max/Msp Jitter Software. The patch generates lines and solid related to the frequency of the music generated with Supercollider. The two Software communicate via OSC. The patch can be used both in real time and in post production.

 

Roberto Zanata was born in Cagliari, Italy where he also graduated in Philosophy. Composer, musician and musicologist, he studied and graduated in composition and electronic music at the Conservatory of Cagliari in Italy. In the middle of nineties Roberto became active in Italy and abroad. He wrote chamber music, music for theatre, computer music, electroacoustic and acousmatic music as well as multimedia works. His works were performed all around the most important festivals of the world.  He teaches “Musica applicata” at the Conservatory of Ferrara in Italy.

 

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Naufrage by Cara Haxo and Thom Haxo, USA

 

I grew up surrounded by my father’s artwork, but Naufrage marks our first collaboration. The work initially began as two independent projects—one visual, one aural. When my professor suggested I add a visual component to my composition, I decided to use one of my father’s animations. From there, it was only a number of Skype dates and iMessages before we created the video as it is today. The title means “shipwreck” in French, and refers both to the architectural aspect of the animation and to the sense of sinking evoked by the music at the end of the work.

 

Cara Haxo earned her bachelor’s degree at The College of Wooster and graduate degree at Butler University. Haxo was awarded the 2013 NFMC Young Composers Award, the 2013 IAWM Ellen Taaffe Zwilich Prize, and second prize in the 2012 OFMC Student/Collegiate Composers Contest. Her works have been performed by the PRISM Quartet, the Wooster Symphony Orchestra, and Foothills Brass, amongst other ensembles. She will attend the University of Oregon in the fall to pursue a PhD in composition. Thom Haxo currently teaches sculpture at Hampshire College.

 

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Ring | Axle | Gear by Eli Stine, USA

 

This short video triptych explores three shapes: ring, axle (line), and gear, accompanied by sound design encompassing a wide range of synthesized and real world sounds, investigating aesthetic implications of the fetishization of icons and symbols.

 

Eli Stine is a composer, programmer, and media designer currently studying as a Jefferson Fellow in the Composition and Computer Technologies PhD program at University of Virginia. Stine is a graduate of Oberlin College and Conservatory with degrees in Technology In Music And Related Arts and composition from the conservatory, and computer science from the college. Winner of the 2011 undergraduate award from the Society for Electro- Acoustic Music in the United States, Stine’s artistic output includes electroacoustic and acoustic music, and frequently incorporates multimedia technologies and collaboration, seeking to explore the intersections between performed and computer-generated art.

 

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Speech 2 by Francesc Martí, United Kingdom

 

Speech 2 is an experimental audiovisual piece created from a series of old clips from the public affairs interview program The Open Mind. This piece would be a reflection on the action of communicating, highlighting his limitations, and can be labeled as “text-sound-art”, or “text-sound-composition” in an audio-visual framework. Technically, in this piece, the author has been experimenting how granular sound synthesis techniques, in particular synchronous granular synthesis, and pseudo-random number generators can be used for audiovisual creative works.

 

Francesc Martí is a mathematician, computer scientist, composer, sound and digital media artist born in Barcelona and currently living in the UK. He has a bachelor’s degree in Mathematics from the Autonomous University of Barcelona, and two master’s degrees, one from the Pompeu Fabra University in Digital Arts, and the other in Free Software from the Open University of Catalonia. He also obtained a scholarship for furthering his studies in Music Technology at IRCAM (Paris). Simultaneously, he studied music at the Conservatory of Sabadell, where he obtained the Professional Title of Piano with honours.

 

 

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Things Hoped For, Things Unseen by Shih-Wei Lo and Martin Jarmick, USA

 

Things Hoped For, Things Unseen is dedicated to the Principal harpist of the Taiwan Philharmonic, Shannon Chieh, for her concert “La Vie sans Frontières,” which was held to evoke attention toward the death penalty, an issue that has caused numerous discussions and arguments in Taiwan. The ultimate goal of those debates, however, is to gain the consensus to support human rights as well as to respect life. This process, changing from discrepancy to concurrence, serves as the main spirit of this piece, in which the harp and the electronic music encounter, interact, settle, and move together toward the same direction sonically.

 

Composer Shih-Wei Lo’s work is often informed by the diverse articulations of time and space in various domains such as art, literature, culture, and politics, and may be viewed as a process of transfiguring these into music, providing audience with a contemplative medium. He is currently a graduate student at the University of Washington, studying with Huck Hodge; he will be continuing to pursue a DMA in Composition at Columbia University, starting in Fall 2015. Martin Jarmick is a PhD student at the Center for Digital Arts & Experimental Media at the University of Washington in Seattle.

 

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Vehicles by Matthew Schoen, Canada

 

In Vehicles, a large imaginary vessel is slowly revealed through various camera angles, from its smallest components, to the larger and more complex structures that they form.

 

The work of Montreal artist Matthew Schoen extends towards various media such as video, installation, and electroacoustic music. In his work, he explores interactive systems with which he has created several live video and sound performances. These have been presented at the Akousma festival as well the Code d'accès concert series. He was recently featured at the San Francisco Tape Music Festival and the OFF Interference festival in Poland. He has previously collaborated with dance and theatre productions and is a founding member of Montreal's Soundwich concert series, promoting young talent in experimental music.

 

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VENAS / VEINS by Federico Camara Halac, USA

 

VENAS / VEINS is the second part of the cycle titled “Songs for the Dead”. Time and activity within the cycle are drawn from different expressions of randomness applied to different sets of sounds, resulting in similar stationary states. The live video results from a probabilistic interaction with both the electronic and the live input from the performer’s microphone, and it is built with 256 still images (hands, hair, and china ink drawings made by the composer) together with changing color mattes and a live capture of the performer. All audio and video is controlled using PureData.

 

Composer and visual artist Federico Camara Halac (Cordoba, ARG., 1988) studied with Jose Halac at the National University of Cordoba (2012), and is currently pursuing a PhD in music composition at NYU GSAS with Elizabeth Hoffman, Jaime Oliver and Louis Karchin. His music has been performed by Momenta Quartet, Ensemble Mise-en, Iktus Percussion, The Orchestra of the League of Composers, the National University of Cordoba Orchestra, Proyecto Red Ensamble, Buenas Salenas Ensemble, Quinteto Slap!; and conducted by Michael Adelson, Gonzalo Bustos, Nicolas Mazza, Hernando Varela, among others.

 

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video 65 by Chris Arrell,  Austria/USA

 

In video 65 sound and image both result from computer coding, but this coding is complemented by the incorporation of physical movement into the creative process, track-pads, keystrokes, and hacked game controllers all engaged to add real-time spontaneity. The resulting choreography is both controlled and free, image and sound dancing an improvisation of shimmering bifurcations and whirling, luminous tones.

 

Composer Chris Arrell (b. 1970, Oregon) writes music for throats, fingers, and oscillators praised for its nuance and unconventional beauty (New Music Box, Boston Music Intelligencer, Atlanta Journal Constitution). Recent projects include a portrait concert at the Alte Schmiede (Vienna) and Waking in Altamira with Collide-O-Scope Music (New York). Arrell is an associate professor at College of the Holy Cross (Massachusetts). chrisarrell(dot)com Video artist dextro (Walter Gorgosilits, b. 1968, Austria) has had dozens of publications in graphic design books and exhibitions, among them personal invitations to Mexico City and Shanghai.

 

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Assembling the Morrow: A Poetics of Sleep (D-Poetry) by Sandra Huber, Germany

 

Poetry like sleep is a behaviour. Assembling the Morrow: A Poetics of Sleep fuses these graphs (words / waves) in order to explore what is beneath them both: the conscious organism. Just as one must “let go” every night in order to enter sleep, one must let go, here, of the compulsions both to read and to understand. An active rather than a passive state is attained, challenging the assumption that poetry equals writing, or the metaphor within poetry that sleep equals death. A new behaviour awakens. This poem has been composed on the writer’s electroencephlogram (EEG) data.

 

Sandra Huber is a Swiss-Canadian writer of poetry and fiction. She has published in various journals including the Dzanc Books Best of the Web Anthology, and is the founder of Dear Sir, an online quarterly. In 2010, she was awarded an Artists-in-Labs residency at the Center for Integrative Genomics in Lausanne, Switzerland, where she was resident poet at a sleep laboratory for nine months. Her subsequent project Assembling the Morrow: A Poetics of Sleep is forthcoming from Talonbooks (Vancouver, fall 2014) and travels in installation form with Pop-Up Lab Switzerland. Sandra currently resides in Berlin.

 

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Dammtor (D-Poetry) by Diego Garro, United Kingdom

 

Dammtor is based on the poem of the same title by James Sheard, a vivid tale of memories, longing and desolation in the old Hamburg travel hub. The reciting voices, reading and whispering passages of the poem, trigger visual and sonic reflections on the otherwise unadorned snapshots evoked by the poem. Hence the verses, the sonic anecdotes and the imagery all become entangled in a web of reciprocal allusions, encouraging our senses to linger over the rifts that the poem opens amidst the strands of an unspoken tale: not a story... but a story about a story.

 

Diego Garro studied Electroacoustic Music at Keele University (UK) where he is a senior lecturer in Music Technology, Electroacoustic Music and Video Art. His audio and audiovisual compositions have received a number of prestigious international prizes and are regularly selected and performed in various festivals, concerts, events and conferences in UK and abroad. His activity as researcher and educator focuses on working practices and compositional languages that bridge the Electroacoustic idiom with other aspects of popular culture and experimental art (Electronica, glitch, video).

 

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Desert Song (D-Poetry) by Brian D. Kelly, USA

 

Desert Song is based upon a collection of six poems I wrote after returning to my hometown of Phoenix, Arizona in the summer of 2013. It is during this summer that my 11-year- old niece, Kylah, died of an incurable brain tumor. The poems range in topic from the drive across the country from Georgia to her funeral, facing my own mortality, a questioning of the motives of an alleged god, and the trouble caused within the family as a result. All of these themes are set in front of the backdrop of the desert landscape.

 

Brian D. Kelly is an internationally performed composer of multimedia sound works that are often both acoustic and electronic in nature. Sound, visuals, poetry, and drama are freely combined in works that often explore social themes and challenge the status quo of Western ideals of culture, gender, theism, and sexuality. Brian received his Bachelor of Arts in Music Education from Ottawa University (2011), his Master of Music in Composition from the University of Georgia (2013), and is currently pursuing his DMA in Composition at the University of Colorado Boulder.

 

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Genealogy (of the Byrd Family) (D-Poetry) by M. Ayodele Heath, USA

 

This piece explores the origins of African-American surnames and how they transformed during the trans-Atlantic slave trade.

 

M. Ayodele Heath is author of Otherness (Brick Road Poetry Press) and editor of the anthology, Electronic Corpse: Poems from a Digital Salon (Svaha Paradox). He holds an MFA from New England College and was a top-10 finisher at the National Poetry Slam. A former Georgia Tech McEver Visiting Chair in writing, he is recipient of an Emerging Artist grant from the Atlanta Bureau for Cultural Affairs as well as fellowships to Caversham Center (South Africa) and Cave Canem. His work has been published widely in journals and anthologies. Learn more at www.ayospeaks.com.

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Girl Model J (D-Poetry) by Randall Horton, USA

 

What makes the work remarkable is the model wears a light shadow of white, as if in whiteface, hinting at the concept Dubois coined—double consciousness, chained to a way of seeing—a twoness that haunts the beholder. The models in Bowland’s work are often depicted with cotton braided through their hair. At first glance, there is a beauty in what the artist captures; however, the cultural pain and trauma, coupled with the sadness of this little girl never being able to live up to the image we as Americans have placed upon her, becomes an anvil around her heart.

 

Randall Horton is the recipient of the Gwendolyn Brooks Poetry Award, the Bea Gonzalez Poetry Award and most recently a National Endowment of the Arts Fellowship in Literature. Randall is a Cave Canem Fellow, a member of the Affrilachian Poets and a member of The Symphony: The House that Etheridge Built. Randall is Assistant Professor of English at the University of New Haven. An excerpt from his memoir titled Roxbury is published by Kattywompus Press. Triquarterly/Northwestern University Press in the publisher of his latest poetry collection Pitch Dark Anarchy.

 

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Leçon 1 (D-Poetry) by Osvaldo Cibils, Italy

 

Leçon 1 un plaisir exorbitant un plaisir artistique un plaisir démesuré un plaisir superficiel osvaldo cibils performance videoart. Trento, Italia. 20 january 2014. Original video: Canon IXUS 115 HS

 

osvaldo cibils. 1961. Artist born in Montevideo, Uruguay. He lives in Trento, Italia. His artworks are oriented to drawing, soundart, shortlow videos and the development of experimental ideas mainly. http://osvaldocibils.com

 

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Medusa in Fragments (D-Poetry) by Brent Barson, USA

 

Medusa in Fragments is a sympathetic retelling of the Medusa myth. The typographic interpretation reflects a reverence for her tragic experiences. It is symbolic of her death, and told from her point of view, as she languishes in the underworld looking up at the stars, reflecting on the characters and events that affected her life.

 

BYU composer Steven Ricks commissioned me to create the visuals for his multimedia composition, which was to be performed live by renowned pianist Keith Kirchoff. This was a collaborative effort between Ricks, writer Stephen Tuttle, director Ethan Vincent, and myself. I created the projected typography and motion graphics that were screened in high-definition during the live piano, vocal, and electronics performances. Medusa in Fragments has played in several US cities, and was performed internationally in Ghent, Belgium and Toronto, Canada.

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monumovementality (D-Poetry) by gringocarioca (Marco Alexandre de Oliveira), Brazil

 

(anti) propaganda for a (non) movement

 

“gringocarioca” is an anonymous persona, a hybrid character, an illusivisionary figure who wanders the streets of the pre-post-modern metropolis of Rio de Janeiro, ex-capital of Brazil. At the margins of the contemporary, his work explores the limits of the beyond within. He is also the alter-ego of Dr. Marco Alexandre de Oliveira, writer, translator, and adjunct professor of Letters at the Pontifical Catholic University of Rio de Janeiro (PUC-Rio), where he teaches courses in American Literature, Cinema, and Culture.

 

 

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Poegifs (D-Poetry) by Marcello Sahea, Brazil

 

Marcello Sahea employs the language of the digital era to produce synthetic visual poems that exist in the interface of VJing, sound, video and performance, incorporating looping and repetition as strategies to propose the viewers a novel relationship with the semantic, aural and visual qualities of poetry. His Poegifseries are looped animated words and images inducing a trance­like contemplation that the artist enhances through vocal performance. (text taken from catalogue of Visual Poetry Exhibition at Maddox Arts, London, July­October 2013)

 

Marcello Sahea is poet, performer, visual and sound artist. It has published three books: “CARNE VIVA,” “LEVE” and “NADA A DIZER,” an virtual album/cd “PLETÓRAX”, published in collections, catalogs, didactical books and radio, newspapers and magazines of literature and art. Held exhibitions of visual poetry and participated in exhibitions of digital art, sound poetry, visual and videopoetry in Brazil, Portugal, London and Slovenia. As an poet­performer, has performed on stages in Brazil and Europe.

 

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Self Portrait (D-Poetry) by Gary DiBenedetto, USA

 

This video was created by Gary DiBenedetto with Adobe After Effects and was developed using disjunctive frames associated with the percussive aspect of the audio. Self Portrait originated from a 10 second recording of the statement: "My perceptions of reality are a fabrication of my own will. They are the result of a desperate need to associate while living in a state of perpetual loneliness." Granular  processing was used to synthesize the layers of audio with an audio-video duration of 2' 10” in Stereo or Six Discrete Channels. This piece was premiered at the ICMC 2004.

 

Gary DiBenedetto’s work over the past 15 years has resulted in 11 electroacoustic compositions, 3 videos, 29 sound generating kinetic sculptures and 2 interdisciplinary performance works. A 2002 Composition Fellowship was received from the New Jersey State Council on the Arts. In 2006 he won the overall prize in KAO International Kinetic Art Competition. His work has been performed and exhibited extensively throughout the international community. CD releases: Twin Towers  2010 Electroshock Records, Moscow and  A Drop in the Bucket  2000 and Season of Adjustment  Diversity Music are available at www.garydibenedetto.com. He received his MA from New York University.

 

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Speakings III: Headlines (D-Poetry) Timothy Polashek, USA

 

SPEAKINGS III: HEADLINES is a text/sound composition for two voices. We are constantly being bombarded by headlines in all types of media, so in this work I respond. I have written several computer programs that generate text with specified musical/phonological criteria, such as syllabic stress contours and phonemic constructs. This is the third in my series that make use of this software and explore the musical potential of natural speaking rhythms. This installation imagines two simultaneous radio broadcasts, were the listener tunes out meaning and can then observe the musical/phonemic interactions of the two parts. Matthew Polashek & Bryan Louiselle, Voice.

 

Timothy Polashek writes in a variety of media and styles, including vocal, instrumental, electro-acoustic music, text/sound compositions, and interactive performance systems, and his music has been performed throughout the Americas, Europe and Asia. He is the author  of The Word Rhythm Dictionary: A Resource for Writers, Rappers, Poets, and Lyricists. Prior to earning the Doctor of Musical Arts in Composition degree from Columbia University, Polashek earned the M.A. in Electro-Acoustic Music from Dartmouth College, and a B.A. in Music from Grinnell College. He is the Music Technology Studies Coordinator and an Associate Professor of Music at Transylvania University. www.tdpmusic.com

 

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thou (D-Poetry) by Maureen Alsop, USA

 

A video based on a collection of poems, Later, Knives & Trees which is soon released by Negative Capability Press.

 

Maureen Alsop, Ph.D. is the author of several full collections of poetry including Mantic, Apparition Wren. Her poems have appeared in numerous magazines including Kenyon Review, Tampa Review, New Delta Review, Typo, and Barrow Street. Her awards include: Tony Quagliano International Poetry Prize, Harpur Palate’s Milton Kessler Memorial Prize for Poetry and The Bitter Oleander’s Frances Locke Memorial Poetry Award.

 

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Twelve Hours of Daylight (D-Poetry) by Bridget Sutherland, New Zealand

 

Twelve Hours of Daylight’ quotes the poems ‘Night Tree’ by pioneering New Zealand experimental poet and film­maker Len Lye, ‘Ah Sunflower’ by William Blake, and ‘Are there not Twelve Hours of Daylight’ as quoted in the painting of the same title by NZ painter Colin McCahon. Using 16mm and 35mm hand painted film alongside archival and filmed footage, ‘Twelve Hours of Daylight’ references the passage of day and night, the alchemy of light and nature. Its abstract painterly sequences are combined with poetry to foreground questions concerning ecology and human consciousness.

 

Bridget Sutherland's research involves an interdisciplinary approach to the arts, with a special interest in the relation of image, text and music.

 

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STILL IMAGE/ART WORKS SELECTIONS:

 

Featuring Digital Artworks by Ryota Matsumoto, Japan

 

A Perpetual Timeline for Knitting Abandoned Circuits

Hollow Ghosts for Those Restless Spirits

Perpetual Motion Machine

Pharse-shifted Ember

Quantized Crackles of Emotional Scales

Space Station Talks Visualized From Orbiter

Static Keyframes

Stretched into an Infinite Vapor of Spectral Resonance

Surviving in the Multidimensional Space of Cognitive Dissonance

The Chronology of Imaginary Scrolls

The Frozen Air Evoked the Analogical Still of Ephemeral Swarms

The High Overdrive and Its Undefinable Consequence

The Indistinct Notion of an Object Trajectory

The Intersection of Infinite Planes

The Reverberant Ambience of Interpretative Codes for an Ancient Artifact

The Solar Flares for Transient Modulation

Those Dazzling Lights Surround a Silent Space

Those Who Affirm the Spontaneity of Every Event

Voided by the False Vows of Time

Water, Hinge, Field

 

The artworks of Ryota Matsumoto develop and demonstrate the spatio-temporal conditions of our ever-evolving urban and ecological environments. They are created to act as the catalyst for defining speculative changes in notions of cities, societies and cultures. Essentially, the work facilitates a reciprocal dialogue among those multifaceted realms in the morphological nature of constantly shifting topography and geology. The drawings explore the hybrid drawing techniques combining both architectural and visual art languages. The varying scale, juxtaposition of different forms, intertwined textures/tones and visual metamorphoses are employed as the hybrid/multi-layered drawing processes to question the nature of representation in art and architecture.

 

Ryota Matsumoto is a principal of an award-winning design office, Ryota Matsumoto Studio based in Tokyo. He is an artist, designer and urban planner. He received Master of Architecture from University of Pennsylvania in 2007 after studying at Architectural Association in London and Mackintosh School of Architecture, Glasgow School of Art in early 90’s. He currently has his solo exhibition at Los Angeles Center for Digital Art and the recent work has been presented at the Electronic Language International Festival in Sao Paulo, Fonland Festival of Digital Arts in Coimbra and the International Contemporary Art Lynx 2015.