a recent improvised performance as a trio with Roger Dean at the University of Western Sydney
Roger Dean (piano and Max/MSP) on the left, Michael Atherton (percussion) in the middle and Garth Paine on the right, playing the Haken Continuum Fingerboard and using Kyma/Capybara system for sound synthesis.
This research work by Sonia Cillari, called Emotional Skin is an interesting discussion of the points of interaction between the body and the environment. Here work Electronic Field Sensing received an honourable mention at Ars Electronica and developes the ideas into reflections of interpersonal engagement and how that conditions the environment.
I can’t tell which is funnier, this long-hated cheesebag-anthem turned into a much more interesting, atonal mess in front of thousands of paying customers or the hilarious soldiering on of the Van Halens as they look at each other from inside the trainwreck. Eddie tries to transpose on the fly and match the wildly fucked up keyboards but the great thing there is the difference in pitch
Angelo Vermulen's project titled — A Living Game Computer as Social Structure is documented on the Networked Performance site and looks very interesting. There is a VodCast of a lecture by the artist available HERE
Over the past decades a new sound culture has developed. A rich culture of musicians, composers and listeners has emerged who apply themselves to the research of sound matter, recording and transmission, and particularly to the act and experience of listening itself. This culture gradually is superseding the predominance of the visual within art history and theory, is becoming more aware of its traditions, relevance and potential as a cultural signifier. The proliferation of ‘sound art’ as a legitimate field within contemporary art and the cultivation of such innovators as John Cage and Pierre Schaeffer to an almost mythical status are but the tip of the iceberg. Ultimately technological evolutions have set off a democratization of sound, liberated from both the rigidity of Western harmonic system and the popular music’s market -oriented thinking, throwing us back upon our own ears. These previously unknown forms of aural literacy, performance and memory have induced new affinities and alliances, beyond traditions and genres, beyond the distinction between original and copy, music and noise, amateur and professional, high and low culture. These practices are not bound by aesthetic or conceptual questions, but rather by a tendency to destabilize the norm and to challenge ruling ideas about sound and music, hearing and seeing, absence and presence. Ways of Hearing navigates, through numerous performances and lectures, through this whimsical landscape of sound.
Thu 04.10.2007 // 20:30
CONCERT Charles Curtis + Eliane Radigue / Lucio Capece + Mika Vainio
Co-production with Q-O2
Wed 17.10.2007 // 20:30
LECTURE David Toop: Ways of Hearing, Resisting the Visual
Thu 18.10.2007 // 20:30
CONCERT Asmus Tietchens + Thomas Köner, John Duncan, CM von Hausswolff
Co-production with Metaphon
Thu 25.10.2007 // 20:30
CONCERT Tetuzi Akiyama + Jozef van Wissem / Mattin + Junko + Michel Henritzi
Co-production with (K-RAA-K)3
Socratic Electronics is an interesting web resource that provides both rationale and resources for research/discussion-based instruction to instructors everywhere. Central to the Socratic Electronics project is a large collection of questions and answers, intended as student assignments. By requiring students to research answers to these questions, then present their findings in class, students learn how to locate information, problem-solve, collaborate, and clearly articulate their thoughts while learning the basic subject matter. While the resources provided on this site are specifically designed for teaching electronics, the method itself is applicable to a wide variety of disciplines. I welcome constructive criticism, as well as participation in the development of this learning resource
October 29th, 2007 by 
Garth
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