Broadening telematic electroacoustic music by affective rendering and embodied real-time data sonification

Often played in traditional music performance formats, much recent telematic electroacoustic music focuses on the relationships between people/machines and geographically distributed cultures/spaces/players, and/or it adopts electroacoustic music’s historical concerns with natural environmental sound art or space manipulation. But a more suitable environment for telematic art works is perhaps found in the inter-relationship between ‘players’ and broader contemporary networked life – one embedded in multiple real-time informational data streams. While these streams are often rendered visually, they are also partly interpreted through embodied cognition that can be similar to music and sonic art interpretation. A fruitful meeting point for telematic electroacoustic music and real-time data sonification is in using affective composition/performance and an affective/embodied means of data sonification. To illustrate this, one means of rendering affective telematic electroacoustic music is outlined, and a bridge to one form of real-time data stream representing collective embodiment put forward – forex data rendering – as an example. Amalgamating these approaches in telematic electroacoustic music allows dialectic between networked performers/composers and clusters of collective behaviors. Artistically, this facilitates the notion of how small groups of individuals might plot course(s) of action that are often altered by external pressures, therefore demonstrating a means of exploring participants’ placement in contemporary environments

Some approaches to representing sound with colour and shape

In recent times much of the practice of musical notation and representation has begun a gradual migration away from the monochrome standard that existed since the emergence of printed Non-Western music in the 16th century, towards the full colour pallet afforded by modern printers and computer screens. This move has expanded the possibilities available for the representation of information in the musical score. Such an expansion is arguably necessitated by the growth of new musical techniques favouring musical phenomena that were previously poorly captured by traditional Western musical notation. As time-critical form of visualisation there is a strong imperative for the musical score to employ symbols that signify sonic events and the method of their execution with maximal efficiency. One important goal in such efficiency is “semantic soundness”: the degree to which graphical representations makes inherent sense to the reader. This paper explores the implications of recent research into cross-modal colour-to-sound and shape-to sound mappings for the application of colour and shape in musical scores. The paper also revisits Simon Emmerson’s Super-Score concept as a means to accommodate multiple synchronised forms of sonic representation (the spectrogram and spectral descriptors for example) together with alternative notational approaches (gestural, action-based and graphical for example) in a single digital document

“Cadernos sonoros”: telematic music, collaboration and intertextuality

Cadernos sonoros é um projeto de criação de música de câmara telemática e colaborações artísticas, desenvolvido no período de distanciamento social causado pela pandemia da COVID-19. Este artigo descreve o processo criativo do projeto, que envolve a participação de vários artistas, incluindo os trabalhos preliminares, relações interdisciplinares e atividades colaborativas. Discutimos aspectos da performance musical em ambiente virtual, como corporeidade e relações musicais intermediadas por aparelhos. A intertextualidade e a paisagem sonora são elementos fundamentais na concepção artística do projeto.Cadernos sonoros (Sound notebooks) is a project for the creation of telematic chamber music and artistic collaborations, developed during the period of social isolation caused by the pandemic covid-19. This article describes the creative process of the project, which involves the participation of several artists, including preliminary works, interdisciplinary relationships and collaborative activities. We discussed aspects of musical performance in a virtual environment, such as corporeality and musical relations mediated by apparatuses. Intertextuality and soundscape are fundamental elements of the artistic project design

Decolonizing Science in Latin American Art

Projects that bring the ‘hard’ sciences into art are increasingly being exhibited in galleries and museums across the world. In a surge of publications on the subject, few focus on regions beyond Europe and the Anglophone world. Decolonizing Science in Latin American Art assembles a new corpus of art-science projects by Latin American artists, ranging from big-budget collaborations with NASA and MIT to homegrown experiments in artists’ kitchens. While they draw on recent scientific research, these art projects also ‘decolonize’ science. If increasing knowledge of the natural world has often gone hand-in-hand with our objectification and exploitation of it, the artists studied here emphasize the subjectivity and intelligence of other species, staging new forms of collaboration and co-creativity beyond the human. They design technologies that work with organic processes to promote the health of ecosystems, and seek alternatives to the logics of extractivism and monoculture farming that have caused extensive ecological damage in Latin America. They develop do-it-yourself, open-source, commons-based practices for sharing creative and intellectual property. They establish critical dialogues between Western science and indigenous thought, reconnecting a disembedded, abstracted form of knowledge with the cultural, social, spiritual, and ethical spheres of experience from which it has often been excluded. Decolonizing Science in Latin American Art interrogates how artistic practices may communicate, extend, supplement, and challenge scientific ideas. At the same time, it explores broader questions in the field of art, including the relationship between knowledge, care, and curation; nonhuman agency; art and utility; and changing approaches to participation. It also highlights important contributions by Latin American thinkers to themes of global significance, including the Anthropocene, climate change, and environmental justice. ‘Joanna Page presents a deeply researched account of contemporary art-science projects in Latin America. She situates them at the crux of current discussions on the decolonization of both the sciences and the arts: by questioning Eurocentric views on humanism and modernity, exploring expanded ideas of perception and cognition, and placing Western scientific knowledge within constellations of beliefs and practices that have been marginalised by colonial histories.’ – Mara Polgovsky Ezcurra, Birkbeck Colleg

Proceedings of the 19th Sound and Music Computing Conference

Proceedings of the 19th Sound and Music Computing Conference - June 5-12, 2022 - Saint-Étienne (France). https://smc22.grame.f

EVA London 2022: Electronic Visualisation and the Arts

The Electronic Visualisation and the Arts London 2022 Conference (EVA London 2022) is co-sponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group. Of course, this has been a difficult time for all conferences, with the Covid-19 pandemic. For the first time since 2019, the EVA London 2022 Conference is a physical conference. It is also an online conference, as it was in the previous two years. We continue with publishing the proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form, for the second year in full colour. Over recent decades, the EVA London Conference on Electronic Visualisation and the Arts has established itself as one of the United Kingdom’s most innovative and interdisciplinary conferences. It brings together a wide range of research domains to celebrate a diverse set of interests, with a specialised focus on visualisation. The long and short papers in this volume cover varied topics concerning the arts, visualisations, and IT, including 3D graphics, animation, artificial intelligence, creativity, culture, design, digital art, ethics, heritage, literature, museums, music, philosophy, politics, publishing, social media, and virtual reality, as well as other related interdisciplinary areas. The EVA London 2022 proceedings presents a wide spectrum of papers, demonstrations, Research Workshop contributions, other workshops, and for the seventh year, the EVA London Symposium, in the form of an opening morning session, with three invited contributors. The conference includes a number of other associated evening events including ones organised by the Computer Arts Society, Art in Flux, and EVA International. As in previous years, there are Research Workshop contributions in this volume, aimed at encouraging participation by postgraduate students and early-career artists, accepted either through the peer-review process or directly by the Research Workshop chair. The Research Workshop contributors are offered bursaries to aid participation. In particular, EVA London liaises with Art in Flux, a London-based group of digital artists. The EVA London 2022 proceedings includes long papers and short “poster” papers from international researchers inside and outside academia, from graduate artists, PhD students, industry professionals, established scholars, and senior researchers, who value EVA London for its interdisciplinary community. The conference also features keynote talks. A special feature this year is support for Ukrainian culture after its invasion earlier in the year. This publication has resulted from a selective peer review process, fitting as many excellent submissions as possible into the proceedings. This year, submission numbers were lower than previous years, mostly likely due to the pandemic and a new requirement to submit drafts of long papers for review as well as abstracts. It is still pleasing to have so many good proposals from which to select the papers that have been included. EVA London is part of a larger network of EVA international conferences. EVA events have been held in Athens, Beijing, Berlin, Brussels, California, Cambridge (both UK and USA), Canberra, Copenhagen, Dallas, Delhi, Edinburgh, Florence, Gifu (Japan), Glasgow, Harvard, Jerusalem, Kiev, Laval, London, Madrid, Montreal, Moscow, New York, Paris, Prague, St Petersburg, Thessaloniki, and Warsaw. Further venues for EVA conferences are very much encouraged by the EVA community. As noted earlier, this volume is a record of accepted submissions to EVA London 2022. Associated online presentations are in general recorded and made available online after the conference

METROPOLITAN ENCHANTMENT AND DISENCHANTMENT. METROPOLITAN ANTHROPOLOGY FOR THE CONTEMPORARY LIVING MAP CONSTRUCTION

We can no longer interpret the contemporary metropolis as we did in the last century. The thought of civil economy regarding the contemporary Metropolis conflicts more or less radically with the merely acquisitive dimension of the behaviour of its citizens. What is needed is therefore a new capacity for imagining the economic-productive future of the city: hybrid social enterprises, economically sustainable, structured and capable of using technologies, could be a solution for producing value and distributing it fairly and inclusively. Metropolitan Urbanity is another issue to establish. Metropolis needs new spaces where inclusion can occur, and where a repository of the imagery can be recreated. What is the ontology behind the technique of metropolitan planning and management, its vision and its symbols? Competitiveness, speed, and meritocracy are political words, not technical ones. Metropolitan Urbanity is the characteristic of a polis that expresses itself in its public places. Today, however, public places are private ones that are destined for public use. The Common Good has always had a space of representation in the city, which was the public space. Today, the Green-Grey Infrastructure is the metropolitan city's monument that communicates a value for future generations and must therefore be recognised and imagined; it is the production of the metropolitan symbolic imagery, the new magic of the city