At the vilma offices thanks to Gediminas and Nomeda — for hosting the stream I’m sending to Steve of art@radio in Baltimore who has an elaborate studio set-up for the live streaming he’ll be doing from there to The Long Night of Radio Art that is part of the Reinventing Radio project of KunstRadio. the whole project will be broadcast on FM, shortwave, a special 5.1 digital satellite transmission, and online. (Taking a breath). Yeah, live online. Meet August on the IRC channel broadcasting from Santa Barbara.
Baltimore, USA :: jamming radiophonic space :: 19:30 – 06:00 Eastern Standard Time
“jamming radiophonic space,” modulates the interplay of radio, Internet, wireless transmission, an private space.
This experientially diverse and geographically scattered group will contribute to “jamming radiophonic space” through decentralized, networked, and collaborative strategies of production and distribution. Streaming feeds from microphones places in and around artists’ workspaces will be gathered along with ambient sound called in via wireless and landline phones; requests have already gone out over electronic list-serves for individuals to call in and point their live phones for 10 or 15 minutes towards sounds emblematic of their time and place.
These sonic interruptions will then be mixed and processed into a stream of “hot media” by artists present in the Baltimore studio space using baby monitors, short-wave radios, software, and other improvised sound tools. The stream will then be made available world-wide to streaming clients via wired and wireless data connections.
Artists:
Chris Basile, Goeff Bell, Steve Bradley, Phaye Poliakoff-Chen, Chad Eby, John Hopkins (Vilnius, LT), Brendan Howell, John Hudak, Jacob Kirkegaard, Tim Nohe, Joe Reinsel, Jodi Rose, Bill Shewbridge, Nicole Shiflet, John Sturgeon, and others …
neoscenes is again participating in the Reveil global audio streaming project for the tenth year, adding a small sonic expression to this ongoing collaborative broadcast: Reveil 24-hour live broadcast 2024 (one dimension of Soundcamp) 03-05 May (depending on your time zone — see below for exact local times).
Reveil is a collective production by streamers at listening points around the earth. Starting on the morning of Saturday 4 May in South London near the Greenwich Meridian, the broadcast will pick up feeds one by one, tracking the sunrise west from microphone to microphone, following the wave of intensified sound that loops the earth every 24 hours at first light.
Streams come from a variety of locations and situations, at a time of day when many people are unaccustomed to be up and out, but sounds are vivid, especially in Spring. The Reveil broadcast makes room by largely avoiding speech and music, gravitating to places where human and non human communities meet and soundworlds overlap.
Sounds produced by birds, amphibians, weather, fish, electromagnetic fluctuations, people, machines, vegetation, transmission artifacts, convey the variety of planetary soundscapes, captured from many specific places and projects. In the process, Reveil brings together dispersed and lesser known ecological projects and practices across disciplines and time zones, in a sketch of an acoustic commons in the making.
Streams range from temporary projects in people’s homes to large research networks. Each open microphone adds to the diversity of the mix.
This Reveil stream, neoscenes’ tenth year participating, comes from the property of friend and artist Jennifer Riefenberg, a tract of land sitting at 6850 ft (2015 m) on a rich riparian corridor along Surface Creek in western Colorado. The nearest village, Cedaredge is a couple miles away. To the northwest, north, and northeast, 10 miles (16 km) as the raven flies, sits Grand Mesa, the largest flat-topped mountain in the world, at 11,000 ft (3300 m). The surrounding property was formerly an agricultural area relying on irrigation waters coming off the Mesa. Before the white colonization in the late 18th century, this area was the Ute tribal homeland: it still is. There is a rich range of wildlife in the area—birds including Bald Eagles (Haliaeetus leucocephalus), Red-tail Hawks (Buteo jamaicensis), Great Horned Owls, Ravens (Corvus corax), Black-billed Magpies (Pica hudsonia), Starlings (Sturnus vulgaris), Western Meadowlarks (Sturnella neglecta), Mountain and Western Bluebirds, Nuthatches, House Sparrows and Finches along with bears, mountain lions, coyotes, mule deer, foxes, raccoons, skunks, marmots, and ground squirrels. Surface Creek, the main drainage for the area, runs on the east side of the property in a shallow valley lined with cottonwood, juniper, box elder, mountain mahogany, 3-leaf sumac, service berry, yarrow, rabbit brush, and volunteer fruit trees. In the sonic foreground there is an irrigation holding pond that sees regular visits of a variety of birds. Early May is a time for maximum snow-melt off the Mesa, and Surface Creek can swell to more than 600 cfs (17 cms)—two orders of magnitude over minimum flow. It typically displays large diurnal variations in flow, depending on the ambient temperatures. The creek flow will be the dominant sonic texture.
The neoscenes stream, hosted on the locusonus soundmap will be live for the entire weekend; it will be selectively broadcast in the Reveil stream as follows:
Date: 06 May 05:50-06:20 AM MDT UTC-6 (this is the approximate time that the neoscenes stream will be mixed into the whole 25-hour stream)
Civil twilight (local time): 5:40 AM / 0538 (UTC-6) Local time in Cedaredge
Sunrise (local time): 6:07 AM / 0606 (UTC-6) Local time in Cedaredge
Location: online and Cedaredge, Colorado, USA
Streamer: John Hopkins / neoscenes
Coordinates: N +38.92349163182399° / W107.91730709264802°
Timezone: MDT UTC-6 — 7 hours behind London
It’s that time of year again, a rare instance for neoscenes to focus a small expression on collaborative audio streaming work: Reveil 24-hour live broadcast 2023 (one dimension of Soundcamp) 06-07 May — see below for exact times depending on your time zone:
Reveil is an annual collaborative 24+1-hour streaming radio broadcast of the sounds of daybreak, co-produced by streamers around the world. Reveil follows the changing wave of sound that circles the earth continuously along the grey line of first light, returning to its starting point after 24 hours without repetition.
Sounds produced by birds, amphibians, weather, fish, electromagnetic fluctuations, people, machines, vegetation, transmission artifacts, convey the variety of planetary soundscapes, captured from many specific places and projects. In the process, Reveil brings together dispersed and lesser known ecological projects and practices across disciplines and time zones, in a sketch of an acoustic commons in the making.
Streams range from temporary projects in people’s homes to large research networks. Each open microphone adds to the diversity of the mix.
This Reveil stream, neoscenes’ ninth overall, and the third that is coming from a small ranch sitting at 6800 ft (2000 m) on the Surface Creek alluvial fan near the small town of Cedaredge in western Colorado. To the northwest, north, and northeast, 10 miles (16 km) as the raven flies, sits Grand Mesa, the largest flat-topped mountain in the world, at 11,000 ft (3300 m). The property surrounding the house was once an apple orchard, beginning 140 years ago, but that came and went, leaving open grazing fields that rely on irrigation waters coming off the Mesa. Before the white colonization, this area was a rich Ute tribal homeland. There are a range of birds — bald eagles (Haliaeetus leucocephalus), red-tail hawks (Buteo jamaicensis), ravens (Corvus corax), black-billed magpies (Pica hudsonia), starlings (Sturnus vulgaris), meadowlarks (Sturnella neglecta), sparrows, and so on. Surface Creek Road runs on the east side of the property, so there will be the occasional pick-up truck, ATV, or car racing up or down the long grade. The view to the south is to the magnificent San Juan Mountains, and to the southwest and west spans the long horizontal swell of the Uncompaghre Uplift at 9,000 ft (2700 m), looking everything like a massive dark tsunami, frozen in geologic time. The nearest neighbors are 1000 ft (300 m) away or more, but with few trees, one may hear goats, chickens, dogs, and cows in the background. Surface Creek is not far away, and will be experiencing peak springtime snow-melt, so there will be a low background sussurration arising from that.
The neoscenes stream, hosted on the locusonus soundmap will be live for the entire weekend; it will be selectively broadcast in the Reveil stream as follows:
Date: 06 May 05:50-06:20 AM MDT UTC-6 (this is the approximate time that the neoscenes stream will be mixed into the whole 25-hour stream)
Civil twilight (local time): 5:38 AM / 0538 (UTC-6) Local time in Cedaredge
Sunrise (local time): 6:06 AM / 0606 (UTC-6) Local time in Cedaredge
Location: online and Cedaredge, Colorado, USA
Streamer: John Hopkins / neoscenes
Coordinates: N 38.91734719755037° / W107.91045876607403°
Timezone: MDT UTC-6 — 7 hours behind London
It’s that time of year again, one of the few instances for neoscenes to focus on a small expression of collaborative audio streaming work: Reveil 24-hour live broadcast 2022 (one dimension of Soundcamp) this weekend — see below for exact times depending on your time zone:
Reveil is an annual collaborative 24+1 hour streaming radio broadcast of the sounds of daybreak, co-produced by streamers around the world. Reveil follows the changing wave of sound that circles the earth continuously along the grey line of first light, returning to its starting point after 24 hours without repetition.
Sounds produced by birds, amphibians, weather, fish, electromagnetic fluctuations, people, machines, vegetation, transmission artifacts, convey the variety of planetary soundscapes, captured from many specific places and projects. In the process, Reveil brings together dispersed and lesser known ecological projects and practices across disciplines and time zones, in a sketch of an acoustic commons in the making.
Streams range from temporary projects in people’s homes to large research networks. Each open microphone adds to the diversity of the mix.
This Reveil stream, neoscenes eighth contribution, and the second that is coming from a small ranch sitting at 6800 ft (2000 m) in the Surface Creek drainage near the small town of Cedaredge in western Colorado. To the northwest-north-northeast sits Grand Mesa, the largest flat-topped mountain in the world, at 11,000 ft (3300 m). The ranch was once an apple orchard, beginning 140 years ago, but that came and went, leaving open grazing fields that rely on irrigation waters coming off the Mesa. Before the white colonization, this area was a rich Ute tribal homeland. There are a range of birds — bald eagles (Haliaeetus leucocephalus), red-tail hawks (Buteo jamaicensis), ravens (Corvus corax), black-billed magpies (Pica hudsonia), starlings (Sturnus vulgaris), meadowlarks (Sturnella neglecta), sparrows, and so on. Surface Creek Road runs on the east side of the property, so there will be the occasional pick-up truck or car racing up or down the long grade. The view to the south is to the magnificent San Juan Mountains, and to the southwest and west spans the long horizontal swell of the Uncompaghre Uplift at 9,000 ft (2700 m), looking everything like a massive dark tsunami, frozen in time. The nearest neighbors are 1000 ft (300 m) away or more, but with few trees, one may hear goats, chickens, dogs, and cows in the background.
The neoscenes stream, hosted on the locusonus soundmap will be live for the entire weekend; it will be selectively broadcast in the Reveil stream as follows:
Date: 30 April 05:45-06:16 AM MDT UTC-6 (this is the approximate time that the neoscenes stream will be mixed into the 24-hour stream)
Civil twilight (local time): 5:45 AM / 0545 (UTC-6) Local time in Cedaredge
Sunrise (local time): 6:13 AM / 0613 (UTC-6) Local time in Cedaredge
Based on ideas and practices of ecological radio and acts of listening, this long-form broadcast will bring together contributions by climate activists and artists, both those gathering around the Conference in Glasgow and those individuals and communities around the world seeking to bring their voices to the collective demands for climate justice. Situated in Glasgow for the duration, As if radio (Air) will provide a platform for the voices less often heard at such events, interweaving these with ecological sounds combining live coverage and commentary from the COP and widening the soundfield to areas out with the official event. We anticipate a rich listening experience combining environmental streams from the Acoustic Commons network with a mix of reportage, radiophonic works, critical perspectives and environmental sounds, sonic interventions and untold stories of the climate crisis. There will be an emphasis on live content wherever possible.
neoscenes participates with an older, but still very much apropos composition, water fills the hall.
Running as an open radio studio at Civic House, Glasgow, AIR is dedicated to experimenting with ideas and practices of ecological radio and acts of listening. It will feature contributions by artists and climate activists in Glasgow and around the world, together with live environmental sounds on the LocusSonus open microphone network, real-time feeds and commentary from around and beyond the COP.
The open call invites diverse audio contributions by artists, activists, ecologists and other sound workers that engage issues of climate and ecological crises in their broadest sense. These might include live streams, soundscapes, field recordings, readings, environmental sound and transmission works – including live material wherever possible. We are also looking for live projects, performances, local reports and interventions over the COP that involve sound or can be adapted for radio.
We imagine the AIR station as a public platform for sharing work, learning about making radio, bringing remote places into conversation, organising, experimentation and acoustic commoning. The show will stream to a server at our broadcast partner, Wave Farm in Acra, New York, from where it will be available for other broadcasters to pick up.
We invite you to join us on-line or in the open studio at Civic House to find out more about ecological radio, for a streambox building workshop, performance or to join a broadcast.
It’s that time of year again, one of the few instances for neoscenes to focus on a small expression of collaborative audio streaming work: Reveil 24-hour live broadcast 2021 (one dimension of Soundcamp) this weekend — see below for exact times depending on your time zone:
Reveil is an annual collaborative 24+1 hour streaming radio broadcast of the sounds of daybreak, co-produced by streamers around the world. Reveil follows the changing wave of sound that circles the earth continuously along the grey line of first light, returning to its starting point after 24 hours without repetition.
Sounds produced by birds, amphibians, weather, fish, electromagnetic fluctuations, people, machines, vegetation, transmission artifacts, convey the variety of planetary soundscapes, captured from many specific places and projects. In the process, Reveil brings together dispersed and lesser known ecological projects and practices across disciplines and time zones, in a sketch of an acoustic commons in the making.
Streams range from temporary projects in people’s homes to large research networks. Each open microphone adds to the diversity of the mix.
This Reveil stream, neoscenes seventh contribution is coming from a small ranch sitting at 6800 ft (2000 m) in the Surface Creek drainage near the small town of Cedaredge in western Colorado. To the northwest-north-northeast sits Grand Mesa, the largest flat-topped mountain in the world, at 11,000 ft (3300 m). The ranch was once an apple orchard, beginning 140 years ago, but that came and went, leaving open grazing fields that rely on irrigation waters coming off the Mesa. Before the white colonization, this area was a rich Ute tribal homeland. There are a range of birds — bald eagles (Haliaeetus leucocephalus), red-tail hawks (Buteo jamaicensis), ravens (Corvus corax), black-billed magpies (Pica hudsonia), starlings (Sturnus vulgaris), meadowlarks (Sturnella neglecta), sparrows, and so on. Surface Creek Road runs on the east side of the property, so there will be the occasional pick-up truck or car racing up or down the long grade. The view to the south is to the magnificent San Juan Mountains, and to the southwest and west spans the long horizontal swell of the Uncompaghre Uplift at 9,000 ft (2700 m), looking everything like a massive dark tsunami, frozen in time. The nearest neighbors are 1000 ft (300 m) away or more, but with few trees, one may hear goats, chickens, dogs, and cows in the background.
The neoscenes stream, hosted on the locusonus soundmap will be live for the entire weekend; it will be selectively broadcast in the Reveil stream as follows:
Here’s a recording of the stream as it happened:
(01:34:37, stereo audio, 227 mb)
Date: 30 April 05:44-06:16 AM MDT UTC-6 (this is the approximate time that the neoscenes stream will be mixed into the 24-hour stream) Civil twilight (local time): 5:44 AM / 0544 (UTC-6) Local time in Cedaredge Sunrise (local time): 6:13 AM / 0613 (UTC-6) Local time in Cedaredge Location: online and Cedaredge, Colorado, USA Streamer: John Hopkins / neoscenes neoscenes/Reveil landing page: https://streams.soundtent.org/2021/streams/utc-6_cedaredge-colorado Coordinates: N 38.91735 / W 107.910422 Timezone: MDT UTC-6 — 7 hours behind London
This feed is set-up by Dr. John Hopkins (aka neoscenes), a visual/sonic media artist, learning facilitator, info-organizer. He holds a creative media practices PhD from La Trobe University/University of Technology Sydney, an MFA from the University of Colorado Boulder (where he studied film under renown experimental film-maker, Stan Brakhage), and a BSc in Geophysical Engineering from the Colorado School of Mines. His transdisciplinary research and workshops explore issues surrounding sustainable creative practices, systems thinking, networked & tactical media, distributed and community-based DIY & DIWO processes, networked creativity, and Temporary Autonomous Zones. His international media arts practice explores the role of energy in techno-social systems and the effects of technology on energized human encounter. He has taught across more than 20 countries and 60 higher education situations. He currently works at the Colorado Geological Survey where he translates geoscience data into natural language that the public might understand; he is on the faculty of the aforementioned Colorado School of Mines.
You may track his hopes for a prosperous way down and out for the human species at: https://neoscenes.net/blog/
Coming up 02-03 May, neoscenes joins in another annual live streaming broadcast for the sixth time with the Reveil 24-hour live broadcast 2020 that is one dimension of Soundcamp:
Reveil is a 24+ hour radio broadcast of the sounds of daybreak, co-produced by streamers around the world on Dawn Chorus Day each year.Reveil follows the changing wave of sound that circles the earth continuously along the grey line of first light, returning to its starting point after 24 hours without repetition.
Sounds produced by birds, amphibians, weather, fish, electromagnetic fluctuations, people, machines, vegetation, transmission artifacts, convey the variety of planetary soundscapes, captured from many specific places and projects. In the process, Reveil brings together dispersed and lesser known ecological projects and practices across disciplines and time zones, in a sketch of an acoustic commons in the making.
Streams range from temporary projects in people’s homes to large research networks. Each open microphone adds to the diversity of the mix.
hopkins/neoscenes sends a dawning stream into the ether from the dividing line betwixt plains and mountains … enjoy!
This Reveil stream, neoscenes’ sixth, is out the kitchen window listening to the ambient neighborhood sounds surrounding Delong Park, a new park-in-the-making, in Golden, Colorado. Nestled at the base of the west flank of South Table Mountain, the sounds are under the dampening influenced of the moment: coronavirus, lock-down, social-distancing, quarantine, and so on. The park sits at 1765 m / 5790 ft. In the immediate foreground is a “ditch” — an dis-used irrigation ditch that used to carry water from Clear Creek Canyon all the way to the Plains to the east for agriculture in this dry climate. Children use the ditch as a play area. The Park was once a strange-shaped concatenation of lots, perhaps two acres in total, with a house on it. For some reason the house was destroyed and the lot donated to the city. It’s been used by locals already on a regular basis for, yes, dog walking, but also, snowball fights, frisbee, soccer practice, and picnicking. Soon, however, the city will unveil a *plan* for the space, to make it an ‘official’ park in the city schema. Not much else going on!
The live microphone feed will include: local neighborhood car and dog-walker traffic; interspersed with the conversational cries of the black-billed magpie (Pica hudsonia), the hunting sounds of the occasional red-tail (Buteo jamaicensis) and Cooper’s (Accipiter cooperii) hawks, the territorial cries and pecking of the northern flicker (Colaptes auratus), and the cooing of the mourning doves (Zenaida macroura), along with a variety of other birds. There may be the occasional coyotes (Canis latrans) kicking up a racket, trying to seduce house dogs to come out and play (and get eaten)!
This feed is set-up by Dr. John Hopkins (aka neoscenes), a visual/sonic media artist, learning facilitator, info-space organizer. He holds a creative media practices PhD from La Trobe University/University of Technology Sydney, an MFA from the University of Colorado Boulder (where he studied film under renown experimental film-maker, Stan Brakhage), and a BSc in Geophysical Engineering from the Colorado School of Mines. His transdisciplinary research and workshops explore issues surrounding sustainable creative practices, systems thinking, networked & tactical media, distributed and community-based DIY and DIWO processes, networked creativity, and Temporary Autonomous Zones. His international media arts practice explores the role of energy in techno-social systems and the effects of technology on energized human encounter. He has taught across more than 20 countries and 60 higher education situations. He currently is translating geoscience data into natural language that the public might understand at the Colorado Geological Survey which, strangely enough, is now part of the aforementioned Colorado School of Mines.
TUNE IN HERE [PROJECT OVER]: soundcamp listen: https://streams.soundtent.org/2020/streams/utc-6_golden-colorado-47128682-fd2e-411e-a2c1-646043e26a15
The direct neoscenes stream [DOWN NOW] is located at https://locus.creacast.com:9001/neoscenes.m3u (open in iTunes or VLC … it may or may not be active at any given time as I have to keep my kitchen window open for the mike to sit).
We organise overnight soundcamps where people can sleep outside and investigate the sounds of unusual locations, especially at daybreak. We transmit REVEIL: a 24 hour radio broadcast that tracks sunrise around the globe, relaying live audio streams from collaborating artists, independent channels, and a variety of streaming media assembled for the event.
We are a platform for artistic and trans disciplinary work in the emerging field of live streaming audio.
We contribute to research and development of open source solutions for relaying live sounds, and establishing a permanent open microphone network as a resource for artists, researchers, activists and other listeners.
We assemble and produce materials online and in print as contexts for The Live Archive which Reveil taps into and extends.
Join soundcamps and streamers who will open microphones for the Reveil 24 hour radio broadcast, tracking the sunrise around the world for one earth day.
This Reveil stream is coming from a house set in a suburban mountain neighborhood at the fringe of wildlands on the east-facing side of Apex Park in Golden, Colorado. Overlooking the wide expanse of the High Plains, the house sits at 1890 m/6200 ft, the Mother Cabrini Shrine isn’t so far, at least as the red-tailed hawk (Buteo jamaicensis) flies, nor is Deadman Gulch. Apex Park is yet another expression of the Laramide Orogeny of the Rocky Mountains as they rise from the Great Plains of middle America. The view to the east is expansive and includes Lakewood, and off in the middle distance, the high-rise towers of Denver, Colorado, and the eastern horizon, looking towards the state of Kansas, is far enough away that you may easily see the curvature of the earth.
The live microphone feed will include far-away-though-still-violent vehicle susserations from Interstate 70 and 470; un-throttled air traffic ascending hard to cross the high mountains from the Denver Int’l Airport; local neighborhood car and dog traffic; interspersed with the conversational cries of the Black-billed Magpie (Pica hudsonia) and a variety of other birds. It’s not unusual to see large herds of elk (Cervus canadensis), very fat suburban coyotes (Canis latrans), lynx (Lynx rufus), and mountain lions (Puma concolor) among the houses here, but they are generally silent or absent at dawn.
Rápidas manos frías
retiran una a una
las vendas de la sombra
Abro los ojos
todavía
estoy vivo
en el centro
de una herida todavía fresca. (1)
A half-circle rotation, standing, looking east: from the far north, left, the Flatirons, vertically-tilted 280-million-year-old sandstone spires; then, North Table Mountain, a broad mesa of Paleocene lava flows, paired with South Table Mountain; then a wide gap straight east across the flat Denver Basin and, eventually, Kansas; book-ending the view to the south-south-east, right, the low expanse of Green Mountain; behind me, the raw mass of the Rocky Mountains. Late spring dawn slices directly through this horizon, the actual sunrise a brilliant post-Cartesian process. There is, yes, the left-right-up-down event, (artificially) timed — astronomical, nautical, civil — along azimuth, ecliptic, and the eventual arrival at zenith way up above, later.
But every instance, every now of dawn, every sequential instant is different. It is the same difference — the anisotropic distribution of energized matter in the cosmos — that drives the gravitational oscillations rolling our Gaian marble on a nautiloid trajectory, revealing and hiding stars, planets, and sun. Here, though, on the dividing edge, one is affected by that same attraction of masses. The mass of the mountains to the west — at one’s back while watching the dawn — create a slight lightening effect on the body: given the calculated metrics of the “terrain” and “Hammer” corrections to the local gravitational field. This, a complication of the two-infinite-half-spaces geophysical model of the earth that speaks only of earth below and heaven above, what the I Ching reads as matter and spirit, darkness and light. But it is the incremental, the incomplete, the fuzzy, and the complex interplay signified in the fluid transitions of topography, of ecosystems, of orbiting bodies, and specifically, of dawn that bring us to Life.
Beyond the unbalanced weight of waning dark and waxing gray; beyond the vocative release of the local aviary; beyond the grinding realization that it is probably a work day; beyond the memory of the reported deaths of the previous day; beyond the inexorable procession of awakening to light; beyond the rime of red-eyed pollution staining the horizon; beyond the shreds of nightdream; beyond the warmth of feathered bedding and gently aspirating partner; there is the underlying nature of reality:
Two forces rule the universe: light and gravity. (2)
We organise overnight soundcamps where people can sleep outside and investigate the sounds of unusual locations, especially at daybreak.
We transmit REVEIL: a 24 hour radio broadcast that tracks sunrise around the globe, relaying live audio streams from collaborating artists, independent channels, and a variety of streaming media assembled for the event.
We are a platform for artistic and trans disciplinary work in the emerging field of live streaming audio.
We contribute to research and development of open source solutions for relaying live sounds, and establishing a permanent open microphone network as a resource for artists, researchers, activists and other listeners.
We assemble and produce materials online and in print as contexts for The Live Archive which Reveil taps into and extends.
Over the weekend of International Dawn Chorus Day on 5-6 May, soundcamps and streamers around the world will open microphones for the Reveil broadcast, sharing the sounds of places we hadn’t heard of or heard in this way before.
From a house perched on the rugged east-facing side of Mount Zion, at 1865 m/6120 ft above sea level, the view of sunrise is spectacular. Mount Zion is the first uplifted (remaining, continuing) expression of the Laramide Orogeny of the Rocky Mountains as they rise from the Great Plains of middle America. The view to the east is expansive and includes the town of Golden, Colorado, once the territorial capital, in the foreground; then comes the low North and South Table Mesa neither completely obscuring the view of the far horizon that is perhaps 75 mi. away towards the state of Kansas. The curvature of the earth is apparent, looking over this western edge of the Great Plains.
The live microphone feed will include a constant machinic backdrone of the Coors (beer) Brewery that sits on the east side of Golden; along with that is the sucking hiss of cars driving at high speed along a piece of 6th Avenue; often there is a significant wind; possible early-morning mountain bikers huffing up the Chimney Gulch trail below the house; interspersed with the conversational cries of the black-billed magpie (Pica hudsonia), the buzzing flight of ruby-throated hummingbirds (Archilochus colubris), and the rattling duel of gilded flickers (Colaptes chrysoides). There are red-tailed Hawks (Buteo jamaicensis), and the occasional golden eagle (Aquila chrysaetos), the occasional neighborhood dog barking, lots of LBBs (little brown birds) that I cannot name in the moment.
This year, for the morning sunrise, I plan to have a soft-and-sweet-spoken guest, and we shall have a dialogue that will float in the background of this sounding.
This stream is initiated by Dr. John Hopkins (aka neoscenes), a visual/sonic media artist, learning facilitator, information-space organizer. He holds a creative practices PhD from La Trobe University/University of Technology Sydney, an MFA from the University of Colorado Boulder (where he studied film under renown experimental film-maker, Stan Brakhage), and a BSc in Geophysical Engineering from the& Colorado School of Mines. His transdisciplinary research and workshops explore issues surrounding sustainable creative practices, ‘big-picture’ system views, networked & tactical media, distributed and community-based DIY and DIWO processes, networked creativity, and Temporary Autonomous Zones. His international media arts practice explores the role of energy in techno-social systems and the effects of technology on energized human encounter. He has taught across more than 20 countries and 60 higher education situations. He is currently organizing the geoscience dataspace and archive of the Colorado Geological Survey which, strangely enough, is now part of the aforementioned Colorado School of Mines… strange circles.
We organise overnight soundcamps where people can sleep outside and investigate the sounds of unusual locations, especially at daybreak.
We transmit REVEIL: a 24 hour radio broadcast that tracks sunrise around the globe, relaying live audio streams from collaborating artists, independent channels, and a variety of streaming media assembled for the event.
We are a platform for artistic and trans disciplinary work in the emerging field of live streaming audio.
We contribute to research and development of open source solutions for relaying live sounds, and establishing a permanent open microphone network as a resource for artists, researchers, activists and other listeners.
We assemble and produce materials online and in print as contexts for The Live Archive which Reveil taps into and extends.
From a house perched on the rugged east-facing side of Mount Zion, at 1865 m/6120 ft above sea level, the view of sunrise is spectacular. Mount Zion is the first uplifted (remaining, continuing) expression of the Laramide Orogeny of the Rocky Mountains as they rise from the Great Plains of middle America. The view to the east is expansive and includes the town of Golden, Colorado, once the territorial capital, in the foreground; then comes the low North and South Table Mesa neither completely obscuring the view of the far horizon that is perhaps 75 mi. away towards the state of Kansas. The curvature of the earth is apparent, looking over this western edge of the Great Plains.
The live microphone feed will include a constant machinic whining from the Coors (Beer) Brewery that sits on the east side of Golden; along with that is the sucking hiss of cars driving at high speed along a piece of 6th Avenue; often there is a significant wind; possible early-morning runners and mountain bikers huffing up the Chimney Gulch trail below the house; all this interspersed with the conversational cries of the black-billed magpie (Pica hudsonia). There are red-tailed hawks (Buteo jamaicensis), and the occasional golden eagle (Aquila chrysaetos), a neighborhood dog barking, and lots of birds that I cannot name in the moment.
It had been a dry winter here, in the transition zone, though the mountains got plenty of snow, up until last weekend when we got 30 cm of wet springtime snow. Now things are quite green.
This stream is initiated by Dr. John Hopkins (aka neoscenes), a visual/sonic media artist, learning facilitator, information-space organizer. He holds a creative practices PhD from La Trobe University/University of Technology Sydney, an MFA from the University of Colorado Boulder (where he studied film under renown experimental film-maker, Stan Brakhage), and a BSc in Geophysical Engineering from the& Colorado School of Mines. His transdisciplinary research and workshops explore issues surrounding sustainable creative practices, ‘big-picture’ system views, networked & tactical media, distributed and community-based DIY and DIWO processes, networked creativity, and Temporary Autonomous Zones. His international media arts practice explores the role of energy in techno-social systems and the effects of technology on energized human encounter. He has taught across more than 20 countries and 60 higher education situations. He is currently organizing the geoscience dataspace and archive of the Colorado Geological Survey which, strangely enough, is now part of the aforementioned Colorado School of Mines… strange circles.
neoscenes takes to the net-waves once again: this time, from the fall chill of Boulder, Colorado joining a continental placard festival with a live improv sonic stream. The basic times are below, stream info will be updated as necessary.
…the heathen produce basilisks in an underground structure made of stones that admits just a little light…
le placard is a headphone concert festival, playing with concentration, intimacy, time warp, and teleportation.
This edition of le placard Headphone Festival will take place in an underground structure made of stones in Basel, Switzerland and will leak out into streams through the internet.
Stay tuned here for up-to-date information on catching the live neoscenes improv stream. Mark the time — (you can go to World Time Buddy to calculate other time zones).
WHUPS — times have slipped by approx one two hours — SO, PLZ check new times below!!!
Saturday, 08 October 2016 – Denver, US – 6:30 – 7:00 PM GMT-6 (MDT)
Saturday, 08 October 2016 – New York, US – 8:00 – 8:30 PM GMT-5 (EST)
Saturday, 08 October 2016 – London, UK – 01:30–02:00 GMT+1 (BST)
Sunday, 09 October 2016 – Basel, CH – 0230 – 0300 GMT+2 (CEST)
Sunday, 09 October 2016 – Helsinki, FI – 0330 – 0400 GMT+3 (EEST)
Sunday, 09 October 2016 – Sydney, AU – 11:30 -12:00 AM GMT+11 (AEDT)
Sunday, 09 October 2016 – Auckland, NZ – 13:30 – 14:00 PM GMT+13 (NZDT).
The Headphone Festival has their own output stream to tune in to. Headphones recommended to capture the ethereal density of the stream!
A 37-minute sonic improv titled basilisk troglodytae: in which the basilisk is lured along various paths into a cave by the thrumming song of the deus machina. Among the voices of the other damned souls, the basilisk is slowly consumed in a conflagration of mediatory devices. When completely digested, the basilisk returns, reborn, to the roots of its nature: a being that can cause the living to turn to stone. Despite all, Life retains its temporal vitality until it ends.
The stream is over, but you can listen to the archive broadcast in its entirety:
(00:37:27, stereo audio, 89.9 mb)
My stream address for the performance: https://locus.creacast.com:9001/neoscenes.m3u (this URL is *not* live now with a locus sonus live mike stream). You can copy/paste the address into iTunes (use File menu – Open Stream option), or other mp3 players whenever it’s live.
REVEIL relays the sounds of live open microphones provided by streamers around the world.
Starting on the morning of Saturday 30 April just before daybreak in Rotherhithe near the Greenwich Meridian, the Reveil broadcast tracks the sunrise west from microphone to microphone, following the wave of sound that loops the earth every 24 hours.
Sounds are provided by the LocusSonus network and other streamers, together with a collection of live audio sources assembled for this broadcast.
REVEIL is different from the vast majority of radio available online: it is not dedicated mainly to music or talk, and none of it is pre-recorded. Each sound is propagating live somewhere in real time.
Our aim is to open a space for listening to something else – especially, but not exclusively to non humans and from wild places – and in the course of one earth day to provide a sketch of this emerging field.
The Live Audio Archive is both paradoxical and fluid: streams come and go in response to technical issues, seasonal changes, and the movement of people and other creatures on different projects or migrations.
From the Prescott National Forest, (altitude 5400 ft/1650 m) in a third growth ponderosa or blackjack pine (Pinus ponderosa) forest, sitting on a 1.5 billion-year-old granite batholith, a live microphone feed before, during, and after dawn brings the sounds of the common ground-dove (Columbina passerina), red-naped sapsucker (Sphyrapicus nuchalis), common raven (Corvus corax), and a variety of other birds, some neighborhood dogs, a few wind-chimes, the occasional susseration of automobiles in the distance, and the wind in the pines. It’s springtime, but after ten weeks of late winter that broke all records on heat and lack of precipitation, the environment is stressed and desperate for any moisture. Wildfires, once seasonal, may now start at any time of year.
This feed is sent from the small under-reconstruction cabin studio of Dr. John Hopkins (aka neoscenes), a visual/sonic media artist and learning facilitator. He holds a creative practices PhD from La Trobe University/University of Technology Sydney, an MFA from the University of Colorado Boulder (where he studied film under renown experimental film-maker, Stan Brakhage), and a BSc in Geophysical Engineering from the Colorado School of Mines. His transdisciplinary research and workshops explore issues surrounding sustainable creative practices, ‘big-picture’ system views, networked & tactical media, distributed and community-based DIY & DIWO processes, networked creativity, and Temporary Autonomous Zones. His international media arts practice explores the role of energy in techno-social systems and the effects of technology on energized human encounter. He has taught across more than 20 countries and 60 higher education situations. He is currently hunting for meaningful work in a social system that is itself under severe psycho-spiritual duress. Is this the beginning of collapse?
Here’s a recording of the stream as it happened:
(01:25:21, stereo audio, 207.2 mb)
The neoscenes stream parameters:
Date: 30 April 0445-0600 MST UTC-7
Location: Prescott, Arizona, USA
Streamer: John Hopkins
Link(s): https://streams.soundtent.org/2016/streams/utc-7_prescott-arizona
Coordinates: N 34 31′ 48.763″ / W 112 28’56.712″
Timezone: MST UTC-7 [no DST] 8 hours behind London
Civil twilight (local time): 5.12 AM / 0512
Sunrise (local time): 5.39 AM / 0539
Broadcast window (London time): 13.12 – 13.39
Start time (approximate – London time): 13.25
OR AT my direct locus-sonus stream: https://locus.creacast.com:9001/neoscenes.m3u (this URL is live sporadically before and after the actual dawn stream time period). You can copy/paste the address into iTunes (use ‘File’ menu — ‘Open Stream’ option), or other mp3 players once it’s live. Headphones recommended to capture the ethereal density of the stream!
At Tom Fleischner’s invite I’ll be doing a public talk this evening as part of the Natural History Institute’s lecture series. Prior to the lecture, I’ll perform a 20-minute live sonic improv [along the lines of this or this]. The day after tomorrow, Saturday, 02 April, I’ll do a full-day workshop.
TITLE: A Natural History of Sound
TIME: 31 March 2016, at the Natural History Institute, 312 Grove Avenue, Prescott College Campus, Prescott, Arizona
SHORT DESCRIPTION: This presentation, opening with a brief (20-minute) live improv sonic performance, will weave a pathway through the nature of sound as an integral feature of bio-systems and human presence on the planet.
LONG DESCRIPTION: Sound is a particular expression of energy that is present within the living global system. The movement of sonic energy is a crucial feature of life for many organisms, humans no less than others.
This presentation will begin with a live improvisational performance arising out of an on-going sonic/visual/performance art project changing the course of nature that explores the energy dynamics of natural systems and the impact of life on those energized flows. The project plays with the subtle and not-so-subtle influence of human presence on the planet.
The talk following the performance provides a wider context to the project within Hopkins’ trans-disciplinary and nomadic life-trajectory. He will present a number of international creative projects that employ sound as the primary creative medium as well as exploring the concept of sound itself. Of particular interest to Hopkins’ research is a mapping of the intersection of human presence and wider systems. He will also introduce the concept of acoustic ecology.
There will be ample time for dialogue at the conclusion of the presentation.
The performance and talk will be live video-streamed at:
Another big thanks to the https://apo33.org crew! This year was a bit tougher than last for me, as I have to stream from 0200-0300 after which I couldn’t sleep so well. And ended up with a migraine most of the following day. Another weekend, another day of life gone, not to be recovered or caught up with or regained through magic means. Gone. As is an hour of your life should you take on the challenge of listening to one of my dense mixes…
(01:04:40, stereo audio, 150.2 mb)
posted
place: online, Prescott, Arizona, and Nantes, France
Electrical transmission running through our neural networks produce all kinds of stimulations and impulses within us every day. The Internet network can be taken as a comparison of the nervous system that conveys information between neurons, are not exactly the same type of information circulating the same way or to pass this information – Electrical vs. Digital : is put in relation to its copy.
Since its origins, cybernetics seeks to re-create its own reality, whether or not this is wanted, by taking it into account the question arises : how can we transform this approach?
The Shout as a proposal for a sound practice combines its own dematerialization and reinstatement of disruptive wave vibrations in a powerful sound system – Taken as a starting point we propose “The Shout” as a constitutive element of musicality and poetry, all nuances that may transcend technological reality !! Is it possible? Let us know !!
A one-hour live improv stream of material drawn from a sizable analog/digital archive: the multi-tracked material will be selected based on a criteria of neural resonance — during a lead-up to the performance, and during the improv performance itself. There will be various electric field disturbances, recorded in a variety of ways, along with the neural traces of memory, re-constituted from ancient electromagnetic 4-track and cassette tapes.
The controlled behavior of a magnetic dipole is the primary model for all material used to store information via electromagnetics — both tape and hard-drive — to relinquish control of the dipole moment is to spin into chaos and noise.
The Festival starts on Friday night 26 February and runs through Sunday 28 February.
neoscenes was again invited to jump into the festival for a one-hour live improv stream.
Stay tuned here for up-to-date information on catching the live improv stream. Mark the time — (you can go to World Time Buddy to calculate other time zones).
Sunday, 28 February 2016 – Phoenix – 02:00 – 03:00 AM GMT-7 (MST)
Sunday, 28 February 2016 – New York – 4:00 – 05:00 AM GMT-5 (EST)
Sunday, 28 February 2016 – London – 09:00-10:00 AM (GMT)
Sunday, 28 February 2016 – Nantes – 1000 – 1100 GMT+1 (CET)
Sunday, 28 February 2016 – Helsinki – 1100 – 1200 GMT+2 (EEST)
Sunday, 28 February 2016 – Sydney – 8:00 – 9:00 PM GMT+10 (AEDT)
Sunday, 28 February 2016 – Auckland – 10:00 – 11:00 PM GMT+12 (NZDT).
The Festival has their own output stream to tune in to. (or copy/paste https://apo33.org:8000/audioblast.ogg.m3u into VLC or other streaming player). Headphones recommended to capture the ethereal density of the stream!
If you can’t manage to stay awake, we will be archiving this stream for future listening.
I promised Patrick that I’d prepare a re-edited broadcast version of water fills the hall for his wonderful syndicated phonography (field recording) program framework:afield — by September 2015. Well, time got away from me and then last Thursday morning he let me know that the following Sunday’s slot was open. Nothing like having a deadline. I had procrastinated on it as I knew I needed to include at least some voice-over to introduce the work to the radio audience. I can’t stand the sound of my own voice, so, voice-over, argh! But with a little digital sweetening and tweaking, once I got the script done, it didn’t turn out all that bad.
this edition of framework:afield has been produced by john hopkins, aka neoscenes, and is entitled water fills the hall. notes from the producer:
water fills the hall is a sustained drift through the hopkins/neoscenes personal archive of field recordings relating to water. There is no detailed playlist as the work is a multi-track layering of sources and includes essences of several hundred field recordings from four continents. Many of the individual field recordings are available on the aporee::maps field recording project under the neoscenes moniker.
To sketch a few: it opens in the Mojave desert, as flies collect around the body of a dead rattlesnake, the dry air desiccating the corpse; there is organ practice by the harbor in Sydney; and wandering through the Pergammon on the Spree; students protesting along the Vilna River; monsoon rains and thunders, falling and filling desert cisterns in the High Sonoran desert; telecom wires hum in moist Arctic chill; melt-waters slowly cleave the Rocky Mountains to dust; film projectors clatter while representing fluid realities (homage to mentor and friend, film-maker Stan Brakhage); Geiger counters count what heavy waters we’ve made; rains falls on the roofs of hydrocarbon-fired chariots; rivers rage, and whining pumps pump the rivers; while F-18s storm in the wet clouds overhead, and baptisms soulfully bless the swimming pools; a plague of cicadas stands ready for the waters to recede, and is it Noah’s ark departing into an unknown future on the gray Baltic?
As a current and former resident of the US southwest with its tremendous water problems, the work is intended partly as a complex exploration of and meditation on water itself. Water in motion energetically yields sound; and thus, the work is about moving waters. Humans seek to direct those movements to their advantage with (lovingly graceful!) machinic systems, and in that lies a fundamental conflict. This is a mapping of that conflict: how the human species alters the flows of energy in the bio-system around itself.
The I Ching suggests that water simply flows, on and on, filling up all the places through which it moves. Nothing can make it lose its own essential nature: it remains true to itself under all conditions. What are we in the face of such an energized flux? Are we advancing or are we retreating with the tide? Will the rain wash our sins away? If we can swim, will we drown? Do we recall our amphibian soul? Are we thirsty for more? Are we simply thirsty?
Went live/online a bit before noon (GMT-7), with a few folks hanging out — I had suggested it as an event for the Milagro Art Center — with an accompanying talk on Fluxus, but for some reason it wasn’t compelling enough for them. The IRC channel was quiet except for a few pings from naisa — probably more evidence how ‘social media’ has sucked the oxygen from online conversations (speaking as a FB non-participant). Twitter hosted some activity.
The stream was an improv mix from more than 400 files on a ten-track mix* quasi-organized with random/blind files mixed in. Listen to the archive broadcast in its entirety:
(02:06:17, stereo audio, 303.1 mb)
* the improv mix refers to balance and volume on each of the ten tracks being selectively altered during the performance. All of the hundreds of files were unmanipulated field recordings from my personal archive.
The live improv stream commenced shortly before noon (GMT-7), with a handful of locals in attendance. No idea as to the stats on the server, but there were a number of email and twitbacks. Listen to the archive in its entirety:
Based within the project changing the course of nature: an ongoing sequence of actions that alter the fabric of the universe, this live one-hour neoscenes sonic improv stream will play with water while hopefully staying dry in the midst of desert monsoon season.
Stay tuned here for up-to-date information on catching the live improv stream. Mark the time — (you can go to World Time Buddy to calculate other time zones). If you are in the Prescott, AZ area, you can attend the performance live @ my place — but please RSVP before-hand, there’s limited space!).
Phoenix – 18 July 2015 12:00 noon – 1:00 PM GMT-7 (PST)
Denver – 1:00 – 2:00 PM GMT-6 (MST)
New York – 3:00-4:00 PM GMT-4 (EDT)
London – 20:00-21:00 GMT+1 (CET)
Helsinki – 2200-2300 GMT+3 (EEST)
Sydney 5:00-6:00 AM Sunday 19 July GMT+10 (AEST)
Auckland 7:00-8:00 AM Sunday 19 July GMT+12 (NZST).
Stream address: https://locus.creacast.com:9001/neoscenes.m3u (this URL will go live a few hours prior to 12:00 noon GMT-7 on the day of the performance). You can copy/paste the address into iTunes (use File menu – Open Stream option), or other mp3 players once it’s live.
[here’s the archive of the stream]:
(01:04:50, stereo audio, 155.6 mb)
ENJOY! (And for future alerts, subscribe to the tech-no-mad blog (to your right))…
We organise overnight soundcamps where people can sleep outside and investigate the sounds of unusual locations, especially at daybreak.
We transmit REVEIL: a 24 hour radio broadcast that tracks sunrise around the globe, relaying live audio streams from collaborating artists, independent channels, and a variety of streaming media assembled for the event.
We are a platform for artistic and trans disciplinary work in the emerging field of live streaming audio.
We contribute to research and development of open source solutions for relaying live sounds, and establishing a permanent open microphone network as a resource for artists, researchers, activists and other listeners.
We assemble and produce materials online and in print as contexts for The Live Archive which Reveil taps into and extends.
From the Prescott National Forest, (altitude 5400 ft/1650 m) in a third growth ponderosa or blackjack pine (Pinus ponderosa) area, sitting on a 3.5 Billion-year-old granite batholith, a live microphone feed before, during, and after dawn brings the sounds of the common ground-dove (Columbina passerina), red-naped sapsucker (Sphyrapicus nuchalis), common raven (Corvus corax), and a variety of other birds, neighborhood dogs, the over-powered air-conditioning system that the empty neighbor’s house has running, a wind-chime, the occasional automobile, and wind in the pines. It’s definitely spring, so there may also be the sound of some of the flying insects that are out in large number.
This feed is sent from the studio of Dr. John Hopkins (aka neoscenes), a visual/sonic media artist and learning facilitator. He holds a creative practices PhD from La Trobe University/University of Technology Sydney, an MFA from the University of Colorado Boulder (where he studied film under renown experimental film-maker, Stan Brakhage), and a BSc in Geophysical Engineering from the Colorado School of Mines. His transdisciplinary research and workshops explore issues surrounding sustainable creative practices, ‘big-picture’ system views, networked & tactical media, distributed and community-based DIY and DIWO processes, networked creativity, and Temporary Autonomous Zones. His international media arts practice explores the role of energy in techno-social systems and the effects of technology on energized human encounter. He has taught across more than 20 countries and 60 higher education situations. He is currently materializing a successful Kickstarter project in the mountains of Arizona and serving as education adviser to the Ecosa Institute.
big thanks to the https://apo33.org crew — they had three long days of work during the festival, and god knows how much time before that! although there were some newbie streamers, things worked out very well. technically, I was able to do a 160kps unbroken stream, 8-tracks, 100 samples or so. What the hey!!
Sound and music networked practice is increasingly significant, the public is very interested in this type of emerging practice, and Apo33 continues to develop this unique festival in the world! There is no equivalent.
Audioblast is a festival from cutting edge using digital tools to cross the concert, performance and particular form of exposure where the public can sit, listen to concerts, roam and chat with the artists during their online “live” sets; with possibilities for live chats with the musicians. The public can both listen at the Plateforme Intermédia which also allows a wider public into this world.
Audioblast Festival is an annual edition in the program of the Association and will be presented as part of the cultural project for APO33 at La Fabrique.
neoscenes was invited to jump into the festival for a one-hour live improv stream between 1400-1500 (GMT+1) Sunday, 01 March in Nantes (6-7 AM Mountain Standard Time – Arizona / 8-9 AM Eastern Standard Time – NYC / (you can go to World Time Buddy to calculate other time zones).
I would quibble with the ‘cutting-edge’ designation — I’ve been involved in streaming sonic (and visual) performance for almost 20 years now. It’s more ‘fringe’ than cutting edge. And the is likely more an issue of a distinct lack of solid historical references for most artists who are now discovering these mediums of expression. Even when I’ve been teaching about such stuff, for example, at CU-Bolder in 2012-13, the students were repelled by the thought of approaching a cutting edge, they literally couldn’t handle it: too indeterminate. (every time I remember that teaching experience, I wince.)
For the last five years, sonic art has seen (heard) huge growth among young artists as the tools are ubiquitous and pocketable in the form of smart phones. I can now stream over wifi using my iPad. Of course, it was possible 10-15 years ago as well, but it was a lot more unstable and often complicated. Today, at AudioBlast there were no technical glitches during my set. Good!
Audio in the network: a digital sound festival using the network as a venue for diffusing experimental, drone, noise, field recordings, sound poetry, electronic, and contemporary music. The festival will be streamed live online (you’ll need VLC or another ogg player — iTunes doesn’t work for this, argh, they switched to (open source) ogg at the last moment) and in quadraphonic sound at the venue La PLATEFORME INTERMÉDIA – LA FABRIQUE (4, Boulevard Léon Bureau – 44000 Nantes – France).
Audio has been instrumental in pioneering many digital and communications technologies and is a versatile and creative medium for gaining deeper understanding of digital coding languages both visual and text based. Sound can travel and encourage a more horizontal and collaborative society, which also has the potential to germinate innovative practices across mediums and genres. During 2015 through the framework of “Sonic Frontiers”, APO33 will question and debate the ideas around audio migration, how sounds travel, influence and structure cutting edge music practices and sonic arts.
Udo cranks up yet another collaborative streaming project linked to https://radio.aporee.org. So neoscenes joins in for the first time in a while — setting up the Nicecast stream and using the H4n to stream ambient quiet neighborhood sounds from The Mountain Club neighborhood.
1900 GMT+2 / 10 AM GMT-7 until tomorrow 1100 GMT+2 / today 11 PM GMT-7
eine sondersendung von radio aporee und colaboradio
radio aporee
radio aporee continuously plays recordings from its global soundmap project. however, it’s a responsive stream of sound, a radio that listens, that may (or may not…) recognize and react to events, e.g. new sound uploads, listeners tuning in, mobile app activity, live sessions, phone calls etc. it’s an ongoing experiment and exploration of affective geographies and new practices related to sound/art and radio.
radio aporee ::: maps has started 2006, based on former artistic research on mapping, spatial conditions and the navigation between the real and the virtual. The idea being to connect sound and space, and to create a cartography which focuses solely on sound, and open it to the public as a collaborative project. It contains 1000s of recordings from numerous urban, rural and natural environments, showing the sonic complexity of these environments, as well as the different perception and artistic perspectives related to sound, space and places.
The N-1 event is curious — I wasn’t aware it was a pedagogic exercise to be acted out in front of (!) students at Arcada. This makes it a bit awkward with some of the invited people, though I simply jump in to the scene, aiming that for the students it would not be a business-as-usual pedagogic activity. That was hard to overcome in the lecture hall (suitably exquisite quality as is any Finnish public construct). So we oscillate in and out of the building, the lobby, outside, and so on, enjoying the cool sunshine. The students somewhat perplexed, but seemingly engaged or at least present.
Most of us live much of our lives in the ether. We have a mobile phone with us at all times with the result that we are always on and never truly alone. We have maps and geo-positioning on our phones so that we are always traceable and never truly lost. We tweet and update our Facebook status so that we often say what comes into our minds when it comes into our minds, and we are rarely truly reflective.
In all of this we are telling each other stories about what we are doing, and from this we curate stories about who we are. From all the shards and slivers that we scatter across the digiverse we are piecing together new kinds of identities – and these identities propel us in some directions and constrain us from moving in others. more “quick notes”
metaminaFNR is a continuous audio stream. A Pure Data patch running on a server randomly chooses audio tracks from a text file. The sound files are hosted on archive.org and other sites. It features sound art, noise, generative and algorithmic music, improv, field recordings, microsound and more … all of them with an emphasis on experimentation and published under open licenses.
Sometimes there is a special one month programs and also live emissions. The new web is under construction.
Tapping in to the network started by the bogotrax crew, neoscenes sends an ambient mix signal to the street party in Bogota via Berlin.
(68:00, stereo audio, 163 mb)
Since 2004 Bogotrax is a self-made mixture of social action, street-arts, and retro-avant-garde. To present it as a festival of electronic music and culture could be a first stop in the way to a more complex strategy of social and artistic experimentation. But it could also be an easy way to consume it as a more or less wild product of bored entertainers. If you haven’t make the choice, we’re on our way to help you!
A special live/streamed event, radio aporee presents flickering wastelands III in its long-standing open-house tradition. good foods, good sounds, good people. part of the 48-Stunden-(Berlin-)Neukölln Kunst und Kulturfestival. neoscenes, fresh back from many weeks on the road in the Rocky Mountains of Colorado and in the Sonoran Desert of Arizona will take you, with hydrocarbons flaring, on a drifting trajectory through spaces that dwell restlessly between ears and leave traces of soot, soil, and water (listen below!). more “48-Stunden Neukoellen 2009 : flickering wastelands III”
This year I didn’t manage to jump into the fray with a live stream, but many other folks did — the party has already started in some places, you can browse the schedule of events here… and at ORF Kunstradio
“Art’s Birthday” is an annual event first proposed in 1963 by French artist Robert Filliou.
He suggested that 1,000,000 years ago, there was no art. But one day, on the 17th of January to be precise, Art was born. According to Filliou, it happened when someone dropped a dry sponge into a bucket of water. Modest beginnings, but look at us now.
Filliou proposed a public holiday to celebrate the presence of art in our lives. In recent years, the idea has been taken up by a loose network of artists and friends around the world. Each year the Eternal Network evolves to include new partners – working with the ideas of exchange and telecommunications-art.
After Filliou’s death in 1987, some artists began to celebrate Art’s Birthday with mail art, fax and slow scan TV events in the spirit of his concept of “The Eternal Network” or “La Fête permanente”. The birthday parties took place in different cities across the world and artists were asked to bring birthday presents for Art — works that could be shared over the network.
Art’s Birthday Party has never been a formal event, but was always organized on an ad hoc basis through the network. Every participating location (and they are different every year) organizes its own party — from a few friends in a private studio to a performance evening in a museum or gallery. Filliou’s invention of Art’s Birthday is wonderfully absurd and humorous in the typical Fluxus tradition of serious fun. So the global birthday party for art has always tried to be fun while paying homage to Robert Filliou’s dream of The Eternal Network. — Robert Adrian
John Hopkins is a networker, artist, and educator occupied across a wide swath of techno-social systems with an extensive global network presence. He is active in numerous global creative networks beginning with the Cassette Underground and the Mail Art networks in the 1980’s and merging seamlessly into the propagating telecommunications networks of the present. He has engaged in many individual and collective dialogues concerning the facilitation of collaborative creative situations, and has facilitated or participated in numerous distributed projects.
(b) A 1000 word proposal that should be accompanied by an abstract of no more than 250 words and a list of keywords to indicate the subject area of the chapter. [Each of the commissioned chapters will contain text, images, videos, and/or audio.]
up at 0600, toss the last items in the truck, 0640 departure. head north-by-northeast. one of the five or six route options for traveling between Prescott and Boulder. gas relatively cheap. clear, dry roads. modest traffic. migraine ensues. why? still no answers. face frozen by the icy landscape shape-shifting outside glass cocoon. travel-day migraine.
Navajo voices in my head.
a roadblock for a funeral cortege winding in to a ragged and desolate cemetery near Naschitti. a couple Navajo guys hit me up for change at the gas station in Farmington. tens of F350 Ford pickups streaming back in towards Farmington from the gas fields that have raped the region in the last six years since the Bush regime opened up the area to uncontrolled drilling. more “Navaho voices”
neoscenes cranks up the sonic streaming for the global 2008art’s birthday party with friends in Austria, Japan, Germany, Canada, France, Australia, the Czech Republic, and elsewhere. it’s over and done with now. for another year. number 1,000,045. broadcast from the Glen Ridge basement HQ, not really sure I had any audience anyway, another one of those events. I was using the waag.nl QuickTime server in Amsterdam, and for some reason it kept kicking me out every 9:59, so I have 6 chunks of my live improv stream. can’t decide whether just to glue them together into one sixty minute file or keep the pieces as they are. hmmmm. will get that happening later:
(01:11:00, stereo audio, 137 mb)
I’d rather jump into the share.dj projects, though, at least there are other folks out there online to chat with. the arts birthday crowd is too dispersed and anarchic to manage a single meeting place. pity, though, it would have been nice to chat with some of them. maybe next year.
neoscenes cranks up the sonic streaming for the global 2008 art’s birthday party with friends in Austria, Japan, Germany, Canada, France, Australia, the Czech Republic, and elsewhere.
Thursday, 17 January 2008, live web-mix — this audio stream will be a sonic redux from the neoscenes.net archive of various birthday parties recorded during the last year as well as the travel necessary to get to them.
1800-1900 (GMT) London
10:00-11:00 PM PST (GMT-8) Los Angeles
1:00 – 2:00 PM EST (GMT-5) New York
2000-2100 CET (GMT+2) Helsinki
Friday 0500-0600 (GMT+11) Sydney
ART’s BIRTHDAY is an annual event first proposed on January 17th 1963 by French Fluxus artist Robert Filliou. He suggested that 1,000,000 years ago “A man took a dry sponge and dropped it into a bucket full of water. Who that man was is not important. He is dead but art is alive.” Filliou’s ideas have inspired many artists until today.
After Filliou’s death in 1987, some artists began to celebrate Art’s Birthday with mail art, fax and slow scan TV events in the spirit of his concept of “The Eternal Network” or “La Fête permanente”. The birthday parties took place in different cities across the world and artists were asked to bring birthday presents for Art — works that could be shared over the network.
Art’s Birthday Party has never been a formal event, but was always organized on an ad hoc basis through the network. Every participating location (and they are different every year) organizes its own party — from a few friends in a private studio to a performance evening in a museum or gallery. Filliou’s invention of Art’s Birthday is wonderfully absurd and humorous in the typical Fluxus tradition of serious fun. So the global birthday party for art has always tried to be fun while paying homage to Robert Filliou’s dream of The Eternal Network. — Robert Adrian, 2005
Jumana Al Isawi, David Black, Martin Coors, Okwor Franklin, Martha Friederich, Johannes Huber, Gerrit Kaiser, Thanasis Kanakis, Katharina Kessler, Efi Kontogeorgou, Katja Langeland, Selin Özçelik, Jan Rosenbrock, Janos Schwellach, Arthur Sonsalla, Matthias Staniszewski, Philipp Steiner, Özlem Sulak, Paul Wichern, Kjen Wilkens, Alexander Kitov, Ivo Schüssler
Sue Thomas poses some interesting questions in her search for possible synergies between the cyber and the natural. it’s an open project — add you own answers on her site!
Please describe where you lived and your strongest memories of nature during the years of your growing up. I’m interested in both positive and negative recollections of anything from the smallest plot to the largest wilderness, including animals and plants.
sotto voce: I am a native of Alaska, born there as a Cold War military child. My father, a senior Pentagon analyst, sport-hunted grizzly and polar bears among other magnificent animals. We moved to Boston, then Southern California, then Washington DC, living in suburban or rural fringes of cities. A primal memory was of viewing a total solar eclipse from a beach in Acadia National Park in the northeast state of Maine, USA, at five years old. Watching the sun be consumed, until there was only a shimmering ring of fire surrounding a black hole in the sky. My father was an amateur astronomer, and I accompanied him on a further four total eclipse expeditions. Along with these specific memories, there are general memories of sleeping in the woods, of eating around a fire, of washing in streams, mosquitoes, and dark star-brilliant skies. more “The Wild Surmise”
posted
place: en route Manzanar - Death Valley, California - Prescott, Arizona
long drive transitioning through myriad dry environments and social settings. the two most impressive being the Manzanar Internment Camp and Hoover Dam. and in between those two, Death Valley. no time to do the Las Vegas strip in the process, though it was on the near horizon at one point.
Manzanar lies on the eastern flank of the Sierras in the dry rain-shadow cast by the 13000-foot-plus range. humidity is typically in the single digits most of the year. following Route 395 south from Independence, one parallels this flank, not only dry from the air, but also dried out through the efforts of the City of Los Angeles who, early in the development of that metropolis, bought up much of the land in this area so that the rather abundant water streaming eastward down from those peaks could be tapped off to feed the golf courses and car-washes of the City of Angeles 300 miles to the south and west. with names like Owens Valley, Paradise, Dogtown, Convict Lake, and Rovana, what were older ranching and farming communities were literally drained and dried up. it’s parched now.
along after this war on the land came the WWII contingency of the forced relocation of Japanese-Americans from their lives elsewhere to the Manzanar Internment Camp. there is almost nothing left of the camp today except the dried-out foundations, grid streets, scraggy plants and trees hanging on the outwash plain below Mt. Williamson. there is a visitor’s ‘interpretive’ center, and a three-mile driving tour with small wooden signs saying where different buildings were. it is depressing after stopping to meditate in the remains of the hospital garden to hear pairs of F-16’s screaming and rumbling around directly above, dog-fighting: the war continues.
finally solved the tech problem of the real audio/video stream files from the archive playing properly in a pop-up window. have the space on the tech-no-mad server to load up all media archives, and now it’s just a matter of organizing the html files, and making sure the audio and video windows are sized properly. it’ll be nice to get all that stuff back up and running for posterity. the stream index page is full of those ancient-looking 320×240 streams that were pumped out during the time I was at Boulder, teaching at CU, with access to phat-pipe Real Helix server. a few others go back to true pre-historic times with 160×120 files from the initial neoscenes occupation project in Tornio in 1998. the accretionary process that is the core of this web space goes onwards to an unknown end. with a minuscule audience. and no prospects.
not enough sleep after the dinner at Mokki with the Pixelache folks and the Prix Mobius people. finally caught up with Juhani who was on his way to Manchester today.
up early to meet Tapio at mbar for a short session about future polar/solar plans and dealing with future web-documentation and such.
then over to the gallery at noon to begin the final set-up. remote presence :: streaming life gets underway with preparations for the evening’s happening. all runs smoothly. except for the entire network going down about an hour before opening time. turns out to be one of those crazy glitches around a print job submitted to the wrong printer. it brought down everything for a tense 30 minutes before I could figure out what was happening. otherwise the transformation of the gallery space was completed some hours before the opening, and it looks very nice. did miss the final session of the conference with Lisa and Armin, as well as missing the last event of the Nordic VJ program. too busy.
many folks come to the opening — Antti, Bernice, Owen and his wife Irma, Kaisu, Amos, and on. I was not so able to chat much, monitoring the outgoing streams and incoming communications, but the vibe was good. the sonic stream is an interesting mix, though the video input was sparse and not so electric. we would need another couple days to spruce up that medium & means. the ambient sound in the gallery is warm and party-like:
Day two. Elénore catches her plane from Strasbourg, but gets tangled in security at Charles de Gaulle, missing her Helsinki flight and so I am left with a two-hour morning conference panel to anchor solo at the Goethe institute. Presenting the context of the workshop and the paper that I contributed to the Pixelache publication. It goes well. Although there are skeptics in the back row. Not vocal, but disturbing the atmosphere by talking during much of the talk/discussion. They make no direct critique of the propositions nor contribute to the lively discussion. Boring people who do that.
(01:52:28, stereo audio, 215 mb)
At another point, a bit later, someone who was to show up at placard in Kiasma isn’t able to come, so, with a little chunk of open time in my schedule I jump into the corner hot-seat and do a one-hour impromptu mix for a handful of headphone-donning folks. The sun streaming in the window, I have a good view of the Parliament building as a source of rock-solid and cubic inspiration.
Erik (aka Mr. Placard) runs the multichannel headphone mixers, the stream, and keeps an eye on the irc channel.
Then, there’s Manu & Mukul along with Indigo, their young boy. Hanging around waiting for the screening of their film Faceless in the Kiasma Theater.
Riikkaliina Turkki, Andrew Paterson, Gun Holmström, Sirpa Jokinen, Petri Kaverma, Sabrina Harri, Tomi Humalisto, Alex Berry, Christiaan Cruz, Mats Eriksson, Michael Glen, Eija Makivuoti, Mari Keski-Korsu
[ED:Relevant to the recent “pulling plugs” post, and whilst migrating some workshop documentation from the static neoscenes site to the blog, here are the deets for a one-week workshop I facilitated in Helsinki in 2007—squeezed in between another workshop in Sydney and lectures at several universities in San Diego, Santa Barbara, London, Amsterdam, and Kiel. Busy times. (An associated essay In The Presence of Networks: A Meditation on the Architectures of Participation was published in the festival publication (pdf download)).]
Dates: March 21-23 & 26-31, 2007
Location: MUU gallery & Media Base, Lönnrotinkatu 33, Helsinki, Finland
Daily Hours: 1030 to 1630
Final Event 31 March, 2007, 1700 – 0200
SHORT DESCRIPTION:
In the ubiquity of networked media spaces where we distribute our wireless lives, what happens to our creative processes? How may we build a functioning architecture of participation for productive collaboration and interaction between the Self and Others?
This dynamic workshop will bring participants to a new state of awareness about their own creative practice. It will accomplish this through an exploration of human collaboration and connection within the space of networks. It explores conceptual and practical issues around creative engagement, culminating in the hands-on production of a live and online streaming-media network event with global participation.
PARTICIPANT PROFILE:
With an engaged and holistic approach to facilitation, the workshop is ideal for individuals working in any discipline; it is designed to draw in a wide range of students, from those working with ‘traditional’ art materials, independent artists working in new media OR old media; VJ’s and DJ’s; media, design, film, and art students; media art producers and directors; network technologists and designers; culinary, engineering, and IT students; collaborative software developers and users — all of these will gain a powerful perspective on their own creative practice. The workshop is open to anyone with an interest in online collaboration and creative engagement at both a local and remote scale. There are NO technical background requirements. People with previous experience in streaming media, performance, digital audio and video, VJ work, etc, who wish to push their practice to a new level are also welcome.
Participants are encouraged to bring their own creative works, backgrounds, networks, and impulses into the situation to maximize the potentials of open peer-to-peer engagement. We will finish the workshop with a re-vitalized creative practice, a new understanding of collaborative dynamics, and a deeper understanding of a wide range of technologies available for creative networking.
A maximum of 15 participants will be chosen from applicants with the idea to bring together a wide spectrum of cross-disciplinary energies.
TO APPLY:
!!!TOO LATE NOW, BUT IF YOU REALLY WANT TO DO THE WORKSHOP, EMAIL US
neopixel [at] pixelache.ac
THERE IS A WAITING LIST, YOU MAY YET STILL BE ABLE TO ATTEND!!!
THE DETAILS:
This workshop moves from concepts and theories of creative action to the actualities of a sustainable creative practice mediated by technological and human networks.Online collaborative visual/sonic activities and platforms succeed when facilitators/participants understand the dynamics of human network-building as well as the possible technologies involved. The politics of collaboration underlie much of the potential of technologically-mediated social interaction. We will address the complex social politics of technology and build a powerful model for the critical and creative engagement of media of all types.
There will be a substantial exploration of the subjects of:
– tactical media
– creativity
– social networking
– design of sustainable systems
– principles of human engagement
– networks vs hierarchic systems
– ad hoc networks
– human presence as mediated by technology
– social politics of technology
– technologies/skill sets engaged will include: audio and video production software & tools, VJ software, streaming media solutions, open-source platforms, protocols, physical computing, live performance platforms & tools, synchronous communications applications
The final day on the workshop will be a public/live/online event. It will be a multi-channel multi-screen collaborative happening with live/local and online/remote performance components coming together for several hours in a relaxed and experimental atmosphere. Workshop participants will not only develop content for the event, but will help facilitate all aspects of it including the technical infrastructure, the local ambience, and the remote coordination. A number of local artists will be invited to participate with sonic and visual inputs, along with remote streams coming from New York, Montreal, Sydney, Los Angeles, and other locations.
– examines a wide range of issues beginning from a fundamental definition of technology through to absolutely contemporary technological developments that affect socio-political and cultural scenarios
– presents a highly-developed model for comprehending the complexities of human presence and creative action in the contemporary world
– facilitates deep dialogue on local social/cultural/technical issues along with other issues relevant to participants
– establishes a broad-ranging, inspiring, and critical context for engaging a wide variety of technologies
– provides a powerful context for self-development and development of collaborative activities by presenting and subsequently exercising fundamental skills and awareness
– provides a comfortable discursive space to explore a wide range of historical and contemporary developments of art and science
– maps out connections between creative processes and technological mediation
– develops a deeper praxis-based starting-point for participants, helping them identify their own creative sources and tendencies
– involves practice-based exercises to develop personal creative focus
– provides a supportive atmosphere for rapid collective knowledge-building and collaborative sharing
Bio for John Hopkins:
As an active network-builder with a background in engineering, hard science, and the arts, Hopkins practices a nomadic form of performative art and teaching that spans many countries and situations. He has taught workshops in more than 20 countries and 50 institutions across Europe and North America. Recent streaming performance nodes include Berlin, New York, Sydney, Helsinki, Riga, Amsterdam, Strasbourg, Santa Barbara, Winnipeg, San Francisco, and, of course, online. He studied film with renown experimental film-maker Stan Brakhage in the late 1980’s. He was recently artist-in-residence at the Sibelius Academy’s Center for Music and Technology in Helsinki, Finland. https://neoscenes.net
Dates: March 21-23 & 26-31, 2007
Location: MUU gallery & Media Base, Lönnrotinkatu 33, Helsinki, Finland
Daily Hours: 1030 to 1630
Final Event 31 March, 2007, 1700 – 0200
SHORT DESCRIPTION:
In the ubiquity of networked media spaces where we distribute our wireless lives, what happens to our creative processes? How may we build a functioning architecture of participation for productive collaboration and interaction between the Self and Others?
This dynamic workshop will bring participants to a new state of awareness about their own creative practice. It will accomplish this through an exploration of human collaboration and connection within the space of networks. It explores conceptual and practical issues around creative engagement, finishing with the hands-on production of a live and online streaming-media network event with global participation.
The workshop is open to anyone from any discipline with an interest in collaboration and creative engagement at both a local and remote scale. There are NO technical background requirements. People with previous experience in streaming media, performance, digital audio and video, VJ work, etc, who wish to push their practice to a new collaborative level are also welcome.
On Saturday, 31 March, the final day of the workshop will be a live & online event. Workshop participants will not only develop digital content for the event, but will also help facilitate all aspects of it including the technical infrastructure, the local ambiance, and the remote coordination.
A maximum of 15 participants will be chosen from local and international applicants with the idea to bring together a wide spectrum of cross-disciplinary energies.
THE WORKSHOP IS FREE OF CHARGE.
Those interested will need to send:
NAME:
LOCATION:
EMAIL:
Along with your reasons for interest in workshop and a brief background (studies, creative work, and activities) to:
Good art allows a deepening of internal vision, a precision of being, as delineated by an Other’s perspective and worldview combined with their abilities to express that view in a way which catches the streaming of Self, gently re-directing it to an alternate placement.
Wes takes me on a uphill cycle ride around Santa Barbara that, after some hairy traffic encounters, ends back down on the ocean-front and a cafe for some refreshments. Mmmm, that Southern Cal feeling.
our arts birthday stream goes down smoothly, though I never did succeed in tapping into the actual European Broadcasting System satellite output feed of the event. August recorded our output stream file on his Linux box:
(00:12:30, stereo audio, 12.3 mb)
Later, Wes invites me to jump into what turned out to be an excellent evening — cycled down to fishbon (see their blog) — a weekly salon for an eclectic group of cultural activists in Santa Barbara. the evening starts with a demo of the Wii by a local teen, then a Kung Fu demo advertising the establishment of some special courses starting in the fishbon space. Wes and a friend do a MAX/jitter visual/sonic performance, and after that I do a very short 15-minute improv with VDMX.
This talk, framed in observations from 20 years in the Cultural-Industry Sector of Europe and North America, will look at the energetic intersection of body and sound in the midst of chaotic social systems and restless movement. It will doubtfully answer the following questions among a thousand others: What does it mean to be a sound artist? What is a sustainable creative practice? What are we doing here? How did it end up this way? Afterward, let’s talk!
40pc.png "Reveil 24-hour live broadcast, online and Golden, Colorado, May 2019")
ss.jpg "Reveil 24-hour live broadcast 2015, online and Prescott, Arizona, May 2015")
