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my copy just arrived (now I have a postal address). it looks great! congrats to all involved. so far I've read the SCANZ, free documentation and archiving articles and flipped through to look at the pictures (very high quality!) the best thing I like about NZ arts is that you make your own fun. I was speaking to an Aus friend the other week and he was complaining that he was missing out on all the festivals and exhibitions as he was in Brisbane not UK/Europe (he was at isea though). I suggested he could always make his own fun and start a festival or symposium and gave examples of the NZ ADA community and Audio Foundation which I think are amazing. you guys just don't wait for someone to ask you to do something/collaborate - you just get out there and do it yourselves. ...

The Auckland Film Archive is pleased to present a new exhibition
curated by The Audio Foundation. ...

Kia ora Ada,

I hope this email finds you well and enjoying your summer. Here there is a howling gale outside and it is sub-zero, so enjoy your warm summer days! ;-) ...

Hello People!

Just wanted to let you all know about a new special topic Masters
paper on contemporary internet art being offered at the University of
Auckland's Art History Department over Semester 1 & 2, 2008. ...

Dear Ada,

I hope this email finds you all well and enjoying the Southern march towards Spring. ...

Tim Hecker (Canada) Antony Milton (Wellington) Nigel Wright (AK) Thursday September 20, 2007, doors 8pm starts 9pm Whammy Bar, St Kevins Arcade, Auckland - $5.00

After the sell-out success of July?s triple-whammy of concerts, The Audio Foundation?s Alt.music Festival concludes its 2007 series with a performance of experimental ambient compositions from Canadian artist Tim Hecker. Performing with him at K? Rd venue Whammy Bar is Wellington sound artist Antony Milton and Aucklander Nigel Wright. ...

!URGENT MSG FWD RESENT FROM FOLKSONEMA DEVELOPER JAKE ELLIOT!

http://folksonema.nothingistrueeverythingispermitted.com ...

============================================================

CALLING ALL TAGGERS PLEASE TAG NOW

theInternetIsASeriesOfWormholes

the new year is coming on fast, folksonemae. FAST. it?s, what, the
27th now? fuck i thought it was the 26th!??! WAIT A GODDAMN MINUTE
WHY IS IT SO DARK. time and space seem to be bending in under and
through one another: near+far, past+future, small+big, cat+dog: all
intersecting at a single point in 23-D parameter space! ...

The Audio Foundation with the generous support of AUT presents a practical and theoretical introduction to experimental music and sound art: ...

Just a quick reminder about this gig (and free talk) happening next week...

Listen out for an interview with David on National Radio's Music Mix next Monday night. ...

i think the large festivals just cant give the sort of support to each artists that they might want to. in that way i would say its logistics and not intent that causes the problems. however with ISEA i do think there was more emphasis placed on the creating an overall effect (that you are indeed in a technology expo) than there was time spent on getting the small details right. as long as the effect was created I found that the organisers seemed to feel that this was enough. ...

..on Wed, Aug 30, 2006 at 07:57:51AM +0200, adam wrote:

hey,

I have been trying to carry on this conversation with a posting, but truth is I had such a bad experience at ISEA I am trying get some time to regain some +ve perspective on it so I can offer a more constructive posting. ...

The coffee table description only refers to the size and the hard-bound covering. For better or worse, I have recently seen "Art of the Digital Age" prominently displayed in a number of art bookstores in art museums (Art Gallery of NSW, Mass MOCA, etc.) and bookstores with significant art sections ? the only book on digital art displayed in high profile areas of the stores. ...

I'm wondering if anyone made it to the East Coast for the Boston art show "Interactions" at Siggraph? I didn't see any familiar NZ faces, but I did run into quite a few people who took part in Intersculpt (and other related digital sculpture/3D permutations). It was easy to miss people since it was quite crowded. (And I was a bit foggy, and often absent recovering from a bad back contusion and broken ribs received installation day.) Just under 20,000 people attended the conference as a whole (on the low side). A majority are in the special effects film/TV industry, which is the backbone of Siggraph. They and a accompanying trade show (Adobe, Intel, etc.) essentially fund the entire operation through admissions to the event along with stall fees. Nevertheless a significant minority are in the fine arts. ...

adam wrote:

I suppose the disorganisation was inevitable given that ISEA is always, wherever it is, the first thing of its kind, ever. Superpower sponsorship seemed to exacerbate rather than ameliorate the confusion. It was harder to get boring things like projectors, network connections, and mains power, than it was to get, in my case, a strange bead-curtain monitor that cost $US100 per pixel. ...

apologies for x-posting to those of you subscribed to rhizome; here's one person's reflections on ISEA & zero one. some of the nz artists who attended will be talking about their experiences at the ADA Swaray in UpStage on sunday 10 september, 9pm nz time, http://upstage.org.nz:8084 h : ) ...

Hi there,
though some people from the ADA list may be interest in this. Could you
please post this information on the list?.
thanks

d.r.

*THURS 17th August ? 7 pm
*Philip Brophy (AUS)
Thembi Sodell (AUS)
Rosy Parlane (NZ)
Jane Austen (NZ)

*SAT 19th August ? 8 pm
*Machina Aux Rock (AUS)
Yannis Kyriakides and Dean Roberts (NETH) (NZ)
Richard Francis and Clinton Watkins (NZ)
Hamilton/ O'Connor/ Winstanley (NZ)

*Wine Cellar, K Rd, Auckland*

*Liquid Architecture* in association with the Audio Foundation and
Kolumbard, proudly present two evenings of music showcasing the works of
Australian and New Zealand sound artist and musicians who work at the
extremities of their mediums, from Computer Music, Noise, Rock and
Improvisation to Songs.
The underlying concept is to represent the common interests across diverse
mediums, in that all artists present a unique approach to their craft and
often, extreme approach to their given genre.
Liquid Architecture is a Festival that over seven years has presented a wide
ranged of experimental, post-*avant-garde*, improvisational and experimental
musics in Australia.
Founded by Artistic Director Nat Bates in 2000, Liquid Architecture is the
only festival in Australia that celebrates the diverse methods of sound
making and sound theory by promoting artists practicing in the periphery of
music and sound culture. Liquid Architecture suggests that listening is a
vital activity that is often overlooked within the dominance of visual media
in our environment.
The Auckland project features two nights of music, Thursday 17th and
Saturday 19th of August. The event will be hosted in the back room of the
Wine Cellar in St Kevin?s Arcade.

*The Audio Foundation* is a charitable trust created to support, facilitate
and represent New Zealand innovative audio culture. We define this work as
art practice primarily concerned with the use of sound, but predominately
sitting outside of the infrastructure of the music industry and academic
institutions.
At present, we provides an online hub with a database of practitioners,
critical discourse, linkage, a discussion list, documentation of festivals,
collaborative projects and events for the NZ community of noise/soundmakers.
*http://www.audiofoundation.org.nz

* ARTISTS

*Phil Brophy (Melbourne)
*Compositional process and method is experimental by consequence, not
desire. Through it, Brophy does not seek to efface himself in the wonder of
sound, but to encode his presence and absence within the many voices that
make up sound. His function as a `composer' is to take part in a cultural
dialogue. In this sense, Brophy is a user, rather than composer, of music.
Nearly every musical construction (or deconstruction) he has executed has
been spawned by something extra- or ultra-musical; something that the music
- viewed as a primary, singular or hierarchical discourse - cannot (and is
not expected to) contain or withhold. As a writer and speaker on music,
Philip Brophy specializes in three interlocking areas: (i) the film
soundtrack; (ii) pop/rock record production; and (iii) the history of
experimental noise and sound. He is widely published in all three areas
internationally and occasionally writes for THE WIRE, London. His most
recent book is 100 MODERN SOUNDTRACKS for the British Film Institute,
London. Philip will be presenting I AM PIANO. Based on sample fragments from
classic modern jazz piano performances. I AM PIANO thrusts an ironic barb
into the piano's mythological status and aims to perceive it purely as a
sound machine whose melodiousness is but a mirage of musical languages.

*Thembi Soddell (Melbourne)
*Thembi Soddell is a sound artist from Melbourne, Australia. Her work lays
deeply routed in the density and complexity of ones emotional world. Drawing
inspiration from dreams and personal psychology, she works primarily with
the sampler to manipulate and abstract the external world into both a
vicious and alluring sonic experience. With a focus on texture and depth,
she plays with the extremes of dynamics, pushing the threshold of both
silence and noise, toying with the listeners sense of expectation.
Her compositional style has a distinct, highly stylised edge, rigid and
concisely constructed, at times referential of electroacoustic and classical
composition, whilst indulging in a somewhat grunge aesthetic. She does work
for CD, gallery installation, and live performance, and has recently formed
a collaborative duo with cellist, Anthea Caddy, with plans to tour Europe in
October 2006. She is a graduate with honours in sound art from RMIT's Fine
Art Department. She also assists in running the Australian experimental
music label, Cajid Media. www.cajid.com

Thembi Soddell typically performs solo. She places the audience in darkness
and performs from the back of the space, emphasizing the manifestation of
sound in space, whilst shifting the focus away from the (non) performative
aspect of playing the sampler. Working with field recordings, instrument
textures, generated sounds and anything else that comes her way, she samples
and mixes these into ambiguous and dynamic compositions, suggestive of time,
space and place, whilst never explicitly placing the listener anywhere.

*Rosy Parlane (Auckland)
*Parlane presents a brilliant example of how more abstract sound fields can
produce some truly heart-stopping, intensely deep music. Acclaimed recording
artist rare local live performance. Parlane was a member of the highly
regarded noise ?rock trio Thela. Parlane went on to produce a series of
magnificent solo albums on Sigma Editions and Touch between 1996 and the
present. He has worked extensively with Dion Workman as Parmentier, as well
as producing recordings with Christian Fennesz, Peter Rehberg and as a
member of Plains. For this event he will Showcase work from his forthcoming
Touch CD.

*Jane Austen
*Expect extraordinary compositions crafted with loops from this Auckland
Laptop composer. Her work has been performed at Allelujah Nose Festival,
Artspace, and is geared toward the listening environment. Her Current CD is
out on the Claudia label. Austen mediates field recordings with a laptop.
Often leaving the actual recordings relatively untouched, she arranges loops
into sound narratives. With a performance that involves the diffusion of
such domestic sounds as, small animals, nice pets, and the like. Describing
herself as a household field recordings artist, she works with quiet,
domestic, enclosed soundworlds. Treating sound as narrative rather than
calling things 'compositions'.

*Machina Aux Rock (Nat Bates and Stephen Masterson)
*Machina Aux Rock is an experimental art rock duo that began as a
recording project in 2002. Since then the duo has performed throughout
Australia and recorded two EPs and one full length album. Consistingof sonic
and musical experiments in minimalist dub techno applied to the sonic
textures and musical gestures of rock, the project was also informed by an
investigation into ways in which existing material from popular culture can
stimulate, feed, generate and ultimately produce new work. Specifically,
Machina Aux Rock look at iconic examples of rock music in order to identify
the elements that are essential to rock music, and then appropriate, quote
and assimilate these.

*Yannis Kyriakides and Dean Roberts
*YK has written over fifty compositions, ensemble, video, live electronics.
As a composer he strives to create new forms and hybrids of media,
synthesizing disparate sound sources and exploring spatial and temporal
experience. He has focused in the majority of his work on ways of combining
traditional performance practices with digital media. He regularly composes
works for ensembles such as ASKO (NL), Icebreaker Ensemble (UK), Ensemble
Integrales (D), and MAE (NL) , of which he is the artistic director. As an
improviser he is involved in the Amsterdam electronic improv scene, he has a
regular duo with Andy Moor (the Ex). He will collaborate in a duo NZ with
guitarist Dean Roberts active in the experimental scene since 1995,
recording for Mille Plateaux, Erstwhile, Kranky, Staubdold and our MC for
Liquid Architecture.

Richard Francis and Clinton Watkins.
Richard Francis (Eso Steel) has been active as an experimental music
composer and improviser since 1996 and has featured on over 40 published CD
and vinyl record releases. His work over the years has explored different
techniques of sound generation and processing, with a focus on the
collection and processing of various natural and artificially produced
sounds from the surrounding environment. Clinton Watkins(White Bass) is a
highly active and well regarded experimental audio practitioner & conceptual
artist who deals with the extremities of sonic language. This is the debut
of the duo of these two intense individuals, anticipate accordingly.

*Hamilton/O?Connor/ Winstanley Trio
*Explosive trio of electric improvisation, guitar bass drums this trio take
a high energy approach to the rock format and create a transcendental noise
drift. Hamilton is a highly active Auckland musician and sound artist
extrapolating on electric guitar for this set, Percussion virtuoso Chris
O?Connor and Bass/Electronics legend Paul Winstanley together treat no sound
as innocent.

www.audiofoundation.org.nz

www.kolumbard.co.nz

http://laak.blogspot.com

more scribbles from the symposium floor

s

education group ...