Browse Title Index


SuperCollider Symposium

  • SuperCollider Symposium 2020

    March 27, 2020 – March 29, 2020

    SuperCollider Symposium 2020

    SuperCollider Symposium 2020 (SC2020) will take place March 27 - 28, 2020 at Wesleyan University in Middletown, CT USA and on March 29 at the Rhode Island School of Design in Providence, RI. The symposium is an international gathering of the composers, musicians and technologists that use and develop SuperCollider 3.

    2020 marks the 18th year since Supercollider 3 was released under the Gnu General Public License by its original author, James McCartney who will give the keynote address for the symposium. His talk will describe the design of an entirely new framework for computer music and sound synthesis he is currently developing and how it reflects lessons learned from SuperCollider.

     

The Open Window

The Open Window is an occasional festival of music experiment. The name is drawn from Wallace Sabine's open window unit - a measure of sound absorption created by the sound leakage of an open window.  It was chosen to suggest the varying entanglements of absorption and leakage are amongst the central pleasures of experimental music.

Previous festivals have included:

Over, under, around and through the music of David Tudor, presented talks focused on David Tudor's pivotal role in the post-war avant-garde and his distinctive approach to live electronics. The concerts presented pieces that respond to his work. The festival sought both to further an understanding of this mysterious figure and to raise questions of what it means to try to perform his work.  David Grubb's has observed that the accumulation and accessibility of the recorded trace of improvised and experimental music of the past is contradictory to its originating impulse. To what extent does this historical focus enable us to better recognize and expose current possibilities rather than leading us, like Steven Feld's understanding of the Kaluli, to hear the voices of our ancestors more loudly than the sounds themselves?

Idiopreneurial Entrephonics focused on the amalgam of entrepreneurship and aesthetics found in boutique analog electronics. It sought to juxtapose the current focus on the standardized framework of Eurorack synthesizers with the idiosyncratic homemade approaches of composers such as David Behrman and Michael Johnsen and comprehensive historical views interjected by scholars such as Thom Holmes and Asha Tamirisa. Here too lurk broader questions concerning history and the present.  What is the nature of the entrepreneurial aesthetics of this recapitulation and extension of earlier relations to electronic sound?

 

 

  • Listening in Reverse (Open Window 3)

    March 4, 2020 – March 5, 2020


    Pierre Cabanne: Your first American readymade was called "In Advance of the Broken Arm." Why?

    Marcel Duchamp: It was a snow shovel. In fact, I had written that phrase on it. Obviously I was hoping it was without sense, but deep down everything ends up by having some

    While composers may employ methods and strategies in an attempt to evade specific meaning, listeners are rarely devoid of a desire for that meaning.  And, of course, any method or strategy carries its own entanglements with meaning, as do the sounds, objects, and behaviors they may shape.

    This conference focuses on art work that expose the recursive nature of these processes.  We invite proposals for performances,  installations, talks, and other interventions in a weekend of events that resist or otherwise engage with the attachment of meaning to sound.