Call - Simulation and Computer Experimentation in Music and Sound Art

Fotos | Videos | 1 von 1 |

Call - Simulation and Computer Experimentation in Music and Sound Art

erstellt am 01. Dezember 2018

Orpheus Research Seminar 2019

 

21–22 March 2019, Orpheus Institute, Ghent, BE

 

Co-organisers:

 

- ‘Music, Thought and Technology’

  (Orpheus Institute, Ghent):

  https://orpheusinstituut.be/en/projects/music-thought-and-technology

- ‘Algorithms that Matter’

  (University of Music and Performing Arts Graz, FWF AR 403-GBL):

  https://almat.iem.at/

 

Proposals are invited that critically explore the space spanned by the

different perspectives on simulation and experimental computation

addressing their role in all areas of music, sound art and related

research, in all its possible technical, technological, musicological or

theoretical aspects.

 

Download call (.pdf): https://frama.link/almat-orpheus

 

 

Computational methods have made their way into most of scientific and

artistic fields; simulation has become a paradigmatic mode in

contemporary practices. In science, in design, in medicine and in art,

simulations of natural, human, technological or abstract systems (or

techniques derived from simulation) are ubiquitous. The development of

new methods of computation and simulation in the natural sciences

initiated an ongoing discussion about the relationship of _in silico_

experiments to empirical or theoretical modes of investigation.

 

The seminar aims to bring together practitioners and scholars to discuss

the wide-reaching implications of the ‘agential cut’ (Barad) or ‘ontic

cut’ (Rheinberger) – the separation between operationalised model or

abstract theory and perceived or experimentally verified ‘reality’, the

fissure already indicated by Husserl and realised in experimental

computational systems. These introduce a new type of interface between

the machinery and what is implemented, allowing for the ongoing

production of new data and going beyond the traditional atemporal

theoretical models; crucially, simulations also allow new and mobile

perspectives onto the ‘object’ modelled by tracing contingent, situated,

multiple paths through what DeLanda describes as ‘a space of

possibilities’ – alternative realities within a space that displays

stability or consistency at another level. In Rheinberger’s words ‘it

becomes urgent to ask whether computer simulations represent a new

category of epistemic object altogether.’

 

Computational models afford a way to test theoretical constructs or

observe the consequences of non-physical or even imaginary hypotheses.

One arrives at a critical conception of computation, situating it beyond

the dualism of a deductive, representational approach and an inductive,

empirical approach, acknowledging a speculative quality of algorithms

that ‘are not simply the computational version of mathematical axioms,

but are to be conceived as actualities, self-constituting composites of

data’ and ‘equipped with their own procedure for prehending data.’

(Parisi) The very activity of experimentation and augmenting the

language of artistic creation is exposed through the use of algorithms.

 

## Call for proposals

 

Proposals are invited that critically explore the space spanned by the

different perspectives on simulation and experimental computation

addressing their role in all areas of music, sound art and related

research, in all its possible technical, technological, musicological or

theoretical aspects. We invite proposals for presentations in the form

of paper (20 minutes), demonstration or performance, or any hybrid

thereof. We particularly welcome proposals for presentations that

explore the role of simulation in innovative ways.

 

Proposals (200 words) should be sent to: almat(at)iem.at to arrive no later

than 1 December 2018.

We intend to send notification of acceptance by 15 January 2019.

 

A non-exhaustive list of possible questions and topics might include:

 

- Do computer simulations represent a new category of epistemic objects?

- The role of metaphor or verisimilitude in terms of the structure or

  behaviour under consideration. Of the brain in neural networks, of

  social or biological structures in A-life systems, for example. At

  what point can the metaphor be abandoned?

- Lines of enquiry suggested by Baudrillard’s distinction between

  simulation and simulacrum. Where, for instance, are the borders

  between reconstructions, interpretations and acts of ‘pure’

  imagination? If an act of ‘projected’ or ‘applied’ imagination can be

  seen in this light, why not one of personal creativity?

- Is there a relationship of simulation between the performance of music

  and the abstract ‘work’? Between the ‘work’ and its ineffable

  motivating impulse?

- Does the new state of science suggest that we rethink our entire model

  of the ways in which we understand the stages and ontologies of music

  production in general, including historical models?

- In which way does a system embody its author’s understanding of the

  phenomenon in question? That is, might it tell us as much about the

  context, the world-view of its own development as about its subject

  phenomenon?

- The way computation can merge with composition and performance opens

  to question our received understanding of the processes of

  contemporary musical/sonic creation.

- A major value of computation as a tool lies in the possibilities it

  offers for the development of instruments and apparatuses of enquiry

  or experience that would otherwise be impossible. What value do

  simulations of physically ‘impossible’ systems have? What relation is

  there to the tradition of ‘thought experiment’?

- Rather than remaining inert tools, computational processes tend to

  unfold a specific agency, retroacting on the research or creative

  process they are inserted into.

- What kind of materiality do computational experiments develop? If they

  lack the material resistance as part of the experimental arrangement

  (Gramelsberger), could there be a different kind materiality that

  comes into play?

- Computational methods enter in a ‘co-generative’ relationship with the

  entities they interact with: they co-determine the outcome of the

  research or artistic endeavours. Humans and computational processes

  are inextricably entangled in a network of relations, an ecosystem of

  interdependences devoid of hierarchies and separability.

- If there is always already an ‘experimental intelligibility internal

  to computation’ (Parisi) through which the premises of the input data

  are autonomously revised, what are the opportunities in this duality

  of experimentality (intrinsic to computation as well as introduced

  through an experimenter’s design)?

- What are the implications for artistic work if experimental computer

  systems are always the result of a collaborative writing process of

  several authors (Gramelsberger)?

 

## People

 

Convenors: Jonathan Impett, Hanns Holger Rutz, David Pirrò

Invited Speakers: Luciana Parisi, N.N.



    Kommentare:

    Kommentar verfassen:

    * - Pflichtfeld

    *

    *



    *
    *


    Weitere Artikel:

    24.06.2020

    Studierendenkonzert am 24.6.

    Einladung zu einem Studierendenkonzert am:Mittwoch 24.06.2020 um 19h per Live-Stream: ...


    18.06.2020

    Studienpläne Elektrotechnik-Toningenieur

    Die neuen Studienpläne für Bachelor und Master Elektotechnik-Toningenieur ab Herbst 2020 sind...


    01.04.2020

    Corona-Maßnahmen

    Auf Grund der aktuellen Maßnahmen zur Eindämmung des „Coronavirus“ wurde der Präsenzbetrieb an der...


    16.06.2020

    DIY Kunstkopf erhält Gold Award bei der AES Student Design Competition

    Wir gratulieren den Studierenden Felix Holzmüller und Hannes Hermann zum Gold Award der AES Student...


    02.06.2020

    Andrzej-Dobrowolski-Kompositionspreis für Winfried Ritsch

    Das Land Steiermark hat Herrn Winfried Ritsch den Andrzej-Dobrowolski-Kompositionspreis zuerkannt....


    22.04.2020

    Susanne Fröhlich - Semaphor - mit Gerriet K. Sharma

    Die Raum-Klangkomposition „Semaphor“, die in einer Kooperation von Gerriet K. Sharma,  Susanne...


    16.03.2020

    IEM Music Residency Program 2021 and 2022 - Call for Applications

    IEM Music Residency Program 2021 and 2022 - Call for Applications http://iem.at (please...


    21.04.2020

    Tag der offenen Tür Computermusik via Zoom

    Dienstag, 21. April 2020, 13:00, CUBE, IEM, Inffeldgasse...


    13.03.2020

    Bill Fontana

    Bill Fontana - Primal Energies und Sonic Projections 13.03. - 07.06.2020 Kunsthaus Graz -...


    31.03.2020

    ABGESAGT: signale graz 10101, Lecture und Klanginstallation

    Portrait: ANNEA LOCKWOOD3.4.2020, Konzertbeginn: 19h30 im MUMUTH Graz, Lichtenfelsgasse 14, György...


    16.04.2020

    ABGESAGT: Tag der offenen Tür Elektrotechnik-Toningenieur

    Donnerstag, 16. April 12:30 - 13:45 Uhr, CUBE, IEM, Inffeldgasse...


    05.03.2020

    Acousmonium-Konzert mit Studierenden der Computermusik

    5. März 17:30, MUMUTH, Ligeti-SaalAcousmonium-Konzert mit Studierenden der...


    19.02.2020

    Buch-Veröffentlichung aus dem IEM ist Bestseller im Springer-Verlag

    Das im Mai 2019 bei Springer Open veröffentlichte Ambisonics-Buch der IEM-Mitarbeiter Zotter und...


    23.01.2020

    xCoAx 2020 submissions extended to February 16

    xCoAx 2020: 8th International Conference onComputation, Communication, Aesthetics and X8-10 July...


    23.01.2020

    ALMAT 2020 submissions extended to February 16

    ALMAT - Algorithms that MatterSymposium on Algorithmic Agency in Artistic Practice6–7 July 2020,...


    22.01.2020

    1918EINEERHEBUNG2018

    Am 25.10.2018 fand in Deutschlandsberg die Uraufführung eines einzigartigen Musiktheaterstatt, bei...


    15.01.2020

    Call: Audio Mostly Sep 15-17 Graz 2020 submit paper/workshop/music contribution until May 1st.

    Audio Mostly 2020 (AM'20) calls for Papers, Demos, Workshops, and Music & Installations on the...


    17.12.2019

    Vortrag Franz Zotter am MTG - Music Technology Group (UPF) in Barcelona

    Research seminar by Franz Zotter: Beamforming with compact spherical loudspeaker arrays Tuesday...


    16.12.2019

    WKO-Forschungsstipendien für Elisabeth FRAUSCHER und Kajetan ENGE

    Unter dem Titel „Wirtschaft trifft Wissenschaft“ wurden Anfang Dezember von WKO Steiermark...


    16.12.2019

    KUG-Absolvent Christof RESSI mit Würdigungspreis des Wissenschaftsministeriums ausgezeichnet

    Der Würdigungspreis des Bundesministeriums für Bildung, Wissenschaft und Forschung wird seit 1990...