iani’s blog @ earlab.org

From an e-mail post by Brian O’Reilly.

The Conet Project, a four CD collection from Irdial-Discs of “numbers stations.” For decades, intelligence organizations have reportedly broadcast one-way messages to their agents in the field via shortwave, and the transmissions happen to sound weirder than any Stockhausen score or minimalist electronica you’ve ever heard — a child’s voice, or the obviously synthesized intonation on what’s known as the “Lincolnshire Poacher” station, named for the folk song accompanying the numbers. The Conet Project contains recordings of 150 of these stations.
http://en.wikipedia.org/wiki/The_Conet_Project

LINK for AUDIO files: http://irdial.hyperreal.org/the%20conet%20project/

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And another unconventional project: Les UX

http://www.timesonline.co.uk/tol/news/world/europe/article2554240.ece

http://en.wikipedia.org/wiki/Les_UX

Huai-su

http://www.rice-paper.com/uses/calligraphy/essay/luyu.html

Profile of Monk Huai Su
By Lu Yu

Huai Su has an ingenuous, unpunctilious disposition. Knowing emptiness of this life, he keeps his true self by taking wine and expresses his aspiration through cursive writing. When he is getting heated with wine, he writes on walls, clothing, utensils, or whatever at hand. Once unable to afford paper for his practice, he planted thousands of banana trees outside his home village. Still lacking in writing supports, he made himself a square lacquer board as well as a lacquer tray; nevertheless, both of them were worn out by repeated use. Folks at his native place call him Master Qian,* Junior after his granduncle Monk Hui Rong whose practicing copy of Ouyang Xun was so close to the original that no one could tell which was which. “This monk will surely be famous for his calligraphy,” said Wei Zhi, the minister of the Ministry of Official Personnel Affairs, upon seeing his script.

“I’d better have a teacher than act blindly,” Huai Su thought one day, and started on a journey to Hangzhou, calling on his cousin Wu Tong for advice. Half a month passed when Wu said to Huai Su, “There are many expressions in cursive script. Wang Xianzhi’s script, by Emperor Tai-zong, is like deciduous trees in midwinter - lonely and hardy. Zhang Xu once said to me in private, ‘Withered wormwood loses its root and wind raises sand. I imitate their forms, and the imitation gives my calligraphy unusual appearance.’ This was how great masters had their expressions.” Huai Su said nothing but exclaimed again and again, “Now I know!” After stayed for about a year, Huai Su took his leave. “Now you’ll be thousand miles away, I have no other gift but a treasure that I’d like to part with,” Wu said, and presented Huai su with one of three calligraphy by Wang Xizhi and Wang Xianzhi he had. On the day of departure, he passed on his knack “vertical stroke in shape of ancient hairpin” to Huai Su for encouragement.

Huai Su visited Yan Zhenqing years later. When Yan learned that Huai Su was a disciple of his schoolmate Wu Tong, he said to Huai Su, “Personal experience is essential to cursive script besides learning. It was from the sword dance of Ms. Gongsun, as well as the rolling wormwood and the flying sand, that Zhang Xu evolved his undulating, wheeling brushwork. Does your teacher have anything alike?” “It is the shape of ancient hairpin, the highest standard for vertical brushstroke in cursive script,” Huai Su replied. Yan answered with a smile. Several months passed but he did not discuss calligraphy with Huai su. Huai Su came to bit farewell when Yan said, “Last time you mentioned vertical stroke in form of ancient hairpin. What if it is in form of leaking stains on mud wall?” Huai Su leant on Yan’s lap and cried for a good while. Yan then gently asked, “Do you have any experience yourself?” “I’ve been imitating summer clouds that often appear in the shape of marvellous mountains,” Huai Su replied. “They are changeful with wind, and never be checked by things like a dead end on earth.” “What an unheard-of remark!” Yan said. “This is certainly a continuation of Zhang Xu’s wonderfulness.”

“

http://www.eurekalert.org/pub_releases/2007-03/uoc-ot030607.php

www.gamma.nbi.dk/Galleri/gamma143/nerves.ps.gz

http://www.sciencedaily.com/releases/2007/03/070307075703.htm

Thank you, Stavro of AVARTS.

Electromedia Works 2008 took place in Athens, Peiraios str. and Lamias 6 in May 14-18. Four days packed with electroacoustic music and media art works of all sorts. The technical preparation ( P. Tsangarakis and others) and organization (M. Manoussakis, A. Diktyopoulos, M. Aloupi and others) was quite a marathon, to present such a dense program. 16 channels of sound, 8 of these with speakers suspended on the ceiling at ca 8 m. height, at least 4 simultaneous large video projections, and an upper floor with installations.

Workshops and Seminars by Joel Chadabe, Carla Scaletti and Kurt Hebel (Kyma) and IZ. My workshop was on Sunday, Orestis Plakias and Kyriakos Tsoukalas presented their circuit bending on an old Yamaha synthesizer, with some quite incredible sounds; then Fani Konstantinidou talked about her planned installation with balloons, driven by air fans from below, driving sound; then we looked at programming the Arduino, loops, multitasking (co-routines i.e. Routines in SuperCollider made by { }.fork), and communication with Processing via Open Sound Control. There were 8 participants in all. Following the workshop, Francisco Colasanto presented the CMMAS center (Morelia, Mexico).

Some events … :

• April 17, 2008: DIAMOUSES project demonstration @ Griechisch-Deutsche Schule, Pallini, Athens. Real time distributed environment for music performance. http://www.teicrete.gr/diamouses/geninfo/geninfo_en.html
• April 18-19, 2008: SuperCollider Workshop in Athens, part 1. http://platformes.com/elxis/
• May 3-4, 2008: SuperCollider Workshop in Athens, part 2. http://platformes.com/elxis/
• May 14-18, 2008: Electromediaworks in Athens
• May 21-24, 2008: Imaginary Worlds: Interpretations, Models, Creations. New Media Arts Festival and Conference in Corfu.
• May-June 2008: Workshops on DIY musical instruments at Panteion University, Athens: http://www.metasound.gr/oup.pr/oject/WORKSHOPS.htm
• June 25-July 2: Summer School, Workshops and Festival of the Postgraduate Course in Audio Arts and Technologies of the Dept of Music of Ionian University, Corfu. Concerts and installations at the New Venetian Fortress of Corfu.
• July 6, 2008: Computer Music concert at ZA-IM in Yokohama, Japan, organized by Naotoshi Osaka of the Tokyo Denki University.
• July 31-August 3 2008: SMC08: Sound in Space - Space in Sound. Berlin. http://smc08.org/
• September 10-12, 2008: DIMEA 2008 in Athens
• September 12-20, 2008: MIR Festival of New Media Arts in Gazi, Athens
• November 7-16, 2008: Body Process Arts festival, amber’08 in Istanbul