JPJ’s Kyma-enhanced bass is a fitting addition to Supersilent’s signature use of synthesis, looping, theremins, and Helge Sten’s own Kyma sound designs. Â Jones’ first collaboration with Supersilent was at last year’s Punkt Festival, prompting John Kelman to write in All About Jazz:
…this was no conventional bass solo, as Jones began with relatively normal textures, but gradually moved to greater extremes, using ring modulation to create oblique harmonies, overdrive to create dense textures, and assorted other effects to create a piece that ebbed and flowed, building to periodic climaxes only to settle and begin the climb once again. Beautiful chords gave way to angular expressionism, as Jones delivered a short set that, for those unfamiliar with his post-Zep work, must have been a shock to the system, but set a clear context for the collaboration with Supersilent to follow.
Composer Joel Chadabe‘s One World 1, a fixed media piece realized entirely in Kyma, will be performed as part of World Listening Day in New York City on Monday July 18 2011.  The piece, based on simultaneously projected images and sounds from New York and New Delhi expresses the essential unity of human hopes and aspirations, no matter the cultural or geographical context.
Chadabe writes:
The primary concept behind One World is that we all, whatever the specifics of our different cultures and beliefs, share the same world through a common human bond.
“At the same time, it seems clear at this moment in history that the idea of sharing one world through a common human bond is a utopian goal rather than a current reality. It is one of the major problems of our age that inundated with information, much of it disturbing, we view the world today as a complex, turbulent and chaotic system of different nationalities, religions, cultures, and politics, as if the world were one large crowded city overwhelmed by urban noise. We all face the same dilemma. How do we interact with this world? How do we extract humanity from the chaos to focus on individual lives?
On Monday July 18, Richard Lainhart is performing his Electronic Music Foundation-commissioned work Threshold for electric guitar, Kyma, and New York environmental sounds as part of the World Listening Day celebrations at New York University, Steinhardt Education Building, 35 West 4th Street, 6th Floor, NY, NY 10012. In collaboration with the Electronic Music Foundation and the New York Society of Acoustic Ecology, NYU’s Music Technology Program will present a program of compositions and field recordings based on the sounds of New York City, in honor of world renowned composer and acoustic ecologist R. Murray Shafer‘s 78th birthday. The NYU events will take place from 4:15PM to 9PM. More information
Yogesh Khubchandani‘s beautiful and mysterious directorial debut, The Acceptance, is scheduled to be screened as part of the Maine International Film Festival, July 15-24 2011, a festival billed as ten days of the best of American independent and international cinema!
The Acceptance will be shown on Saturday, July 16 2011 at 8:30 pm. Â And again on Wednesday, July 20 at 3 pm.
During the festival, audiences will have opportunities to meet and talk with the people behind the movies — directors, producers, writers, musicians — as well as have a chance to experience several panel discussions and informal Q&A sessions.
Director Khubchandani also did the sound design for the film, using the sounds of birds, wind and water in stark constrast to the rattling drones of machines in order underscore his themes. Like the images, the sound slips easily back and forth between the logic of “realism” and the logic of dreams. Â Khubchandani credits Kyma for playing a role in the transformation of one of the pivotal sound events of the film: a massive tree falling in the forest.
On Friday, June 24 at 10 pm, Scott Miller will be performing live on Kyma along with British vocalist and sound artist Viv Corringham and members of Zeitgeist as part of the Twin Cities Jazz Festival‘s Free Studio Z concerts in Minneapolis/St Paul Minnesota.
Electroacoustic music with some terrific vocal and instrumental improvisers!
Amon Tobin has just launched ISAM — an album, audio-visual live performance tour and art exhibition — pairing Tobin’s original and evocative music with Tessa Farmer’s intriguingly organic sculptures. Both artists, Tobin in sound and Farmer in sculpture, explore the rearrangement of the “familiar” in disturbing, playful and highly original ways. Imagine opening the specimen drawer in a darkly lit Victorian-style natural history museum in a parallel universe while a steampunk science-fiction-meets-Sgt.-Pepper score plays in the background and you’ll start to get the picture.
In ISAM, Tobin uses Kyma to successfully blur the distinction between sound design and music: transforming sound effects into drippy, gurgly beats that sound like they were emitted from steam-powered machines; continuously gliding pitches seamlessly morph into harmonic anthems; and repeating rhythmic and harmonic patterns with endlessly changing orchestrations and backgrounds; glockenspiel fairy tales juxtaposed with aliens bursting unexpectedly out of bubbling tar pits. The music is evocative, cinematic, and highly original: chopped spectra with hints of vocal resynthesis; Klangfarben rhythms; electronic insects encountering R2D2, repeating distortion patterns; the soundtrack from a childhood nightmare set to a swinging 6/8 nursery rhyme beat; sitars followed by glass beads flung across a frozen pond at midnight; aliens dancing heavily & deliberately at BPM = 76; and those ubiquitous miniature skeletons dancing so wildly that tiny bones fly off at right angles, making tinkly sounds as they hit the floor.
The audio quality is superb, always crisp, clean and masterfully mastered.
Despite all the little skeletons, the overall atmosphere of ISAM is playful, rousing, and at times downright cheerful—and the BPMs hovering between 76-88 make it the perfect iPod soundtrack for strutting in the city or skipping your way through a crowded airport.
ISAM: Control over Nature will be shown at the Crypt Gallery in London (26 May – 3 June 2011) followed by a showing at L’espace Art Roch in Paris (13 – 23 June 2011). Live tour dates so far are:
01.06.2011 Astra, Berlin, Germany
09.06.2011 AB Club, Brussels, Belgium
10.06.2011 Bataclan, Paris, France
11.06-17.2011 The Roundhouse, London, UK
Cristian Vogel @ Electron GVA Session. Photo by Onneca Guelbenzu
GVA Sessions is an interdisciplinary research and international exchange platform organized by the Gilles Jobin Company, geared to respond to the ever-changing artistic environment of the performing arts, primarily contemporary dance, music and related creative technologies.
In 2011, the GVA sessions have been focusing on one of the longest established collaborative partnerships in the performing arts: that between choreographer and composer, choreography and music. This year, GVA Sessions is offering a mixed format providing a collaborative space for different types and levels of knowledge, artists research and production.
In April, as part of the Electron Festival, Cristian Vogel and Gilles Jobin discussed their collaboration on Spider Galaxies, and Vogel presented an introduction to Kyma and the Pacarana.  The next installment in the series will be “Dialog: Sound and Movement“, a collaborative workshop for composers and choreographers that will take play in 16-23 July 2011 (the deadline for registration is 30 May 2011).
Since 2007, the GVA Sessions have led knowledge exchange gatherings inviting international creative arts practitioners to Geneva (Switzerland) with the goal of sharing in artistic inquiry, thinking  and creating together, all in an informal, collaborative yet rigorous setting.Â
Poem 88 announces a concert on May 15 at 3 PM by the famous Cullum-Robinson duo and their infamous HALLUCINATION SEXTET (two live and four virtual), a freely improvised, nonidiomatic, quadraphonic, quasichaotic performance jamboree…
Featuring (live) poet, Jerry Cullum and (live) composer Dick Robinson doing live Kyma processing, the concert will take place at the Tanner-Hill Gallery Project Space, Suite 111 of the White Provision Building, 1170 Howell Mill Road., Atlanta, GA 30318 (14th St and Howell Mill Road). Admission is free.
Gilles Jobin‘s Spider Galaxies, featuring a Kyma-generated score performed live by Cristian Vogel, is embarking on the next leg of a world tour with performances at:
June 14 – Festival Latitudes Contemporaines – Lille – France
December 8 & 10 – Festival theater:now – Steckborn – Switzerland
Susanna Panandes Diaz, Isabelle Rigat, Louis-Clement da Costa and Martin Roehrich in a scene from Gilles Jobin's Spider Galaxies
In his May 3rd review of the Beirut performance of Spider Galaxies for L’Orient du Jour, Critic Edgar Davidian wrote:
The music is intense, rhythmic, percussive, and populated by noises of all kinds, from the tuf-tuf of trains and hissing of bullets, sirens roaring or speeding decibels, cries of a tropical forest, or the noises of a bustling city; the dancers are like air traffic controllers giving signals and weaving a web (is that the spider?) by way of gestures and unforeseeable pirouettes, free, impulsive, fantastic, at the same time having often an almost machine-like precision in obeisance to rigor and discipline.
The richness of the sound score is due to two modern composers, Cristian Vogel and above all Carla Scaletti, a pioneer and intrepid avant-gardist of electronic music. Â An amazing score (all the more so in that the steps of the dance fit perfectly with the notes that spring forth from synthesizers and computers) where the sense of melody is deliberately ignored in favor of cadences, of rhythms, and above all strange groupings of sounds like roars, gun shots, deafening landslides, organized noise.
In The Daily Star, May 3rd edition, Matthew Mosley wrote:
Some audiences might have seen resonances with the beguiling behavior of subatomic particles when the Gilles Jobin dance troupe came to town Saturday with “Spider Galaxies,†their brand new creation.
With an electronic soundtrack that makes use of data from the LHC, “Spider Galaxies†is an hour-long stream of non-repeating dance sequences performed by a team of four, a continually mutating bodyscape of interaction and divergence that generates an intense hypnotic power.
…
As a subterranean rumble resonated through the Madina’s sound system, algae-hued light revealed dancers Susanna Panandes Diaz, Isabelle Rigat, Louis-Clement da Costa and Martin Roehrich dispersed across the stage.
…
Randomness was built into the soundtrack, too, mixed live by longtime Jobin collaborator Cristian Vogel. At several moments Vogel deployed random number generating programs to dictate the specific texture of the soundscape.
Spread over a number of channels, Vogel’s incidental music blended sampled sounds, electronic melodies and tracks from composer Carla Scaletti, whose pieces incorporated LHC data. The resulting soundtrack veered between Kraftwerk-like electro, industrial clankings and ominous hummings.
At times Vogel [and Scaletti] used multiple speakers to create marvelous Doppler effects, giving audience members the sensation of sitting at the center of the LHC itself, with particles whizzing round at increasing speeds, preparing to impact.
…
Investigating the elusive notions of beauty, meaning and human behavior, Jobin provides us with a reminder, if one were needed, of the essential mysteriousness of the world.
The third annual Kyma International Sound Symposium (KISS2011) is scheduled to take place from 16-18 September 2011 at Casa Da Musica, architect Rem Koolhaas’ dramatic new music venue in Porto, Portugal.
Inspired by Portugal’s proud history of navigators who set out to explore beyond the known and visible horizon, the theme of this year’s symposium is “Explorando o espaço do somâ€(“Exploring Sound Spaceâ€) in honor of those who are exploring new methods, concepts, and ideas, beyond the familiar horizons in sound and music.
Universidade do Porto and Symbolic Sound invite you to join us to share ideas, experiences and results related to this year’s theme, ranging from the most literal to the most abstract definitions of sound, space, and exploration. You are invited to learn, to share, to meet, and to enjoy!
JPJ’s Kyma-enhanced bass is a fitting addition to Supersilent’s signature use of synthesis, looping, theremins, and Helge Sten’s own Kyma sound designs. Â Jones’ first collaboration with Supersilent was at last year’s Punkt Festival, prompting John Kelman to write in All About Jazz:
On Friday, June 24 at 10 pm, 
Inspired by Portugal’s proud history of navigators who set out to explore beyond the known and visible horizon, the theme of this year’s symposium is “Explorando o espaço do somâ€(“Exploring Sound Spaceâ€) in honor of those who are exploring new methods, concepts, and ideas, beyond the familiar horizons in sound and music.