NEWS & EVENTS

April 15 - 20, 2024
 

3rd Annual 40.4 Festival 2024

ATLAS B2 Center for Media, Arts & Performance

Boulder, University of Colorado

 

 

The 40.4 Fest is an audio-forward intermedia sonic summit that features a lineup of events focused around ATLAS B2's 44 channel high density speaker array. The festival is produced and curated by Sean Winters (University of Colorado, ATLAS B2 Center).    April 17: Concert of acousmatic and audiovisual works by Ewa Trębacz, Mariam Gviniashvili, Steve Ashby, Jean-Marc Duchenne, David Fodel, Michael Trommer, John Roach, Jakob Gille, Krzysztof Gawlas, and John Gunther.

 

 

November 3-4, 2023 - Rethymno, Crete

41st CIME/ICEM General Assembly 

Electroacoustic Music Days 2023

 

"Umbrae" - an Ambisonic work by Ewa Trębacz - has been included in the program of the Electroacoustic Music Days 2023 in Rethymno, Crete (Greece), in a joint event with the 41st General Assembly of the International Confederation of Electroacoustic Music (CIME/ICEM). 

 

During the 5 days of the festival, 13 concerts are scheduled and 78 works will be performed – 50 works by HELMCA composers and 28 international works by CIME/ICEM members. These include Belgium (FeBeME-BeFEM, Musiques & Recherches), France (Maison des Arts Sonores), Italy (Tempo Reale), Portugal (Projecto DME), Poland (PSeME), Ukraine (UAEM), USA (SEAMUS, UNT/CEMI), China (EMAC), Mexico (AARSOM) and Canada.

 

The program includes fixed media works - among them 15 octophonic, works for video, as well as performances incorporating analog electronics, computer systems, acoustic instruments and voice. The works will be presented with a loudspeaker orchestra surrounding the audience.

 

The event is hosted by the Department of Music Technology & Acoustics (HMU), in collaboration with the Hellenic Association of Electroacoustic Music Composers (HELMCA).

Festival website: https://meres-icem2023.hmu.gr/

Full program: https://meres-icem2023.hmu.gr/program/

 

 

KRAKÓW, POLAND - October 20-21, 2023

SPHERE Conference - Konferencja SFERA

Krzysztof Penderecki Academy of Music

Studio for Electroacoustic Music

CONCERT 3

 

Krzysztof Kicior - Blockchain Music Study 2.5 (2023) 
Czesław Minkus - SFERobroty’23 (2023)
Piotr Madej - Wildwood Rain (Spherical Object 6) (2023)
Ewa Trębacz - Umbrae (2023), Ambisonic soundscape
Krzysztof Gawlas - Freescape (2023)
GrupLab - Plejrek 380 (2023)
Marek Chołoniewski, Krzysztof Gawlas, Leszek Hefi Wiśniowski,
Czesław Czet Minuks, Piotr Madej

 

The Sphere Conference on the 50th anniversary of the Electroacoustic Music Studio of the AMKP in Krakow concerns the form of a spherical and holistic image of space-time in the physical and symbolic dimensions, with particular emphasis on music, sound art, video and animation as well as selected forms of media art (including 3D and VR). Similarly to previous SME conferences, it also refers to civilizational and ecological changes, cosmos and microuniverse, as well as selected social and political strategies.

 

LINZ, AUSTRIA, Sept. 6-10 2023

 

September 9, 2023 - Sonic Saturday

Concert "Medium Sonorum"

 

“Umbrae”  - an Ambisonic soundscape by Ewa Trębacz - was premiered on September 9, 2023 as part of the Ars Electronica Festival in Linz, Austria. The concert was the final event of their Sonic Saturday annual symposium, this year titled "Manufacturing Audible Truth" (in response to the festival's theme Who Owns the Truth?). The Symposium took place at the Sonic Lab of the Anton Bruckner Private University in Linz.

 

The program included mulitchannel compositions by Jakob Gille (DE), Manu Meier (CH), Chin Ting Chan (HK), Ewa Trębacz (PL/US), Tolga Yayalar (TR), and Berk Yagli (CY) - all of them presented with the ABPU's 20.4 surround sound system.

The theme of Ars Electronica in 2023, this year for- mulated as a question, aims directly at key disputed topics of our time: truth and ownership, interpretive authority and sovereignty. Can truth be owned? Is there a right to truth and if it does belong to someone or some institution, what control and responsibility are associated with it?   How do we ask ourselves such questions in this age of global interconnectedness and the rapidly developing performance of so-called Artificial Intelligence?  In an age, moreover, in which a small number of people, in neo-feudalistic fashion, have usurped the management of collective knowledge, and in which we also have good reason to doubt whether the vision of technology represents the solution to our problems.