Syndicate: (Xchange) TOUCH festival, STEIM Amsterdam, 14-19 dec 98

[Andreas Broeckmann <abroeck@v2.nl>]

>From: Stichting STEIM <steim@xs4all.nl>
>Subject: TOUCH festival
>
>
>In this mail you will find the press release for our TOUCH
>festival(14th until 19th) and Symposium (14th until 16th) to be held
>this coming December in Amsterdam at the Frascati theater. Also you will
>find the program of the symposium and concerts.
>
>If you know other individuals or groups who might be interested in the
>event please feel free to pass the word on or let us know so we can
>make the contact.
>
>We hope to see you in December.
>
>On behalf of the organizing committee Joel Ryan, Sally Jane Norman and
>Michel Waisvisz,
>
>Ruud Backx (coordinator)
>and Hellen Drooger (symposium coordinator)
>
>
>Press Release Touch
>
>
>STEIM's Touch, the festival of Tactile Tronics
>
>STEIM will open doors to a manifestation called "Touch", from December
>14th through 19th, filling the halls at the Frascati theatre venue in
>Amsterdam.
>
>"Touch" will be the ideal opportunity for visitors to literally Touch
>and play with new instruments conceived and developed for the
>electronic performance arts.
>
>"Touch" is not about worshipping 'old content-new media' cyber-hype,
>but is rather a feast for the 'hands-on': alive and vivacious,
>throbbing, warm, sensual, ecstatic live electronic stage acts and
>immediate media.
>
>"Touch" is a festival of music, theatre and performances, hosting an
>exhibition of 'Please Do Touch' instruments and a meeting place for pioneers,
>inventors, scientists and philosophers.
>
>
>
>The Touch Performances
>
>The "Touch" Festival program is a bountiful harvest of internationally
>known and, until now, unknown performers and composers in the realm of
>the electronic stage arts. In many cases the inventors of their own
>instruments, these artists are virtuoso performers as well as
>creators.
>
>The audience will be presented a treat of authentic Sound Magicians,
>Trance-Webbers, Electrified Tightrope Walkers, Ambiatronics,
>Radio-Ham-Jammers, The Singing Greeting Card Quick Step, Real
>Electronic Music and a variety of old and new electric entertainment.
>
>All performances will take place in Frascati's main hall during three
>nights of non-stop electroeuphoria. (December 16th, 17th and 18th)
>
>The cast of performers includes:
>
>Laure Pique, Serge de Laubier & Remy Dury, John Rose, Joel Ryan & Evan
>Parker, Laetitia Sonami, Xavier & Dave & Thijs, Cas de Marez, Henley
>James & Shaun Smith directed by Patrizia van Roessel, Frances Marie
>Uitti & Michel Waisvisz, Seven Seas, Ernst Zettl & Helmut Schaefer,
>Schreck Ensemble, and Marko Peljhan.
>
>
>
>STEIM's Electro Squeek Club
>
>
>"Touch" will allow visitors to meander through a labyrinth of PalpEars,
>FondleEyes, CaressKeys & CuddleButtons, BrainFingers and Sonic
>PinchChips - the instruments of the STEIM Electro Squeek Club.
>
>Visitors are invited to touch the sound and image instruments and
>installations specially designed for the "Touch" Festival. Schools and
>groups are welcome to make appointments to visit the exhibition
>throughout the week.
>
>On Saturday 19th of December, the exhibition will be open to everyone
>who wants to touch and play, or just wander through the labyrinth,
>watching and listening to other visitors touching and playing the
>instrumental objects.
>
>Those who choose to be in touch can play the TeleTelePhoneToneChatter
>or the Magic Miracle Organ with its 'Flip, Smack, Bang, Poof'=20
>keyboard, or have close encounters with their own manipulated
>reflections in the Electronic Mirror Palace. For animal lovers there's
>the Animal Symphony Web, for peepers the Crackle Stage and the classic
>CrackleBoxes, for dancers the Dance-O-Matic, for lovers of the quiet
>the SoundRecycler, and for the more physically oriented the
>MIDI-Conductor, TouchBoxes and the living doll called 'Touchy-Feely'.
>or those who hate office work, there is the OfficeOrgan, the
>BebobTable and many other instruments.
>
>
>
>The Touch Symposium
>
>
>The Touch Symposium is focused on the renaissance of the physical
>presence of the performer in the electronic performance arts. Until
>now, technical thinking has had the upper hand in the development of
>the electronic arts. It is high time that music and theater makers, and
>visual artists assumed their responsibilities, driving technological
>evolution to satisfy their artistic and cultural needs
>
>The Touch Symposium has attracted a selection of pioneers from the
>electronic performing arts and music, philosophers, and critics engaged
>in reflection on the body in performance, and scientists from the
>fields of neurophysiology and telerobotics. Together with the artists,
>they will consider the place of performance in our booming techno
>culture. Touch here stands for that immediate, high speed,
>non-self-conscious, fine-tuned intelligence encountered in virtuoso
>music or dance. The inimitable prowess of human gesture, the
>overwhelming sensuality of the human performer, are lost in the myth of
>desktop omnipotence.
>
>What is it that makes this sort of human behavior distinct from say
>symbol manipulation? Is there something about the perception of time
>that is peculiar to the performing arts?  If the perception of musical
>time involves a special structure of memory or cognition, how does this
>structure influence composition? Is it possible to imagine composing
>new music or new movement without reference to perceptible experience?
>
>Speakers: Trevor Wishart, Thecla Schiphorst, Barbara Becker, George
>Lewis, Tim Roberts, Jean-Pierre Roll, Roger Malina, Roman Paska, Dick
>Raaijmakers.
>
>The Touch meetings are designed to trigger lively debate amongst a
>group of artists and theorists concerned with issues of live
>performance, bodily intelligence, and new technologies. The symposium
>will make a public presentation at the opening of the festival on
>Wednesday 16th.
>
>
>
>STEIM - how it works
>
>
>
>STEIM (Studio voor Electro-Instrumentale Muziek) is the only media lab
>in the world which has its roots in stage arts, particularly music. The
>Foundation's artistic and technical departments support a wide selection of
>international
>performers, musicians and a growing group of visual  artists, in the
>development of unique instruments for the creation of their works.
>STEIM hosts artists for intensive work periods, catalyzing their ideas
>by offering critical professional experience, and an artistic and
>technical environment in which concepts can be given concrete form.
>These new creations are then exposed to a highly receptive, responsive
>niche public at STEIM, before being groomed for a broader audience.=20
>
>=46or many years, STEIM has developed a special line of activity, which
>consists of letting children play with its newly developed instruments.
>The often playful, bright and inventive minds of children have long
>acted as a decisive stimulus in STEIM's creation of really playable
>electronic music instruments. Since the mid-seventies STEIM has
>fostered the development of tangible electronic devices, not intended
>as toys but rather as instruments: 'approved by children' (The Crackle
>Boxes, LiSa the live sampler etc).
>
>
>STEIM's international reputation is founded on its physical and
>intuitive approach to technology. STEIM has always encouraged the use
>of low-tech solutions and also the creative 'misuse' of re-cycled
>high-tech. Most of STEIM's projects are presented on a wide palette of
>cultural settings: the traditional concert circuit, the techno scene,
>media festivals, schools, symposiums and conventions, exhibitions, the
>circus and improvisation pools.
>
>
>STEIM is short for 'human approach to technology'. Technology has to be
>manipulated and tailored to the individual. Unique instruments such as
>The Hands, The Web, The Sweatstick and the MIDI Conductor were born as
>a result of personal and individual projects, but are now widely in use
>by other performers. Soft(ware) instruments such as Image/ine and LiSa
>(Live Sampling) developed by STEIM have proven to be a very successful
>branching out of the institute. LiSa was awarded 'Non Plus Ultra' by
>the international GMEB 1998 Electronic Music Festival in Bourges, France.
>
>
>
>Touch, The Organization
>
>
>
>"Touch" is organized by the STEIM Foundation and supervised by Sally
>Jane Norman, Joel Ryan and Michel Waisvisz, and produced by Ruud Backx.
>
>Technical realization by the STEIM designers team Frank Balde, Tom
>Demeyer, Jorgen Brinkman en Skip Goes.
>
>Technical coordination for the Touch exhibits by Jeannot Waisvisz.
>
>Performance Festival technical coordination by Nico Bes and Daniel
>Schorno.
>
>STEIM secretariat supervision by Hellen Drooger.
>
>General Assistant: Marc Meijer.
>
>for educational activities of STEIM's Electro-Cub-Club: contact Lara
>van Druten.
>
>
>Soon you will receive the complete concert and symposiumprogram.
>
>
>Information:		Ruud Backx		020 638 5400
>
>			STEIM			020 622 8690
>
>			Achtergracht 19=09
>
>			1017 Wl Amsterdam
>
>			e-mail: 	steim@xs4all.nl
>
>			url:	 	http://www.xs4all.nl/~steim
>
>
>The 'Touch' festival is funded by the HGIS-Culture-program of the
>Ministry of Foreign Affairs and the Ministry of Education, Culture and
>Science, and the Mondriaan Foundation
>
>
>
>
>INFORMATION  ABOUT  SPEAKERS
>
>
>Barbara Becker studied philosophy, sociology, and art
>history ; her PhD in  philosophy dealt with questions of artificial
>intelligence and cognitive  science. She works as a research scientist
>at the German National Research  Centre of Computer Science (GMD) in
>St. Augustin. Her current research focuses  on the philosophical
>implications of the interrelation of culture, media, and  technology.
>
>
>
>George Lewis is an improviser, composer, performer, and
>computer/installation  artist, who studied composition with Muhal
>Richard Abrams and trombone with Dean  Hey. His interdisciplinary
>compositions have been presented in Eastern and  Western Europe, North
>America, and Japan ; his computer compositions and  intermedia
>installations have been presented on the European and American
>continents. In 1991, he joined the Music Department at the University
>of  California, San Diego, where he is Professor of Music in the
>Critical Studies/Experimental Practices Program.
>
>
>Roger Malina is an astronomer, involved with the design,
>construction and  operation of space observatories. He is currently
>Director of the Laboratoire  d'Astronomie Spatiale in Marseille,
>=46rance, and is also employed at the  Center for Extreme Ultraviolet
>Astrophysics, University of California, Berkeley.  He is the editor of
>the scholarly art, science and technology journal Leonardo  published
>by the MIT Press.
>
>
>
>Roman Paska is a writer, director, designer, and performer
>in the field  of puppet theatre, creator of solo pieces collectively
>called Theatre for the  Birds, and of group productions including " The
>Shadowy Waters " at the Abbey Theatre, Dublin, " The Ghost Sonata " at
>the Marionetteater,  Stockholm, and " Moby Dick in Venice " at the
>Public Theatre in New  York. His Marlowe-inspired work, " God, Mother,
>Radio ", was recently  presented in Paris, Stockholm and New York.
>Paska has written and taught widely,  and was recently nominated to
>direct the Institut International de la Marionnette in
>Charleville-M=E9zieres, France, as of January  1999.
>
>
>
>Dick Raaymakers= studied the piano at the Royal
>Conservatory Den Haag. From 1954 till 1960 he worked for NV Phillips
>Eindhoven. From 1963 till 1966 he worked with Jan Boerman in their own founded
>studio for electronic music in Den Haag.
>Since 1966 until his retirement (1995) he worked as a teacher at the
>Royal Conservatory in Den Haag in the department for electronic and
>contemporary music and since 1991 he also worked as teacher in
>electronic musictheatre at the interfaculty Sound and Image of the Roal
>Conservatory in Den Haag.
>Besides composing and teaching, Raaymakers is also active as a visual,
>theatrical, film, literary artist. In all these disciplines he shows in
>different ways the relation between art and technique.
>
>
>Tim Roberts has been a professional juggler since he was
>15 years old. After  two-and-a-half years as a clown with Ringling
>Bros. and Barnum + Baileys  Circus he left America for Europe, where he
>founded, with three other  professionals, the French juggling troupe "
>L'Institut ". Since  1993, he has fulfilled the role of Vocational
>Training Coordinator and juggling  teacher at the National Center for
>Circus Arts in Chalons-en-Champagne,  France.
>
>
>Jean-Pierre Roll is Professor of Neurosciences, and
>Director of the Human  Neurobiology Laboratory at the Universite de
>Provence, CNRS (Marseille).  He holds a Doctorate of Science (1983) on
>"The Contribution of Muscular  Proprioception to Perception and
>Movement Control in Humans ". His current  research is focused on
>sensitivity of the human motor apparatus  (proprioception), and its
>role extending " the five senses ".  Roll's laboratory has implemented
>a programme of experiments designed to  determine how the muscles
>function as " organs of perception ", at the  psychophysiological and
>neurophysiological levels.
>
>
>Thecla Schiphorst is a computer media artist whose work
>includes interactive  installation, performance, and software design.
>Trained in computing science and  contemporary dance, her interface
>designs subvert commonly held notions of  interactivity and navigation
>by incorporating models of kinesthesia and  synesthesia. Thecla
>Schiphorst is a member of the team that developed Life  Forms, the
>computer compositional tool for animation and choreography. Her
>interactive art work, " Bodymaps: artefacts of touch " has been
>exhibited in Europe, North America and Asia ; her latest interactive
>piece,  "Felt Histories", was premiered in Vancouver in October 1998.
>
>Trevor Wishart is an independent composer living and
>working in the north of  England, where he is Honorary Visiting
>Professor at the University of York. His  composition work focuses on
>free improvisation for voice ; in the computer music  area, he has been
>involved with software development. Trevor Wishart also works  in the
>areas of community arts and music education, and has directed
>electro-acoustic music workshops for school pupils. His interest in
>musical  environments led to his realization of a soundscape,
>commissioned by the Jorvik Viking Museum.
>
>
>
>
>
>
>
>Costs for attending symposium:
>
>o	the whole symposium period (three days) 		DFL  150,-
>
>o	one symposium day				DFL   60,-
>
>o	whole festival (concerts and exhibition)period 	DFL  200,-
>
>These prices do not include lodging but we can of course help you find
>good accommodation during your stay in Amsterdam.
>
>
>You can fax this form back to STEIM: 00 31 20 626 4262 or e-mail the
>information to steim@xs4all.nl
>
>
>----------------------------------------------------------------------------=
>----
>
>
>Yes I will attend the Touch Festival and Symposium and stay Monday
>14th/ Tuesday 15th/ Wednesday16th/the whole festival period.
>
>
>Yes I will / No I do not need a hotel
>
> Please send information about accommodation
>
>
>I will send a money order of DFL...... to the STEIM bankaccount number:
>250012774 (Bank Mees Pierson) with reference: Touch
>
>
>Name
>
>
>Address
>
>
>Tel/fax:
>
>
>E-mail
>
>
>
>Concert programme TOUCH (16 till 18 December)
>
>
>Wednesday 16 December
>
>Serge de Laubier & Remi Dury (FR): 'Les Sargasses de Babylone'
>
>Jon Rose (AUS/GB): 'From the Chaotic Violin'
>
>DansOmatiek (dance and sound performance)
>
>INTERMISSION
>
>Laure Pique (FR): 'Dream wire' - The sensative cord
>
>Joel Ryan (VS) & Evan Parker (GB): 'Fayud's Dust'
>
>
>
>
>Thursday 17 December
>
>Laetitia Sonami (FR/VS): 'Why - dreams like a loose engine'
>
>Xavier, Dave en Thijs (NL): 'Ground Control'
>
>Cas de Marez (NL): 'Sens'
>
>INTERMISSION
>
>Patrizia van Roessel (NL): 'Sweet Touch' (dance and sound performance
>by Shaun Smith and Henley James)
>
>Frances Marie Uitti & Michel Waisvisz (NL): 'The Gentle Art of Live
>Electronic Music in Times of New-Media Hype'
>
>
>
>
>Friday 18 December
>
>Schreck Ensemble (NL): 'De Dag'
>
>Seven Seas (NL): 'Trance Music'
>
>INTERMISSION
>
>Ernst Zettl & Helmut Schafer (O): 'The Virtual String'
>- WienerKlangManufaktur
>
>Steina Vasulka (ICE/VS): 'Violin Power'
>
>Marko Peljhan (SLOV)  '. Signal..:.' and ' Wardenclyffe situation no.
>7'
>
>
>
>Programme TOUCH Symposium ( 14 till 16 December)
>
>
>Symposium hours	10:00 - 12:30 uur
>		14:00 - 17:00 uur
>
>
>Monday 14 December
>
>
>Introduction by the Touch Triumvirate: Sally Jane Norman, Joel Ryan and
>Michel Waisvisz
>
>
>Subject: 	ARTEFACTS OF TOUCH, COMPOSING MACHINES, INCORPOREAL SOUNDS
>
>Speakers:		Thecla Schiphorst - Dancer, computer media artist
>
>		George Lewis - Computer-music composer/constructor, trombonist
>
>		Dick Raaijmakers - Legend
>
>
>Tuesday 15 December
>
>
>Subject:	THE SIXTH (MUSCULAR) SENSE: DEALINGS WITH SPACE AND TIME
>
>Speakers:		Jean Pierre Roll - Neurophysiologist
>
>		Tim Roberts - Juggler
>
>		Barbara Becker - Philosopher
>
>		Roger Malina - Astronomer
>
>
>Wednesday 16 December
>
>
>Subject:	(BEYOND) HUMAN REACH? HANDLING AND SHAPING VISIONS
>
>Speakers:		Trevor Wishart -  Composer
>
>		Roman Paska - Puppeteer
>
>The symposium will be closed by the Touch Triumvirate.
>
>
>Concert programme TOUCH (16 till 18 December)
>
>
>Wednesday 16 December
>
>Serge de Laubier & Remi Dury (FR): 'Les Sargasses de Babylone'
>
>Jon Rose (AUS/GB): 'From the Chaotic Violin'
>
>DansOmatiek (dance and sound performance)
>
>INTERMISSION
>
>Laure Pique (FR): 'Dream wire' - The sensative cord
>
>Joel Ryan (VS) & Evan Parker (GB): 'Fayud's Dust'
>
>
>
>
>Thursday 17 December
>
>Laetitia Sonami (FR/VS): 'Why - dreams like a loose engine'
>
>Xavier, Dave en Thijs (NL): 'Ground Control'
>
>Cas de Marez (NL): 'Sens'
>
>INTERMISSION
>
>Patrizia van Roessel (NL): 'Sweet Touch' (dance and sound performance
>by Shaun Smith and Henley James)
>
>Frances Marie Uitti & Michel Waisvisz (NL): 'The Gentle Art of Live
>Electronic Music in Times of New-Media Hype'
>
>
>
>
>Friday 18 December
>
>Schreck Ensemble (NL): 'De Dag'
>
>Seven Seas (NL): 'Trance Music'
>
>INTERMISSION
>
>Ernst Zettl & Helmut Schafer (O): 'The Virtual String'
>- WienerKlangManufaktur
>
>Steina Vasulka (ICE/VS): 'Violin Power'
>
>Marko Peljhan (SLOV)  '. Signal..:.' and ' Wardenclyffe situation no.7'
>
>
>
>Programme TOUCH Symposium ( 14 till 16 December)
>
>
>Symposium hours	10:00 - 12:30 uur
>		14:00 - 17:00 uur
>
>
>Monday 14 December
>
>
>Introduction by the Touch Triumvirate: Sally Jane Norman, Joel Ryan and
>Michel Waisvisz
>
>
>Subject: 	ARTEFACTS OF TOUCH, COMPOSING MACHINES, INCORPOREAL SOUNDS
>
>Speakers:		Thecla Schiphorst - Dancer, computer media artist
>
>		George Lewis - Computer-music composer/constructor, trombonist
>
>		Dick Raaijmakers - Legend
>
>
>Tuesday 15 December
>
>
>Subject:	THE SIXTH (MUSCULAR) SENSE: DEALINGS WITH SPACE AND TIME
>
>Speakers:		Jean Pierre Roll - Neurophysiologist
>
>		Tim Roberts - Juggler
>
>		Barbara Becker - Philosopher
>
>		Roger Malina - Astronomer
>
>
>Wednesday 16 December
>
>
>Subject:	(BEYOND) HUMAN REACH? HANDLING AND SHAPING VISIONS
>
>Speakers:		Trevor Wishart -  Composer
>
>		Roman Paska - Puppeteer
>
>The symposium will be closed by the Touch Triumvirate.
>
>
>Hotel recommendation:
>If you want to book a room at one of the below mentioned hotels, do mention
>TOUCH festival because we made a special price with them.
>
>Low Budget:
>
>Hotel Arena
>'s-Gravesandestraat  51 tel: 00 31 (0) 20 694 74 44
>prices: fl 90, - for one night ( including breakfast)
>
>Normal Price:
>
>Cok City Hotel
>Nieuwe Zijdsvoorburgwal 50
>tel for reservations: 00 31 (0)20 573 7101
>prices: 	one person room: fl 180,- (shower and toilet)
>	two person room fl 200,-
>They also have a hotel in the museum area which is a little bit cheaper
>	one person room: fl 170,-
>	two person room: fl 190,-
>All prices include breakfast.
>
>
>
>
>
>
>
>
>
>STEIM
>(studio for electro instrumental music)
>(studio voor elektro instrumentale muziek)
>
>Achtergracht 19
>1071 WL Amsterdam
>Nederland
>
>tel 00 31 (0) 20 6228690
>fax 00 31 (0) 20 6264262
>WEB SITE : http://www.xs4all.nl/~steim
>


http://simsim.rug.ac.be/staff/guy
ftp://quixot.rug.ac.be
	> but all that I got in return was silence
	> is this normal???
I get this all the time. Sometimes it is from cut and paste letting
comments flow over to the next line, other times I never figure it out.



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