Dec 012014

(audience)), The School of Media Studies and Parsons Urban present PARALEKTRONOIA a two-day festival of radio which includes a lecture/presentation by German sound artist Felix Kubin; a conversation between Kubin and Albert Glinsky (author of Theremin: Ether Music and Espionage) with a response from art historian Branden Joseph; a sound walk; and a “screening” of selected radio plays by Kubin, Anna Friz and Gregory Whitehead.
Complete Festival Details can be found at the ((audience)) Website

Day One – Perfomative Lecture

Thursday, December 4, 2014
The New School
– John L. Tishman Auditorium, University Center, 63 Fifth Avenue, Room U100, New York, NY 10003
$5 / FREE for New School students

PARALEKTRONOIA begins with a performative lecture by pioneering German electronic artist Felix Kubin. Musician and “compositional linguist” Chris Mann opens. A reception will follow.


Day Two – Symposium

Saturday, December 6, 2014
The New School – Anna-Maria & Stephen Kellen Auditorium, Sheila C. Johnson Design Center, 66 Fifth Avenue New York, NY 10003

((audience)) screening
Discussion and Response with Felix Kubin, Albert Gliskey and Branden Joseph

The electro-paranoiac phenomenon has left its mark on the lives of numerous electronic pioneers. Russian-born Léon Theremin not only invented the theremin, but also invented an infamous bugging device for the KGB. And Joe Meek, an eccentric British music producer, locked himself, at times armed, in his studio in order to keep the origin of his sound effects secret. A “paralectronic” artist has a mental radio with hypersensitive antennas.
– Felix Kubin

In order to track down instances of “paralektronoia”, Kubin interviewed inventors and musicians who research the effects of invisible oscillations on the psyche using field recordings and radiophonic experiments. The work includes interviews with artist Carl Michael von Hausswolff on Electronic Voice Phenomena and with scientist Stefan Andriopoulos on media and occultism, as well as excerpts of conversations with Alvin Lucier, Lionel Marchetti, Asmus Tietchens, Mika Vainio, and Dr. Hannes Maier, a physicist and neuro-otologist, among others.

Felix Felix

About Felix Kubin
Felix Kubin is one of electronic music’s most dynamic and versatile performers whose activities include futuristic pop, radio plays, electroacoustic music and works for chamber orchestra.

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Oct 042014

October 9th 7:00 pm – 10:00 pm
Mannes Concert Hall
150 West 85th Street, NY NY

Free and Open to the Public
Order tickets via Eventbrite:

In this lecture, Sharp will describe his 1972 work with graphic notation and how, in his return to this approach in 2003, he found new pathways to the synesthetic. Sharp will present the scores Seize Seas Seeths Seen, Foliage, and Mare Undarum, and describe graphic techniques used to create them, mirroring processes he might have used to process in real-time the sounds produced by musicians. With Sylva Sylvarum from 2014, the score is now an animated movie whose derivation will be discussed. The event will include the presentation of projected scores and recorded examples from selected realizations.

Elliott Sharp 2014-15 CTM Artist/Fellow
A central figure in the avant-garde music scene in New York City for over thirty years, Elliott Sharp leads the projects Orchestra Carbon, SysOrk, Tectonics and Terraplane, and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction. Winner of the 2015 Berlin Prize in Music  Composition and a 2014 Guggenheim Fellowship, Sharp has composed for Hilary Hahn, Ensemble Modern, RadioSinfonie Frankfurt, and JACK Quartet. His work has been featured in the Darmstadt (2002) and Donaueschingen (2007) festivals, at the Hessischer Rundfunk Klangbiennale (2007), and the Venice Biennale (2003, 2007, 2012). His wide range of collaborators have included Qawwali singer Nusrat Fateh Ali Khan; Kronos Quartet; Debbie Harry; blues legends Hubert Sumlin and Pops Staples; jazz greats Jack Dejohnette, and Sonny Sharrock; turntable innovator Christian Marclay; and Bachir Attar of the Master Musicians Of Jahjouka, Morocco. His work is the subject of the documentary “Doing The Don’t” and he has been featured on NPR’s All Things Considered.

* * *

In 2013-15, CTM presents a series of lectures, workshops, & performances focusing on the cutting edge present and future of guitar and instrument design. Co-sponsored by Mannes College of Music, functioning as a platform to build cross divisional collaboration at The New School, and opening exclusive external collaborations, this series has brought internationally renowned luthiers, designers, builders, materials innovators, composers, performers, theorists, and sound designers together to explore points of connection between the traditions of musical instrument design and sound production, and new forms of design thinking facilitated by materials science, emergent materials, parametric design, the internet of things, physical computing, networked sound, and the politics of ‘noise’.

Guests have included Ken Parker, Charlie Hunter, Ned Steinberger, Charles Yang, Ola Strandberg, Allan Marcus, Perry Hall, Joe Ravo, Gary Lee, Fred Hand, and Ezio Blasetti.

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Oct 042014

Be a part of the revolution! Soundtrack ‘63 features a host of amazing artists who breathe new life into the sights and sounds that shaped the music of an era. Celebrate the peak of the civil rights movement and re-live musical classics that were popular prior to, during, and following the revoluntary year 1963 with new arrangements. Let the music carry you away as we transport you back in time with a live video installation that will immerse your senses and make you re-think, re-new, and re-mix the power of an era.

About our Partners:

Soul Science Lab (SSL) is a Brooklyn-based music production company with an empowering approach to self-expression. Co-founder Chen Lo is a seasoned artist, educator and creative director. This visionary mind has toured the globe; performing and leading master classes for Jazz at Lincoln Center. Co-founder Asante’ Amin is a gifted multi-instrumentalist, composer and producer. A MetLife Meet the Composeraward winner, Amin is a musical director ahead of his time. SSL’s current projects include: Chen Lo’s album Footprints, Amin’s album The Visitor and Soundtrack ’63, a multi-media, musical retrospective on the civil rights movement.

Led by an all women team, Elektric Breakfast is a visual arts collaborative working in time-based media, live video performance and multi-media installation. Composed of artists and educators, Elektric Breakfast creates visual events that foster critical dialogue on the contemporary mediated experience. Using both documentary and conceptual genres, Elektric Breakfast explores the potential of interactive art experiences through video, animation, sound, installation and storytelling to cultivate political engagement and multiply channels of access for audience collaboration.


Sponsored by Culture and Media at Eugene Lang College, Soundtrack ‘63 (ST63) is a multi-media, live music performance that engages viewers in a cultural and artistic retrospective of the Civil Rights Movement.

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Aug 212013

Something from the archives.

Charlie Morrow works with students in the School of Constructed Environments. A video was made to capture the essence of the workshop: sound is an integral element in the design of interiors.

“Charlie Morrow is a conceptualist whose work in music ranges over many styles and forms, including media events, public spaces, commercial sound tracks, new-media productions, museum installations, and programming for broadcast and festivals. Assembling expert project groups, Morrow employs a collaborative style that fuses arts, artists, and environment. Technological expertise is the basis for his work, much of which uses a combination of the new and old technologies. He is the president and creative director of Charles Morrow Productions, a leading developer of 3-D audio applications and museum multimedia.”

And Here’s the lecture Morrow gave as part of the Aftertaste symposium.

Screen Shot 2013-08-07 at 1.25.38 AM

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Aug 062013

I am teaching a class this Fall titled Sound Matters. Months ago, as I was preparing the materials for this course, which is an introduction to sound as a tool that can cut across disciplines, I started to despair that there might be no events available to my students that could contend with the incredible experience of A Murder of Crows by Janet Cardiff and George Bures Miller’s that coincided with my class last fall.

Thankfully, there are at least three worth noting, and you can read about them in this New York Times article by Blake Gopnik, titled Did You Hear That? It Was Art – Museums Embrace Works Made of Sound.

  1. Janet Cardiff – The Forty Part Motet
    at the Cloisters
    September 10–December 8, 2013

    While we have seen this piece by Cardiff in a variety of NYC contexts from MOMA to PS1 to Lincoln Center, it will be particularly interesting to experience the work in the context of the Cloisters.The Forty Part Motet is most often presented in a neutral gallery setting, but in this case the setting is the Cloisters’ Fuentidueña Chapel, which features the late twelfth-century apse from the church of San Martín at Fuentidueña, near Segovia, Spain, on permanent loan from the Spanish Government. Set within a churchlike gallery space, and with superb acoustics, it has for more than fifty years proved a fine venue for concerts of early music.
    – From the Metropolitan Museum website

  2. Soundings: A Contemporary Score
    The Museum of modern Art
    August 10–November 3, 2013

    Soundings marks the first major exhibition of sound art to be held at MOMA and is the impetus for Gopnik’s article. It will be interesting to see (hear) these works exhibited in relation to each other as many have been created for more site specific or discrete locations like the High Line (Stephen Vitiello), or the Kassel Hauptbahnhof (Susan Phillipz).  I am curious how this exhibition will act as a canonizing agent or at the very least, apply an easy categorization for what “sound art” (a contested term by many who might be labelled sound artists) is. Gopnik mentions this in his article and refers to concerns offered by the theorist/artist Seth Kim Cohen in his blog Voices of Broken Neck.Here’s an extract from the Exhibition page:

    MoMA’s first major exhibition of sound art presents work by 16 of the most innovative contemporary artists working with sound. While these artists approach sound from a variety of disciplinary angles—the visual arts, architecture, performance, computer programming, and music—they share an interest in working with, rather than against or independent of, material realities and environments. These artistic responses range from architectural interventions, to visualizations of otherwise inaudible sound, to an exploration of how sound ricochets within a gallery, to a range of field recordings—including echolocating bats, abandoned buildings in Chernobyl, 59 bells in New York City, and a sugar factory in Taiwan.

    – From the MOMA website

  3. Susan Philipsz – “Day Is Done”
    Governors Island

    While there isn’t much information out there about this yet, Gopnik implies that this installation, Governors Island’s first permanent piece of public art, is due in the Fall. While most of the press, including the page on the Governors Island website, states that she has not yet chosen a location, Gopnik’s article reveals the site she has in mind. “Ms. Philipsz is mounting four old-fashioned “trumpet” speakers — the kind you’d see in an old ballpark — across the facade of a sprawling old barracks, and for an hour every evening, they will broadcast the notes of the bugle call “Taps.” The tones of the ghostly melody will pass from speaker to speaker, fanning out across the island’s open spaces.”While the image above may not be the location chosen by Philipsz, it gives me an opportunity to share a link to these amazing images from the UK Daily Mail website.
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May 152013

The tuxedos and formal gowns worn by orchestra performers haven’t changed much for more than a century. At The New School, some students are hoping to change that.

As part of a year-long collaboration with the Baltimore Symphony Orchestra, initiated by its music director, Marin Alsop, teams of students from the Integrated Design and Design and Technology programs atParsons The New School for Design worked collaboratively with their peers from Mannes College The New School for Music to envision the future of orchestral performance. The students created innovative performance wear that incorporated sustainable fashion concepts and wearable technology features.. The project was led by faculty members Sabine Seymour, director of the Fashionable Technology Lab at Parsons and fashion designer Gabriel Asfour of ThreeASFOUR, with support from Mannes Dean Richard Kessler.

The fruits of their work were presented Sunday, May 5, as the kickoff of the third annual Parsons Festival, which runs through May 24. Above, watch a performance created by the Visuano team. Their presentation uses a motion-activated digital projection system developed by Quiyi Wu and Boshan Zhou, students in the  MFA Design and Technology program at Parsons, and visiting scholar Yinan Zhang. Their system is based on a Kinect box and other technologies, including custom software. The projections create beautiful colorfields that dance in time to the pianist’s performance.

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May 142013


Calling all faculty, students, musicians, designers, scholars and artists working with sound. Join us for a mixer wednesday evening May 15th 7:00 – 8PM. Mingle with fellow sound geeks and chat about how sound can be used as a tool for transdisciplinary activity and collaboration.


Open Lab 12th Floor Studio in 6 E 16th St.

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Apr 282013

In this talk, Roger Whitehouse will discuss aspects of working with users to evaluate and develop design solutions. He will focus on his experience working with the senses of touch, hearing, and smell that provide information in the environment along with the visual cues  which are normally thought of as the sole vehicle of graphic design.

Wednesday May 1st.
10:30 – 11:30am
Kellen Auditorium, 66 fifth ave.

Roger Whitehouse, ARIBA, AAdipl, FSEGD
Roger Whitehouse studied architecture at the Architectural Association in London before coming to New York in 1967 to teach architecture at Columbia University. In 1975 he founded Whitehouse & Company, a multi-disciplinary design firm centered around graphic design and architectural graphics. He has been a director and vice president of the AIGA and a director and Fellow of SEGD (Society for Environmental Graphic Design). His work with vision-impaired and blind users of the Lighthouse in New York has won him many awards and international recognition in the field of Universal Design and Accessibility. His wide range of Graphic Design, Identity, Wayfinding and Industrial Design projects have included the Pratt Institute identity, and signage for Subway stations in Times Square, The HIgh Museum in Atalanta, and Lincoln Center for the Performing Arts.

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Apr 282013

May 3rd  7.00 pm
66 5th Avenue, room 603
New York, NY

operational diagram urban podcast workshop

Podcasting The Urban event is based on a transdisciplinary workshop series on podcasting and sound design at The New School. Some of the issues that will be addressed at the event are;

How can the process of podcasting accentuate bodily awareness and feeling of presence? What connections can we draw between sense of bodily ownership, feeling of presence and dwelling patterns, through auditory experience and the making of oral histories? Concerning (modern technological audio) prosthetic devises what are the sensorial, neurophysiological, societal implications? How can podcasting be utilized as a place based associative practice?


  • Michael Premo (artist/ cultural activist, Sandy Storyline)
  • Laura Gottesdiener (journalist, Sandy Storyline)
  • Frederique de Vignemont (CNRS researcher, Institut Jean-Nicod, Paris, Visiting professor, CUNY)
  • Mary N. Taylor (urbanist & anthropologist, Parsons, Design & Urban Ecologies)
  • Molefi Mafereka Ndlovu (Centre for Civil Society, University of KwaZulu-Natal)
Workshop instructor: Themistoklis Pellas, urbanist, Parsons The New School for Design
The workshop series has been part of the courses History of World Urbanism and Spaces of Dissent/ Spaces of Control.
Faculty: Dr. Jilly Traganou, Associate Professor, School of Art and Design History and Theory
Info – Urban Podcast Workshop Series 2013:
Audio podcast generally refers to a recorded sound file made available for download through a digital broadcasting medium. Commonly, the podcasting process is approached as a mere technical matter or an information and communication technologies affordance following the co-evolution of the internet, personal computers, portable audio players and Rich Site Summary (RSS) feed. More than this though, the podcasting process crystalizes the contemporary spatio-temporal division of labor and the way the everyday realm of most urbanites is reproduced, from the scale of the body up. Understanding this tendency, the objective of the Urban Podcast Workshop Series 2013 has been to explore how podcasting can be used as a critical urban technique and tool. To achieve this, technical assistance in recording, sound engineering and broadcasting has been combined with inquiries in listening, bodily awareness, qualitative description of sound events and mapping, psychoacoustics, voice qualities, narrative modes, politics. Emphasis has been given on how the process of podcasting can amplify local-relevant urban practices, while providing a sensible understanding on the broader ecological dimensions of places.

In the workshop series podcasting has been approached as a process with three layers and addressed both as a way of knowing & through its produced output. 

  1. Audio thread
  2. Socio-spatial/acoustics framework
  3. Technical prism


  1. Capture – the direct collection/ production of sound facts (field recording and practitioner’s own voice recording) along with the incorporation/ correlation of secondary data (interviews, audio samples)
  2. Edit – the audio processing of the facts
  3. Distribution – the dissemination of the audio work

Drawing from spatial and sensory studies the framework of the workshop builds upon:

  1. Reflexivity & immersion of the practitioner in the site/ situation
    How the material self (non-discursive/ discursive) engages with the (human & non human) agents
  2. Narrative building
    The produced output as a place based storytelling & intervention into the ecology of the site/ situation

The workshop series are exploratory, while keeping a critical stance towards how technical practices are conceived & appropriated, relating more particularly to:

  1. Sensory, neurophysiological, societal implications
  2. -Political economy of hardware, software, information
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Apr 252013
Please join us for a special evening of musical and visual stimulation on Sunday, May 5 from 6:00-8:00 p.m. in the Theresa Lang Community and Student Center at Arnold Hall, 55 W 13th Street, 2nd Floor.

Interdisciplinary design teams from Parsons have partnered with musicians from Mannes to present a live showcase of interactive performances featuring avant-grade orchestral garments and motion and sound-activated technology.  This event is the culmination of a year-long collaboration with the Baltimore Symphony Orchestra to imagine the future of orchestral performance in a networked world where the audience gains access to new ways of experiencing and interacting with music – both inside and outside the concert hall.

WILLIAM BOLCOM: A Serpent’s Kiss for piano
STUART SAUNDERS SMITH:  When Music is Missing, Music Sings for percussion

ADMISSION: Free, advance registration required.
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Apr 242013

NYU’s Department of Cinema Studies presents

Wavemakers (2012, 96 min., dir. Caroline Martel)
A preview screening with filmmaker Caroline Martel

Following the legacy of Maurice Martenot’s wondrous electronic musical instrument.

“Amazing! A film as beautiful and tender as the instrument itself.”
– Jonny Greenwood, composer, multi-instrumentalist (Radiohead)

Wednesday, April 24, 6:15pm
NYU Tisch School of the Arts
Department of Cinema Studies
721 Broadway, 6th Floor, Michelson Theater

Screening followed by a discussion with the filmmaker.

Moderated by Dan Streible (NYU Cinema Studies).


About the film:
WAVEMAKERS (2012, 96 min., dir. Caroline Martel)

After its international premiere at the Rotterdam Film Festival, and a four-week theatrical run in Montréal, Caroline Martel’s latest documentary gets a preview screening at NYU’s Department of Cinema Studies.

Wavemakers pursues the legacy of an electronic musical instrument as fragile as it is magical: the Ondes Martenot. The Martenot is indeed so sensitive, so expressive, that nearly a century after its invention, musicians, artisans and scientists are still trying to unravel its secrets. Among them are the inventor’s son, Jean-Louis Martenot, Suzanne Binet-Audet, the “Jimi Hendrix of the Martenot”, and Jonny Greenwood of Radiohead.

Integrating vérité, never-before-seen archival material and an entrancing soundtrack, this feature documentary explores the origins and workings of the Martenot, and draws us inexorably into its spell. A modern-day story set against a historical background, Wavemakers is a journey into the very heart of the mystery of music.

With Wavemakers, Caroline Martel returns with the signature approach that turned her first feature doc about telephone operators into a “non-stop visual and intellectual stimulation… an enormously creative documentary.” (Variety). She pursues her fascination with culture and technology, using her distinctive blend of humanism, lyricism and experimentation.

About the filmmaker:
Award-winning filmmaker Caroline Martel’s work has been presented to critical acclaim internationally, including at the Toronto International Film Festival and IDFA, on SRC, NHK, and SVT, at the Museum of Modern Art and the Georges Pompidou Centre, as well as at the Flaherty Seminar. Her first feature documentary, The Phantom of the Operator, showed in more than 50 venues and was reviewed as “… an enormously imaginative docu … an hour of nonstop visual and intellectual stimulation.” (Variety). Martel has been synthesizing documentary theory and practice for over a decade, with a special interest in archives, invisible histories, and audio/visual technologies and heritage. Her first gallery show, the montage installation Industry/Cinema, was presented at the Museum of the Moving Image in New York in 2012. Martel holds a BA in Communications and an MA in Media Studies, and is a research-creation PhD candidate in the joint Communications Studies program at Concordia University in Montréal. She is currently starting to develop an experimental webdoc on the prehistory of telecommunications technologies.

For additional information, please visit the film’s official website.

This event is free and open to the public.

NYU’s Department of Cinema Studies
Tisch School of the Arts
721 Broadway, 6th Floor
New York, NY 10003

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Feb 192013

Reconstruction 3.0: Life is a Journey is an invitation-only evening of live performances featuring original music, dance and fashion inspired by Louis Vuitton and its heritage of travel. The performances are created by students from Parsons The New School for Design, The New School for Jazz and Contemporary Music and the Joffrey Ballet School‘s Jazz and Contemporary Program.

This cross-disciplinary initiative began this past fall with five teams each consisting of a Parsons fashion designer, a New School Jazz composer, and a Joffrey Ballet School choreographer. These teams were tasked to develop a live performance consisting of an original music score, choreography, and conceptual garments that reflect the theme “Life is a Journey.” The garments are reconstructed from previous Louis Vuitton ready-to-wear and textiles.

“Reconstruction 3.0 represents our third collaboration with Louis Vuitton, and once again we’ve pushed the boundaries-this time bringing together our students with composers and choreographers,” commented Simon Collins, dean of the School of Fashion at Parsons. “It has been amazing to work with such great collaborators as Louis Vuitton, New School Jazz and the Joffrey Ballet School. The inspiring results reflect the richness and originality of this effort.”

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Feb 182013

New School for Public Engagement faculty Lynne Tillman is one of five readers in the celebration of the work of Georges Perec and Raymond Queneau at issue Project Room.

Thu, February 21, 2013 – 8:00pm
155 Freeman St., Brooklyn (Greenpoint)

“To celebrate the publication of Georges Perec’s La Boutique Obscure and the expanded edition of Raymond Queneau’s Exercises in Style, ISSUE Project Room, in conjunction with Melville House and New Directions, presents an evening of readings and responses to both texts followed by a conversation with translators Chris Clarke and Daniel Levin Becker.”
– more info on the Issue Project room Website

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Jan 242013

January 18 – February 17, 2013 at Audio Visual Arts

Making a Record (Diamond, Ruby, Sapphire, Emerald) centers around a series of four interviews the artists conducted in 2009 with gemologist and jewelry designer Karen L. Davidson, talking about the stones used to record her voice. The artists made lithic tools from the four gemstones and etched a series of unique lathe-cut dub plates of each interview. Each of the four gemstone styli were given to Karen to use as elements in four pieces she designed. These handmade pieces are composed of the stylus, crystal slices or stones in their natural states, cut gems and 22k gold. Each of the four pieces can be worn as a pendant.

Sofía Hernández Chong Cuy, Pierre Huyghe, Marina Warner and Jamieson Webster were invited by the artists to listen to the records and wear the pendants, exhibiting them for varied lengths of time. The information contained on the records was transmitted through casual conversations and occurrences that took place during their daily lives. A record of these instances has been contributed by each individual.

– via the Free103.9 newsroom

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Jan 242013

Coming to Grand Central in March 25th – 31st

“For HEARD•NY, artist Nick Cave will transform Grand Central Terminal’s Vanderbilt Hall with a herd of thirty colorful life-size horses that will peacefully “graze” and periodically break into choreographed movement accompanied by live music by two harpists. The project, which is open to the public free of charge, is presented by Creative Time and MTA Arts for Transit as part of a series of events celebrating the centennial of Grand Central.”

– from the Creative Time Website

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Jan 192013

The 3rd Megapolis comes to New York CityApril 19-21, 2013,
with its headquarters at the New School.


The MEGAPOLIS Festival examines the sonic landscape of this sprawling urban environment by showcasing artists and documentarians based in the BosWash Megapolis alongside visitors to the region, particularly focusing on the cross-pollination of knowledge championed by audio enthusiasts working in different disciplines such as music, radio, installation, and film. Performances, workshops, and presentations are scattered throughout small galleries, university halls, outdoor spaces, and sometimes living rooms within one particular mega-neighborhood. As an attendee at the MEGAPOLIS Festival you are not a member of a passive audience — you’re actively adding context to what’s coming into your ears.

A weekend-long, multi-venue event dedicated to the craft of DIY audio creation. Artists, documentarians, musicians, and fans come together to share secrets on producing and presenting challenging audio works online, on-air, and on the stage.

Check the Megapolis Festival Website In March 2013 for the lineup of artists as well as ticketing, and to check out the New School Sound presence at the festival. And click below to find out how to submit your work.

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Jan 192013


Baltimore Symphony Orchestra partners with Parsons the New School for Design

BSO Music Director Marin Alsop funds the project in honor of Tomio Taki with additional support from Parsons

Baltimore, Md. (September 13, 2012)
Baltimore Symphony Orchestra (BSO) and BSO Music Director Marin Alsop are passionate about breaking down barriers that separate orchestras from their audiences. In keeping with that vision, Maestra Alsop has funded a pilot partnership with Parsons The New School for Design to create new interactions between the orchestra and its audience through a re-imagining of traditional concert dress. This semester-long collaborative studio will investigate new fashions and wearable technologies that emphasize a networked world of musicians, audiences, the music being performed and the concert hall facility.“The basic concert black worn by nearly every orchestra across the globe has been the status quo for hundreds of years,” says Maestra Alsop. “It’s time to reinvent the modern orchestra. In honor of my friend and mentor Tomio Taki, a leader in the fashion industry and Parsons board member, I’ve invited the talented students at Parsons to apply their creativity to the concert experience. These students are innovators in design and fashion and I’m excited to see their vision for the BSO for the 21st century. Concert attire is just the start. Our goal is to erase any pre-conceived notions of what a concert should look like and create an experience that is as inspiring as the music we perform.”To facilitate this vision, an interdisciplinary class of 16 Parsons students will spend the fall 2012 semester exploring the intersection of fashion design and technology, under the direction of Parsons faculty members Dr. Sabine Seymour and Scott Peterman, an alumnus of the Parsons MFA Design and Technology program. On Friday, September 14, Parsons students will travel to the BSO’s home, the Joseph Meyerhoff Symphony Hall, in Baltimore, Md. to observe the Orchestra musicians, analyze their motions and begin to visualize the music and to conceptualize fashionable attire that integrates new fabrics and wearable technologies. Parsons students will document the creative process throughout the semester.“Working with Marin is a deep honor for Parsons. Her vision and innovative spirit are unparalleled,” said Joel Towers, Executive Dean of Parsons The New School for Design.The final product will result in 5-10 prototypes of new concert attire for men and women in today’s modern orchestras. This project is the first stage in a long-term BSO-Parsons partnership that emphasizes new thinking and innovative design, from community programming to the concert hall environment, to help shape and advance an orchestra in the 21st century.

About Marin Alsop
For more information, please visit


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