Keynote - Atau Tanaka
Laurel Point Inn
9.30 am, Friday January 27th
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Atau Tanaka is researcher at Sony Computer Science Laboratories (CSL) Paris, spanning cultures and encompassing domains of artistic expression, scientific research, and industry. He holds degrees in science and music from Harvard University and Stanford University's CCRMA. He has conducted research at IRCAM in Paris and was Artistic Ambassador for Apple Computer Europe. In Japan he has been in residency at NTT/ICC and taught Media Art at Keio University. He is known for his work with sensor instruments and network music installations, in artistic exhibition as well as scientific publications. He current work is focused on harnessing collective musical creativity on mobile devices, seeking the continuing place of the artist in democratized digital forms. He has received support from the Fraunhofer Institute, Japanese Telecommunications Ministry, and the Daniel Langlois Foundation. He has served on committees of the Audio Engineering Society (AES), New Interfaces for Musical Expression (NIME), and ISEA.
Websites:
http://www.xmira.com/atau/
http://www.csl.sony.fr/~atau
http://crossfade.walkerart.org/jujikan
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Brief
As a time-based art, music occupies time and composers manipulate temporal structures. Sound art, meanwhile, represents a movement where audio is treated as a plastic medium. As sound is by nature a temporal medium, it will always traverse time. Acoustical sound is also physical, and is able to fill volumetric space. Ultimately time and space are not independent domains, but are endpoints in a spectrum in which audio works of various forms can be situated. Concert performances are temporo-centric, taking place at a specific time and for a certain duration. Installations are more spatio-centric, on exhibition and available to the spectator to explore at volition, free of time constraints.
Time and space, then, map out a continuum within which performance and installation can by considered. With this as a basis, we retrace examples of the author's work over the last decade in musical compositions created with interactive technologies. This spans a body of work starting with sensor systems as musical instruments, through networked performances and installations, looking on towards musical artworks conceived for communities of mobile devices.
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