Entity

Time filter

Source Type

Valencia, CA, United States

The California Institute of the Arts, colloquially called CalArts, is a private university located in Valencia, in Los Angeles County, California. It was incorporated in 1961 as the first degree-granting institution of higher learning in the United States created specifically for students of both the visual and the performing arts. It is authorized by the Western Association of Schools and Colleges to grant Bachelor of Fine Arts and Master of Fine Arts in the visual, performing, and, since 1994, literary arts. The Herb Alpert School of Music was accredited in 2009 to grant a Doctor of Musical Arts.The school was founded and created by Walt Disney in the early 1960s and staffed by a diverse array of professionals. The institute was started as Disney's dream of an interdisciplinary "Caltech of the arts". CalArts provides a collaborative environment for a diversity of artists. Students are free to develop their own work in a workshop atmosphere. Wikipedia.


Zareei M.H.,Victoria University of Wellington | McKinnon D.,Victoria University of Wellington | Carnegie D.A.,Victoria University of Wellington | Kapur A.,California Institute of the Arts
Organised Sound | Year: 2016

Cold, stripped-down, monochrome, pixelated, iterative, quantised, grid, pulse, glitch, noise: taken together, these words imply a growing aesthetic connection within a body of experimental and independent (or non-academic) sound-based artworks produced in the past few decades. Although realised in different mediums and belonging to different artistic categories, such works are connected through a certain aesthetic sensibility. Nevertheless, since the majority of these works have thus far received little scholarly attention, a framing discussion of the aesthetic principles and features that link them is overdue. This article examines this emergent phenomenon, accounting for the particular aesthetic features that connect such sound-based artworks, arguing for a more specific terminology to adequately account for this aesthetic across the various practices in which it is observed. Rejecting 'minimalist' as a descriptor, this article calls for an aesthetic frame of reference derived through Brutalism, understood as a crystallisation of key features of modernism and its various movements. The first author's work is presented as a conscious effort to create sound art redolent of Brutalism, locating this work in the context of the revival of Brutalism in recent years, which, as will be argued, can be expanded to works from a wide range of contemporary artists and musicians. © 2016 Cambridge University Press. Source


Zareei M.H.,Victoria University of Wellington | Kapur A.,California Institute of the Arts | Carnegie D.A.,Victoria University of Wellington
41st International Computer Music Conference, ICMC 2015: Looking Back, Looking Forward - Proceedings | Year: 2015

This paper presents Rasping Music: an audiovisual composition in which one of the early instances of Minimalist composition, that is Steve Reich's Clapping Music, is remodeled and transcribed for a set of four mechatronic sound-sculptures, designed and developed by the first author. After a brief overview of the Minimalist movement and its musical depiction, the sound-sculptures are introduced and the Minimalist ideas behind their design are noted. Then, following a discussion on Steve Reich's pulse-based compositions, the compositional strategies and techniques in the realization of Rasping Music are presented in detail. © 2015 M. H. Zareei et al. Source


Zareei M.H.,Victoria University of Wellington | Carnegie D.A.,Victoria University of Wellington | Kapur A.,California Institute of the Arts | McKinnon D.,The New School
Proceedings - 40th International Computer Music Conference, ICMC 2014 and 11th Sound and Music Computing Conference, SMC 2014 - Music Technology Meets Philosophy: From Digital Echos to Virtual Ethos | Year: 2014

The use of mechatronics and robotics in works of sound art and music has grown over the past decade. Among the significant body of work done in these fields, this paper narrows down its focus on those that employ mechatronics and robotics in order to explore and investigate new sonic possibilities associated with these technologies. Followed by a discussion on characteristics of such works of mechatronic sound art, this paper presents Mutor: a new mechatronic sound-object that utilizes the sonic artifacts of mechatronic systems-specifically, the noise of a DC motor-as its primary source of sound, and modulates it rhythmically and timbrally. Copyright: © 2014 First author et al. Source


Zareei M.H.,Victoria University of Wellington | Carnegie D.A.,Victoria University of Wellington | Kapur A.,California Institute of the Arts
Leonardo Music Journal | Year: 2015

This article introduces an ensemble of mechatronic sound-sculptures designed and developed to realize glitch music outside of computers; the sculptures instead create glitches mechanically, physically and visibly. A brief description of the three different instrument types forming the ensemble is followed by a discussion of how the sound-sculptures employ a Brutalist "anti-beauty" approach in terms of both design and ideology. © 2015 ISAST. Source


Murphy J.,The New School | Kapur A.,California Institute of the Arts | Carnegie D.,Victoria University of Wellington
Leonardo Music Journal | Year: 2012

Musical robotics is a rapidly growing field, with dozens of new works appearing in the past half decade. This paper explores the foundations of the discipline and how, due to the ability of musical robots to serve as uniquely spatialized musical agents, it experienced a rebirth even in the face of loudspeaker technology's dominance. The growth of musical robotics is traced from its pre-computer roots through its 1970s renaissance and to contemporary installation-oriented sculptures and performance-oriented works. Major figures in the field are examined, including those who in recent years have introduced the world to human/musical robot interaction in a concert setting. The paper closes with a brief speculation on the field's future, with a focus on the increasing ease with which new artists may enter the field. © 2012 ISAST. Source

Discover hidden collaborations