Het netwerk spreekt

Transcription

Het netwerk spreekt

HET NETWERK SPREEKT
Wat hier volgt is een selectie van een 100-tal brieven uit de bundel van meer dan 850
steunbetuigingen die STEIM tussen 20 en 28 mei 2008 heeft ontvangen van haar wereldwijde
netwerk. Alhoewel we wel wisten dat we vrienden hebben over de hele wereld heeft de enorme
hoeveelheid reacties ons ook wat verbaasd. Maar blij zijn we er natuurlijk wel mee.
We hopen dat al deze ondersteuning u doet inzien dat STEIM een plaats verdient in de BIS 1.0.
Via onze website ( http://www.steim.org/netwerk/ ) kunt u alle brieven en emails inzien. Tevens
staat daar een fotoboek dat recente projecten van STEIM toont.
Een greep uit de brieven (klik op de naam om naar de brief te gaan):
George Lewis – Columbia University
Jean-Claude Risset
Jacqueline Oskamp
Henk Heuvelmans – Muziek Centrum Nederland
Joseph A. Paradiso - M.I.T.
Bill Thompson
Alvin Curran
Christian Fennesz
Kees Tazelaar – Sonologie
Laurie Anderson
Luca Francesconi
Maarten Altena
Mazen Kerbaj
Martijn Padding – Conservatorium Den Haag
Chris Brown – Mills College
Curtis Roads
Dick Raaijmakers
Fred Frith
Hans Tutschku – Harvard University
Gemeentemuseum Den Haag
Richard Barrett
Rob van Kranenburg – Waag Society
Ryoji Ikeda
Sher Doruff
Unie van Componisten
Yannis Kyriakides
Daniel Teruggi – GRM Paris
DasArts
Frans Evers
Gert-Jan Prins
Hugues Vinet – IRCAM
Jaap Blonk
Alle personen
Alle organisaties
Bladert u eens door de brieven, en lees de soms heel persoonlijke verhalen uit het STEIM netwerk!
___
Abteilung 1
Dirigieren, Komposition und Musiktheorie
Achim Christian Bornhoeft
Studio für Elektronische Musik
Mit diesem Brief möchten wir allen Aktivitäten unsere vollste Unterstützung
zusichern, die zum Erhalt und zur Fortsetzung der Arbeit am STEIM beitragen.
STEIM ist einer der wichtigsten Orte für Elektronische Musik nicht nur in Europa.
Sein Einfluss besonders im Bereich der Entwicklung zeitgenössischer Performance
und Bühnenästhetik reicht weit über die Grenzen akademischer Zirkel hinaus. Vielen
internationalen Künstlern wurde hier die Möglichkeit gegeben, ihre individuellen
Ideen in einer inspirierenden und gleichzeitig hochprofessionellen Umgebung zu
realisieren.
STEIM ist ein Ort, dessen kontinuierliche Arbeit nicht quantitativ in Form von
messenmedialer Öffentlichkeit zu messen ist, sondern in der qualitativen Bedeutung
für die Weiterentwicklung der Künste.
Mit herzlichen Grüßen,
___
Achim Christian Bornhoeft
Leiter
Salzburg, den 26. 5. 08
Universität Mozarteum Salzburg
Mirabellplatz 1
5020 Salzburg/Austria
Tel: +43 662 6198–5122
Fax: +43 662 6198-3119
[email protected]
www.moz.ac.at/sem
To Whom it May Concern
I have learned that STEIM's future is jeapordized by funding challenges.
I hereby voice my strong support for STEIM's work and vibrant future in the rapidly
growing
international community working on New Media and New Instrument Art and Technology.
We have enjoyed numerous collaborations directly with STEIM over the years and hosted
many concerts with STEIM-trained and equiped performers - notably recently with the
Amsterdam-based famous cellist Frances Marie Uitti.
I understand STEIM has been criticized as "closed and only appealing to a niche
audience". The former criticism can be easily made of many institutions like STEIM trying
to employ scarce resources in the service of new artistic endeavors: it is very difficult to
serve large groups with the meticulous care instrument building requires. The "niche
audience" is fast exploding in size and if recent events such as NIME conferences and the
San Mateo Maker Faire are any indication will be the dominant paradigm for music making
of the upcoming generation.
My recommendation for the future of STEIM would be to make structural changes to
emulate the successful model of institutions like the SF Exploratorium which now serves
as a model for hands-on science museum around the world. STEIM has already served as
a widely replicated model for new instrument research institutions including our own at
CNMAT. I would be happy and enthusiastic to help STEIM grow and continue and to
expand this international leadership role in our field.
Yours Sincereley,
Adrian Freed
Research Director
CNMAT, the Center for New Music and Audio Technologies
UC Berkeley
[email protected]
1
Prof. Alberto de Campo
Music Informatics
Institute For Music And Media
University of Music Duesseldorf
Germany
To the Council for Culture
Duesseldorf, 23. Mai 2008
Re: Letter of Support or STEIM
Institut Fuer Musik Und Medien
Robert Schumann Hochschule Duesseldorf
Georg-Glock-Straße 15 / D – 40474 Duesseldorf / www.musikundmedien.net
/ [email protected] / T +49.211.4918.240 / F +49.211.4918.241 /
Dear Ladies and Gentlemen,
it has come to my attention that STEIM, the Studio for Electro-Instrumental Music, is at risk of losing its base
funding. Should this occur, I would consider it a major mistake.
In my view, STEIM has been a truly unique organization, following a truly unique vision in electronic and computer music. It has been supporting individual artists to design and realize their ideal instruments, re-purposing
mainstream technology intelligently for artistic applications. Their work has democratized electronic art by making alternative solutions accessible outside privileged academic institutions. In the international community,
STEIM is highly respected as a major source of innovation in electronic music, and as a model of an approach
that celebrates both artistic individuality, and a sense of sharing a common artistic culture.
A great number of artists (including myself) have benefitted tremendously from STEIM over the years, whether
directly as artists in residence, working on special instruments, finding collaborators within the community of
artists surrounding STEIM, or indirectly by finding inspiration from projects supported by STEIM.
For all these reasons, I would like to ask you to support STEIM so it can continue its successful work.
Best regards,
Prof. Alberto de Campo
Music Informatics
Institute For Music And Media - University of Music Duesseldorf
Dear Colleagues, Friends of Steim and Dutch Cultural Ministers,
As a composer, performer, and teacher for over 40 years in the field of electro-acoustic
music, and particularly as a close friend of STEIM from its humble beginnings in the late
1960's, I can only express shock at the recent decision to deny funding to this
internationally esteemed and independent electronic music center. The argument that "our
work," and Steim's in particular, has appeal only to a small audience, has indeed been true
of every creative movement for the last 100 years, beginning with the Dadaists, the
Surrealists, the Futurists, right up until the Fluxus movement and the hardcore
Situationists...But the contributions of these courageous freethinking ("marginal") artists
and movements have in fact been the lifeblood of our post-modern creativity today and its
ever growing young audiences and unfathomable influences. This is an undeniable fact.
So in view of Steim's exceptional independence of spirit and productivity, which has given
inspiration, time and working space to hundreds of young composer/performers,
instrument builders and theatrical installationists and music programers... to realize their
dreams of the future, I find it unacceptable that a few numbers or negative statistical
percentage points can detemine the elimination (by starvation) of such a renowned lifegiving institution from the cultural body - not only of the city of Amsterdam and Holland, but
of the whole world.
For myself and for my colleagues of the group Musica Elettronica Viva, Sincerely,
Alvin Curran
Alvin Curran
Via Giovanni Pascoli 1
00184 Rome,Italy
tel/fax 0039 064880389
www.alvincurran.com
"a great site!"
Andreas Breitscheid
Gutenbergstrasse 70
70176 Stuttgart
phone +49-(0)711-610387
mail [email protected]
To the
Council for Culture
Netherlands
Stuttgart 22.05.2008
Ich gestatte mir mich an Sie zu wenden um mich mit Nachdruck für die Notwendigkeit der Erhaltung einer
Institution wie des „STEIM“ zu verwenden. In diesem Anliegen spreche ich in doppelter Funktion, als
Komponist wie als künstlerischer Leiter einer Institution, welche sich in den letzten Jahren durch
Forschung, Vermittlung und Produktion neuer Impulse für das Musiktheater einen Namen gemacht hat.
Als Komponist verdanke ich dem STEIM wesentliche Anregungen und einen profonden Beitrag zu
meinem persönlichen künstlerischen Diskurs bezogen auf technologische Realisierbarkeit, wie auch die
ästhetische Bewertung des Einsatzes neuer Medien, mit besonderem Augenmerk auf die Fragestellungen
des Theaters.
Die Erfahrungen die ich während meines mehrmaligen Aufenthaltes gewinnen konnte, wie auch die
Begegnungen mit anderen Gastkünstlern des STEIM während meiner Arbeitsphasen im STEIM waren für
mich prägend und hinterließen nachhaltige Spuren in meinem Stück „Im Spiegel wohnen“ nach Heiner
Müller, welches im Oktober 2003 an der Staatsoper Stuttgart zur Uraufführung gelangte.
Das „Forum Neues Musiktheater Staatsoper Stuttgart“, als dessen künstlerischer Leiter ich in den
folgenden Jahren fungierte, konnte einen intensiven technologischen und künstlerischen Austausch mit
dem STEIM etablieren. Über mehrere Jahre in Form von Workshops und Produktionen konstituierte sich
ein fruchtbarer Austausch, bei welchem durch das STEIM wesentliche Impulse im Bereich technologischer
Lösungsmöglichkeiten, mehr aber noch in Form künstlerischer Beiträge die Arbeit des „Forum Neues
Musiktheater Staatsoper Stuttgart“ bereicherten.
Das STEIM mit seinen technologischen und künstlerischen Entwicklungen in dem von ihm singulär
vertretenen spezifischen Diskurs neuer Formen der Interaktion zwischen Musikern/Performern und neuster
Technologien zur Klang/Bild-Erzeugung/Umformung stellte immer eine der ersten und wichtigsten
europäischen Adressen dar. Für ein Theater-Institut wie das „Forum Neues Musiktheater Staatsoper
Stuttgart“ war es als Partner wie auch Vermittler eine unverzichtbare Instanz.
Es scheint mir daher von kaum vorstellbarer Kurzsichtigkeit bei einem Institut mit derart europäischer und
internationaler Reputation, dessen Kreativität und Produktivität in seinen Beiträgen zur heutigen
Kunstpraxis ohne Zweifel präsent und ausgewiesen ist, Kürzungen oder gar Streichung von Fördermitteln
auch nur in Erwägung zu ziehen.
In der Hoffnung dass die Verantwortlichen der niederländischen Kulturpolitik nicht bereit sind in
kurzsichtiger Selbstdemontage einer solch exponierten Institution mit unbestreitbarem
Alleinstellungcharakter die Mittel zu entziehen, möchte ich mich mit Nachdruck dafür verwenden die
Finanzierung des STEIM auch für die kommenden Jahre zu sichern.
Sie sichern so einen prominenten Beitrag der Niederlande im Spektrum zeitgenössischer europäischer und
internationaler Kunstpraxis!
Mit freundlichen Grüßen
Andreas Breitscheid
Künstlerischer Leiter
Das Forum Neues Musiktheater der Staatsoper Stuttgart wurde gefördert von der Landesstiftung Baden-Württemberg und dem
Partner der Staatsoper Stuttgart, der Landesbank Baden-Württemberg.
2
www.patchingzone.net
Rotterdam, 20 mei 2008
Betreft: adhesie betuiging STEIM
Beste minister prof. Plasterk en wethouder Gehrels,
Dit is een reactie op de negatieve adviezen van de verschillende kunst en cultuur
commissies (landelijk en in Amsterdam) voor Stichting STEIM in het komende
cultuurplan. Allereerst bied ik hierbij, als aanvulling graag mijn advies aan: neem
STEIM op als één van de sleutelorganisaties in de Nederlandse basis infrastructuur
voor E-Cultuur. Hiermee verzekert u dat experimentele electronische muziek
vertegenwoordigd is door een eigenwijze, experimentele en steeds vernieuwende
organisatie en blijven Nederland en Amsterdam op de internationale experimentele
muziekkaart staan. Hieronder illustreer ik mijn motivatie voor dit ongevraagde
advies vanuit de praktijk, het gaat hier niet om beleidsvraagstukken, hippe trends of
budget gestuurde motieven maar om onontbeerlijke kwaliteit en compleetheid van
de gehele E-Cultuur sector in Amsterdam en Nederland.
De uitwisseling en samenwerking met STEIM loopt sinds 1988 als een rode draad
door mijn professionele loopbaan; als student aan de Rietveld academie bezocht ik
avant-gardistische geluidsperformances en nam ik deel aan mijn eerste workshop bij
STEIM. Ik maakte daar kennis met nieuwe software pakketten en internationale
collega kunstenaars die tot op de dag van vandaag tot sleutelcontacten in het
internationale netwerk behoren.
Snel daarna organiseerde ik, eind jaren 1980 en begin jaren 1990 als voorzitter van
de Vereniging van Media Kunstenaars samen met STEIM in hun presentatie studio
regelmatig het Vrij Media Kafe in Amsterdam, dit groeide in korte tijd uit tot een
levendig podium voor improvisatie en samenkomst van jonge en ervaren
kunstenaars uit zeer uiteenlopende disciplines.
Sinds de oprichting van het V2_Lab (1998), is er steeds een intensieve uitwisseling
en samenwerking tussen STEIM en V2_Lab geweest, de medewerkers van beide
organisaties delen kennis, stellen kennis en ervaring beschikbaar, geven elkaar
advies en organiseren samen workshops. Hierbij enkele voorbeelden: Tijdens
DEAF06 organiseerde NN (later artistiek directeur van STEIM) een NATO software
instructieworkshop bij V2_. Afgelopen najaar hing een jong publiek (studenten en
professionals) aan de lippen van Michel Waisvisz toen hij een prachtig overzicht van
experimentele audio interfaces presenteerde tijdens V2_Test_lab met het thema:
‘Audio-objects’. Dit voorjaar werd er een draagbaar audio-project van Yolande
Harris (UK) gerealiseerd door STEIM en Montevideo met technische inbreng van V2_
wat vervolgens weer gepresenteerd werd door V2_ in ‘Space-Time-Play’ in het NAi in
Rotterdam.
The Patchingzone-Eendrachtsstraat10-3012 XL Rotterdam NL-+31(0)10-2067272- [email protected]
KVK 24414318 Triodos Bank, account # 784833117 BIG: TRIONL2U IBAN: NL09 TRIO 0784833117
www.patchingzone.net
Een ander voorbeeld van hetgeen de samenwerking met STEIM oplevert is de
biografie over Dick Raaijmakers, één van de grondleggers van STEIM. Dankzij de
medewerking van STEIM kwam dit boek tot stand en werd er in het Muziekgebouw
aan ‘t IJ een perfecte re-make van Raaijmaker’s ‘Methode de Fiets’ gepresenteerd
door performance kunstenaar Bart Visser en audio kunstenaar Edwin van der Heide,
beide verbonden aan het koninklijk conservatorium in Den Haag. Deze, zeer actuele,
performance gaat de komende maanden op tournee in Nederland.
Tot slot van deze, zeer beknopte, lijst van inspirerende samenwerking nog een korte
vermelding van samenwerking met STEIM op dit moment. Vorig jaar richtte ik The
Patchingzone, een praktijk laboratorium voor Master en PhD studenten, op en sinds
januari werk ik nauw samen met Kristina Andersen van STEIM. Ook voor The
Patchingzon is de kennis doorstroom vanuit STEIM naar de nieuwe generatie
kunstenaars en muziek technologen van essentieel belang. De kennis die Kristina,
via STEIM, inbrengt is een mooi voorbeeld van de netwerkfunctie die STEIM vervult
in het elektronische kunstveld.
Dit alles illustreert dat STEIM, al bijna dertig jaar (!) het ongewisse, het experiment
opzoekt, niet alleen in de vorige eeuw maar nog steeds in 2008 en er is geen enkele
reden die er op duidt dat dit zal veranderen ! Het mooie van STEIM is dat dit alles
gemotiveerd is door ontwikkeling van de experimentele kunst zonder omwegen,
zonder opsmuk. Bij STEIM wordt de vinger gelegd op hetgeen er gáát spelen op het
snijvlak van de muziek, geluid, elektronische instrumenten en interfaces. Dankzij
STEIM stroomt de kennis vanuit het innovatieve audioveld door naar het bredere ECultuur veld, het is immers een bekend gegeven dat de electronische muziek (sinds
de 50-er jaren van de vorige eeuw) voorop loopt op visuele cultuur. Ik verzoek u
daarom dringend voor behoud en ondersteuning van STEIM inclusief haar hele
internationale netwerk en kennis. Dit waarborgt inspiratie, kennis en ervaring voor
jong en oud met interesse voor electronische kunst en experimentele muziek en ECultuur.
Met vriendelijke groet,
Dr. Anne Nigten
Manager V2_Lab
Directeur The Patchingzone
Bestuurslid van o.a.: ISEA-NL, The Public Gallery UK, Noordkaap, VOID
The Patchingzone-Eendrachtsstraat10-3012 XL Rotterdam NL-+31(0)10-2067272- [email protected]
KVK 24414318 Triodos Bank, account # 784833117 BIG: TRIONL2U IBAN: NL09 TRIO 0784833117
Amsterdam 26 Mei 2008
Beste mensen
Hierbij wil ik laten weten dat ik het vreselijk zou vinden als STEIM niet verder kan gaan met haar
projecten.
Ik maak op een bijzondere manier gebruik van haar diensten en expertise. Door mijn werkzaamheden
als muziektherapeute in een verpleeghuis te Amsterdam kom ik regelmatig in aanraking met mensen
die door een hersenbloeding zodanig verlamd zijn dat ze geen communicatie mogelijkheden meer
hebben. STEIM heeft door de ontwikkeling van duim en voetsensoren het mogelijk gemaakt dat
mensen met een minimale motoriek weer letterlijk van zich kunnen laten horen. Weer samen met
anderen muziek kunnen maken, plezier hebben. Ook het zogenaamde diablo programma levert hier
een bijdrage aan. STEIM heeft zich voor deze mensen op maat ingezet. Zonder de inzet en expertise
van STEIM was dit nooit mogelijk geweest.
Ik hoop dan ook dat STEIM haar werkzaamheden kan blijven voortzetten en dat al haar kennis niet
verloren zal gaan
Met vriendelijke groet
Barbara van der Vaart
Muziektherapeute
Verpleeghuis Slotervaart.
Ben Neill
53 Mercer Street
New York, NY 10013
phone 212 431 7775
cell 917 301 5603
email [email protected]
www.benneill.com
May 22, 2008
Dear Council for Culture,
I am writing regarding the future of STEIM, an important international creative center that
has had an incredibly positive impact on my career in many different ways for nearly 20
years. STEIM is a very unique institution, its creative and technical output is of the
highest quality and the fact that it is not associated with an academic organization
makes it much more vital and vibrant than other similar facilities that are operate within
educational structures. It is critical to the future of the international electronic arts
community that this amazing facility continue to be active. Without it there would be a
huge void in the area of live electronic performance development, a field which is
expanding by leaps and bounds with a new generation of young artists. STEIM provides
support for this activity in ways that other institutions do not, keeping the most important
part of music, namely live performance, alive and growing in the wake of the digital
revolution.
I first came in contact with STEIM in the early 1990ʼs when I was developing my
instrument, the mutantrumpet. After having worked with synthesizer pioneer Robert
Moog in the 1980ʼs, STEIM brought my instrument to a new level of advancement. My
residencies at STEIM during this period were the catalyst that launched my career into a
new phase of recognition. Thanks to my work there, I was able to secure two major
label record deals (Astralwerks/EMI, Verve/Universal) and to perform in many highly
visible festivals around the world. The music that I produced using STEIM technologies
went on to be used in television, film, and theatrical settings with millions of
listeners/viewers. None of this would have been possible without the fantastic support I
received from STEIM.
In addition to putting my performing career on the map through its technological
development, STEIM has been an important place for me to meet other musicians and
artists with whom I have developed important collaborations. It is a wonderful hub of
activity that continues to be important in my ongoing creative work. STEIM has also
presented my music on concerts and festivals to great audiences, another important
function that for which I am very grateful. During my tenure as Music Curator of The
Kitchen in New York City I produced several events in collaboration with STEIM. These
were some of the most successful projects that I presented over the 7 years that I
worked there.
STEIM technologies have also played a major part in my work as an educator. My
teaching over the past few years includes positions at Manhattan School of Music, New
Jersey Institute of Technology, and currently Ramapo College. In all of these and other
educational situations I have used STEIM tools to open studentsʼ ears and minds to a
whole new world of possibilities. I am also using STEIM technologies to expose young
students in New York City to the new world of digital performance through a program
with LEMUR (League of Electronic Musical Urban Robots). STEIMʼs tools provide an
open, non-intimidating way for students to get involved with live electronic performance,
due to the amazing work of the engineers and designers there.
STEIMʼs inventions have a unique quality that combines brilliant innovation with a much
higher degree of accessibility and musicality than other technological systems. I believe
this is due to the extremely high level of the technical staff, but also to the fact that
STEIM is independent, that it does not have to function within a school or other such
institution. Finally, the artist residency program makes STEIM even more important as
an international center in which artists can take a good deal of time to develop their
ideas and dreams with the help of the STEIM staff in the wonderfully creative
environment of Amsterdam.
I sincerely hope that STEIM will continue to be supported as strongly as it has up until
this time. It is truly a crucial place for the ongoing development of art in the 21st century.
At the end of the documentary on Robert Moog, the grandfather of music technology, he
expresses his concern that the explosion of digital technologies for music will render live
performance obsolete, and that his worst fear is that the live element of music will be
lost. Reinventing and carrying on the rich history of live musical performance is
essential to the survival of the art of music as we know it, and there is no other institution
that is doing more to insure that this important aspect of human creativity be maintained
than STEIM.
Please let me know if you have any other specific questions, I would be happy to answer
any other concerns you may have.
Sincerely,
Ben Neill
Associate Professor of Music Technology and Music Industry
Ramapo College, New Jersey
Amsterdam, 26 mei 2008
Het voortbestaan van STEIM is in gevaar. Reden genoeg om heftig te
protesteren.
De specifieke nichepositie van STEIM, vooral gericht op de relatie tussen
podium, technologie en muziek, heeft mijns inziens in den brede tot bijzondere
vernieuwing van de muziekpraktijk en/of die van de nieuwe media geleid en doet
dat nog steeds.
Laten we ervoor zorgen dat er geen herhaling komt van het Mickery debacle.
Nadat de steun aan Mickery was stopgezet en de instelling ophield te bestaan,
klonk van alle kanten geweeklaag over het enorme verlies van een uniek theater,
waar zoveel vernieuwing plaatsvond.
De meeste experimenten onttrekken zich aan onze waarneming omdat deze
vaak plaatsvinden in de holen van de alternativelingen. STEIM is bij uitstek een
plek waar onderzoek georganiseerd plaatsvindt en gedeeld wordt met het
publiek. Helaas wordt in beleidsland zo weinig waardering gegeven aan de
intrinsieke waarde van het experiment.
Ik doe een dringend beroep op de overheid (locaal en landelijk) om het
ingenomen standpunt te herzien en STEIM financieel te blijven ondersteunen.
Beppie Blankert
choreograaf
Beppie Blankert Dansconcerten
Entrepotdok 4
1018 AD Amsterdam
T 020-638.9398
F 020-638.2265
www.beppieblankert.com
Steim heeft mijn gehele carrière als choreograaf vanaf 1969 als
technologisch en innovatieve toetssteen gefunctioneerd.
Door te praten en werken met Steim medewerkers wist ik wat technisch nieuw
was.
Vernieuwing als concreet begrip en niet een vaag voorwendsel.
Tijdens de voorstellingen van het Dansgezelschap Dansproduktie (1977-1992)
hebben we dan ook vele nieuwe ontwikkelingen aan het publiek kunnen
presenteren.
Niet dat dit direct opgemerkt werd omdat de techniek altijd ten dienste
stond aan de uitvoerende dansers of choreograaf. De kracht van
vanzelfsprekend interactiviteit
werd een norm voor het gebruik van onze technische gereedschappen bij de
voorstellingen. Een norm die direct afkomstig was en gevoed werd door de
contacten met Steim.
In 1990 werd ik Bèta tester van een choreografisch computerprogramma in
samenwerking met de Simon Fraser University in Canada. Bij Steim kon ik
terecht om te toetsen welke interactieve keuzes simpele of ingewikkelde
technische gevolgen zouden hebben. Steim, ze wisten als enige organisatie
waar ik het over had en waar de mogelijke oplossing voor technische
dilemmaʼs lagen. Steim begreep de snelle fysieke coördinatie processen die
elke danser tot zijn beschikking heeft, en waar mee gewerkt wordt in het
creatieve maakproces. Ze begreep ook de nieuwe communicatie methodes
waarmee de uitvindingen intercontinentaal werden uitgewisseld. Ze stonden
aan het begin van het praktische gebruik van….. heet het nu
netwerken?.....
e- culture?
Die combinatie: het serieus nemen van mijn vak als danser en mijn
nieuwsgierigheid naar interactiviteit beantwoorden met informatie en
kennis is voor mij diep inspirerend.
Kwaliteit als vanzelfsprekende mentaliteit en die onafgebroken al 40 jaar
bestaat.
Steim heeft met de kennis van zijn medewerkers, voortdurende uitwisseling
mij als choreograaf onuitputtelijk inspirerend ondersteunt.
Niche? Steim is onmisbaar.
Bianca van Dillen. Mei 2008, Amsterdam
Stichting Stamina.
Bianca van Dillen
Sarphatipark 20 III
1072 PA Amsterdam
T + 31 (0) 20-67 66 747
M + 31 (0) 6 155 76 433
[email protected]
Bill Thompson
34 Bridge St
Aberdeen, Scotland
AB116JN UK
www.billthompson.org
Dear Council for Culture,
I’m writing in response to the recent news concerning your review of the
institution STEIM. It is my understanding that your conclusion was that
STEIM was “closed and appealing to a niche audience”. While this may
appear so from the outside, nothing could be further from the truth.
A little about myself first, I am a sound artists from the United States. I was
awarded a full scholarship to pursue a PhD in Composition at the University of
Aberdeen in Scotland, where I am currently studying. I have been awarded
the PRS ATOM Award for New Music, as well as multiple grants to pursue
research and give performances and talks around the world. In the past 2
years I have given talks and performances in the US, UK, Germany, and
Switzerland. I have organized and hosted conferences in sound art that have
drawn delegates from around the globe, and have written articles for online
websites. I have also organized several concert series devoted to new music.
As to my own work, it is often considered sound art, composition,
improvisation, or even ‘noise’ music and I have shared the stage with Keith
Rowe, Faust, and others, as well as performing in festivals with Mark Wastell,
Rhodri Davies, Toshi Nakamura, and Billy Roisz to name but a few. I am
active within the visual arts world as well, and currently have an installation
touring galleries throughout the UK. I also work as a teacher in the poorest
areas of Scotland, giving children lessons in music on guitar, bass, drums,
and computers, as well as managing and setting up programs with other
tutors to do the same. I also give workshops to young people and adults in
recording, instrument building, composition, and improvisation.
My point being that my work takes me from the university to the concert hall to
the gallery to the workshop classroom to the club stage and beyond. It might
at any one point be taken as a ‘niche field’, but in fact is MANY niche fields,
and I, like many other artists today, move freely from one to the next. We are
not ‘pop’ musicians, but are artists devoted to exploring the edges and
boundaries of what various categories of music, art, and performance have
calcified into. That is ‘the point’ of what we do-to explore, expand, question,
and develop new ways of approaching this field we call ‘music’ and ‘art’.
What does this have to do with STEIM? Recently, I was awarded a
Continuing Professional Development grant by the Aberdeen City Council to
research a new instrument for my work. In attempting to find an institution that
would be capable of supporting my work, have the expertise and openmindedness needed, as well as the understanding of a multi-disciplinarian
approach, there was only one institution: STEIM. STEIM is the ONLY
institution that supports artists such as myself. There is in all honesty, no
where else to do this level and type of research and development. To say that
STEIM appeals to only a niche audience is to miss the point entirely. STEIM
offers expertise and years of experience to artists who are exploring the
boundaries and can find support from no where else in the world. To penalize
them for this is short-sighted to say the least. Artists such as myself
desperately need institutions like STEIM for that experience, support,
encouragement, and insight. In fact, we need 10 more STEIMS as the
demand that STEIM is meeting and what they are able to do with their limited
resources is quite simply remarkable.
As to ‘closed’, I’m unsure how you could come to that conclusion. During my
residency at STEIM in March and April, I met an artist from the United States
who performs on banjo with rock, pop, and experimental music bands, I met a
classical singer from Norway who uses a computer to perform in a voice and
violin duet, I met an opera composer and singer from Germany who was
working on a new interface for wii controller and computer to expand his
compositional and performance options for his next opera, I met a DJ from
Germany who works in clubs throughout Germany, I met another
composer/performer from Mexico working on a new piece for computer and
electronics, and I was introduced to two university researchers from Japan
and Newcastle (UK) working with physical feedback mechanisms for
computer and software interfaces for music - this was all in the space of two
weeks!
All this while I took a course in pure data on how to build my own software
(which had attendants from literally around the world), and also being
supported to build and design my own hardware instrument. I attended
several concerts with world class musicians and artists, as well as planting the
seeds for my own tour next year. The contacts I made will lead to concerts in
Germany and Holland, collaboration with at least one other artist, and
subsequent research in Newcastle.
Also, with the instrument I built at STEIM, I’ll be giving a full report to the
Scottish Arts Council who funded my trip, a presentation to the University of
Aberdeen to the entire music community (staff and student alike), as well as
touring next year throughout the UK and Europe with the instrument I built as
the focal point. The instrument will also be featured in installations in several
galleries planned for after the tour.
None of this, the contacts, the collaborations, the course in pure data, the
support in building the instrument, and the coming talks, performances,
installations, and research would have been possible without the generous
and expert support of STEIM.
And this is just my experience - one person in two weeks. STEIM supports
hundreds of artists like myself, who come together and share ideas, plan
performances, disseminate their discoveries, and inspire each other. Please
realize the value of this organization and continue your support of the great
work they are doing! To lose STEIM would be a major blow to the world of art
and music and would have repercussions for many years to come.
Sincerely,
Bill Thompson
Sound Artist, Composer, Performer
www.billthompson.org
COLUMBIA UNIVERSITY
I N THE CI TY OF NEW YOR K
DEPARTM ENT OF M USI C
May 25, 2008
To the Dutch Authorities:
I have heard that STEIM is facing a serious reduction in funding, and I wanted to share our
perspective on STEIM's premiere international reputation. Curtailing STEIM's activities is
particularly ill-advised when funding for artistic enterprises (and the concomitant social and
cultural benefits) is sorely needed. The world can surely use more investment in human
creativity.
STEIM is most worthy of continued support. It is, without doubt, one of the most highlyrespected institutions for work in music and media technology. Hardware and software
developed at STEIM have opened entire new areas for research and human expression, ranging
from innovative interface technologies (as far back as early work on 'data gloves' [The Hands])
through bold, cross-disciplinary software (BigEye and Sensorlab) which have enabled the
conjoining of different expressive modalities. STEIM's recent work in 'circuit-bending' and
public/installation art has again been at the forefront of several fields.
Because of STEIM's foundational involvement in breakthrough technologies and projects, we
have funded a number of our advanced graduate students to work at STEIM through the past
decade. Here is a quote from a letter of support used to secure funding for one of our recent
doctoral candidates to spend time at STEIM:
"The chance to work with STEIM's developers and further his own knowledge
of "cutting-edge" music/media technologies will be invaluable for his continued
development at Columbia."
We obviously have an extremely high opinion of STEIM and the opportunities that it can
provide. We send our students there!
One of the main reasons I think STEIM has succeeded so well is because of the free and open
approach to artistic work that has been the hallmark of STEIM concerts and projects. The studio
occupies a rare position in the world of contemporary music: they are literally inventing new
expressive paradigms. Don't underestimate the impact this has on the 'wider world' of music and
cultural production. Many current trends in multimedia work can be traced directly to
innovations pioneered at STEIM. Simply because they are among the best at articulating the
621 Dodge Hall
Mail Code 1813
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New York, NY 10027
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leading boundaries of artistic practice should not be a reason to curtail support; indeed the
opposite should be true.
STEIM has been one of the primary shapers of music and media technologies. To close the
studio would be a real loss for both the Netherlands and the world. I would be happy to discuss
our relationship with STEIM and my high regard for their work in more detail with you if you so
desire.
Sincerely,
Brad Garton
Professor of Music
Director, Computer Music Center
Paris, May 26th
Dear Sirs,
Steim is a great organization that works for years in the field of electronic art. We give our
support to them. In a current context , it’s really difficult to start a cultural activity. We need
organization as Steim, that has the experience. In 2007, we start a festival dedicated to
sound project. Steim was an important partner. Their work with children to make them
discover the creativity in the field of music was efficient and rich of exchange for them.
In Mains d’Œuvres, artistic center in Saint-Ouen, close to Paris, we opened in 2006, a
space for research & development on the interactive technologies. In Paris there was a
lack of place as Steim in Paris. Steim was a model for them because it is a place for
research but also a place for exchange, workshop that is necessary for artists today but
also for the population in general. We need space where people from different fields can
meet and discuss.
We wish we were able to collaborate in the future with them again.
Yours faithfully,
For the team of Mains d’Œuvres
Camille Dumas,
Coordinator
To whom it may concern:
The research done at STEIM, inspired by art rather than mere commercial
exploitation of technology, has inspired my work in several disciplines:
- STEIM's groundwork in computer music made my doctoral dissertation
feasible in that field.
- STEIM's work with interactive systems and nonstandard input devices
continues to challenge and inspire my work as I manage several
virtual-reality CAVEs and driving simulators, at the Beckman Institute of
the University of Illinois. These facilities have attracted considerable
funding over the past decade and produced dozens of published papers.
- Again, STEIM's interactive systems work has provoked some unusual
ideas in my work with (obviously interactive) radio-controlled model
aircraft. Although my dozens of publications in this field have not
been peer-reviewed, these papers have been cited by refereed journals
such as Physical Review Letters.
The Beckman Institute where I work demands multidisciplinary research.
Its scientists and artists are reviewed annually to this end, and the
results therefrom include several recent Nobel Prizes. I must therefore
encourage STEIM in its own interdisciplinary work, because I have seen
the fruits of such innovative thinking in my own colleagues.
Multidisciplinary research may be described as the intersection of
several fields, and thus smaller than any of the original fields,
and thereby naively called a "niche." But such a niche is exactly
where profound breakthroughs happen, where insights are given to
those who do not limit themselves to a single mainstream field.
Sincerely,
Dr Camille Goudeseune
Beckman Institute
University of Illinois
www.beckman.uiuc.edu
[email protected]
Cathy van Eck! !
!
!
!
!
!
!
Composer!
Sound Artist
Geachte raad voor cultuur,
Als ik tijdens festivals, workshops en concerten in het buitenland zeg, dat ik uit Nederland
kom, is meestal de eerste reactie: "oh, waar STEIM is!". STEIM is niet alleen binnen
Nederland uniek, maar is ook globaal gezien een instituut, dat toonaangevend is wat
betreft ontwikkelingen binnen de elektronische muziek en interface-design. Bovendien is
STEIM een instituut dat verbindingen maakt tussen technologie en muziek, en tussen
muziek en andere disciplines. Het blijft niet zoals veel andere soortgelijke centra hangen in
het technische, maar de muziek staat altijd voorop! Als ik tijdens festivals in Duitsland,
Zwitserland, Israel en Belgie speel: steeds weer wordt STEIM door kunstenaars genoemd
als hèt instituut voor nieuwe ontwikkelingen binnen de muziek, in het bijzonder voor werk
met sensoren en interactiviteit.
Er bestaat gewoon nergens in de wereld een instituut, vergelijkbaar met STEIM. Ook uniek
aan het werk van STEIM is, dat individuele kunstenaars er altijd aan kunnen kloppen voor
hulp bij projekten. Bovendien organiseert STEIM ook steeds weer interessante concerten,
met musici uit de hele wereld, die verder nauwelijks in Nederland te horen zijn.
Ikzelf heb als componist zeer veel aan de workshops, die STEIM organiseert, en bezoek
de concerten zeer graag, omdat de programmering steeds weer vernieuwend is, de sfeer
altijd ongedwongen en de kwaliteit van de concerten uitzonderlijk goed.
Om het in het kort te zeggen: ik vind het zeer verbazingwekkend en verontrustend, dat de
raad van cultuur geen positief advies geeft voor STEIM. Àls er een instituut is in Nederland
op het gebied van experimentele en elektronische muziek, dat een grote internationale
werking heeft, is dat wel STEIM. Naar mijn mening zou STEIM juist meer geld moeten
krijgen, aangezien het één van de weinige instituties is, die niet in conventionele patronen
denkt, maar open is voor het nieuwe en ervoor zorgt dat de muziek zich verder ontwikkelt.
STEIM is de toekomst voor de nederlandse muziek!
Hartelijke groeten
Cathy van Eck
May 21, 2008
Council for Culture
Amsterdam, The Netherlands
Dear Sirs or Madams:
I’m writing to express my support for STEIM in its efforts to retain support for its
programs, now and into the future. STEIM is a unique institution, known throughout the
United States and globally for its commitment to and achievements in the field of live
electronic music performance practices and new instrument-building. In many ways, the
world is still catching up to the ideas that it has championed for decades, and it saddens
me greatly to hear that its support from the Dutch cultural ministry is now in jeopardy. It
is precisely its small size and independence from bureaucratic and commercial pressures
that have allowed it to focus on issues so fundamental to the contemporary practices of
electronic music and intermedia. The issues it has addressed have cut across aesthetic
boundaries in assisting the work of musicians and sound artists from the classical and
jazz through the pop worlds, and extending to video and installation artists. This means
perhaps that its achievements are not so easily identified in relationship to particular
compositional or artistic styles – but its role in support of such an eclectic group of artists
over the years should never be underestimated.
Perhaps I should describe my own relationship to STEIM to provide some
examples of how it has influenced this California-based composer. In 1986 I was first
invited to STEIM to perform at an international conference on new electronic
instruments. There I first met, among many others, David Wessel, who was then a
research director at the IRCAM in Paris and is now the Director of the Center for New
Music and Audio Technologies (CNMAT) at the University of California Berkeley. I also
met Klarenz Barlow, who was at that time a free-lance composer in Cologne, and has
since taught at the Sonologie Instiute in the Hague, and currently is Chair of Composition
at the University of California/Santa Barbara. Following this conference, STEIM invited
me twice, once to perform at a performance at the Sonesta Koepezaal in Amsterdam, and
then for a research residency during the summer of 1988, when I began my work on my
composition “LAVA”, for brass, percussion and live electronics. Two years later I was
hired as Acting Director of the Center for Contemporary Music (CCM) at Mills College,
where I have been teaching electronic music ever since. This is one of the most
venerable, electronic music institutions in the world, having been founded in the early
1960s by composers Morton Subotnick and Pauline Oliveros, where the world’s first
electronic music synthesizer was developed (the Buchla 100). It was also directed for
many years by the influential composer Robert Ashley and the current Director of the
CalArts School of Music in Los Angeles David Rosenboom. Over the years, the number
of musicians who have visited and worked at the CCM who have also been supported by
STEIM are to numerous to list; but they form the basis of our continuing relationship
with STEIM as part of an informal, international network of innovators in electronic
music.
The prospect of losing such an important part of the history and present of our
field is alarming. The development of our shared contemporary musical culture would be
seriously damaged by the loss of one of its leaders. Please reconsider this decision and
continue to support one of the most innovative and relevant programs in contemporary
music today.
Sincerely,
Chris Brown
Co-Director, Center for Contemporary Music (CCM)
Professor of Music
Mills College Music Department
Email: [email protected]
hello
i was just told that the future of STEIM might be unclear. STEIM has played an
enormously important role in contemporary electronic music and media art during
many years. closing STEIM would be a big loss for the contemporary media art
community and maybe also for the cultural profile of the netherlands. STEIM is
not "only appealing to a niche audience", it is about culture, art and taking risks. it
is about the future.
best regards
christian fennesz
[email protected]
23 May 2008
To Whom It May Concern
Please allow me to introduce myself.
I studied composition with Iannis Xenakis (Bloomington USA), Morton Subotnick (Los
Angeles), and Gottfried Michael Koenig (Utrecht).
I co-founded the International Computer Music Association in 1979. I was Editor and
Associate Editor of Computer Music Journal (The MIT Press) from 1978 to 2000.
I have written the best-selling textbook in the field, with editions in French, Japanese, and
Chinese.
I have edited and written many books on electronic and computer music, published by The
MIT Press, Oxford University Press, and other major publishers.
I am also a composer of electronic music. I received a commission from the Japanese
Ministry of Culture for CLANG-TINT. My collection POINT LINE CLOUD won the Ars
Electronica Distinction. These and other facts can be checked at
www.mat.ucsb.edu/~clang.
I would like to register my strong support for STEIM, a landmark internationally-recognized
cultural institution since 1969.
STEIM functions as one of the few open doors to artists, musicians, and researchers.
I would hate to see The Netherlands go the way of France, where the open door of the
Xenakis center CCMIX was closed to enable the cultural monopoly that is IRCAM. Europe
needs independent centers outside the sphere of the IRCAM orbit.
STEIM is one of the few institutions dedicated to live electronic arts. One cannot judge
their significance in simple terms of attendance or media publicity.
STEIM has established a line of research and activity that is unique to Holland and must
be continued as part of its cultural legacy.
Thank you for your consideration.
Best regards,
Dr. Curtis Roads
Professor
Media Arts and Technology
University of California
Santa Barbara CA 93106-6065 USA
[email protected]
Paris, March 20 2008
Letter of support for STEIM "Studio for Electro-Instrumental
Music"
The Groupe de Recherches Musicales, one of the outstanding historical groups
in the domain of Electroacoustic and Electronic music in the world is celebrating
this year its 50th anniversary of existence. The importance of the group’s
achievements in the musical and the research domain, as well as the numerous
audience that regularly assists to our concert series is a proof of the importance
and the impact that this activity has on the cultural life of a country. The
continuous and regular support of Ina, our mother institution, under the
financing of the French Cultural Ministry (GRM’s budget is 2,5M€ per year) is
another example of the support we receive from our national administration in
order to develop this original but indispensable activity of musical research and
creation. Our administration that considers us as an essential actor for the
enrichment of the national and European heritage.
We have known STEIM for twenty years, a continuous an regular collaboration
has existed among our two institutions, bringing composers to work together,
exchanging technological knowledge, discussing on preservation issues and
collaborating in the construction of a European network of research centres.
What we highly appreciate in STEIM: it’s independence, the relationship it
develops with composers in order to make them really feel at home, the
importance of their research actions and the tangible results they have
produced. We think that loosing STEIM from the cultural and musical landscape
in Europe loosing one of its outstanding actors; recognised by all, appreciated
by all, composers and audience.
Daniel Teruggi
Director of GRM
Director of Research
Ina: Institut National de l’Audiovisuel
4 Avenue de l’Europe
94366 Bry sur Marne Cedex
France
Department of Music
9500 Gilman Drive, Dept. 0326
La Jolla, California 92093-0326
Phone: (858) 822-4957
May 21, 2008
Dear Review Committee Members,
I am writing to express my firm support for STEIM and for the extremely diverse and important creative activities
that the institute and its distinguished faculty help to nurture. STEIM provides invaluable assistance to creative
performers wishing to design and interface with newer technologies. Many other government-funded or
institutionalized computer music research centers cater almost exclusively to so-called “new music” composers,
primarily envisioning newer technologies, to put it bluntly, as “tools” for a composerʼs imagination and the
technicians who work closely with those technologies as mere “servants.” STEIM, by contrast, has helped to
empower many performers, and improvisers in particular, who are frequently left out of this rather out-moded
musical ideology. The emphasis on collaboration, interaction, and outreach at STEIM contrasts significantly with
the more insular approaches of other similar institutions (and to some extent with my own at UCSD).
My former colleague at UCSD, the eminent trombonist, computer musician and now endowed Professor at
Columbia University, George Lewis, did extremely important work on his Voyager interactive performance
environment at STEIM in the late 80s and early 90s. I have also met other improvisers recently, including Cesar
Villavicencio, who have produced compelling projects in association with STEIM that would otherwise not have
been funded or executed. I, myself, have been invited to perform with my electro-acoustic duo at STEIM later this
year. As someone who comes from a jazz and popular music background who is now exploring new performance
interfaces and multi-media possibilities, I find the folks and ideas coming out of STEIM to be both inspiring and
wonderful resources.
I hope you will decide to continue funding this wonderful institution. Please feel free to contact me if you have any
further questions.
Regards,
David Borgo
[email protected]
http://davidborgo.com
Associate Professor
UCSD - Music Department
9500 Gilman Dr.
La Jolla, CA 92093-0326
(858) 822-4957
From:
Subject:
Date:
To:
Dick Raaijmakers <[email protected]>
STEIM IN GEVAAR/ reactie van Dick Raaijmakers
23 mei 2008 15:26:21 GMT+02:00
<[email protected]>
STEIM IN GEVAAR 080522
Geachte leden van de Raad voor Cultuur,
Hoe kan ik geloofwaardig en niet-partijdig overkomen in mijn hoedanigheid
van medeoprichter van Steim in de roemruchte jaren zestig? Hoe kan ik na
zoveel jaren trots vaderschap mijn kind verlochenen en het nu in de kou
laten staan nu het al die jaren bewezen heeft over een krachtig en gezond
lichaam te beschikken? Zo bekeken is Steim een echte klassieker, en die zeg
je na jarenlang bewezen diensten niet van de ene op de andere dag de wacht
aan onder het motto: zoek het nu zelf maar uit.
Mijn jarenlange ervaringen op het gebied van geven en nemen van
overheidssteun binnen het veld der kunsten gerechtigd mij om zo tegen u te
spreken als ik nu doe. Geloof mij dus op mijn woord en knijp het leven niet
af daar waar het nog in volle bloei staat. En wat Steim betreft, geef die
oude heer alle ruimte zelf te bepalen wanneer en hoe hij euthanasie wil
plegen, maar geef hem daarbij niet dat laatste fatale duwtje alsof u hem
daarmee een dienst wil verlenen. Dat doet men niet in onze beschaafde
samenleving die daarvoor te veel te danken heeft aan senior-instituten als
Steim.
Ik wens u alle sterkte in uw besluitsvorming en twijfel allerminst aan uw
welwillendheid en oprechtheid.
Met vriendelijke groet
Dick Raaijmakers
Trompstraat 282
2518 BR Den Haag
tel: 070-3465174
email: [email protected]
Geachte heer/mevrouw,
Ik ben sinds 1995 professioneel actief onder de naam Eboman. Als performer,
producer en kunstenaar, gespecialiseerd in het fenomeen sampling, ben ik over
de hele wereld actief en heb ik verschillende internationale prijzen in ontvangst
mogen nemen voor mijn werk (waaronder recentelijk een Webby Award voor
best gemonteerde video op internet 2007). Als onafhankelijke ondernemer
ontwikkel ik, met mijn team van 3 vaste medewerkers, audiovisuele sampling
software en hardware die gebruikt wordt door verschillende artiesten,
kunstenaars, instellingen en bedrijven.
In de periode 1998 t/m 2001 heb ik met veel enthousiasme gebruik gemaakt van
Image/ine, software die zijn tijd ver vooruit was, ontwikkeld door Steim. Met
behulp van de Image/ine software heb ik in die tijd mijn eerste audiovisuele
performance instrumenten kunnen ontwikkelen. Zonder deze software had ik
deze stap niet, of pas veel later, kunnen maken.
Plekken waar je als onderzoekende, onafhankelijke kunstenaar praktische en
laagdrempelige oplossingen kunt vinden voor de technische en artistieke
problemen waar je tegenaan loopt, zijn zeldzaam. Steim is zo'n plek. Ik hoop dat
Steim in de toekomst zal blijven bestaan, zodat zij kunstenaars de faciliteiten
kunnen blijven bieden die zij mij ook hebben kunnen bieden.
Ik hoop daarom dat u Steim blijft steunen.
Jeroen Hofs
From:
Subject:
Date:
To:
"F. Evers" <[email protected]>
Advies Raad voor Cultuur
25 mei 2008 20:50:34 GMT+02:00
<[email protected]>
Beste STEIM-ers,
Een paar jaar geleden werd mij -en passant- door een lid van de Raad voor
Cultuur de vraag voorgelegd of STEIM nog wel bestaansrecht heeft. Ik
herinner nog mijn verontwaardiging over het gebrek aan kennis van wat er
zich in de STEIM-labs afspeelt. STEIM is een van de zelfzame plekken in
Nederland die een werkelijk internationale faam heeft - niet alleen vanwege
de ontwikkelingsactiviteiten die er plaatsvinden, maar ook vanwege de
functie van ontmoetingsplaats en creatieve studio. Al sinds ik STEIM ken (in
1977 kocht ik er een kraakdoos), ontmoet ik mensen die er projecten
realiseren of stuur ik ze er heen om hun ideeën te bepreken. De beste
herinneringen bewaar ik aan de samenwerking tussen Sonic Acts en STEIM in de
periode 1994-1998. In die periode kwam het voor dat er hele
programma-onderdelen door groepen studenten in samenwerking met uitgenodigde
musici tot stand kwamen die dan in Paradiso voor een groot publiek
gepresenteerd werden. Hoewel de laatste jaren wat meer op afstand, heb ik
helemaal niet de indruk dat STEIM minder bestaansrecht zou hebben dan De
Waag, V2_, Mediamatic en het NIM. Misschien moeten de ramen een keertje wat
verder open, maar om bij een gerenommeerd instituut als STEIM zonder enige
waarschuwing de stoppen er uit te trekken, getuigt van een onbehouwenheid
die je van een Raad voor Cultuur niet zou verwachten. Daar zou dan toch op
zijn minst een goede reden voor moeten zijn. Als ik de adviezen vergelijk is
het volstrekt onduidelijk waarom STEIM het loodje zou moeten leggen. Ik wens
jullie dan ook sterkte met jullie actie.
Frans Evers
From:
Subject:
Date:
To:
Cc:
Fred Frith <[email protected]>
Re: STEIM ( and Michel) in peril
23 mei 2008 19:02:36 GMT+02:00
[email protected]
[email protected]
May 22, 2008
Council for Culture
Amsterdam
The Netherlands
RE: Steim
To whom it may concern
I have read with a great deal of consternation of the possibility that
the funding for STEIM may be imminently withdrawn. This seems like a
timely moment to remind ourselves of what STEIM has signified for over
30 years.
In fact, STEIM is renowned as a vital hub in the international community
of new music and advanced technology. My own experience there was
crucial in helping me develop the necessary means to create the
installation Portraits d’Inconnus in Paris back in the early 1990s. My
assistant in France made it clear at the time that STEIM was the only
place in Europe that had the necessary facilities and expertise to
allow me to realize my ideas. The piece went on to meet with great
success. I could repeat this story from the point of view of dozens of
colleagues situated across a wide spectrum of musical activity –
improvisers, song-writers, composers, electronic music gurus,
performers seeking to make the computer into a musical instrument
complete with nuances of playing gesture, and so on.
This community, already far from being a single focus ghetto, has an
impact well beyond STEIM's welcoming walls. Every invention, every
construction, that has emanated from STEIM, has gone on to be adopted,
adapted and disseminated in every direction, often entering a
mainstream culture that has little knowledge of its origins. This is
particularly true when considering the development of the laptop as a
means to create a personalized musical instrument, now prevalent in
almost every genre of music, or say, the use of ultra sound or infra
red sensors to trigger sound material, which has spread into every
corner of the dance world. The ripples keep spreading outward, and few
areas of creative music-making are untouched.
STEIM has been a critical part of my development as a composer, helping
me to overcome my fear of new technology and develop useful tools to
realize my ideas. That they supported me in the friendliest and most
uncomplicated way only enhanced my experience. This ability to
communicate technical ideas in such a way as to allow anyone,
regardless of training and background, to be able to use them seems to
me to be as far removed from elitist as it is possible to imagine. In
fact STEIM is unique in my experience, catering to performers as
different in their focus as Tom Cora, Miya Masaoka, Laetitia Sonami,
Annie Gosfield and scores of others from across the whole range of the
new music spectrum.
In the light of this, I’m quite shocked that removing support from this
crucial and dynamic organization is even being considered. STEIM fills
a vital need, and one that concerns an ever-growing and vibrant
international community. In this community STEIM is recognized with
reverence for what it has achieved and continues to offer. I sincerely
hope that you will therefore recognize the importance of STEIM as an
ambassador of no-nonsense Dutch know-how and warm hospitality, an
oasis, a beacon that illuminates far beyond the Netherlands.
Please reconsider your decision, whose negative impact will also be felt
far and wide. I would expect that rather than removing funding you
would consider increasing it in order to assure that this jewel can not
only survive but grow and expand as a vital 21st century cultural
asset.
Yours sincerely,
Fred Frith,
Professor of Composition, Music Department Head
Mills College
5000 MacArthur Boulevard
Oakland
CA 94613
USA
COLUMBIA UNIVERSITY
IN THE CITY OF NEW YORK
DEPARTMENT OF MUSIC
Raad voor Cultuur/Council for Culture
Postbus 61243
2506 AE The Hague
Netherlands
May 26, 2008
To The Council:
I am writing to express my dismay at the news that the internationally important cultural
institution, the Studio voor Elektro-Instrumentale Muziek (STEIM), is in danger of being
completely defunded, as reflected in the most recent decisions projected in the Amsterdamse
Kunstenplan (http://www.kunstraad.nl/). The report suggests that STEIM has lost its “cutting
edge,” a statement that I find to be at tremendous variance with the situation in the real
world, where STEIM is lauded for its ongoing contribution to the electronic arts and new
media.
I write as someone with a strong and ongoing history with STEIM—a history that, I submit,
reflects the highest ideals and goals of the institution itself. From 1985 to 1987, I served as
STEIM’s very first artist-in-residence, arriving with the composer Joel Ryan, who continues
to this day to play an important role at STEIM. At STEIM, I developed new infrastructures
for video and audio improvisation, including the research underpinnings for my best-known
musical work, the virtual interactive orchestra Voyager. Along the way, the residency
stimulated in me a continuing admiration for Dutch language and culture, which I hope will
prove useful in this letter.
During my first period of residence at STEIM, an important evolution in musical technology
was taking place, one in which STEIM was destined to play a crucial role. In the mid-1980s,
STEIM director Michel Waisvisz took the STEIM message to IRCAM, perhaps the world’s
most important (and certainly the best-funded) research and presentation facility in the world
for computer music. STEIM’s challenge was clear:
•
•
•
•
development of technologies directed toward enhancing the body in performance;
interactivity as a crucial research goal
a strong relationship with popular culture
support for younger artists working both with and “against” conventions of art music
621 Dodge Hall Mail Code 1813 2960 Broadway New York, NY 10027 212-854-3825
Fax 212-854-8191
2
Having been engaged with both institutions from the early 1980s until now, I can attest that
the future of music has been moving decisively in STEIM’s direction. STEIM even ended up
exercising a lasting influence on IRCAM’s direction. In a cultural landscape where the need
for institutions that promote musico-technological expertise is unquestioned, STEIM-like
ideals of interactivity in performance now dominate the agenda.
I have heard the criticism that STEIM serves a "niche" audience. Perhaps so, but only if one
is able to somehow portray a large complement of the major international video and audio
artists, composers, performers, technologists, and choreographers of our time as a mere
“niche.” If so, this is precisely the area that a forward-thinking cultural policy might want to
support in any case.
If it is indeed the case that, as the Kunstraad’s report suggests, others have finally caught up
with STEIM after a quarter-century (and I find much to doubt in that view), this would most
naturally be seen as a sign of success, rather than a rationale for the withdrawal of support.
And here, we are not talking about millions of euros as with IRCAM, but in fact a much
smaller sum that nonetheless continues to be leveraged into international acclaim (and
concomitantly, respect for the country that nurtures STEIM) far beyond any impact that such
a modest sum could reasonably be expected to engender. In short, whether in the short or in
the long term, STEIM gives tremendous value for money.
Moreover, taking a longer view, STEIM's history is bound up with the history of Dutch
music itself, and has been just as important as a prime marker of its international influence as
Louis Andriessen or the late, widely admired Ton de Leeuw—to say nothing of former
STEIM directors Misha Mengelberg and the late Peter Schat—all of whom rank among the
most highly respected and audaciously innovative musical artists in the world. With respect
to this history, I find it unimaginable that a national cultural ministry would allow a majpr
bearer of that history, one of its major musical research institutions, to simply disappear from
the world agenda in this way.
As the report states,
Wel ziet de Kunstraad het belang in van een plek zoals STEIM deze biedt, waar
beginnende elektronische producenten terecht kunnen en waar het samen bezig
zijn met elektronische muziek centraal staat,
The understatement here is considerable, bordering upon a serious misunderstanding. In fact,
STEIM has provided sustenance for two generations of Dutch technology, composition, and
performance. For instance, at STEIM, I worked with then-budding video artist Ray Edgar
(son of the jazz composer Boy Edgar) and future Philips researcher Paul Spaanderman, who
played an important role in the international acceptance of the now-ubiquitous transmission
standard, USB. One could say in these cases that the bets STEIM placed on these two young
artist-researchers has borne tremendous fruit, and STEIM continues to be well known
worldwide as an important platform for the international exchange of new ideas, bringing
beginners in contact with the most advanced musical thinkers of our time.
3
But there is more:
In het beleidsplan wordt het feit dat een groot aantal ontwikkelingen op dit moment
multidisciplinair plaatsvindt, bijvoorbeeld technici die met musici samenwerken,
node gemist. Deze ontwikkeling doorbreekt de hegemonie van de gevestigde
instituten, maar hierop wordt door STEIM niet ingespeeld.
I found that statement particularly odd, in light of the fact that this interdisciplinary bringing
together of musicians and technologists has been STEIM’s primary mission for as long as I
have known it—or, better put, STEIM’s activities encourage artists to assume dual roles that
encompass both kinds of expertise. STEIM continues to serve a far more diverse creative
constituency than practically any institution devoted to this kind of music-making, and
certainly exercises nothing like the “hegemony” that this section of the report invokes—a
danger that is always posed by the artificial separation of “technici” and “musici” that
STEIM has always sought to counter.
For example, I was gratified to note, in the Dutch-language report on STEIM
(http://www.steim.org/), that the organization continues to support populist interventions,
such as support for turntablism, as well as the Touch Mobile project, updating the tradition of
the STEIM-invented “Crackle Box” for a new generation--an ingenious application of mobile
technology that resonates with related work being done at the far-better funded Media Lab at
MIT. Also reflective of the MIT spirit is STEIM’s work with the Nintendo game machine
Wii, used by practically everyone under the age of 17, to be deployed in the service of new
music.
This is the first time that I’ve actually had a chance to read some of the materials published
by the Raad voor Cultuur, such as the excellent “Kunst van Leven.” I find that STEIM well
represents the highest ideals of that document, which I cite here:
•
Excellentie: Begeleiding en ontwikkeling van (top)talent. Het gaat om
doorstroommogelijkheden voor talent, om het ontwikkelen en toepassen van nieuwe
inzichten, om deelname aan internationaal debat en reflectie. Maar ook om de banden tussen
de publieke omroep en de cultuursector te versterken.
•
Innovatie en e-Cultuur: Meer samenhang en minder schotten tussen de verschillende
sectoren om zo innovatie, experiment en vernieuwing van de grond te laten komen. Inzetten
op de bijdrage die de publieke omroep kan leveren aan de cultuursector, met name door het
gebruik van nieuwe media.
•
Participatie: Bevorderen dat cultuur meer mensen bereikt. Via een 10-puntenplan
cultuurparticipatie met aandacht voor educatie, amateurkunst, digitalisering en
toegankelijkheid
4
The foregoing paragraphs exemplify my own understanding of STEIM, and I hope that upon
further reflection, the Councillors will agree that rather than defunding STEIM, the cultural
agenda would be better served by defending it. In the end, one has to ask if there is any
institution in Dutch cultural life better placed than STEIM to do this kind of crucial work,
and if not, what would be irretrievably lost if STEIM were to disappear?
Sincerely,
George E. Lewis
John T. and Catherine T. MacArthur Fellow, 2002
Edwin H. Case Professor of American Music
Department of Music, Columbia University
Associated Researcher, Computer Music Center
615 Dodge Hall, MC 1814
2960 Broadway
New York, NY 10027
(212) 854-5837 tel
(212) 854-8191 fax
[email protected]
Council for Culture
Postbus 61243
2506 AE The Hague
New York, May 22, 2008
To Whom It May Concern:
We are the Executive and Deputy Directors of Harvestworks, a non-profit digital media arts
center in New York City. We would like to express our total support for STEIM.
The most significant cultural developments taking place today are in the field of electronic
arts. The Netherlands has led the way in this field, through the invention, and innovative use,
of electronic and digital technology. In the beginning artists who wanted to use innovative
technology were forced to custom (and costly) develop these tools individually, something that
excludes a large number of artists - those who can't afford it - from using these tools. STEIM
developed very early on the Sensorlab, LiSa, Imag(ine), BigEye - tools that were accessible,
and therefore made cutting edge technology widely affordable to artists.
We have known about STEIM since the early 90’s. We have exchanged artists, admired your
hardware and software and marveled at the Dutch government for your support of such an
innovative and experimental arts facility. We have held it as a model for the development of
our own organization and have aspired to reach the same support level for experimental
artists in the United States. STEIM's dedication to creating tools and new instruments for
contemporary composers has had a tremendous impact on contemporary music and it’s crossover effects for the visual arts.
STEIM has an extraordinary reputation in the large international community of artists and
their audiences. Many of our artists worked with STEIM before, or intend to go to STEIM.
STEIM is well-known all over the world, and we would appeal to the government to foster
international exchange and partnerships with other centers like Harvestworks in the United
States and Europe.
Harvestworks, which was founded in 1977, was the first NYC organization to provide
affordable access to equipment, and to support the pioneers of computer music with
equipment and instruction. For over thirty years, we have supported experimental electronic
artists. The history of the organization is in many ways a record of the development of this
work, and of the artists’ profound impact on the ways technology can be integrated into the
creative process. The need for our services has grown exponentially in the last 10 years as
new technology has flooded the market.
We currently serve approx. 250 individual artists each year, and the majority focuses on
interactive technology. We help the community at large to understand, assimilate, and make
creative use of new and evolving technology.
Harvestworks Digital Media Arts Center, 596 Broadway, Suite 602, New York, NY 10012
http://www.harvestworks.org, [email protected], Tel 212-431-1130, Fax 212-431-7693
We:
1. create an environment where artists can make work inspired and achieved by
electronic media;
2. create a responsive public context for the appreciation of new work by presenting
and disseminating the finished works;
3. advance the art community's and the public's "agenda" for the use of technology in
art;
4. bring together innovative practitioners from all branches of the arts by fostering
collaborations in the use of electronic media.
The Harvestworks facility offers an environment for experimentation where teams of artists,
engineers and designers will focus on designing, building, and modifying interactive programs
and instruments used in creating and performing various art forms. Our staff of engineers will
employ complex engineering concepts in collaboration with our artists who will bring artistic
and philosophical creativity and enquiry to the process.
We do see constant need for artists for these services, and to offer these at affordable ways is
an important step to democratize access to technology. We always felt that STEIM is an
important institution and invaluable asset for the Netherlands and the international artist
community, and strongly suggest to give STEIM and its artists your fullest support.
Sincerely,
Carol Parkinson
Executive Director
Harvestworks
[email protected]
www.harvestworks.org
Hans Tammen
Deputy Director
Harvestworks
[email protected]
www.harvestworks.org
Harvestworks Digital Media Arts Center, 596 Broadway, Suite 602, New York, NY 10012
http://www.harvestworks.org, [email protected], Tel 212-431-1130, Fax 212-431-7693
SUBSIDIE SITUATIE STEIM
Hilversum, 26 mei 2008.
Met verbazing heb ik kennis genomen van de argumentatie van de Raad voor Cultuur:
Op grond van de specifieke nichepositie van STEIM, vooral gericht op de
relatie tussen podium, technologie en muziek, die niet tot vernieuwing van
de muziekpraktijk en/of die van de nieuwe media in den brede leidt,
adviseert de Raad STEIM niet op te nemen in de basisinfrastructuur 20092012, maar het subsidieverzoek in aanmerking te laten komen voor een
behandeling door het Nederlands Fonds voor de Podiumkunsten+.
Ik ken als componist STEIM sinds 1983 als een pioniers-organisatie die zeer succesvol en
uitermate belangrijk is en is geweest juist voor vernieuwing van de muziekpraktijk en die van
de nieuwe media. Als hoofd-docent en (mede)oprichter van de Utrecht School of Music and
Technology, een groep opleidingen Muziekvakonderwijs van de Hogeschool voor de Kunsten
Utrecht ken ik STEIM als een belangrijke stageplek voor studenten in opleiding en als een
laboratorium voor vernieuwing van de muziekpraktijk en de combinatie muziektechnologie en
nieuwe media. Als expert op het gebied van Electronische Muziek en als voormalig adviseur
van het FAPK verbaas ik me bijzonder over de stellingname van de Raad voor Cultuur.
Mijns inziens is geen sprake van een niche-positie en wordt de stellingname van de Raad op
geen enkele manier bevestigd door de realiteit. De realiteit is dat STEIM een centrale positie
inneemt in het werkveld en daar juist in combinatie met andere kunstdisciplines een
belangrijke bijdrage levert aan tal van vernieuwingen.
Ik raad een ieder die beslissingen moet nemen op basis van dit advies dan ook dringend aan
ook te luisteren naar professionals die wel verstand van het vakgebied en van de recente en
historische ontwikkelingen hebben.
Met grenzeloze verbazing en vriendelijke groet,
Hans Timmermans,
Hoofddocent Compositie Elektronische Muziek
Hoofddocent Muzieksoftware Ontwikkeling
Coordinator Research
Utrecht School of Music and Technology.
Hogeschool voor de Kunsten Utrecht.
http://kmt.hku.nl/~hanst
http://web.mac.com/timmermanshans/
Council for Culture
I recently heard that the future funding of STEIM is put into question. I can only
urge you very strongly to take into account the invaluable importance of this
institution for the international electronic music scene.
I have been studying Sonology in the early 90th in The Hague, later worked for
six years at Ircam in Paris and I’m directing the electroacoustic studios at
Harvard University since four years now. My personal contact to STEIM goes
back to my studies with Joel Ryan, and in the past years I had the enormous
privilege to play in duo with Michael Waisvisz. Without those important artistic,
technological and human influences, I would not be at the position, I’m currently
in. They helped me to foster my own artistic abilities and visions.
Wherever I go to festivals and wherever I meet with musicians involved with
music technology, they all have had or have currently connections to STEIM.
Cutting out the basic research will perhaps save some money at the short-term.
But please consider the long term. We are here in front of a research and
EDUCATION institution. If we diminish the possibilities for experimentation,
exploration and education, we cut into the curiosity and creativity of future
generations.
Hans Tutschku
Professor of Music
Director of the Harvard University
Studio for Electroacoustic Composition (HUSEAC)
Department of Music
Harvard University
Cambridge, MA 02138 USA
http://huseac.fas.harvard.edu/
Dat de financiële steun voor Steim wegvalt is een voor iedereen met een hart voor de
electronische cultuur in Nederland een buitengewoon slechte zaak.
Al vele jaren ontwikkelt Steim soft-en hardware voor realtime-electronica; daarnaast heeft de
studio een open structuur en een open mentaliteit.
Steim laat zien hoe een niet door smaak of mode gedicteerde studio kan functioneren: een
plek waar je ideeën kan ontwikkelen en de uitvoering daarvan kan realiseren.
Deze kwaliteiten zijn ver over de Nederlandse grenzen bekend; het is een ontmoetingsplaats
van kunstenaars uit de hele wereld, voor jonge en oude electronici.
Uit eigen ervaring kan ik zeggen dat Steim mij bij een interactief projekt in 2005 zeer goed en
professioneel geholpen heeft; vanaf de hulp bij de software tot aan de huur van computers en
andere hardware.
Het is gewoon belachelijk dat deze expertise en mentaliteit zomaar negatief beoordeeld wordt.
Er zijn helemaal geen vervangingen voor een initiatief als Steim: plek van ontwikkeling en
tevens deze ontwikkelingen presenteren via concerten.
Steim moet blijven!!!
Huib Emmer, componist van electronische en acoustische muziek.
POST BUS
3500
INSOMNIO
1405
BK UTRECHT
THE
NETHERLANOS
TEL
++31
FAX ++31
30276
11 35
30
11 40
276
[email protected]
WWW.INSOMNIO.NL
POSTBANK
KVK
7868555
UTRECHT
30146092
Raad voor Cultuur
Postbus 61243
2506 AE Den Haag
Insomnio heeft zich de afgelopen jaren bezig gehouden met het gebruik van live elektronica voor groot ensemble.
Zonder de support van STEIM, de kennis en ervaring van de medewerkers en de mogelijkheid om specialistische
apparatuur te laten ontwikkelen,
was dit absoluut onmogelijk geweest.
De volgende projecten hebben wij Ls.m. STEIM gerealiseerd:
2004
kameropera "The Pitchshifter" (Chrisina Oorebeek): ontwikkeling instrumentarium,
ondersteuning
componiste en technici, ondersteuning bij uitvoeringen.
Werkplaats " Live elektronica": coaching van deelnemers (musici en componisten), beschikbaar stellen
2005
2007
2008
2008
materiaal en ruimte.
Finland Festival, uitvoering composities met live elektronica: advies en beschikbaar stell en materiaal.
ICMC 2007 Kopenhagen: ondersteuning componist (Calliope Tsoupaki) en ontwikkeling live elektronica.
Ondersteuning en advies bij uitvoeringen.
I-lab: coaching en advies bij ontwikkeling live elektronica workshop. Beschikbaar stell en materiaal
Thuis Best: ondersteuning componist (Calliope Tsoupaki) en ontwikkeling live elektronica. Ondersteuning
en advies bij uitvoeringen.
Ook voor de komende jaren hebben wij plannen om samen te werken met STEIM. Binnen I-lab, ons
onderzaekslaboratorium,
maar ook voor nieuwe composities waarin gebruik zal worden gemaakt van live
elektronica. Zo liggen er plannen voor nieuw werk van Felipe Waller(2009), Renske Vrolijk(2010) en James
Wood(2011).
Los van onze band met STEIM, is een keuze om STEIM niet langer te subsidieren een keuze tegen de ontwikkeling
van (live) elektronica in Nederland. Ook al zijn de werkzaamheden van STEIM voor het grote publiek en de
adviescommissies niet altijd zichtbaar, zander STEIM zauden tal van projecten en activiteiten in Nederland en
daarbuiten de laatste jaren niet hebben plaatsgevonden. STEIM is primair een instituut voor makers. STEIM
ondersceunt de ontwikkeling van componisten en musici, die de muzikale mogelijkheden van live-elektronica
verder willen onderzaeken en zichzelf en hun (toekomstig) publiek toegang willen verschaffen tot nieuwe
klankwerelden. Het wegvallen van STEIM zal dan ook een onmiskenbaar negatieve invloed hebben op het
hedendaagse muziekveld in Nederland.
--=:,Skegmet,
s e Bakker
Ulrich Pohl
I.L-Jr--.
.J::.~ / L:::::::J'
Raad voor Cultuur
RJ Schimmelpennincklaan 3
Postbus 61243
2506 AE Den Haag
Leiden, 23 mei 2008
Geachte leden van de Raad,
Met verbazing en teleurstelling hebben wij kennis genomen van uw advies voor de
Basisinfrastructuur 2009-2012 over STEIM.
Teleurstelling, omdat dit negatieve advies ertoe kan leiden dat onze samenwerking met
STEIM zal moeten worden beëindigd. STEIM is met raad en daad betrokken bij de
uitwerking van onze eerstvolgende grote tentoonstelling, Music in Motion (oktober 2008oktober 2009). Een eventuele opheffing van STEIM zou een complete streep betekenen door
enkele gezamenlijke plannen in het kader van deze tentoonstelling: het publiek remixes laten
maken van samples uit vijf wereldsteden van de muziek, collectieve remixes, gezamenlijke
programmering binnen de muren van het museum en daarbuiten. Het zou ook betekenen dat
de stroom inspirerende adviezen van STEIM aan ons zou opdrogen.
Verbazing, omdat wij uw negatieve oordeel over de bijdrage van STEIM aan e-culturele
innovatie absoluut niet kunnen onderschrijven. STEIM is er als zeer weinig andere eculturele instellingen in geslaagd om cross-overs tot stand te brengen met het erfgoedveld.
Dit blijkt duidelijk uit de bijdrage van STEIM aan het 3voor12 Plundert Musea-project en uit
de Wonderkamers-experimenten in het Haags Gemeentemuseum, en is voor ons ook een
belangrijke steun nu in de aanloop naar onze muziektentoonstelling. Er is geen andere
instelling waar wij bij hadden kunnen aankloppen.
Het wegvallen van STEIM zou een ernstige verarming betekenen van het e-culturele
landschap. Wij vragen u dan ook met klem om uw negatieve oordeel te heroverwegen.
Hoogachtend,
Drs. J.Th. Taekema
Informatiemanagement
Museum Volkenkunde
Postbus 212
2300 AE Leiden
Jaap Blonk
Akkerstraat 65
6822 AJ Arnhem
Tel. 026 445 2637
Mob. 06 2306 3789
[email protected]
jaapblonk.com
Raad voor Cultuur
Postbus 61243
2506 AE Den Haag
Arnhem, 26 mei 2008
Betr. : STEIM
met verbazing heb ik kennis genomen van het voornemen, de structurele ondersteuning van
STEIM te Amsterdam te beëindigen.
Ik ben één van de velen die door deze organisatie de weg is gewezen in de wereld van
muziek en technologie. Nu gebruik ik deze know-how in mijn wereldwijde concertpraktijk,
en heb daarbij vele musici leren kennen die de unieke software van STEIM gebruiken: de
cutting edge van de actuele muziek.
STEIM is een onmisbaar instituut voor research op dit gebied; verwijzing naar het Fonds
voor de Podiumkunsten vind ik volstrekt onjuist, daar het organiseren of initiëren van
podium-evenementen voor STEIM geen hoofd-doelstelling is.
Ik hoop dat u uw standpunt wilt herzien! Het zou bijzonder treurig zijn als deze organisatie,
een van de weinige die werkelijk innovatief met nieuwe media bezig is, teloor zou gaan.
Hoogachtend,
Jaap Blonk.
KORTE BIOGRAFIE JAAP BLONK
Jaap Blonk (geboren in 1953 in Woerden) is componist, musicus/performer en dichter.
Hij studeerde wiskunde en muziekwetenschap aan de universiteit, maar voltooide die
studies niet.
In de loop van de 70er jaren ging hij saxofoon spelen en componeren.
Rond zijn 30e ontdekte hij zijn mogelijkheden als stem-performer, eerst bij de voordracht
van poëzie en daarna in improvisaties en zijn eigen stukken. Bijna twintig jaar was de stem
zijn voornaamste middel voor het ontdekken en ontwikkelen van nieuwe klanken.
Vanaf 2000 is Blonk met elektronica gaan werken, eerst op basis van samples van zijn eigen
stem, daarna ook met de pure synthese van geluid.
In 2006 heeft hij een sabbatical genomen en een jaar niet opgetreden. Vanuit een hernieuwd
enthousiasme voor de wiskunde is hij een onderzoek begonnen naar de mogelijkheden van
algoritmische compositie voor het creëren van muziek, visuele animatie en poëzie.
Als vocalist is Jaap Blonk uniek door zijn uitstraling op het podium en zijn vrijmoedigheid
in improvisaties, gepaard aan een scherp besef van structuur. Hij trad op in vele Europese
landen, daarnaast in de V.S. en Canada, Indonesië, Japan, Zuid-Afrika en Latijns-Amerika.
Het gebruik van live-elektronica heeft zijn concerten een belangrijke extra dimensie
gegeven.
Naast zijn solo's werkte hij samen met vele musici in de hedendaagse en geïmproviseerde
muziek, zoals Maja Ratkje, Mats Gustafsson, Michiel Braam, Cor Fuhler, The Ex, het
Nederlands Blazers Ensemble en de Ebony Band. De Duitse componiste Carola Bauckholt
schreef enkele stukken voor hem, waaronder een werk voor stem en orkest. Een opdracht
voor een solostuk kwam van de Donaueschinger Musiktage 2002. Vanuit het Ars Electronica
Festival in Linz begon hij een samenwerking met visueel computerkunstenaar Golan Levin.
Blonk werkte regelmatig voor radio en televisie en maakte enkele hoorspelen.
Hij maakt ook versies van zijn partituren op groter formaat voor tentoonstellingen.
De belangrijkste groepen die hij oprichtte en leidde waren Splinks (moderne jazz, 1983-1999)
en BRAAXTAAL (experimentele pop, 1987-2005). Hij heeft ook een eigen platenlabel,
Kontrans, waarop tot dusver 15 titels zijn verschenen. Andere opnames van Blonk
verschenen op Staalplaat, LopLop, Basta en VICTO.
Voor wie Steim over een langere periode heeft gevolgd, is het moeilijk te begrijpen op
welke grond de Raad tot de conclusie komt dat de activiteiten van Steim niet leiden tot
een vernieuwing van de muziekpraktijk en de nieuwe mediacultuur. Weinig organisaties
hebben hebben door de jaren heen zo’n vernieuwingsdrang aan de dag gelegd als Steim.
Als muziekjournalist heb ik sinds ongeveer 1990 de ontwikkelingen van nabij gevolgd en
gezien hoe de directie, in de persoon van Michel Waisvisz, onafgebroken op zoek bleef
naar nieuwe impulsen en ideeën. Dit kwam in de jaren negentig tot uitdrukking in het
aantrekken van flamboyante persoonlijkheden, zoals de componist Nicolas Collins en de
videokunstenares Steina Vasulka, als artistiek leider. Mensen die niet alleen een origineel
gedachtengoed met zich mee brachten, maar ook een heel eigen netwerk. Minstens even
inspirerend was de samenwerking die Steim in de tweede helft van de jaren negentig
aanging met tal van kunstenaars uit andere disciplines, zoals dansers, maar ook
poppenspelers, koorddansers en jongleurs. Op symposia van Steim kwamen in deze jaren
niet alleen componisten aan het woord, maar ook sterrenkundigen en
neurowetenschappers.
In de meer recente geschiedenis is het accent verschoven naar jongere kunstenaars en een
bijbehorend publiek. Een belangrijke activiteit in dat verband is de succesvolle Touchtentoonstelling, die kinderen niet alleen op een speelse manier in aanraking brengt met
elektronische muziek maar ook met hun eigen creativiteit. Binnen de Steim-populatie zelf
heeft eveneens een verjongingskuur plaats gevonden door het aantrekken van jeugdige
artistieke leiders, onder wie Jan St. Werner als exponent van de alternatieve dance-scene.
Deze verandering is ook zichtbaar in het publiek. Als frequent concertbezoeker –
variërend van opera tot nieuwe muziek – heb ik eigenlijk nergens zo’n jong en gretig
publiek aangetroffen als bij de Steim-concerten.
Mijn inziens is de kracht van Steim de wisselwerking tussen een grote continuïteit
enerzijds en een flexibele, naar buiten gerichte houding anderzijds. De continuïteit komt
tot uitdrukking in de spilfiguren in de organisatie (Michel Waisvisz en de technici Nico
Bes en Frank Baldé) die alledrie al zo’n vijfentwintig jaar meedraaien; in de
onderzoeksprojecten die zich over meerdere jaren uitstrekken; en in een consistente visie
die ten grondslag ligt aan alle projecten die op Steim plaats vinden. Hoewel dit niet de
plaats is om uitgebreid op de inhoud van die visie in te gaan, is het wellicht toch nuttig
het uitgangspunt te benadrukken dat de wensen en ideeën van de kunstenaar centraal
staan en niet de ontwikkeling van technologie op zich. Dit lijkt misschien een joekel van
een open deur, maar is in feite heel verfrissend in een cultuur die aan elkaar hangt van de
hypes. Het zoeken naar een zinvolle relatie tussen mens en techniek, verklaart ook
waarom kinderen een steeds belangrijker rol hebben gekregen bij het uitproberen van
nieuwe instrumenten. Een instrument dient immers aan te sluiten op de intuïtie van de
gebruiker.
Deze sterke continuïteit gaat, zoals gezegd, hand in hand met een open houding ten
opzichte van andere disciplines, mogelijke partners en nieuwe, jonge doelgroepen.
Opvallend is dat Steim, dat zich traditioneel in een sterk internationaal georiënteerd
circuit bevindt, zich de afgelopen jaren steeds meer op Nederlandse
samenwerkingsverbanden is gaan richten. Niet alleen werken er steeds meer Nederlandse
componisten in de studio’s en biedt Steim facilitaire ondersteuning bij talloze
concertproducties, ook in de nieuwe media-sector (het Virtueel Platform, De Waag) en
multi mediale opleidingen (DasArts en het Sandberg Instituut) heeft Steim zich steeds
nadrukkelijker geprofileerd.
De Raad twijfelt aan de invloed van Steim op de muzieksector en de nieuwe mediascene. Hoe meet je die invloed? Misschien wordt die invloed nog het meest duidelijk
door de situatie om te draaien: als Steim haar deuren zou moeten sluiten, als gevolg van
de negatieve adviezen van zowel Amsterdamse Kunstraad als Raad voor Cultuur, zou dit
dramatische gevolgen voor het Nederlandse muziekleven hebben – niet voor slechts een
kleine niche. De componisten die in de studio’s van Steim de mogelijkheid hebben een
instrument en/of software te ontwikkelen, vinden vervolgens hun weg naar de algemene
muziekpodia, waar elektronische muziek – mede onder invloed van de r&d op Steim –
een algemeen geaccepteerd fenomeen is geworden. Technologie die ooit in een hoekje
van het muziekleven werd ontwikkeld, drukt vandaag de dag een duidelijk herkenbaar
stempel op de hedendaagse muziek in de breedste zin. In die zin zal dit advies een
enorme stap terug voor de muziekwereld betekenen.
Even ingrijpend zullen de gevolgen zijn voor de opleidingen, zoals Muziektechnologie in
Hilversum, Sonologie in Den Haag en de ‘gewone’ compositieafdelingen waar studenten
in toenemende mate elektronica integreren in hun werk. Heeft het überhaupt nog zin aan
een dergelijke opleiding te beginnen als een afgestudeerd sonoloog/componist vervolgens
nergens meer terecht kan? Nederland kent immers geen andere studio met vergelijkbare
faciliteiten en expertise.
Kortom: het idee dat Steim niet bijdraagt aan de vernieuwing van het muziekleven en de
e-culture berust op een misverstand en het stopzetten van de subsidie aan Steim zal een
kaalslag betekenen voor de muziekwereld.
Jacqueline Oskamp
(freelance muziekpublicist)
Geachte lezer,
Als ex-organisator van Sonic Acts (waarin ik tot op heden redactielid ben) en
huidig coordinator van 5 Days Off Media heb ik met Steim sinds midden jaren
negentig te maken. Wat er achter de muren van Steim precies wordt en werd
ontwikkeld is mij als non-techneut niet altijd duidelijk geweest, wat ik echter wel
weet: Steim is een organisatie die dingen mogelijk maakt die zonder Steim
ondenkbaar zouden zijn geweest: in Amsterdam, in de ontwikkeling van de
elektronische muziek en in de wereld van vernieuwende artistieke
samenwerkingsverbanden.
De pluspunten op een rij.
Steim is gastvrij: meerdere keren heeft het gastenhuis van het instituut onderdak
geboden aan " artists in residence" die betrokken waren bij door ons geinitieerde
projecten.
Steim is cooperatief: Steim dacht altijd actief mee over de technische
mogelijkheden en wensen en stelde faciliteiten en mankracht beschikbaar op een
manier die bij commerciele studio's ondenkbaar zou zijn.
Steim is internationaal: zolang ik er kom heb ik in Steim een keur aan artiesten
voorbij zien komen van over de hele wereld. De organisatie heeft in dat opzicht
voorbeeldig werk geleverd bij de ontwikkeling van internationale netwerken en
samenwerkingsverbanden.
Steim is laagdrempelig: nooit vroeg de organisatie de hoofdprijs voor geleverde
diensten; de entree en horecaprijzen van publieke evenementen zijn bijzonder
sympathiek te noemen en de organisatie is vrij van bureaucratische logheid.
Steim is kundig: er is geen enkele reden te twijfelen aan de daar sinds de
oprichting opgebouwde know-how en expertise, die uitermate goed verankerd is
in de ideeele en praktische organisatie van de instelling.
Steim is praktisch: de tijdspanne tussen het neerleggen van een idee en de
praktische uitvoering bleek meermaals verbluffend kort.
Tot zover, ik hoop dat dit jullie helpt en wens jullie succes toe met de te leveren
strijd.
vriendelijke groet,
Jan Hiddink.
Jason Kahn
Motorenstrasse 5
8005 Zürich
Switzerland
Web: http://jasonkahn.net
Telephone + Fax: +41 43 960 31 09
Mobile: +41 78 634 25 70
STEIM
Achtergracht 19
1017WL Amsterdam
The Netherlands
May 26, 2008
To Whom It May Concern
I'm writing this letter to show my support for STEIM, which I understand is in danger of losing
its structural funding.
I am a performer, composer, CD label owner and visual artist living in Zürich, Switzerland. I
was an artist in residence at STEIM in 2000 and 2002, where I worked on a system to
integrate percussion with STEIM's live sampling software LISA.
Not only were these two residencies important in furthering my work but they also provided
me with many invaluable contacts with artists and musicians from all over the world, who
were also working at STEIM. These contacts not only provided in some cases lasting
friendships but also an important context for my work.
In my travels around the world performing and exhibiting, it never ceases to amaze me how
many people I have met who at one time or another have either spent some time working at
STEIM, who have performed there or who used some the wonderful software STEIM has
developed over the years and which has undoubtedly played an instrumental role in the
advancement of music and peformance.
I can quite honestly and unashamedly say that, had I not spent had my contact with STEIM, I
would not be the artist I am today. It is that simple. And I would not hesitate to say that
thousands of people around the world could issue the same statement.
The loss of STEIM through funding cutbacks would be a major blow to the global community
of progressive musicians and artists. Not only does STEIM provide a place to work and
produce software, but it also serves as a place for aritsts and musicians to perform and to
hold workshops about their work, thus diffusing information far beyond the confines of
STEIM's modest facilities.
Not only is it regrettable but truly dumbounding that STEIM is in danger of losing it's
govenrment funding. The Dutch should be proud of STEIM; for many artists around the world,
including myself, STEIM is synonmyous with The Netherlands and its generous arts funding
schemes. Please don't let this great institution close its doors.
With best regards,
Jason Kahn
From:
Subject:
Date:
To:
Jean Claude Risset <[email protected]>
Support for STEIM
25 mei 2008 17:31:50 GMT+02:00
[email protected]
I would like to give my strong support for STEIM.
STEIM plays a unique role in the field of live electronic music, bringing together theater and instrumental
electronic music.
As both a a composer and a researcher, I thoroughly appreciate the active part STEIM plays in today's music and most probably in to-morrow's music as well. I specially know the outstanding contribution of Michael
Waiswiz, but I also much enjoyed the work of Nicholas Collins and others. The concerts and presentations of
STEIM have been invited and successful all over - in particular in Marseille where I live.
The community of electronic and computer music is much indebted to STEIM for their activity toward the
creation of effective software and equipment. It would be a serious loss of resources if STEIM could not pursue
its activity.
With warm wishes for STEIM,
Jean-Claude Risset
Composer, researcher
P.S. I am myself a composer active in both computer music and instrument music - I was guest composer of
the Festival Music Today 2007 at Suntory Hall in Tokyo, with carte blanche for both an orchestral concet and a
concert of mixed works with instruments and technology. I have been working with Max Mathews at Bell
Laboratories in the sixties to develop the resources of computer sound synthesis. In this quest I was active as a
researcher and as a musician. I have obtained the highest French rewards in both music and science : Grand
Prix National de la Musique, 1990; Médaille d'Or du CNRS, 1999.
-Jean-Claude Risset
Laboratoire de Mécanique et d'Acoustique, CNRS
31 chemin Joseph Aiguier
13402 Marseille Cedex 20, France
Tel 33 (0)4 91 16 40 78
FAX 33 (0) 4 91 16 43 71
(Do not use the (0) if you dial from outside France)
E-MAIL [email protected]
Aan de Raad voor Cultuur,
met zorg heb ik kennis genomen van het negatieve advies van de Raad voor
Cultuur met betrekking tot de aanvraag van de stichting Steim om opgenomen te worden
in de Basisinfrastructuur 2009-2012. Ik zou U met klem willen verzoeken Uw advies te
herzien om het voortbestaan van de Stichting Steim te garanderen.
Binnen de e-cultuur ligt het accent vaak op visuele en tekstuele vormen van
communicatie. Binnen dit kader vertegenwoordigt Steim een unieke positie vanuit haar
achtergrond in de live electronische muziek. Electronische muziek was ooit de eerste
electronische kunstvorm en is nog steeds een terrein waarin maatschappelijke en
technische ontwikkelingen zich vaak eerder manifesteren dan in de rest van de
samenleving. Naar mijn mening staat Steim midden in deze huidige ontwikkelingen en is
de huidige leiding van Steim op een uiterst integere manier bezig om de identiteit van
Steim vanuit haar muzikale basis te verbreden en aan te passen aan de verschuivingen
in het veld van de e-cultuur.
Afgezien van haar unieke positie binnen de e-cultuur is de Stichting Steim op het
gebied van de live electronische muziek wereldwijd nog steeds een van de
toonaangevende laboratoria. Door deze toonaangevende status is Steim een plek waar
vele interessante musici en kunstenaars hun projecten komen realiseren. Deze functie
van Steim is van onschatbare waarde niet alleen voor de e-cultuur in nederland, maar
ook voor het nederlandse muziekleven.
Dit zijn slechts twee argumenten die het eerst naar voren komen. Ik zou U
nogmaals willen verzoeken Uw advies te herzien en zorg te dragen dat dit unieke
instituut niet voor nederland verloren gaat.
hoogachtend,
Joost Rekveld
hoofd van de Interfaculteit ArtScience / Beeld en Geluid
Koninklijke Academie van Beeldende Kunsten, Den Haag
Koninklijk Conservatorium, Den Haag
-------------------------------------------
-----------
Joost Rekveld
http://www.lumen.nu/rekveld
-------------------------------------------
The Media Laboratory
Massachusetts Institute
of Technology
20 Ames St. E15-327
Cambridge, Massachusetts 02139
Joseph A. Paradiso, Ph.D.
Associate Professor
Sony Career Development Professor of Media Arts & Sciences
Co Director, Things That Think Consortium
Director, Responsive Environments Group
Tel: 617-253-8988, Fax 617-253-6215
[email protected]
http://www.media.mit.edu/~joep/
May 23, 2008
Council for Culture
Postbus 61243
2506 AE The Hague
Gentlemen:
When I arrived at my office this morning, my email queue was full of
messages from all over the world expressing concern at the sudden news that the
funding for STEIM was in jeopardy. Without hesitation, I add my voice to this urgent
international outcry.
STEIM is a very precious world resource that provides leadership and
inspiration to many of us spanning disparate fields of engineering research and the
arts. There is no institute like it. The staff and visiting artists and engineers at STEIM
have pioneered and developed approaches, tools, software, and techniques that have
revolutionized computer music performance. They are considered the leading
organization in the world here, especially looking at the impressive breadth and long
history of quality work that STEIM has produced.
STEIM is also unique in that it bridges many worlds. It’s a place where
scientists and engineers of many molds (software engineers, embedded systems
designers, sensor network researchers, human-computer interface experts, for
example) work seamlessly together and with artists of many kinds (musicians,
composers, dancers, performance artists, installation artists, visual and video artists,
etc.). Such collaborative environments are rare, and STEIM has shown the world
how it should be done. In my courses and lectures at the MIT Media Laboratory, I
always show the STEIM work as stellar examples of interactive media.
STEIM also bridges the gulf between academic and popular art in a unique
way. The work at STEIM is not only presented at research venues and “elitist” highart venues – the crew at STEIM actually bring their creations on the road, touring with
artists and giving shows in small theaters and night clubs. Playing in such
circumstances both provides tremendous outreach (seeding advanced ideas about
the frontier of art and technology across the nonspecialist public), but it also keeps
the STEIM team very grounded and current – unlike many other academic
art/technology institutes that can float away on irrelevance.
STEIM is more than relevant – it sets the trend that many of us have followed.
In the course of my career as a physicist, I often collaborated closely with colleagues
at the renowned Dutch Institute of High Energy Physics (NIKHEF) on detectors for
CERN. I put STEIM on a par with NIKHEF – they are both institutions of the highest
quality that emphasize the cutting edge of Dutch ingenuity and technical depth.
Out of the special art/engineering sauce that STEIM has confected over the
year comes a vibrant creative culture – new ideas always crystallize at the places
where different fields of inquiry meet. STEIM is very special here. If it were to be
silenced, the world and I’m sure the Netherlands would deeply lament the ensuing
loss of ideas.
Sincerely Yours,
Prof. Dr. Joseph A. Paradiso
Joseph Butch Rovan, Co-Director
MEME: Multimedia & Electronic Music Experiments
Department of Music – Box 1924
Brown University
Providence, RI 02912
[email protected]
Council for Culture
The Hague
May 22, 2008
I am writing to express my strong support for STEIM, in response to the news that their
funding may be in jeopardy, based on a concern that they only serve a “niche audience.”
It’s hard to imagine a description of STEIM further from the truth.
STEIM has had such a profound influence on performing artists throughout the world
that it is safe to say many organizations, educational programs, musical works, new
instruments, and concepts of what it means to perform with technology would not exist if
STEIM had not paved the way.
Currently I am the co-director of a Ph.D. program in multimedia and computer music at
Brown University, USA. Every thing that I teach our students can, in some way, trace its
roots back to work done at STEIM. I myself was inspired early on by my contact with
STEIM, Michel Waisvisz, and Joel Ryan, and since then have followed that inspiration to
a career as a performer, composer, hardware hacker, and university professor. My
students continue to be inspired by STEIM – just last April a group from STEIM
(including Robert van Heumen, Joel Ryan, and Frank Baldé, along with saxophonist
Evan Parker) were in residence at Brown University for a week, conducting workshops,
masterclasses, and performing two concerts. It was an unforgettable experience, and the
students are still talking about it.
STEIM continues to be a pioneer in the applications of new technology to performance.
As arts programs throughout the world seek to increase interdisciplinary connections, and
to foreground live performance with technology, they increasingly look to STEIM’s
example. STEIM has been – and continues to be – a nexus for creative artists in all
disciplines. I urge you to continue support for STEIM and all that they do. A world of
creative artists will thank you.
Sincerely,
Joseph Butch Rovan, Co-Director
MEME (Multimedia & Electronic Music Experiments) | Brown University
Music and Performing Arts
Cambridge, Cambridgeshire
United Kingdom
CB1 1PT
T 01223-363271 ext 2978
julio.d’[email protected]
23 May 2008
To whom it may concern
A letter in support of Steim
I am a composer, author and senior researcher in creative music technology, from Venezuela, working at Anglia Ruskin University, Cambridge, England.
I have been in contact and benefitted from knowing artists working at Steim since 1988. I
know for a fact that I am not the only one as the work of Steim has been technologically
innovative and artistically groundbreaking for many years now, as well as internationally
known for its high standards. Throughout the years, artists and researchers, from all
over the world, at the creative edges of their disciplines have met there to produce valuable work and reflect on what they do. Perhaps the key element about Steim for me is its
inclusiveness and accessibility. Unlike other centres of learning and investigation in
Europe and indeed around the world, Steim has been traditionally welcoming of people
with interesting projects, based almost solely on their talent and project interests. Students and practicing musicians alike have benefitted from this. Just a couple of years
ago, a Greek student of mine, Orestis Karamanlis, now at the Sonic Arts Research Centre in Belfast, was accepted for a short stay at Steim to work on his alternate controller
system. When he came back he was able to share with many others what he had learnt,
in a multiplying effect, typical of Steim
The impact of Steim on the worldwide electronic music community is quite substantial. I
cannot conceive of my own music career without thinking of what Steim has meant to
me. As a student myself in the 80s, I first became aware of computer coding on personal
computers through the work in Forth of Joel Ryan. My first ever contact with alternate
custom built controllers for sequencing was through attending a concert at Union Chapel
in London of Michel Waisvisz with his ‘hands’. Backstage, he told me about Steim and
encouraged me to visit. I can say that my subsequent trip to the Netherlands as a guest
of the Gaudeamus Festival was most profitably employed by taking the opportunity to
visit Steim!
Steim has always been a guiding landmark in the electroacoustic community. Amongst
many other things, it has greatly helped established the Netherlands as a vibrant centre
for the electronic and digital arts. I hope, for the good of all of us and the advancement of
electronic music in particular, that Steim can continue to do and promote the work it has
been doing throughout the years.
Sincerely yours,
Dr. Julio d’Escriván, GMus, PhD, LGSM, PGCert(HE)
Reader in Creative Music Technology at the Faculty of Arts, Letters and Social Sciences.
Keiko Uenishi (o.blaat)
345 Eldert St. #316
Brooklyn, NY 11237, USA
Phone: 646-932-1409
E-Mail: [email protected] Web: http://obla.at
May 25, 2008
Council for Culture
Postbus 61243
2506 AE The Hague
The Netherlands
Dear Sir or Madam:
My name is Keiko Uenishi, also known as my artist’s name, ‘o.blaat’. I am rushing to write to you to express my support for
STEIM, Amsterdam, which has been one of precious not-for-profit organizations, not only serving as a venue for fantastic
performing arts, but as a research and development for creation tools for diverse artistic communities locally and globally in
its long history.
Many of us benefitted by having residencies, concerts, etc. on site, but also by using their products for creations.
I have stayed for a short-term residency, recording and composing for multi-channels with Kaffe Matthews, Ikue Mori, and
Marina Rosenfeld, back in 2002. I’m recalling that I have met numerous warm, welcoming, and supporting faculties there.
When I had an extreme hardware problem, a technician helped me to recover from the nightmarish situations, so I could
continue on traveling and performing in other parts of Europe.
As a core member of another not-for-profit organization, Share (http://share.dj), a multimedia creative community and
forum, STEIM has been an essential organization to provide services, inspirations, and meeting-point to uncountable number
of artists of all levels. I should also stress that STEIM has been help young and emerging artists (&/or artists to be) to grow
and explore.
Congratulations for having such a special organization in your country! With your continuing support to STEIM, many more
creative people will be born with STIEM’s effort!
Sincerely,
Sound artist / public communications & interactive arts at Share.dj
!!
!
Stille!Veerkade!19!!!!2512!BE!!!Den!Haag!!!Nederland!!0031(0)[email protected]!!www.tag004.nl!
!
!
Aan:!The!Council!for!Culture!
!
!
Betreft:!In!support!of!structural!funding!for!STEIM!
!
!
Den!Haag,!26.5.2008!
!
Geachte,!!
!
!
<>TAG!supports!without!reservation!a!reconsideration!of!the!Advisory!Board’s!recommendation!that!STEIM!
not!receive!structural!funding!from!the!Council!of!Culture.!
!
As!an!institution!and!platform!that!aims!to!bring!creative,!experimental,!and!research-based!audiovisual!art!to!a!broader!public,!<>TAG!depends!on!its!relationship!with!STEIM!not!only!via!STEIM’s!
years-long!legacy,!but!via!its!continuing!example!and!the!consistent!sharing!of!ideas!and!artists!over!
the!past!few!years.!
!
We!are!especially!dismayed!by!the!Advisory!Board’s!flawed!understanding!that!STEIM!is!somehow!a!
“niche”!organization.!Observing!the!culture!around!us,!we!find!that!electro-intrumental!music!is!about!
as!niche!as!Coca-Cola.!It!is!everywhere,!and!while!STEIM!--!devoted!as!it!is!to!research!and!
experimentation!--!may!not!reach!a!“pop”!audience,!much!of!the!work!typified!by!STEIM!certainly!does.!
Creative!and!experimental!culture!is!the!base!upon!which!popular!culture!rests.!If!the!vital!work!that!
STEIM!promotes!were!to!cease!to!be!available,!we!believe!a!predictable!outcome!would!be!weakness!in!
all!electro-instrumental!art.!
!
STEIM’s!influence!on!<>TAG!exists!both!as!an!organizational!model!(i.e.!bringing!the!research!and!
presentation!together!under!one!roof)!and!as!aesthetic!inspiration;!not!only!has!<>TAG!presented,!to!
enthusiastic!audiences,!many!of!the!artists!and!researchers!associated!with!STEIM,!but!we!also!depend!
upon!STEIM!to!bring!to!the!surface!rare!gems!from!The!Netherlands!and!abroad!whose!work!might!
otherwise!not!reach!the!audiences!they!deserve.!
!
In!2007!<>TAG!hosted!a!lecture!and!performance!by!world-reknowned!composer,!performer,!professor!and!
all-around!thinker!Bob!Ostertag,!who!himself!has!a!long!and!important!relationship!with!STEIM.!He!
noted!that!decades!ago,!he!and!his!peers!never!would!have!imagined!the!advances!in!technology!for!
creative!music-making!we!see!today.!STEIM!is!largely!responsible!for!maintaining!the!energy!and!
creativity!to!continue!those!advances.!
!
<>TAG!strongly!urges!the!Council!for!Culture!to!reconsider!the!advice!of!the!Advisory!Board!and!grant!
STEIM!continuing!structural!support.!
!
!
Keir!Neuringer!
Audio!curator,!<>TAG!
!
Dear members of the Council of Culture,
My name is Korhan Erel. I am a musician from Istanbul, Turkey. I am a member of the
STEIM community since 2005. I have done two residencies there for my projects as well
as a performance in early 2006.
I have recently heard that STEIM is in danger of losing its funding due to it being "closed
and only appealing to a niche audience." I would like to express my disapprovance of such
a statement.
STEIM has lent a supportive hand to so many striving artists and musicians from diverse
geographies such as myself and directly or indirectly constributed to art scenes in those
locations. For example, as a result of my research and experience at STEIM was I able to
start a Free Improvisation group in Istanbul in 2005, which happens to be the first in its
field in Turkey. Since that day, we have expanded the scene to include many other
musicians, have started a radio show on Free Jazz and Improvisation on a major radio
station and have organized many events. STEIM's workshop in a festival in Istanbul
influenced so many young musicians to expand their artistic creativity.
If STEIM were forced to shut its doors down, many musicians, including myself, would lose
our artistic guide in the short term, and more importantly, lose our hope that someone out
there supports what we have been doing as artists.
I would hereby ask you kindly to reconsider your statement about STEIM. It is an
important, rooted institution for so many artists, who deserve more than being described
as a "niche group". Please remember that all throughout history, transformation and
progess in societies have been sparked by "niche groups".
My sincere regards,
Korhan Erel
Istanbul, Turkey
Phone: +90-532-5833335
To whom it may concern:
I was shocked and concerned to hear that Steim may be at risk of losing funding. I am a
musician who has worked with Steim as a performing and recording artist over the last few
years. I value my experiences at Steim tremendously. I first heard of Steim as an
undergraduate music student at Mills College in Oakland, California. Laetitia Sonami gave
a lecture in a few of my classes about the glove controller she developed as a part of her
collaboration with Steim. When I first saw her perform with her instrument, my jaw dropped
and my brain flooded with ideas about the possibilities of the musical instruments of the
future. As far as I could tell, from my college perspective of the world, there were two
groups of electronic musicians: 1) those who had worked with Steim and 2) those who
hadn't. Those who had worked with Steim were able to explore and develop high-tech,
well-designed, one-of-a-kind instruments with the help of the experts in the field. If this
were the 16th century, then Steim would be the state-of-the-art guitar luthiers of the time,
making the revolutionary developments necessary to create the guitar we know and love
today. There are enough guitars in the world. The musical possibilities that modern
technological advancements provides are immense and only beginning. The technology
Steim has been developing is becoming more popular and useful in mainstream music,
multimedia art, installations, virtual reality, and video game industries. Please continue to
support Steim. The entire Earth would be at a loss without it.
Sincerely,
Kristin Erickson
a.k.a. Kevin Blechdom
2022 Old Fort Dr
Tallahassee, FL 32301
U.S.A.
001-850-656-8879
laetitia sonami
3326 birdsall ave. oakland, ca 94619 usa
510-532 5666 [email protected]
May 21, 2008
Re: STEIM
To whom this may concern:
This letter is to demonstrate my support of STEIM and I am writing as a professional
artist, educator and lecturer.
As a professional artist, my career has been founded on research and applications rooted
at STEIM. The technology I have used for the past 15 years has been designed at STEIM
and has allowed me to gain international reputation and access to world class institutions
and venues. STEIM is one of those rare places which allows artists and musicians of
various backgrounds to learn, research and create based on the strength of their ideas, and
not based on their affiliation My debt to STEIM is immeasurable, I would not be who I
am without its constant support.
As an educator, teaching at American colleges such as the San Francisco Art Institute,
Mills College and Bard College, I have always been surprised by the amount of interest
students show towards STEIM. Knowing of my artistic affiliation with the Institute,
students often ask me how to apply at STEIM, how to get a residency there, etc... The
reputation of STEIM as a youthful and energetic place where young artists can gain
access to new tools and ideas is worldwide.
As a lecturer, I tour to discuss Music and Technology, most recently at the Wexner Art
Center, MIT and the Art Institute of Chicago and I often refer to STEIM. STEIM has
been at the forefront of ideas and technologies which are now mainstream, and which
most Academic Institutions and research labs are trying to catch up with: portable
electronics, wearables, the use of gaming technology, hacking and Do-It-Yourself
electronics, and of course extended instruments and live interactive systems... STEIM
was able to predict all these new directions by understanding the trends of our modern
culture and adapting them to a creative artistic environment.
There is no doubt in my mind that STEIM is vital to both the Dutch community and the
world community. It has helped create an image of the Netherlands as a place where
artistic vitality and innovation are alive. It is an ambassador of the Arts for the
Netherlands and it would be a great loss if its own country did not recognize this.
Sincerely,
laetitia sonami
3326 birdsall ave. oakland, ca 94619 usa
510-532 5666 [email protected]
Laetitia Sonami
Faculty SAN FRANCISCO ART INSTITUTE, BARD COLLEGE, MILLS COLLEGE
May 24, 2008
CANAL STREET COMMUNICATIONS
530 Canal Street New York NY 10013
Tel: 212 431 1355
I an a multi media artist and musician and have been associated with STEIM for
over thirty years. Over the last several decades STEIM has established itself as the
European epicenter of advanced research in both instrument design and innovative
performance in music and multi media. It has fostered and inspired countless
musicians and designers world wide while retaining a uniquely Dutch approach. It
is, in short, an invaluable resource on many levels. The United States has the MIT
Media Lab, France has IRCAM and Holland has STEIM. Although these institutions
focus on new design and music, they serve all levels of society enriching our culture
enormously. Particularly now that pop culture is so ubiquitous and in addition is
used primarily as a marketing tool, I believe it's of paramount importance tha we
underwrite institutions that will advance learning. I have heard that funding for
STEIM is being rescinded. I beg you to reconsider this action and support this
unique institution. A true national treasure.
Please let me know if you require any further information about STEIM or contact
with other North Americans who have benefitted from working there.
Best wishes,
Laurie Anderson
From:
Subject:
Date:
To:
ezie <[email protected]>
From LUCA FRANCESCONI
24 mei 2008 10:30:32 GMT+02:00
<[email protected]>
I AM ABSOLUTELY PUZZLED AND SURPRISED ABOUT THESE BAD NEWS ON STEIM.
STEIM HAS BEEN AND IS A GREAT REFERENCE POINT FOR ALL MUSICIANS IN EUROPE AND THE
WORLD FOR ELECTRONIC RESEARCH.
ITS WORK OF RESEARCH AND ART CREATIVITY HAS INFLUENCED ENTIRE GENERATIONS OF
ARTISTS, AUDIO AND VIDEO.
ITS PARTICULAR ATTENTION ON INTERACTIVITY IN REALTIME HAS PRODUCED SOME OF THE
MOST SUCCESSFUL AND PIONEERISTIC HARDWARE AND SOFTWARE EVER.
JUST TO NAME A FEW : "THE HANDS" -EXTRAORDINARY REAL TIME CONTROLLER FOR
PERFORMING AND COMPOSING MUSIC - THE SPIDERWEB, THE SOFTWARE LISA T ( THE FIRST
IN ITS GENRE FOR REALTIME GRANULAR MANIPULATION) , imag/ine - THE FIRST VIDEO
REALTIME SOFTWARE EVER.
AND MANY OTHERS.
LET ALONE THE OCCASION OF SUPPORT, RESEARCH, COMMISSIONING AND GROWING OF
YOUNG AND ESTABLISHED COMPOSERS.
I PERSONALLY HAVE WORKED SEVERAL TIMES WITH STEIM AND ALWAYS WAS A FANTASTIC
EXPERIENCE. IN 1998 I WROTE A WORK COPRODUCED BY STEIM AND NIEUW ENSEMBLE :
WITH STEIM SOFTWARE IMAGE/INE I COMPOSED " LIPS EYES BANGS " WITH ENSEMBLE,
PERFORMER AND REALTIME VIDEO TRANSFORMATIONS WHICH HAS BECOME A SORT OF MODEL
OF THIS WAY OF WORKING, A SUCCESS FAR BEFORE ANY OTHER TECHNOLOGY OF THIS KIND
WOULD BECOME AVAILABLE. AND I'M STILL USING image/ine !
IT WOULD BE A REAL SHAME IF STEIM WOULD HAVE PROBLEMS OF SURVIVAL
AND AN INCREDIBLE LOSS FOR ALL MUSICIANS RESEARCH AND ART ITSELF.
DON' T
DO IT !!!!!!!
LUCA FRANCESCONI
Composer
Conductor
Head of Composition Department at Malmo HochSchule/ Lund University Sweden
Artistic Director of Biennale di Venezia
Betreft:
Voortbestaan Steim
Amsterdam, 21 mei 2008
L.s.,
Steim’s voortbestaan wordt bedreigd omdat zowel de Amsterdamse Kunstraad als
de Raad voor Cultuur beslist hebben Steim niet meer te ondersteunen.
Steim vervuld echter een belangrijke rol als laboratorium voor nieuwe elektronische
muziek, mede getuige de enorme hoeveelheid kunstenaars dat bij Steim over de
vloer komt en in hun onderzoek ondersteund worden. Dat Steim dat weet te
faciliteren met zo’n bescheiden organisatie zal misschien de reden zijn waarom ze
met die verworvenheid weinig bekendheid geniet in Nederland: om naast die
activiteiten ook nog eens een zichtbaar communicatiebeleid te voeren kost wellicht
een extra FTE.
In het verleden heb ik vanuit mijn werkzaamheden als initiatiefnemer van 5 Days Off
MEDIA herhaaldelijk op een inhoudelijk betekenisvolle en productieve wijze met
Steim samen gewerkt. Twee maal bestond dat uit een samenwerking met de
toenmalige artistiek leider van Steim – Jan Werner, van de internationaal
gewaardeerde formatie Mouse on Mars, hetgeen leidde tot twee in situ
geluidsruimtes met een speciaal daarvoor samengesteld meerdaags programma.
Zie: www.noiseroom.org
Dat Steim net op grond van haar nichepositie niet wordt opgenomen in de
basisinfrastructuur lijkt een contradictie met de nichestructuur die met name in het
muzieklandschap is aan het ontstaan: net door de steeds genetwerkter structuur van
muziek in het algemeen en elektronische muziek in het bijzonder lijkt Steim te
worden gestraft omdat de organisatie net daarvan een voorloper is gebleken.
Vanuit deze optiek pleit ik ervoor Steim te laten voortbestaan!
Dank voor uw aandacht.
Lucas Evers
Programmaleider Cultuur, Waag Society
Tot 2007 Programmeur Media, Melkweg en initiatiefnemer 5 Days Off MEDIA
[email protected]
Nieuwmarkt 4, 1012 CR Amsterdam, NL | T +31 (0)20 5579898 | F +31 (0)20 5579880
E [email protected] | KvK Amsterdam nr. 41214445 | Bank 393720500 | http://www.waag.org
WORM
stichting WORM
Postbus 25045 / 3001 HA Rotterdam / www.wormweb.nl
Bezoekadres: Achterhaven 148 Rotterdam
T: 010-4767832 / F: 010-4767159 / E: [email protected]
Rabobank: 38.18.48.655 / KvK: 24.29.39.39 / BTW: NL-8087.50.306.B01
Geachte Leden van de commissie, Mensen van STEIM,
Namens mijzelf en ook namens WORM wil ik hierbij mijn verontwaardiging uiten over het
intrekken van de structurele subsidie aan STEIM.
STEIM is een onvergelijkbare organisatie die onontbeerlijk is voor Nederland, en eigenlijk
ook de rest van de wereld. In STEIM kan je experimenteren, nieuw werk ontwikkelen op
een manier die elders onmogelijk is, tegelijk zet het Amsterdam, en ook Nederland op de
kaart als plek waar dingen mogelijk zijn, artiesten als Laurie Anderson en Jon Rose (om
maar twee 'willekeurige' zijstraten te noemen) hebben hier gebruikt van gemaakt, maar
ook veel jonge nederlandse geluidsmakers hebben er van geprofiteerd.
STEIM is een van die plekken die het mogelijk maakt te 'ademen' - je bent blij dat het er is
en het geeft 'lucht'.
Te denken dat zo'n organisatie NIET van wezenlijk belang is voor de infrastructuur & het
floreren van actuele muziek getuigt van een beperkt blikveld; alsof het er alleen maar om
gaat om te presenteren, en te consumeren, alsof alleen het topje van de ijsberg bestaat.
Hoogachtend,
Lukas Simonis
(WORM/CEM Studio, WORM Radio)
www.wormweb.nl
STEIM is naar mijn weten de enige stichting in Nederland die diensten verleent aan componisten en
geluidskunstenaars die net die informatie en/of ervaring missen die nodig is om een gewaagd plan te
realiseren.
Maar ook de meer ervaren componisten/geluidskunstenaars weten STEIM te vinden en zo heeft de kennis
en persoonlijke assistentie die bij STEIM aanwezig is door de jaren heen een onnoemelijk aantal projecten
mogelijk gemaakt.
En dan zijn er de instrumenten die ontworpen zijn in STEIM, die in sommige gevallen historisch zijn
geworden of dat bijna zijn, zoals kraakdozen en “de Handen”, om er twee uit te pikken.
Het zou werkelijk onzinnig zijn om een werkplaats als STEIM, die zo uniek is- niet alleen in ons land, maar
ook in de wijdere wereld van het “Geluid”- van haar subsidie te beroven.
In een wereld die langzamerhand aan de couveuze ligt van de platte digitaliteit, biedt een vrijplaats als
STEIM, waar digitaliteit op een geheel andere wijze wordt ingezet, de broodnodige reflectie, en wel op hoe
de klank van die digitale wereld er uit zou kunnen zien.
Ik zou de subsidienten op het hart willen drukken STEIM als werplaats voor jonge en beginnende
componisten, maar ook voor de meer ervaren makers, te laten voortbestaan.
Tussen al het commerciele geweld dat de muziek voor een groot gedeelte in haar greep heeft gekregen is
het bijna een culturele plicht om een meer op inhoud opererende studio als STEIM te steunen en te
stimuleren.
Ik ben verontrust door het advies dat de Raad voor Cultuur heeft aangeboden aan de minister.
Maarten Altena, componist
Prof. Marcelo M. Wanderley
McGill University - Montreal, Canada
Montreal, May 21 st 2008
To:
Dutch Council of Culture
The Netherlands
Dear Sir, Madam,
It is with great surprise and serious concern that I heard that STEIM is in danger of losing
structural funding from the Dutch Government.
As a researcher in the field of novel input devices for musical expression, I consider STEIM to be
the world reference in this field. Not only they were pioneers in designing novel devices, but the
extensive musical use of such interfaces has without any doubt changed the way the international
artistic and research communities see this type of artistic performance. STEIM’s impact
worldwide is major and unquestionable.
The importance of STEIM for this area has long been recognized internationally. In fact, as the
organizer of the 2003 International Conference on New Interfaces for Musical Expression
(NIME03), I have invited several STEIM researchers to Montreal (Michel Waisvisz was one of
the conference’s Keynote Speakers) with carte blanche to show their know-how and share their
unique expertise in talks and workshops during the event.
The possibility of losing STEIM because of the lack of structural funding would be a major
negative impact for the whole artistic community. For me, and for many colleagues overseas,
STEIM is the Netherlands. Thanks to STEIM we discovered this country and we learned to
respect its cultural scene. For me, losing STEIM would be a similar blow as closing the
Rijksmuseum. Not only the Netherlands, but Europe as a whole would be giving away one of the
most important cultural assets, an asset that is envied by countries worldwide.
I therefore strongly support STEIM’s struggle to obtain its structural funding and urge the Dutch
Council of Culture to reconsider funding the institute to a level that allows them to continue their
outstanding work.
Best regards,
Prof. Marcelo M. Wanderley, Director
Input Devices and Music Interaction Laboratory
McGill University
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dat STEIM's act;v;te;Xen n,_et tot - O.P e nemen met de a,guMentatine
hrede zou !e,.de,. 'e Uw ng n e muz e praht;:k Xe
iezien de ,Vere!dw;;de ,eputat,_e d' sTEIm h v,.
ten onrechte ;s sTEIm st,,X ,,.er ìd ..d b, d t! enh ih, dat d;t ad
experimenTeren' met senso, ,Jn,erf e '!' d e e' alS een Uniehe Pleh om cteeS
(muz;eh. ,_;d,o ) xe o,,W,.hhei r d t h rmance n er,
a er' ans ., n_4ta at ;es (gelu!_d v,.d o me,h h )
PrOjeCten (bi;,_. ,_-orkshops me, h,_nde; t x. '' t re Crea eve
STEIm ;s op d;t ,-l,h u,Neh. d i 'mU, e Van e creativ;te;t).
o,der,,,'j_s,_nsteli,.ng (,u,,.,_ers.m.t ' rW'' g'" at het onamal?hel;;h ;s v,
van de ;ndustr;e. Da,rdoor,:e;t sT;gi;i; ;l! zOal,S. .mhgeStal oP dit vlah)' or
naars hun eigen praht;;h te vern;e,wen en. I ^"n Vr e Unsteontmoet;ngsp!,,ts voor hun t i un e e
;nX,da, ooh ,,n m . ' 'n^''' We'e d,'iid. en de naam STEIm vers,h;
r enlg PrO_'ammabOehie en talloze publ;cat;es yex re,'X d, een _"OXe ab,ihant al__ Kamah, ee,, ;nno,_at,.e e. x r ' (d a nU
Oxm) heeh u;Xgebra Cht , ,,,as ,,,_et ,,oorsteib,,, g d Perimentatie die bij STErlm heef, plaatsgevo d D
Eboman de iaaXste ;aren ,Nn ,.. r n en. e SenSO, interfaces die
;n de popu!a,.,, m,z,.eh de o,, 'Ç,hP'i: O'manCeS gebrUiht , laten z;en dat ooh
zi;n. Wl e mgen w'r STEIhi _ aan biidra,,_t te zien
oor mij persoonl;;h, heert STEIh,r ee, bei,, ..k ,
baan als geiu;dsh,,ste,,,r e, aC,de_,.s,he d h een eerSte pro:eCt (ondersteund doo, sTE,hr) dzOe ber OP l V m J a
U e n er ace e ou,,,en e .h d
errorm,n,e ,,nte,r,,s ;gei,,.ds. m;"ii ;:' OPtredens gedaan l_et ;nnovat;
aangesteld a!s post do to,a! rellow aa de con,o,dt ,., __,n,.ve s,.Xy ,.n mon_
_ _ _ __ _ __ _
treal, om onder2oeh te doen naar de toepassing van sensornetwerhen in live
performance, en dan met name dans. Dit is een project in samenwerhing met
wereldwijd behende dansers, zoals Michael SchumacheT (improvisatiedanser
uit Amsterdam), het Attah_lari Centre for Movement Arts in Bangalore,
India, en Jin Mei (China, _ew York). Eerste experimenten bij STEIM in
2006 voTmden een essentiele phase in dit project.
Ik hoop dat de Raad van Cultuur haar advies wil herzien en toch zal adviseren
STEIM op te nemen in de Basis Infrastructuur 2009-2012 en dat daarmee
het voortbestaan van STE_IM in de homende jaTen gewaarborgd zal blijven.
H o ogacht end ,
i,_ - -___'__ _' ''_"
_, _ _ : _ ' _ _0D_
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00 &ri3e Baalm" an
2
Mark Fell
44 Broom Valley Road
Rotherham, S60 2QS
UK
The Council for Culture
Achtergracht 19,
1017WL Amsterdam,
The Netherlands
25th May 2008
I am writing to express my concern about the future of STEIM. Over the past years STEIM
has been central to the development of my professional practice as an artist; it has helped
to facilitate, nurture and support a substantial community of artists and technologists
working in this field in my region. Although working with emergent technologies,
challenging aesthetic approaches and often difficult themes, STEIM has provided a way
into this field for many people and as such provides an essential point of entry. This was
the case in my development. STEIM has not only provided technical tools and methods but
more fundamentally approaches, frameworks and vision about the future of the many
areas that it feeds into.
It’s continued survival is imperative not only for successful professional artists (like myself)
but also for the massive potential community of young emerging artists, technologists and
researchers for which it acts as a beacon.
Mark Fell
Professional artist and curator
Director Umol-Xsapida digital arts productions
Founding director the School of Interactive and Algorithmic Art UK
Martijn Padding
Le Mairekade 5
1013 CB
Amsterdam
25 – 5 – 08
Geachte Raad,
Vandaag zag ik een interview met de scheidende russische dirigent Valerie Gergiev.
Op de valreep waarschuwt hij het Nederlandse muziekleven om zich vooral te
realiseren dat onze unieke positie als vooraanstaand muziekland in de wereld niet
vanzelfsprekend is. Hij maakt duidelijk hoe belangrijk het is om steeds weer te
vechten voor het behoud van die instituten die dat muziekleven zo bijzonder maken.
Ik vecht graag voor STEIM omdat dat instituut al tientallen jaren een uiterst
belangrijk fundament legt waarop het Nederlandse hedendaagse muziekleven floreert.
Waar ter wereld komen ontwikkeling van techniek, live elektronica, research,
improvisatie en compositie zo natuurlijk bij elkaar?
Ik heb zelf in de afgelopen decennia meerdere malen van de expertise van STEIM
geprofiteerd en kennis gemaakt met het oer Nederlandse karakter van het instituut.
Anders dan in de chique academisch wereld van b.v. het franse IRCAM is STEIM
kleinschalig, onacademisch en vooral niet hierarchisch. Iedereen is welkom en je kunt
daar zonder veel gedoe gelijk aan de slag. De combinatie van laagdrempeligheid in
entree en hoogwaardigheid in artistiek opzicht is en blijft uniek. STEIM is nog steeds
een toevluchtoord voor de autonome kunstenaar. Het is uitzonderlijk dat terwijl overal
in de wereld muziekinstituten geleid worden door managers, STEIM blijft kiezen voor
een leider met uitzonderlijke artistieke kwaliteiten. Michel Waisvisch is een fenomeen
en geeft leiding vanuit een uitgesproken vrije visie op cultuur. De artistieke vrijheid
waar Waisvisch zich voor ingespannen heeft, voel je direct wanneer je het gebouw
betreed en dat is weldadig en inspirerend.
Behalve componist ben ik tevens hoofd van de compositieafdeling van het Koninklijk
conservatorium in Den Haag. Op onze afdeling studeren 50 studenten van buiten
Nederland. De meeste van deze jonge componisten werkt regelmatig bij STEIM. Zij
weten dat wanneer je op het gebied van technische innovatie zelfs iets niet voor elkaar
kunt krijgen in Den Haag, STEIM altijd uitkomst biedt. Het is die onbaatzuchtige en
flexibele houding, het niet epateren en het altijd voor de kunst zijn dat STEIM tot één
van Nederlands belangrijkste en zuiverste instellingen maakt. STEIM doet heel veel
voor jonge makers zonder dat daarover op de grote trom wordt geslagen. Dat hebben
ze altijd al gedaan, ook toen ik zelf studeerde.
Het zou een schande zijn en een zinloos verlies van erfgoed en expertise wanneer wij
STEIM zouden moeten missen als een belangrijke peiler onder ons muziekleven.
Luister naar Gergiev!
Hoogachtend,
Martijn Padding
21st May 2008
Dear Sir or Madam,
It is fortunately very rare that one has the opportunity to write a letter calling upon a funding body to
maintain support for an institution that is a national and international treasure. STEIM is one of the
real engines of digital media culture and electronic music, uniquely spanning the generations with
the relevance, depth, excitement and seriousness of the many kinds of things that it does. The
substantial scale of its public events programme, the large number of projects it supports and the
innovation that it drives are what make STEIM a unique resource, one for which the idea of having
to call in favour of its support is frankly amazing.
As an academic in both England and The Netherlands I have founded and taught thriving
postgraduate education and research programmes on digital Media Design and have more
recently founded a programme of advanced postgradute education on the Culture Industry. To me,
STEIM epitomises what is most advanced in both of these areas: all done with a pragmatism,
expertise and matter-of-fact capacity to really imagine the new that is uniquely theirs.
It is well known that STEIM is one of the most advanced centres for the development of electronic
instruments and music in the world. This is a position it has systematically developed and
maintained for decades - at the same time that electronic music has complexified and diversified,
they have kept pace with, taken part in, provided support to and sometimes lead these changes.
But as such, they also achieve something that is a little more hidden. In making such headway in
electronic music, they have also become informal leaders in both software and hardware design
and also in development methods and strategies for these. That is to say, because of the
complexity of the work they undertake, that is at once technical, social and cultural, they are also a
hotbed for active research in the means for the development of meaningful digital media work and
also for advanced working processes. The knowledge-base built into this institution is enormous
and has been and continues to be immensely valuable and inspiring for everyone who comes into
contact with it. It may be that these less public, but intensely valuable and innovative, sides of
STEIM's work would benefit from greater support in order to develop a new dissemination and
publication strategy. Indeed, providing STEIM with more funds in order to ensure that it can
continue to build and to guide for the rest of the century and beyond seems like the only
reasonable approach to this brilliant, inspiring, essential, world-leading institution.
Yours,
Dr. Matthew Fuller
David Gee Reader in Digital Media, Goldsmiths, University of London
Visiting Fellow, California Institute for Telecommunications and Information Technology
_________________________________
Dr. Matthew Fuller
David Gee Reader in Digital Media
Centre for Cultural Studies
Goldsmiths College
University of London
New Cross
London SE14 6NW
e: [email protected]
t: +44 (0)20 7919 7206
w: http://www.goldsmiths.ac.uk/cultural-studies/staff/m-fuller.php
Yale University
Sound Design Department
Yale School of Drama
P. O. Box 208244
New Haven, CT 06520-8244
Campus address:
205 Park Street
New Haven, CT 06511
(203) 432-8825
May 26, 2008
I am a composer on the faculty at Yale University. I was fortunate to have had a residency at
STEIM in the summer of 1998. My experience at STEIM had a significant impact of my
creative life and, indeed, on my career. The composition work I began at STEIM was performed
in New York City while I was a graduate student at Columbia University and it became the basis
of my doctoral dissertation. In part because the success of my dissertation work I was offered a
position at Yale University in 1999, where I have taught ever since. STEIM has been an
inspiration to my students at Yale who have in turn held residencies there. The technology
spearheaded by STEIM was of great importance and its influence is still felt today. STEIM is an
institution of significant cultural value that I hope will continue to be supported and treasured.
Sincerely,
Dr. Matthew Suttor
Beirut, Saturday May 24, 2008
Dear Sirs,
My name is Mazen Kerbaj and i am a trumpet player born and living in Beirut, Lebanon
since 1975. I am also one of the founders and the vice president of the MILL association
that supports and promotes the practice of experimental music in Lebanon by organizing
an annual festival in Beirut since 2001.
I am taking the pen and the time to write to you today to share with you a little bit of my
experience and my relationship with Western Europe as a Middle-Eastern artist.
I hope you will take the time to read my testimony that might be long, but that will surely
give you another point of view of what means the European cultural support for an artist
who lived and grew up in civil war, where culture is the least problem people wonder
about.
I first heard of STEIM when i began getting interested in electronic music, and i was
referred to STEIM as one of the most important electronic institution/research center in
Europe - and probably in the world. With time, and after two trips to Amsterdam, i came
to discover that it was much more than this. After a first contact in 2006, STEIM gave me
the opportunity to achieve projects i wouldn't even be able to start without them.
In less than 2 years, i had the opportunity to:
1- create new musical projects and groups working around the general theme of
interaction between electronic and acoustic music. This includes but is not limited to the
two duos with Joel Ryan and Michel Waiswisz, who are two historical figures,
respectively in the fields of electronic processing of acoustic sounds and of creation and
use of electronic instruments. These two duos that were triggered by my presence at
STEIM for a short period transformed in long lasting collaborations, as we were invited
to perform in various festivals in Europe and America.
2- present the work and the music of 5 Lebanese contemporary musicians and
improvisers (Sharif Sehnaoui, Christine Sehnaoui, Jassem Hindi, Raed Yassin and
myself)) to the Dutch audience, through a series of concerts held at STEIM. These
concerts were also an occasion to present some American and European collaborators in
various groupings working mainly in the field of electro-acoustic music.
Association pour le Développement de la Musique Improvisée Libre au Liban
PoBox : 55581 Sin-El-Fil • Beirut • LEBANON
Website : www.irtijal.org
3- work and record various projects and groups in STEIM studios. Knowing that these
groups are mainly formed of international musicians, it is pretty difficult - not to say
impossible - to find a way of getting all the group together in a studio for a week period
of work and recording. The recordings made during these sessions will be released on 3
to 4 cds very soon (the groups are: "A" trio, Franz Hautzinger's Oriental Space, Mawja
trio, Sehnaoui/Kerbaj duo, and my trumpet solo).
4- begin working on a long thought of project of an electronic device capable of
transforming and processing the trumpet sound. And this has nothing to do with samplers
or synthesizers or mid- controllers you can find in the market, but is more likely an
electronic instrument adapted exclusively to my personal way of playing trumpet, and is
developed both from my ideas and mostly thanks to the advices and ideas of the STEIM
team. I was thinking of this instrument for years, before discovering that STEIM was the
only place i could build it.
I can also talk about the great spirit of research and of human contact that rules in
STEIM, but this will take us to a more subjective point of view, while i would really like
to insist, with all the possible objectivity, on the importance of an institution like STEIM
for artists like me, living in places where there is no support of any kind for cultural and
artistic projects. STEIM is for me the institution that, with very small means, allowed me
to achieve in less than two years, more projects than i did in the previous 8 years.
I hope my best that it will continue support artists from all the world, both in presenting
there music to the Dutch audience, and working with them on their electro-acoustic
projects and inventions.
I will end my long letter by saying that STEIM is unique, and that it is unfortunate.
Unfortunate because with more institutions like this, the artists and creative minds in this
world won't be obliged to make all the compromises they have to do to be able to do their
projects.
Best regards,
Mazen Kerbaj
Vice President of Mill
Association pour le Développement de la Musique Improvisée Libre au Liban
PoBox : 55581 Sin-El-Fil • Beirut • LEBANON
Website : www.irtijal.org
M/ +1 646 591 3682
F/ +1 209 755 8895
36 East 12th St, 6th Floor
New York, NY 10003
socialight.com
m.socialight.com
New
Council for Culture
Postbus 61243
2506 AE The Hague
To Whom It May Concern,
I am a media artist, writer and programmer whose work runs the gamut from
mobile social software to gestural music interfaces to big games and everything in
between. Currently, I am the co-founder and CEO of Socialight, a New Yorkbased company developing social media tools for mobile devices. In addition, I
am an Adjunct Professor at New York University and Columbia University,
teaching classes in big urban games and mobile application design. My work has
been featured on The Discovery Channel, The Wall Street Journal, The New York
Times, Wired, The Guardian, The London Times, Business 2.0, Time Out NY,
Smart Mobs, and Engadget, among others. My writing has appeared in The
Feature, Brainstorm, ITWeb, SL Magazine, and African Expressions. I write a
quarterly column on technology and culture appears in African Communications
magazine.
STEIM is a remarkable place for a number of reasons. This unique institution has
been a fantastic resource for a number of my friends including Takuro Lippit and
Ahmi Wolf, and provides visiting artists with a supportive, creative space in
which they can develop and hone their skills.
Through the institution, I have come into contact with the work of artists I find
inspirational, such as Michel Waiswicz, as well as their extremely useful products
- such as Lisa, Junxion and BigEye.
STEIM is a valuable resource that provides resources, connections and
inspiration for artists and professionals throughout the world. Granting them
additional funds to continue pursuing their vision of developing this unique space
is essential and I trust that you will acknowledge this.
Sincerely,
Michael Eyal Sharon
Founder, CEO
Socialight
Musik und Medienkunst
Musique et arts médiatiques
STEIM
Robert van Heumen
Achtergracht 19
10 1 7WL Amsterdam
The Netherlands
Studienbereichsleitung Musik und Medienkunst
Responsable de la filière de la musique et arts médiatiques
Michael Harenberg
Papiermühlestrasse 13a
CH-3004 Bern
T +41 (0)31 634 91 90
F +41 (0)31 634 91 70
[email protected]
www.hkb.bfh.ch
w w w .medie n - ku n s t. c h
Bern, 26. Mai 2008
Dokument4
STEIM
Dear Council for Culture!
The departement for Music and Media Arts of University of Arts in Bern, Switzerland, is worried about
the future of STEIM. Our department has traditionally a very close collaboration with STEIM, especially
in the field of our international research project „Sound without body?“, collaborating also with the
universities in Basel, Colo gne, Lüneburg and Osnabrück. Another example are our seminars on the
history, theory and practice of experimental musical interfaces in the last years. We closely studied
several projects developed at STEIM and we had many outstanding and interesting video conferences
with STEIM, including an interview with Michel Waisvisz and Andreas Otto. The contact with STEIM,
their experiences and knowledges are extremely fruitful and inspiring for our students. One of the many
famous artists, who developed their technical interfaces for live electronics at STEIM is the singer and
our colleague Franziska Baumann, who is even part of our research team.
STEIM is one of the very rare important institutions for electroacoustic music, where artists and
students, who want to experiment with electroacoustic music, new interface-technologies, interactive,
and live performance can meet and work in this unique enviroment of historical as well as actual
knowledges and experiences. STEIM encloses a vast network of inspiring people, knowledge and
historical experience since the early days of electronic- and computer-music that is unique. And this not
only in the Netherlands, but worldwide. STEIM has always been an exciting workspace for music and
new technologies, doing frontier work in the realm of music and research. We hope that that tradition
will last for many more years to come.
Oper/Opéra • Kunst / Arts visuels • Musik / Musique • Visuelle Kommunikation / Communication visuelle • Musik und Bewegung / Musique et
Mouvement • Vermittlung in Kunst und Design / Enseignement de l’art et du design • Theater / Théâtre • Y (Institut für Transdisziplinarität) /
Y (Institut de transdisciplinarité) • Konservierung und Restaurierung / Conservation et restauration • Jazz • Literarisches Schreiben / Ecriture littéraire
With this letter we would like to express our concerns about your advise for STEIM. We therefore regret
to hear, that you have given a negative advice considering the structural funding of STEIM. In the field
of research and artistic developement STEIM is a unique institution, doing frontier work in the realm of
music and new technology.
Kind regards
Berner Fachhochschule
Hochschule der Künste Bern
Prof. Michael Harenberg
2
Council for Culture
Postbus 61243
2506 AE The Hague
The Netherlands
22 May, 08
To the Dutch Council of Culture,
I recently heard from a colleague that the Studio for Electro-Instrumental Music
(STEIM) in Amsterdam is currently facing possible funding cuts, and with due
respect, would like to offer you my opinion on this situation.
I am a co-founder of an annual international conference, New Interfaces for Musical
Expression (NIME), which has benefited from many seminal contributions by
STEIM’s researchers and artists. Indeed, STEIM’s pioneering activities in
experimental musical instrument design and performance were an inspiration during
the planning of the first NIME workshop, held in the year 2001. STEIM produces
affordable software such as the LiSa and JunXion programs which are useful to many
who participate in this conference as well as the larger community of computer music
artists and researchers. STEIM is the only organization in the world specializing in
research, design, and performance with new musical interfaces. As such, it a plays a
vital role in the progress of the international community of researchers and artists
working in this area.
The existence of human-scale organizations, such as STEIM, which have impact far
out of proportion to their size and resources, appears to me as a puzzling but
impressive and admirable phenomenon of the Netherlands. It would be a great
disappointment to see the steady continuation of STEIM’s work jeopardized.
Sincerely,
Michael J. Lyons
Professor of Image Arts and Sciences
Ritsumeikan University
56-1 Tojiin Kitamachi Kita-ku
Kyoto, Japan 603-8577
[email protected]
STEIM OPHEFFEN IS EEN CULTURELE EN INTELLECTUELE MOORD
Met verbijstering en machteloze woede heeft ondergetekende, Moniek
Toebosch, de adviezen gelezen over STEIM, zowel van de Raad voor Cultuur,
als van de Amsterdamse Kunstraad.
Beide adviezen getuigen weliswaar van enige sympathie voor het instituut,
maar gaan volstrekt voorbij aan wat STEIM werkelijk betekent voor (jonge)
kunstenaars en muzikanten en wat voor rol het speelt binnen de ontwikkeling
van de hedendaagse muziek-en kunstpraktijk.
Als regelmatig gebruiker van Steim sinds 1978, heb ik de continue
veranderingen waargenomen zowel binnen Steim als in de beroepspraktijk.
Waar STEIM met name door de 30 jaren van haar bestaan heen in uitblinkt is
het vooruitlopen op nieuwe technologische ontwikkelingen, deze
ontwikkelingen in haar prognoses voor de toekomst meenemen, en zodoende
talenten aan zich weet te binden, die deze toekomstige ontwikkelingen eigen
maken in samenwerking met de technici/uitvinders van Steim.
Dit zijn ogenschijnlijk niet altijd even spectaculaire uitvindingen, maar vaak
blijkt eerst jaren later dat deze uitvindingen gaandeweg in het commerciële
circuit worden toegepast.
STEIM is een van de weinige kleinschalige artistieke laboratoria, waar het
accent niet ligt op spectalulaire projecten (zoals bv EL HEMA van
Mediamatic), maar waar de publiciteit bewust sober is omdat het accent ligt
op het laboratorium. STEIM zoomt in op de allerindividueelste ontwikkeling
van gereedschappen voor kunstenaars en het is een pertinente leugen om te
zeggen dat ze daarin inmiddels achterop lopen.
Wanneer de musicus/kunstenaar zijn ʻdingʼ heeft ontwikkeld kan hij er in
principe mee verder. Dus hebben de meesten gebruikers geen fatale
bindingsangst, zoals je ziet bij andere instituten, waar steeds opnieuw
dezelfde kunstenaars worden getoond.
Bij STEIM wordt je vooruitgeholpen in de praktijk van de podiumkunsten.
Wil de kunstenaar verder ontwikkelen dan kan hij opnieuw een aanvraag
indienen, mooier kan een instituut dat onderzoek en ontwikkeling hoog in het
vaandel heeft, niet gaan.
Als directeur van DasArts (Advanced Studies in Theatre, Performance, Dance
and Visual Arts) waar ik tot september 2007 werkte, heb ik STEIM een keer in
zijn geheel, (met alle medewerkers en know-how), als mentor gehad. De
iiefde voor de electronica, die bij mijn muzikanten, theatermakers en
kunstenaars vaak met grote angst gepaard ging, werd in een drie maanden
durende workshop door velen overwonnen. Nog steeds gaat een aantal van
deze jonge afgestudeerden naar Steim om hun beeldtaal met de nieuwste
technologie verder te ontwikkelen met behulp van haar hooggekwalificeerde
technici.
Wie gaat er in deze leemte in de nabije toekomst voorzien? Hoelang duurt het
voordat een nieuw instituut een zodanige naam van portantie weet te
veroveren? Hoeveel waardevolle contacten met internationaal opererende
instituten(zoals het IRCAM in Parijs, e.a. ) gaan met deze twee armetierige
adviezen verloren? Waar kunnen musici, jonge uitvinders en kunstenaars
elders zoʼn open, laagdrempelig instituut vinden als Steim? Welk ander
cultureel instituut weet steeds opnieuw een totaal nieuw soort publiek te
vinden, door om de twee jaar een nieuwe artistieke directeur te benoemen
van internationale allure, of een driemanschap te werven dat vanzelf een
eigen publiek meebrengt en of creëert? Hoe durven deze adviezen keer op
keer te spreken over een kleine niche in de kunsten, als negatief?Hoeveel
dezelfde bezoekers trekt Bureau Amsterdam, waar men alleen maar toont ,
maar niets ontwikkelt? Hoe weten deze adviesraden waar hun publiek
vandaan komt? Hoe klein of hoe groot het is? Is de ene jonge kunstenaar
soms te jong (Hila Peled, Isr) en dus nog onbekend en die andere beroemde
(Laurie Anderson, USA) te gevestigd?
Mogen de minister die naast cultuur ook wetenschap en dus onderzoek
in zijn portefeullle heeft, en die weet hoe gecompliceerd het is voor een
laboratorium om welk onderzoek dan ook met een ʻgroot publiekʼ te delen, als
ook de wethouder van Cultuur van Amsterdam zich rekenschap geven van de
culturele moord waartoe het definitief verdwijnen van het e-cultureel platform
STEIM moet worden bestempeld.
Want, zo vraag ik mij, Is de betekenis van een artistiek laboratorium niet ʻan
sichʼ een kleine gemeenschap bedienen, om met de opgedane kennis, de
grote wereld met een millimeter meer culturele ervaring te verrijken, ja zelfs te
veranderen?
Moge deze dwalingen in het DNA van de adviseurs van beide raden leiden tot
een hernieuwd onderzoek naar de werkelijke culturele betekenis van STEIM.
Want zoals gesuggereerd in het advies van de RAAD VOOR CULTUUR, een
laboratorium overdragen aan het Fonds voor de Podiumkunsten betekent
vooralsnog dat STEIM moet gaan concurreren met aanvragen van
choreografen, componisten, kunstenaars, dansers en muzikanten om een
tweejarig plaatsje onder de zon, en dat terwijl ze juist deze groepen van
dienst is geweest in alle jaren ervoor. Ik kan het weten, was er getuige van en
heb dankzij Steim mijn bijdragen aan de kunsten op hoog niveau kunnen
ontwikkelen.
Moniek Toebosch, 23 mei 2008
|| Nat Muller | Willebrordusstraat 109 D |3037 TN Rotterdam, .nl ||
BTW N° NL2097.17.142.B01
|| [email protected] | 0031-06-52474016 ||
Rotterdam, May 20th 2008.
Reference: Structural Funding STEIM
To whom it may concern,
I was shocked to hear that STEIM might be in danger of losing its structural funding
based on a review of the advisor board, which dubbed it “"closed and only appealing to a
niche audience". This assessment is not only misguided, it is uninformed in relation to
what STEIM is and does. STEIM is a national and international hub for experimental
musicians, and has been so since its inception. It is a place where avant-garde musicians
and audio artists can meet their peers, exchange ideas and collaborate. The recording
studios and technical know-how of STEIM is unique, as are its residencies, workshops,
and is its vision in the development of music software. In that sense historically, and to
date, STEIM has been an important factor in the development of contemporary music. It
is of utmost importance that STEIM keeps on playing that role.
Over the years renowned artists, and budding musicians, have found their way to STEIM.
And while concerts might not attract hundreds, the sessions are always very well-visited.
Let us leave the crowds of thousands to the Heineken Halls: STEIM fulfils a different
role: that of experiment, development and of being a vortex for a community of
contemporary sound artists worldwide. The tendency to push artistic practice in the realm
of the popular, where quality is only measured by quantity is dangerous, relegates artists
to the role of mass entertainers, breeds mediocrity, and is contrary to what art is:
autonomous. Places like STEIM are gems which should be treasured, and are places
Amsterdam as a city, and The Netherlands should pride themselves on; The Netherlands
always having played a pioneering role in nurturing electronic arts and their experiment.
Where would aspiring sound artists go to if there were no STEIM? Where would one, the
one week find a Lebanese musician playing, the other week a Japanese, and the next a
workshop about new musical tools?
For the sake of artistic development, but also for the rich legacy STEIM holds, I strongly
urge to reconsider you assessment.
Sincerely,
Nat Muller (curator)
Council for Culture
Postbus 61243
2506 AE The Hague
The Netherlands
22 May, 08
To the Dutch Council of Culture,
On behalf of the International Steering Committee of New Interfaces for Musical
Expression (NIME), we are writing in support of Amsterdam’s Studio for ElectroInstrumental Music (STEIM).
NIME is a series of international conferences focused on novel human interface
technology as applied to musical performance. The conference is in its 8th year,
taking place next month in Genoa Italy. It began as a workshop in 2001 at the
SIGCHI Conference on Human Factors in Computing Systems in Seattle, and has
since been held in Dublin Ireland, Montreal and Vancouver Canada, Hamamatsu
Japan, and New York City, and has grown from an initial group of 20 to an
international community of over 200 delegates attending each year.
STEIM has been active in the core research area of NIME – sensor-based musical
instruments – long before NIME was first organized. It represents, then, one of the
leading precursors in our field which is today recognized by the ACM Digital Library
as an established domain of scientific endeavor. While NIME brings music together
with research in human-computer interaction, STEIM proves that musicians had
already been active in exploring these avenues of creative research.
This history has been recognized not only by performances of Michel Waisvisz at
NIME concerts in 2002 and 2006, but also his closing keynote address for the
SIGCHI conference in 2005. This demonstrates the fundamental place of STEIM in
the increasingly important rapport between art and science.
As colleagues in this international community, we look forward to continued
inspiration and exchange with STEIM in the future.
Sidney Fels, Associate Professor
Director of MAGIC
Media And Graphics Interdisciplinary Centre
The University of British Columbia, Canada
Norbert Schnell, Researcher
Real Time Musical Interactions Team
IRCAM – Centre Pompidou
Paris France
Michael Lyons
Professor of Image Arts and Sciences
Ritsumeikan University, Kyoto Japan
Carol Parkinson, Executive Director
Harvestorks Digital Media Arts Center
596 Broadway Suite 602 NYC USA
Yoichi Nagashima, Professor
Department of Art and Science, Faculty of Design
Shizuoka University of Art and Culture, Japan
Joseph A. Paradiso
Sony Career Development Professor
Director, Responsive Environments Group
MIT Media Laboratory
Cambridge, Massachusetts USA
Tina Blaine
Curator, Tech Museum of Innovation
San Jose, California, USA
Frederic Bevilacqua, Head Researcher
Real Time Musical Interactions Team
IRCAM – Centre Pompidou
Paris France
Atau Tanaka
Chair of Digital Media
Culture Lab
Newcastle University
UK
[email protected]
napoleonsberg 104
d - 52076 aachen
fon +49 (0) 2408 146880
www.paulhubweber.com
www.paulhubweber.wordpress.com
www.nurnichtnur.com
www.z-a-m.eu
Paul Hubweber, Member of the Cologne Musicians Scene, born 1954
I work as an internationally active musician, composer and conductor for nearly 40 years now. Also
I am active member of prominent Musicians’ and Artists’ Initiatives like JazzHausInitiative Köln
e.V. und ZAM e.V. (Zentrum Aktuelle Musik), and one of the early Moers-Festival organizers.
Since the age of 15 I am acquainted with Michel Waisvisz. I think he is one of the most important
and pioneering personalities in the world of music and art. It is his undogmatic, wide awake, open
to all sides kind of character that I appreciate most. Michel’s energy of determination and tolerance
has been flowing into the STEIM institute.
Over many years STEIM has developed into a meltingpoint for the international scene. There is
nothing of similar quality to be found all over Europe. Research projects in the STEIM institute
have triggered prolific processes that would not have come about otherwise. The creative and
serious vigour of the whole STEIM team made this possible.
It’s niche existences like STEIM that feed the mainstream!
Creativity is the key to social life. In that respect STEIM should carry on.
Think european! Let STEIM live.
Den Haag, 22 mei 2008
Geachte Raad van Cultuur.
STEIM mag niet verdwijnen. Het is Nederlands cultureel erfgoed.
Met onbegrip en verontwaardiging is het bericht in de internationale muziekwereld
ontvangen dat STEIM niet tot de basis infrastructuur van de Nederlandse muziek zou
moeten behoren. Althans, volgens de Raad van Cultuur dan. Waar je ook ter wereld
komt bij, festivals, concerten, congressen, symposia, organisaties en instituten mbt
electronische muziek...............iedereen kent STEIM. Dat is niet voor niets, mensen zijn
niet gek, en al zeker niet in de internationale muziekwereld. In de afgelopen decennia is
STEIM door zich voortdurend te presenteren als experimenteel en innovatief instituut
voor de ontwikkeling van toegepaste soft- en hardware ten behoeve van electronische
en elektro-akoustische muziek, een onmisbare schakel geworden in de ontwikkeling van
nieuwe muziek, zeker in Nederland en ook vooral internationaal. De bijdrage van Michel
Waisvisz en de vele medewerkers van STEIM - jong, oud, altijd weer verrassend,
avontuurlijk en van hoge kwalitiet - is van essentieel belang voor de verdere ontwikkeling
van de nieuwe muziek. STEIM heeft in Nederland nog steeds een voorbeeldfunctie. Er
wordt voortdurend nieuw materiaal ontwikkeld, van heinde en ver komen jonge (en ook
nog steeds meer ervaren ) kunstenaars om in het instituut onderzoek te doen, de
toepassingen van electronica in nieuwe media muziek, improvisatie en compositie
worden steeds in verrassende concerten getoond. Beseft u wel aan hoeveel instellingen,
podia, operas, concerten, en produkties STEIM tot nu toe heeft bijdragen? Voor velen,
jong en oud, is STEIM een symbool van dat het loont om je te wijden aan innovatie via
experiment, hard werken en hoge eisen te stellen. Experiment, ontwikkeling en innovatie
kosten tijd en geld. Het is de verantwoordelijkheid van Amsterdam en de Nederlandse
politiek - die werkt voor de Nederlandse bevolking, vergeet u dat niet - om cultureel
erfgoed te beschermen. STEIM hoort in de Nederlandse culturele basisinfrastructuur
thuis. Laat Nederland zich alsjeblieft niet voor gek zetten.
Peter van Bergen
Componist - musicus.
Director LOOS Foundation.
Director International Institute for Improvisation.
From:
Subject:
Date:
To:
Reply-To:
Phil Burk <[email protected]>
letter of support
25 mei 2008 00:12:48 GMT+02:00
[email protected]
[email protected]
Here is my letter in support of STEIM. I hope it helps.
Council for Culture
Postbus 61243
2506 AE The Hague
Hello,
I am President of Mobileer Inc. We provide music and audio software for mobile phones and portable devices
such as toys. My customers include Palm (makers of the Treo phone), Saxa (manufacturer of office phones)
and a large Japanese semiconductor manufacturer, and also two of the largest toy companies.
I am writing in support of STEIM in Amsterdam. I visited STEIM in the early 90's and presented my
experimental music software (HMSL) to several musicians and composers. I also collaborated with researchers
at STEIM.
STEIM provided a gathering place for experimental musicians to meet, make friendships, build new devices,
write software, and explore new ideas. As a community, we were designing software that could make sound
directly from the computer, creating new musical instruments, and exploring new ways to compose music.
In the 80's and 90's we were considered to be on the fringe of the music scene. But it turned out that much of
what we were doing then is now a major part of contemporary music in this decade, both popular and
"classical". There is also now a multi-million dollar industry involving computer music techniques that was
developed originally in the 80's and 90's by these experimenters on "the fringe".
I think there are many benefits to Holland by keeping STEIM open. These include:
1) STEIM contributes to the advancement of music and related arts by encouraging new ways of thinking.
2) Visitors from other countries come to Amsterdam and share their knowledge with researchers at STEIM.
These researchers then use their skills in the arts and industry in Holland.
3) Visitors from other countries admire Holland for supporting music and art.
4) The experimental activities happening at STEIM now will become important parts of industrial technology in
the next decade.
5) Applying computers to music can inspire students to learn important technology with great enthusiasm and
at a relatively low cost.
The activities at STEIM are on the edge of the music world. But they are on the forward edge and not on the
side. If STEIM was doing things that were not on the edge then they would be common and there would be no
need for STEIM. But STEIM is leading the way for others to follow. In order to lead STEIM must always stay in
front, at the cutting edge.
Please continue to support STEIM and help them stay on the edge.
Thank you,
Phil Burk
------------------------------------------------Mobileer Inc, http://www.mobileer.com/
75 Pleasant Lane, San Rafael, CA, 94901 USA
Phone/FAX: +1-415-453-4320
Mobile: +1-415-846-4370
-------------------------------------------------
RAFAEL TORAL
Composer
R. Sousa Viterbo 21, 2E
1900-424 LISBOA, Portugal
[email protected]
Council for Culture
Postbus 61243
2506 AE The Hague
Dear member of Council for Culture,
My name is Rafael Toral, a researching and performing musician known for the
development of the "Space Program". This work program has already been widely
recognized throughout the world as an innovative approach to electronic music. It is
focused on custom-built or modified instruments with an emphasis on physical
performance.
STEIM has a long history of pioneering studies and accomplishments in the field of
electronic music instrument interfaces, in other words, in developing ways for
human beings interact most effectively with electronics in music performance.
In fact, it was my first visit to STEIM, in 1995, that triggered my interest in custom
electronics and has remained an inspiration for developing my work. I would hardly
have been able to build my successful career without STEIM's knowledge and
support.
STEIM is regarded in the researching world of music electronics as a unique
research center. Unique in the whole world, in a way not comparable to other
renowned institutons such as IRCAM or Sonic Arts Research Center, to name just
two. STEIM has been accessed by a large number of musicians, researchers and
composers, and its positive impact in the global community is enormous. Keeping in
mind that the vanguard breakthroughs become most often accepted and
integrated by a large audience, STEIM's contribution to the world's technological
development is both unmeasurable and invaluable today.
The permanence of STEIM is, therefore, an absolute necessity, on one hand a central
reference for creative minds in the whole world, and on the other hand an
important manifestation of Netherlands tradition of innovation and creativity. A
world without STEIM is not imaginable.
Warm regards,
Rafael Toral
Lisbon, May 20th, 2008
From:
Subject:
Date:
To:
René Uijlenhoet <[email protected]>
Aan de Raad voor de Cultuur
23 mei 2008 14:03:43 GMT+02:00
STEIM <[email protected]>
Geachte Raad voor Cultuur,
U heeft heeft in uw oordeel over STEIM naar mijn mening uit het oog verloren hoe laagdrempelig dit instituut in
werkelijkheid is.
Aanvragen voor projecten kunnen met een minimum aan bureaucratie worden ingediend, beoordeling volgt
snel en de ondersteuning tijdens de uitvoering van de projekten is onnadrukkelijk en uiterst deskundig.
Ik weet dat mijn studenten en oud studenten gastvrij zijn ontvangen en onbezorgd aan hun werk hebben
gezeten. Van de internationale kontakten die ze bij STEIM opdeden hebben ze nog altijd plezier.
Zelf heb ik ten behoeve van een uitvoering van een oud werk zeer snelle hulp van STEIM gekregen, na korte
tijd was het oude stuk voor 'vergeten technologie' weer gered en kon mijn reis naar het concert in de USA
beginnen.
Nergens in ons land bestaat de mogelijkheid om via residencies in een goed geoutilleerde studio met betrokken
medewerkers aan projekten te werken.
Ik vraag u daarom met klem deze enige uitzondering op de regel niet te korten op hun rijksondersteuning, wat
ze doen is bijzonder nuttig voor vele soorten kunstenaars, en de door STEIM medewerkers gedane
uitvindingen zijn te zien en te horen over de gehele wereld!
In de hoop u op andere gedachten te hebben gebracht teken ik,
met de meeste hoogachting,
René Uijlenhoet,
componist, docent compositie elektronische muziek aan het Conservatorium van Rotterdam (CODARTS)
Venushof 3
3738 XH Maartensdijk
06 10 33 2179
[email protected]
Faculteit Kunst, Media & Technologie
Hilversum, 27 Mei 2008
Geachte Raad voor Cultuur,
Al jaren lang functioneert STEIM als stageverlener voor en mede-participant in
projecten van de opleiding Muziektechnologie van de Hogeschool voor de Kunsten
Utrecht.
Studenten & docenten zijn zonder uitzondering enthousiast over het instituut STEIM.
Voor ons dus een reden om STEIM middels deze brief een hart onder de riem te
steken en het belang van STEIM voor onze opleiding te benadrukken.
Vriendelijke groeten,
Rens Machielse
Hoofd Muziektechnologie
Faculteit Kunst, Media en Technologie - Hogeschool voor de Kunsten Utrecht.
Postadres: Postbus 2471, 1200 CL Hilversum
Bezoekadres: Oude Amersfoortseweg 131, Hilversum
Tel.: 035-6836464
Fax: 035-6836480
http://www.hku.nl
Faculteitsbestuur
Jan IJzermans, vz
Postbus 2471
1200 CL Hilversum
Telefoon 035 - 6836464
Fax 035 - 6836480
Internet www.hku.nl
E-mail [email protected]
K.v.K. 41178974
To whom this may concern,
It was a great shock to hear recently that STEIM is in danger of losing its structural funding from the
Dutch government. This comes hard on the heels of a similar fund-cutting exercise in the UK which
ended funding to almost 200 companies; I and many others around the world have always looked to
the Netherlands as a model of liberal and inclusive arts funding, and to the vibrant cultural life in the
Netherlands as a model of what can be achieved thereby.
I myself lived and worked as a musician in Amsterdam between 1993 and 2001. Especially during the
first few years of that period, my work benefited enormously from the opportunity to work regularly at
STEIM, to give performances, to collaborate with other musicians who would regularly be visiting from
around the world, to attend performances by luminaries of experimental music such as Alvin Lucier
and the late David Tudor, and above all to develop my artistic and technical ideas with the help of
STEIM's unique combination of enthusiastic, highly intelligent and imaginative staff.
The result of this development has been that I have used STEIM's LiSa software in virtually all my liveperformance work since the mid-1990s, which has involved performances throught Europe and also
the USA, South America and Australia, in contexts ranging from jazz clubs to major international
festivals, and is documented on ten released CDs of my compositional and improvisational work. I am
currently working on a commission from the London Sinfonietta which likewise will incorporate STEIM
software in a central position. It would be true to say that my work as a musician would not have
evolved as it has without STEIM; and that of course includes the fact that my reputation as a musician
has led to my being offered a professorship here at Brunel University, where our music department
specialises almost entirely in the kind of challenging experimental work in composition and
performance which has been central to STEIM throughout its history.
The foregoing is only one of many stories which could be told about the influence of STEIM spreading
through the world in sometimes unexpected ways. It is in the nature of an institution like STEIM that it
must accompany the most experimental movements in musical art rather than appealing to the kind of
populist constituency which is already well-served in the commercial arena. STEIM is one of the
important reasons why "Nederlands muziekleven" has such a well-deserved reputation worldwide for
flair and innovation. Its history speaks for itself and its future should be allowed also to speak freely.
yours
Richard Barrett
Professor Richard Barrett
Director of Postgraduate Research in Music
School of Arts
Brunel University
Uxbridge
Middlesex UB8 3PH
England
(+44) (0) 1895 265411
Beste,
Het is voor een buitenstaander, en zelfs voor goede ingewijden - zeer moeilijk te begrijpen
dat een organisatie die door haar expertise en visionaire kracht, ruimte heeft gecreeërd
om vj's, dj's en sensor installaties steeds meer mainstream te laten worden, en op een
bepaald moment samen lijkt te vallen met een state of the art, de rust moet krijgen om
zichzelf opnieuw te positioneren. Steim is een organisatie die een geschiedenis in zich
draagt die in staat is om de waan van de dag te relativeren, er een autonome lijn in te
ontdekken en de beste jonge kunstenaars in staat stelt hun eigen praktijk geconfronteerd
te zien met een reeds gearticuleerde visies. Dat zomaar schrappen is simpelweg niet
snappen hoe vernieuwing in de kunsten werkt. Het is absurd dat een organisatie als
Concertgebouw Orkest een half miljoen meer krijgt, ondergebracht als ze is in een
Concertgebouw dat draait met hoofdzakelijk privaat geld. Dat kan zo privé gesponsord
worden. Het underground proces, het handwerk, de plek waar alle oude componisten van
toen zouden hebben gezeten, steim, zou teruggaan naar 0. Als beslissing niet alleen
onbegrijpelijk, gewoon onbekwaam. In dezelfde lijn ligt het advies van de Kunstraad om
Waag Society niet te steunen. Daar geldt dezelfde redenering en daar komt nog bij dat
Waag gestraft lijkt te worden voor haar poging technologie, kunst en een ontwerpraktijk te
vertalen naar voorlopers in het culturele veld ( bibliotheken, scholen, musea...). De
creatieve labfunctie die zich inzet om sociale cohesie en solidariteit te bevorderen, te
ijveren voor publiek domein op het internet en in het alledaagse leven ( met een toename
van computers en sensoren op straat), zich bekommert om een stad waar meer dan
honderd nationaliteiten in samenleven, die labfunctie wordt op 0 gezet en waar gaat een
derde van de begroting van de Kunstraad van de stad Amsterdam naar toe? Naar het
Stedelijk Museum, het Concertgebouw orkest en de Stadsschouwburg. Ja, daar gebeurt
het. Maar voor wie?
Rob van Kranenburg
Waag Society
E D IS D N
B IR TH P L A CE
ASSEtrIATIEN,
P. E . B n x 4 5 1
I E o r s o N Dn r v e
MILAN
EI-{Ir:
44A4b
INC.
Councilfor Culture
Postbus61243
2506AE The Hague
DearCouncilfor Culture.
I wasdismayedto hearthatSTEIMmayin the dangerof losing
fundingfromthe government.As an electronic
musician(l playanalog
synthesizer
andThereminin the avant-garage
bandPereUbu)and
relativeof ThomasEdison,I understand
the importance
of workthatmay
payoff,but nonetheless
not seemto havelmmediate
advancestechnology
andhumanthought.
STEIMhasbeenan influential
forcethatis feltaroundthe world.I
do hopeyouwillcontinue
it'sfunding.
ge>
K (-.\l.
RobertK. L. Wheeler
President
EdisonBlrthplac*
Association,
!nc
Namens het Ensemble MAE wil ik u hierbij laten weten dat STEIM een belangrijke
samenwerkingspartner is voor onze groep. In onze meerjarenaanvraag 2009-2012 hebben wij STEIM
ook als zodanig opgenomen in enkele projecten. De integratie van elektronica in de hedendaagse
(gecomponeerde) muziek in naar onze mening een belangrijke factor in de ontwikkeling van de
hedendaagse hedendaagse muziek. Alhoewel deze werelden, zoals u weet, ver uit elkaar lijken te
liggen, is de openheid van STEIM ten aanzien van de akoestische hedendaagse muziek voor het
Ensemble MAE dan ook een waardevol gegeven.
Op persoonlijke titel kan ik u meedelen dat ik van 1999 t/m 2006 invulling heb gegeven aan de
concertserie van STEIM. Alhoewel dit slechts één van de vele activiteiten is die STEIM ontplooit, kan
ik u zeggen dat deze concerten waardevol zijn voor het muziekklimaat. Ze zijn overwegend
signalerend van aard. Opkomend talent in de elektronische muziek krijgt hier een kans zich te
presenteren. Interessant aan de concerten is verder de diversiteit in muzikale stijlen, variërend van
geïmproviseerd tot turntablism en experimentele techno. Een voorts zeer belangrijke factor is de
informele atmosfeer van de serie. Het publiek is jong en vaak verbonden aan opleidingsinstituten,
opmerkelijk vaak buiten de muziek, zoals de Rijksacademie voor Beeldende Kunst, DasArts, de
Rietsved Akademie en het Sandberg Instituut. Ik ben er van overtuigd dat de STEIM-concertserie
een positieve invloed heeft op de ontwikkeling van deze aankomend professionele doelgroep.
Het bestaan van een organisatie als STEIM, die zich open stelt voor de onafhankelijke, nietgeëtableerde maker of uitvoerder in de elektronische muziek is van wezenlijk belang in ons muzikale
bestel.
Namens het Ensemble MAE,
Roland Spekle
Ensemble MAE
Piet Heinkade 5
1019 BR Amsterdam
dear sirs:
my name is ryoji ikeda, a japanese composer/artist living in paris.
i and carsten nicolai (german artist/musician) stayed at the steim studio in the summer of
2000, to develop our collaborative project called cyclo.
the stay was a real creative moment of us. thanks to steim's tremendous generousness,
we discovered some key artistic methods of our later activity. i am still very thankful to all
of steim people.
so i must say, many incredibly creative works have been emerging from steim. to lose
steim is a huge loss of people all over the world. we often realize the very importance after
the important things were disappeared.
this time we should not repeat it again.
best regards,
ryoji ikeda
ryoji ikeda studio
29 rue mehul, 93500 pantin, france
m: +33 (0)6 84 63 49 24
www.ryojiikeda.com
From:
Subject:
Date:
To:
sachiko hayashi <[email protected]>
don't shut down STEIM
25 mei 2008 11:56:25 GMT+02:00
[email protected]
To the Council for Culture, the Netherlands
My name is Sachiko Hayashi and I am an artist who work in interactive media. I am also an editor-in-chief of
online journal Hz which focuses on Art and Technology. The journal has been used as reference at several
American universities for their students.
The news that the Dutch authorities are considering removing funding from STEIM came as a shock, to say the
least. STEIM has been a profound contributor to the development of contemporary music and interactive art
scenes since its establishment. Its contributions are beyond praise and the International art communities have
much to owe STEIM and the Netherlands for its achievement.
It is beyond my comprehension that the assessment of STEIM came out as 'closed and only appealing to a
niche audience'. My understanding of STEIM is exactly the opposite: STEIM is among the few institutions
around the world whose contributions have changed the way we relate to technology and thereby been a
tremendous inspiration to so many musicians and artists. Their achievements are real and not confined to the
closed niche audience.
The present reputation of the Netherlands' art has been achieved among other things by STEIM. The risk for
STEIM's inability to continue its contribution to the International art communities is therefore of a great concern
for artists around the world. I hereby ask the Dutch authorities to reconsider and re-review the report of your
advisory board.
Sincerely yours,
Sachiko Hayashi
Culture Lab
The Grand Assembly Rooms
King’s Walk
Newcastle University
Newcastle Upon Tyne
NE1 7RU
TO WHOM IT MAY CONCERN
Letter of support for STEIM
Newcastle, May 25th 2008
It is extremely worrying to learn that STEIM’s future is in danger as a result of funding issues. Apart
from being a well established node for flourishing Dutch networks devoted to creative endeavour,
STEIM is a flagship for the international community of performing artists, technology developers, and
cultural entrepreneurs. My personal links with this organisation go back to the late nineties when,
engaged as a research associate on EU Framework Information Society Technologies projects at the
Zentrum fur Künst und Medientechnologie, I assumed the role of STEIM’s artistic co-director. In this
capacity, and in association with Michel Waisvisz and Joel Ryan, I collaborated on the 1998 « Touch
Festival », a unique event which packed the Frascati Theatre with Dutch and international visitors for a
concert series, exhibition and symposium. Subsequent initiatives included STEIM representation at
prestigious events organised in France by IRCAM, the International Institute of Puppetry, the Ecole
supérieure de l’image, and the European Festival for Young Digital Creation. Given its status as a core
Virtual Platform member, I represented STEIM at Dutch and international cultural policy events
including the Linz Cultural Competence conference under the European Presidency.
As ex Director General of a higher arts school in France specialised in creative work related to digital
technologies, and as current Founding Director of a creative practice-led interdisciplinary research lab
in a UK University, I have been able to regularly gauge the influence and quality of exemplarity STEIM
embodies for the international community. Students and teachers from establishments I have led, who
have had the good fortune to be hosted by STEIM, have always derived immeasurable benefit from
the unique blend of hands-on competence and conceptual, creative skills STEIM epitomises for the
international community, as well as its singular pedagogical and mentoring expertise. The network of
artists and technology developers affiliated with STEIM covers the entire globe to form a remarkably
mixed, yet cohesive community of interests, and stands as an eminently quoted reference.
It is impossible to imagine that a cultural asset of this scale for the Netherlands and beyond might be
in jeopardy. Today there is a recognised need for artistic experience and processes moving beyond
sometimes glib «creative industries» discourse, thus for organisations with proven ability to reach
diverse publics whilst maintaining their innovative edge. STEIM stands as a hugely respected model of
creative integrity for artists, developers and cultural policy makers world-wide. For these reasons and
many more, I wish to express my commitment to STEIM, my fullest appreciation of those who have the
acumen to support this unique structure, and my willingness to reiterate this commitment in whatever
form will help muster the means to ensure STEIM’s continued development.
Sally Jane Norman
Docteur d’etat – Paris III
Director
Culture Lab
Telephone · 0191 246 4646
Fax 091 246 4607
Onderwerp: Letter of support
Beste,
Tijdens het Babelutfestival in Neerpelt, maart j.l. werd Kristina Andersen
uitgenodigd om enkele workshops met peuters en kleuters te verzorgen.’Touchy
Sounds’ en ‘Nosepainting’ werden geïntroduceerd. De workshops werden een
heus succes voor zowel de peuters/kleuters als de ouders. Het was duidelijk dat
het hier ging over artiesten die op een zeer doordachte en professionele manier
de wereld van peuters en kleuters geobserveerd hadden. Het resultaat werd een
sublieme en zeer fijnzinnige combinatie tussen kunst en spel.
Wat wij van de stichting STEIM hebben gezien is van ontzettend belang in het
onderzoek van het huidige muzieklandschap.
Kristina en haar equipe verdient alle ondersteuning om op deze unieke manier te
kunnen verder werken.
Ik hoop in de toekomst ook nog beroep te kunnen doen op de fantastische
kwaliteiten van deze STEIMploeg.
vriendelijke groeten,
Sarah Verhulst
musicus, coördinator van workshops in het Babelutproject
MUSICA vzw, Impulscentrum voor Muziek
tel +32 495 14 50 41
[email protected]
From:
Subject:
Date:
To:
Satoshi Morita <[email protected]>
my 2 cents for support
23 mei 2008 12:11:30 GMT+02:00
[email protected]
Dear S T E I M,
I read that you're in danger of losing funding at http://createdigitalmusic.com/
so here's my 2 cents.
--My name is Satoshi Morita, an audio effect developer working for Yamaha Corporation. Although I do
not have direct affiliation with STEIM or have conducted a joint research with STEIM, I have been
following closely to their research activity because of their rich and diverse output to the
electronic music community. I believe that their active research outcome and it's open contribution
to the electronic/computer music community had always been significant. I also have been impressed
by European countries' supportive nature to the new and emerging creativity and it's very
unfortunate that this organization is in financial crisis. Sustaining STEIM will be both beneficial
to the computer music industry and to The Netherlands, because I believe that both party can gain
from the rich and diverse output from STIEM.
(this statement is purely personal, and it's by no means Yamaha Coroporation's official
opinion/statement)
--Best Regards,
Satoshi Morita
Audio Effect Engineer,
Sound Processing Group,
Professional Audio and Digital Musical Instruments Division,
Yamaha Corporation
phone: +81-53-460-3221
writing research associates, nl
26 May 2008
To the Council for Culture:
This letter is written to contribute in support of STEIM a few words about the crucial role
the organisation plays in the ecology of media arts institutes in the Netherlands, Europe
and further abroad.
I work as a writer, researcher and organiser in the interdisciplinary field of new digital
media and performing arts practices mostly in Europe on culturally funded arts projects. I
am well recognized for my contribution to this field having sat on the Interactive Arts Jury
of the Prix Ars Electronica twice and most recently as a Jurist on the new Hybrid Arts
category.
Few contemporary cultural forms of expression have evolved faster since 1996 than
media arts, but the creation of new musical and performance instruments dates back
centuries. This is in part what makes an STEIM, like their larger counterpart in Paris
IRCAM, unique. STEIM straddles both the deep and rich past and the rapidly
approaching future while fluidly managing the present state of constant change.
However, because STEIM is relatively small they are better able to respond to change
than a large organisation like IRCAM. And this is how I have experienced their
contributions to the field -- if I wanted to engage with the most current but considered
thinking on certain topics -- I would look to see what STEIM was doing, what new
initiatives, what slight shift in direction were they taking.
Additionally, I have worked for the dance departments of the Amsterdam School for the
Arts since 1994. It is in the context of organising a conference on new media and
performing arts in 1996 that I encountered the important work of STEIM when we invited
STEIM researchers Sher Doruff and Joel Ryan to make presentations. Since that time, I
have been to STEIM frequently for research meetings and internships organised for our
students, which they have always most generously supported.
Additionally, many of my professional colleagues have passed through STEIM's
orientation workshops and residence programmes. Such projects are notoriously difficult
to measure since the concrete outcomes may be realised in an artistic work or product
someplace else at another time -- but if the many signals I have received over the years
from satisfied artist researchers could be quantified then STEIM would receive the
highest of scores.
All the best
Scott deLahunta
writing research associates, nl
sarphatipark 26-3, 1072 pb Amsterdam
m: +31(0)652641354 / f: +44(0)8701219311
e: [email protected] / w: huizen.dds.nl/~sdela
24 May 2008
Letter of Support for Stichting STEIM
I will be brief and to the point. STEIM is not just one of the better cultural institutions in
Amsterdam. It is stellar – outstanding - in the unique qualities it brings to the Amsterdam cultural
scene. It manages and has managed for +30 years to maintain that delicate balance between the
explorative and daring in art research/performance on the one hand, while preserving the
heritage of electronic music/instrumentation experimentation on the other.
STEIM’s international reputation for excellence in its field is equalled, in my opinion, by no other
Amsterdam institution of comparable size. STEIM has put Amsterdam quite literally on the map of
the history of electronic music experimentation. But its grand and significant accomplishments in
both artistic pioneering and heritage are dwarfed by the generosity of the smaller scale gestures
that facilitate, inform and enable artists, students and partner organizations on a daily basis. I
know of no other local organization that has helped and nourished so many, so straightforwardly.
I have been a programme leader of a large cultural organization in Amsterdam (Waag Society). I
know the workings and interrelations of the Amsterdam art scene quite well. I know of no other
organization that is as reliable and helpful as STEIM in collaborative projects. No other. Period. I
cannot even begin to count the times STEIM’s presence has been pivotal to the success of
projects, large and small. And these are projects outside the realm of STEIM’s own initiatives.
Their influence is exponential.
The expertise at STEIM, what is criticized as appealing only to a “niche audience” is precisely
STEIM’s strength. It is because STEIM has deliberately chosen to NOT follow the corporate
model of expansion into trendy and ephemeral domains, in my opinion, that has strengthened its
raison d’etre; crystallized its products. STEIM does what it does well. It does not try to be all
things to all people in the Amsterdam scene and one can therefore, as public, as presenter, as
collaborator, trust the integrity of STEIM’s clear and distinct approach.
The closure of STEIM at this time is simply inconceivable.
Sher Doruff
Research Fellow/Lecturer Amsterdam School for the Arts
I write in support of the great work that STEIM does for the world of music. I have kept
personally in touch with this through visits and through the high profile that Steim's
creativity has in the UK. I was an international director of Steim in the 1990s (along with
Tod Machover (MIT) and Jean-Baptiste Barrière (IRCAM)).
STEIM has always been an open institution. That is open to new ideas, radical solutions
to artistic questions, innovative and ground breaking approaches. Steim has been open
to visitors from all around the globe. At any given moment the projects, exchanges,
hardware/software outreach and musical dissemination reach all continents.
STEIM has been a key player in the development of hardware and software for
interfaces to the digital world. STEIM software has had an equally important role to that
of the GRM or IRCAM, for example (Sensorlab, Bigeye, Lisa - the list is extensive and
continues to develop).
A group of our students in Music, Technology and Innovation are set to visit STEIM later
this year in what I believe will be a fruitful and educational stay.
The Netherlands has always been home to a vibrant intellectual and artistic life which
has never fallen into mediocrity or pandering to the lowest common denominator.
Standards are high and these need to be maintained and supported. STEIM is a key
player both for the Netherlands abroad and in ensuring a flow of talented and creative
visitors to Amsterdam. Its role is unique and its support needs to be secured to allow
proper planning ahead and continued development.
Yours sincerely,
Simon Emmerson
Simon Emmerson
Professor of Music, Technology and Innovation
Faculty of Humanities
De Montfort University
Leicester LE1 9BH
Tel. 0116-207-8238
http://www.mti.dmu.ac.uk/
Geachte Raad voor Cultuur
De redactie van Sonic Acts maakt zich ernstig zorgen over de toekomst van STEIM, nu
er geadviseerd is om STEIM niet langer structureel te subsidieëren. STEIM is immers
een onmisbaar laboratorium voor nieuwe en vernieuwende kunst, niet alleen in
Nederland maar zeker ook internationaal.
STEIM is al 40 jaar bezig en het blijft met reden een enorme aantrekkingskracht
uitoefenen op musici, componisten en kunstenaars die werken met nieuwe technologie,
en die vanuit experimenteel onderzoek daarmee tot betekenisvolle en meeslepende
kunst komen. STEIM is een kraamkamer voor vernieuwing. Meestal vindt het onderzoek
en het praktische experimenteren plaats bij STEIM, de presentatie volgt op
internationale podia en bij festivals zoals Sonic Acts.
Sonic Acts heeft in het verleden meerdere malen nauw samengewerkt met STEIM, en
blijft STEIM tot op de dag van vandaag op de voet volgen: immers bij STEIM krijgen
kunstenaars de kans om hun concepten verder uit te werken en de benodigde
technologie te ontwikkelen die nodig is om hun werk te realiseren. Een groot deel van de
laptop-scene die Sonic Acts in de afgelopen jaren heeft gepresenteerd, heeft de
vruchten geplukt van onderzoek bij STEIM, tijdens een werkperiode, of omdat ze
software en hardware gebruiken die bij STEIM is ontwikkelt.
Misschien nog belangrijker is dat de ideeën over interactie en live performance die in de
loop van de jaren bij STEIM zijn ontstaan, leidinggevend zijn voor de huidige
ontwikkelingen in de kunst. De overbrugging tussen verschillende werelden – het
academische onderzoek, de computermuziek, interactieve kunst, live performance én de
populaire elektronische muziek – krijgt bij uitstek bij STEIM gestalte. De connecties
tussen die werelden heeft de afgelopen jaren voor vernieuwing in de kunst en de muziek
geleid, en zorgt nog steeds voor vernieuwing. Daarom is STEIM van eminent belang.
Sonic Acts hoopt dan ook dat STEIM zal kunnen voortbestaan, zodat we ook in de
toekomst verzekerd zullen blijven van innovatieve kunst, en toepassingen waarmee
hedendaagse kunstenaars uitdrukking kunnen geven aan wat hen bezighoudt.
Bij STEIM worden nieuwe bouwstenen ontwikkeld voor onze toekomstige cultuur.
Hoogachtend,
de Sonic Acts redactie
Lucas van der Velden
Gideon Kiers
Jan Hiddink
Arie Altena
Martijn van Boven
Annette Wolfensberger
Support brief STEIM Amsterdam 22/05/08
Al sinds mijn studie aan het Haagse Koninklijk Conservatorium in 1992/4 ben ik een
regelmatig bezoeker van STEIM. Niet alleen wegens de vernieuwende concerten die daar zeer
regelmatig plaatsvinden (ook op andere locaties in Amsterdam) maar tegenwoordig ook
vooral wegens de lezingen en demonstraties die hedendaagse nieuwe technieken bespreken
die aangewend kunnen worden voor het creeeen van nieuwe muzieksoorten. Met name het
ontwikkelingscentrum van nieuwe technieken en de bijbehorende demonstraties hebben de
laatste jaren hun nut ruimschoots aan muzikanten, componisten en kunstenaars bewezen.
Ikzelf heb na een verblijf van 10 jaar in Londen tot grote vreugde mijn aldaar voortgezette
netwerk weer moeiteloos kunnen oppakken en integreer mijn bevindingen met STEIM in het
proefschrift wat ik momenteel aan het schrijven ben. Dit proefschrift behandelt interactieve
geluidsperformances, gericht op surround sound aangestuurd door dansers. Juist de nieuwe
weg die STEIM de laatste jaren heeft ingeslagen op dit gebied is onmisbaar voor mijn
universiteits onderzoek, wat ik in Engeland doe aangezien dit vak dusdanig vernieuwend is
dat een dergelijke, op praktijk gerichte, studie in Nederland nog niet bestaat!!
STEIM is een van de weinige plekken in Nederland (zo niet de enige!) en wellicht zelfs in
Europa (er is alleen een dergelijk geluids-ontwikkelcentrum in Parijs ‘Ircam’ wat
vergelijkbaar is) waar ik zeer bruikbare informatie kan vinden voor mijn doctoraal afstudeer
project in Engeland.
Het verdwijnen van STEIM zou een zeer groot verlies betekenen voor de grote groep
geluidskunstenaars in Nederland, met name studenten die afkomen van het Koninklijk
Conservatorium in Den Haag of de HKU in Utrecht zullen deze onderzoeks/ ontwikkelings/
concert/ netwerk etc plek, met zijn zeer ervaren en internationaal bekende geluids
kunstenaars, op zijn minst gezegd bijzonder missen.
Met vriendelijke groeten
Stan Wijnans
Cruquiuskade 267
1018AM Amsterdam
-Ex Koninklijk Conservatorium Beeld en Geluid student Den Haag
-MA geluidskunst MiddleSex universiteit Londen UK
-PhD student creatieve geluidskunst universiteit Bath Spa/Bristol UK
Email [email protected]
Website www.MuDanx.nl
Rotterdam, 25-5-2008
T.a.v. de Raad voor Cultuur, Amsterdam
L.S.
Het is mij ter ore gekomen dat de Raad voor Cultuur in haar advies voor de periode 2009 - 2012
voorstelt om de subsidie voor STEIM stop te zetten. Of eigenlijk door te schuiven naar het Fonds voor
de Podiumkunsten, wat hier zeker niet op zit te wachten, en zodoende is dit ongeveer hetzelfde als de
subsidie stopzetten.
Bij het lezen van de beoordeling van STEIM door de Raad en de redenering die de Raad volgt om tot een
negatief advies te komen rijzen bij mij toch een aantal vraagtekens. De Raad stelt dat “de activiteiten
van STEIM zich [. . .] op een te kleine niche richten” en dat “STEIM in het Nederlandse muziekveld
een te geïsoleerde positie inneemt”. Ik zou erop willen wijzen dat elke verregaand gespecialiseerde
organisatie haar activiteiten op een kleine niche richt. Dat is een logisch en noodzakelijk gevolg
van specialisatie, en zou derhalve zeker geen verwijt mogen zijn. Dat STEIM vanuit haar ’kleine
niche’ al jarenlang, met wereldwijd succes, als “verbindend basislab” voor een groeiend collectief van
internationale musici, componisten en onderzoekers fungeert, wordt opeens over het hoofd gezien.
Voorts word gesteld dat er “van invloed van STEIM op de ontwikkelingen in de [Nederlandse] muzieksector nauwelijks sprake is”, maar ligt dit aan STEIM? Dat bijvoorbeeld een Frans Bauer, DJ Tiësto
of zelfs het Koninklijk Conservatorium te Den Haag zich niet met improviserende elektronische muziek
bezighouden, kan men STEIM niet voor de voeten werpen. Diverse ’producten’ die voortgekomen zijn
uit onderzoek & ontwikkeling van STEIM (bijvoorbeeld ’LiSa’ & ’JunXion’) zijn voor iedereen te koop,
en door iedere muzikant te gebruiken. Dat dit niet gebeurt kan diverse oorzaken hebben (gebrek aan
interesse door een breed publiek, gebrek aan marketing, enz.), maar dit zou geen reden mogen zijn
om de subsidie dan maar stop te zetten. Integendeel zelfs; als er méér subsidie zou worden verstrekt,
komen er meer ’produkten’ beschikbaar, en zouden deze beter in de markt geplaatst kunnen worden.
Mijns inziens wordt er door de Raad teveel gekeken naar wat STEIM betekent voor het ”Nederlandse
muziekveld”, en wordt het internationale belang van STEIM, in feite uniek voor de hele wereld, helemaal over het hoofd gezien. Ik wil U daarom dringend verzoeken uw advies m.b.t. STEIM te herzien,
met inachtneming van de belangrijke positie van STEIM in de wereldwijde ’niche’ van de experimentele
elektronische muziek.
Hoogachtend,
B. ’Stock’ Plum
Programmeur & systeem-ontwerper (en musicus)
V2_Lab voor de Instabiele Media
Eendrachtsstraat 10
3012 XL Rotterdam
From:
Subject:
Date:
To:
Thom Willems <[email protected]>
De toekomst / The future.
23 mei 2008 15:49:03 GMT+02:00
STEIM <[email protected]>
Geachte mevrouw en meneer,
Sinds meer dan 25 jaren heb ik samengewerkt met Sudio STEIM te Amsterdam.
We hebben samen muzieken gemaakt voor o.a. Ballett Frankfurt, nu bekend als
“The Forsythe Company” in Frankfurt, Duitsland.
Deze avondvullende producties zijn uitgevoerd over de hele wereld op de meest fameuze opera- en
danspodia. (zie de voorstelling-lijst).
Met enorm succes an altijd uitverkochte huizen.
Kort geleden deed ik nog een productie met STEIM in Paradiso, Amsterdam.
Voor dit jaar, heb ik een opdracht om muzieken te maken voor een grote installatie, gemaakt door
de bekende amerikaans/britse visuele kunstenaar Matthew Ritchie.
Geproduceerd door de weense kunstmecenas Francesca von Fürstenberg.
Dit is een grote productie en zal worden uitgevoerd op de Biënnale te Venetië en zal daarna reizen
naar Sevilla.
Voor volgend jaar, 2009 is het gepland uitgevoerd te worden, 4 maanden lang, op de Southbank in
London.
Zoals u ziet heeft STEIM een groot internationaal bereik.
Veel uitgebreider als begrepen word in Nederland.
Ik zou niet in staat zijn geweest, deze werken te maken zonder STEIM
En zeker is dat het niveau hiervan mede bepaald id dankzij de medewerking van STEIM.
Voor de toekomst heb ik en de danswereld, een gigantisch probleem zonder STEIM.
Er bestaat in de hele wereld geen Studio zo open van geest als STEIM
LAAT STEIM NIET VERDWIJNEN !!!
Met de meest vriendelijke groeten,
Thom Willems
T +3165024447
E [email protected]
-----------Dear Miss, dear Sir,
Over more then 25 years I do have collaborated with Studio STEIM in Amsterdam.
We created musics together for e.g. former Ballett Frankfurt, now known as “The Forsythe Company”
in Frankfurt, Germany.
These evening-lenght works have been performed over the entire world in the most renowned
opera-houses and dance-stages. (see the performances-list below)
With overwhelming success and always sold-out houses.
Recently I did work with STEIM on productions in Paradiso in Amsterdam.
Recently I did work with STEIM on productions in Paradiso in Amsterdam.
For this year, I am commissioned to create musics for a big installation created by the renowned
American/British visual artist Matthew Ritchie.
Produced by Francesca von Fürstenberg in Vienna
This will be a major production and will be performed this coming september at the Biennale in
Venice and will travel later this year to Seville, Spain and
is scheduled to be shown in summer 2009 for 4 months at The Southbank in London, U.K.
As you can see, STEIM has a big international platform.
Much bigger then is understood in The Netherlands.
I would not have been able to create all these works without STEIM.
And for sure, the level of these works is definitely defined, due to the input of STEIM.
For the future I and the danceworld, will be lost without STEIM, since there is no versatile studio in
the whole world like this.
DON”T LET STEIM DISAPPEAR !!!
With my kind regards,
Thom Willems
T +31650244474
E [email protected]
-------------
STEIM IN CONNECTION WITH BALLET FRANKFURT AND THE FORSYTHE COMPANY
± 66 performances.
TOUR 1996
FRANKFURT
Appoximate 20 performances
TOKYO
Bunka Kaikan
Eidos:Telos
4., 5., 6, 8., 9. April
AMSTERDAM
Het Muziektheater
Eidos:Telos
27., 28. 29. Juni
ANTWERPEN
Stadsschouwburg
Eidos:Telos
11., 12., 13. 14. Dezember
TOUR 1997
PARIS
Théâtre du Chatelet
Sleepers Guts
1., 2. 3. 4. Juli
GENOVA
Teatro CarloFelice
Sleepers Guts
8. 9. Juli
TOUR 1998
PARIS
Théâtre du Chatelet
Eidos:Telos
13. 14. 15. Juni
WIEN
Burgtheater
Eidos:Telos
2., 3. 4. Juli
NEW YORK
BAM
Eidos: Telos
2., 3., 4. 5. 6. Dezember
TOUR 1999
BERLIN
Schiller Theater
Eidos:Telos
26. 27. 28. 29. Oktober
TOUR 2001
ROUEN
LÉONARD DE VINCI / OPÉRA DE ROUEN
EIDOS TELOS
30, 31. März und 1. April 2001
MELBOURNE
State Theatre
Eidos Telos
17. 18. 19. 20. und 21. Oktober 2001
LONDON
Sadler's Wells
Eidos Telos
8. 9. und 10. November 2001
LISSABON
Fundacao Centro Cultural de Belém
Eidos Telos
23. und 24. November 2001
University of Music
Hochschule
für Musik
Karlsruhe
Hochschule für Musik - IMM Schloss Gottesaue Am Schloss Gottesaue 7, 76131 Karlsruhe
Institut für
Musikwissenschaft
und Musikinformatik
To
Council for Culture
Postbus 61243
2506 AE The Hague
Karlsruhe,
25.05.2008
Telefon: 0721. 66 29 215
Telefax: 0721. 66 29 220
e-mail: [email protected]
Antwortzeichen:
ss-tt--
– To whom it may concern –
Reg: The future of STEIM
Dear Sirs,
recently we have been informed about the possibility that the STEIM could be closed. We are very
anxious about this rumour and want to emphasize the prominent role which occupies the STEIM since its
early years of activity.
Mainly in the field of interactive performance and live performance within electronic music instruments,
STEIM has been always up to today one of the leading institutions. Tthe works and influences of STEIM
have been mirrored as well in our educational courses as in the compositional and performance courses.
Some of the software products like STEIM's LiSA (Live Sampler) we are using extensively in almost every
concert and, certainly, we would like to continue our work with an existing STEIM institution.
We - the "Institut for Musicology and Music Informatics" at the University of Music Karlsruhe are
educating over hundred students in music informatics, electronic composition and multimedia concepts as
main courses. Beside this main activity, we have more than 200 students per year within the additional
courses in live performance and related fields. We are performing regularly about twenty to thirty
electronic and/or multimedia concerts per year. In 2008, our course for "Music Informatics" has been
selected in the contest " Deutschland - Land der Ideen" to be one of the excellent ideas for the future.
So we hope strongly that also STEIM might have a chance to be one of the places for the future of music
and related arts.
Kind regards
Prof. Dr. T. A. Troge
Institute director
Korrespondenzadresse: Postfach 60 40 | D-76040 Karlsruhe | Telefon +49 721. 6629 215 | Fax +49 721. 6629 220
Besuchsadresse: Am Schloss Gottesaue 7 | D-76131 Karlsruhe | www.hfm-karlsruhe.de | Koordinaten: 49°00’14N 8°25’36E
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Yannis Kyriakides
Circadian
_____________________________________
Wenslauerstraat 59
.
1053 AW Amsterdam
. The Netherlands
.
020 7764496
.
[email protected]
To: Council of Culture
Subject: STEIM
I was shocked to hear about the negative advice given to STEIM, and
the possible removal of its funding. The advisory board must be totally
unaware of the international standing and influence of STEIM in the
field of electronic music. Its place in the musical landscape is more
relevant now than ever, as the use of electronics in live performance
has increased dramatically in the last five years.
STEIM has not only been a support and focus for musicians and artists
working in digital technology in Holland, but has been a platform for
bringing together international artists with the Dutch scene, to the
great enrichment of the culture here.
It’s approach on many levels, offering residencies, concert series,
software and hardware development is unrivalled anywhere in Holland,
and it would be great loss to the prominence of Holland in the digital
arts scene if this were to be lost.
Please think again!
Yannis Kyriakides
Composer
Composition teacher Koninklijk Conservatorium
Artistic director of Ensemble MAE
From:
Subject:
Date:
To:
Yolande Harris <[email protected]>
letter of support
25 mei 2008 14:01:44 GMT+02:00
[email protected]
Yolande Harris
http://www.yolandeharris.net
http://sunrunsun.nimk.nl
artist residencies at STEIM:
2008 collaboration with the Netherlands Media Art Institute (NIMk), instrument building of the Satellite Sounders
for Sun Run Sun, exhibition at NIMk 2008
2008 performance of Sun Run Sun at STEIM
2007 summer - Taking Soundings studio development for performances at Mediamatic and Nau Coclea
Festival Catalunya.
2003 lecture in the STEIM lecture series
1999 orientation workshop
STEIM is one of the worlds most significant contributors to the free and progressive development of electronic
music and culture in it's various guises. To keep an institution flexible and light footed enough to not only
support but foster and instigate the constantly changing developments in the field of experimental music, is a
unique quality. It makes STEIM one of the only places in the world that is capable of providing international
artists with the environment to create and present their work within a network of international significance. I
chose to come to Amsterdam largely because of STEIM and it's support for my residence project. Within the
local dutch scene it is a focal point, and perhaps the largest node in a diverse, open and expansive network of
artists, musicians, technologists and thinkers. The dutch scene is significantly enriched by the influence of
international guests in this network. The closure of STEIM would be an immeasurable loss with the risk of
literally removing the Netherlands from it's position as a centre for the highest quality in contemporary culture.
Organisaties
École Normale Supérieure Lyon CNMAT, the Center for New Music and Audio Technologies UC Berkeley
San Francisco
Conservatory of Music
Institut Fuer Musik Und Medien
Robert Schumann Hochschule Duesseldorf
Venice Biennale
Istanbul Bilgi University Conservatory of Naples Tecnische Universitaet Berlin Middlesex University London The Centre for
Computational Neuroscience and Robotics
University of Sussex
Biopac Systems Santa Barbara California
Deutsche
Gesellschaft für Elektroakustische Musik (DEGEM) Confédération Internationale de Musique Electroacoustique (CIME) Dept of
Informatics, Systems, and Communication, Faculty of Engineering, University of Genoa Theatre Academy of Finland
Frank
Mohr Instituut Groningen School of Arts & Cultures Newcastle University Infusion Systems Montreal Canada The Gardian
Newspaper UK
The Kitchen NYC Ableton Princeton University
Brunel University
University of California Davis THE
UNIVERSITY OF BRITISH COLUMBIA Music, Sound and Electroacoustic Technology group (MUSET) Media And
GraphicsInterdisciplinary Centre (MAGIC)
Institute for Computing, Information and Cognitive Science (ICICS)
De Montfort
University Leicester United Kingdom
COLUMBIA UNIVERSITY
Beckman Institute University of Illinois
Center for
Contemporary Music (CCM) Mills College Oakland California CCRMA Stanford University Universität Zürich
LSO London
Symphon Orchestra Education Department
Musashino Art University, Tokyo, Japan dept. of Imaging Arts and Sciences
Hexagram Institute for Research/Creation in the Media Arts and Sciences Faculty of Fine Arts Concordia University, Montreal,
Quebec, Canada The NOW now Festival Strathfield Australia Centre for Interdisciplinary Research in Music Media and
Technology (CIRMMT) Input Devices and Musical Interaction Laboratory (IDMIL) Schulich School of Music, McGill University,
Montreal. Media Arts and Technology University of California Santa Barbara University of California San Diego GRM Groupe
de Recherches Musicales SUNY Stony Brook (State U. of New York) Medialogy, Aalborg University Denmark Music Department,
Furman University Greenville, SC
Amsterdamse Theaterschool Merce Cunningham Dance Company University of Denver
Digital Media Studies
IRCAM ICMC ICMA CHI Nederland Telematica Instituut Enschede
Chelsea College of Art and
Design Design for Digital Cultures University of Portsmouth/
School of the Arts Utrecht
Conservatory of Music Brooklyn
College, City University of New York
COLLEGE OF SANTA FE (New Mexico) Sonic Arts Network U. of the Arts London,
London College of Communications Kalvos & Damian’s New Music Bazaar New Zeeland School of Music Harvard University
Studio Slag Records Sao Paulo Brazil BIS Body-Process Arts Association
Istanbul Turkey Conservatory of Music Brooklyn
College, City University of New York UMBC University of Maryland Baltimore Sonic Arts Network Foundation Destellos for
the Art, the Science and the Technology Explorotorium (Science Museum ) San Francisco Deutschlandfunk Hochschule für
Musik und Theater Hamburg
Academy of Fine Arts, Berlin futureaudioworkshop Waves Audio Ltd.
Harvestworks Digital
Media Arts Center New York Harvard University Department of Music
Studio for Electroacoustic Composition (HUSEAC)
WaterDog Studio & Land-O-Newts! Records
MCM Music Center The Netherlands YDreams RCAST University of Tokyo
Apple Computer Cupertino, California, USA. Resonance FM London MouseonMars Culture Lab Newcastle University Media
Computing Group Department of Computer Science RWTH Aachen University
Stanford University Department of Music
U.California Santa Barbara
Metamkine Rives France
Koninklijk Conservatorium Brussel
Departement van
Erasmushogeschool
Partner Universitaire Associatie Brussel Synthetik Software Inc. Honolulu Hawaii School of Media Arts
and Design University of Westminster NOTAM Norsk Network for Technology in Music and the Arts Art History Department
Massachusetts College of Art and Design KTH Stockholm School of Computer Science and CommunicationDpt Speach Music
and Hearing Kesumo, LLC Technology for Strings New Media Arts Laboratory Kyoto-Seika University (Japan)
Dartmouth
College Frog Peak Music Leonardo Music Journal University of Iowa School of Music Computer Music Journal, National
University of Singapore Interactive and Digital Media Institute
Waag Society
WORM/CEM Studio, WORM Radio Center for
Contemporary Music Mills College Gent Uiversity Input Devices and Music Interaction Laboratory McGill University Stony
Brook University Core Faculty for the Consortium of Digital Arts, Technology and Culture
Gill University Input Devices and
Music Interaction Laboratory Zurich University of the Arts Institute for Computer Music and Sound IAMAS Ogaki, Gifu Japan
San Pietro a Majella Conservatory Faculty of New Music and Technologies Naples, Italy
University of Huddersfield Music
Department
University of Wolverhampton School of Art and Design
School of Music Queen's University Ontario Canada
Rensellaer Polytechnic Institute in Troy NY University of Edinburgh McGill University
Goldsmiths, University of London
California Institute for Telecommunications and Information Technology
Socialight
Ritsumeikan University Kyoto, Japan
CNMAT center for new music and audio technologies, university of california, berkeley Communication & Multimedia Design
Breda Avans hogeschool Interactive Institute Stockholm Milton Avery Graduate School of the Arts
Bard College New York
NIME Naya Collective Ltd Tokyo University of Bristol Dept. Music University of Glasgow Queens U. Belfast School of Music
and Sonic Arts Department of Informatics University of Sussex
Scuola di Musica Elettronica Conservatorio di Padova
Art
Insitute of Chicago KMDI, University of Toronto
Concordia University Montreal
Moholy Nagy University of Art &Design,
Budapest
University of Edinburgh School of Informatics
Groupe de Musique Electroacoustique d’Albi - Tarn
Centre
National de Création Musical Institute of Sonology JazzHausInitiative Köln ZAM (Zentrum Aktuelle Musik), Koln U.Miissouri
Kansas City Conservatory of Music and Dance
Rensselaer Polytechnic Institute
LOOS Foundation ESAA Aix en provence
school of fine arts -- Ecole Superieure d'Art
Locus Sonus Oberlin Conservatory of Music Oberlin Ohio USA Mobileer Inc
(audio software for mobile divices)
Source Elements LLC (ADR software)
Conservatorium van Rotterdam (CODARTS)
Schrikdaad Elektronisch Ontwerp Dept of Art History UCLA Los Angeles California Centre de Recherches et de Formation
Musicales de Wallonie, Belgium Hellenic Electroacoustic Music Composers Association (HELMCA) Theremin Center at Moscow
State Conservatory DNK Amsterdam. Istanbul Bilgi University The Association of Swedish Composers Tama Art University
Japan
Ultima Oslo Contemporary Music Festival Norway
Pixelsonic
Native Instruments Germany
Swiss Center for
Computermusic
Royal British columbia Museum; University of Victoria Canada
Rhode Island School of Design USA
Rijksadademie van Beelende Kunsten S O U N D B A S E Groningen sonic branding & moving melodies Carnegie Mellon
University School of Computer Science and School of Art
Edison Birthplace Association North Carolina State University
Coventry School of Art & Design Coventry University UK Leuphana Universität Lüneburg AudioMulch Yamaha Corp Japan
Yale University School of Drama Faculty of Mathematics and Computing The Open University Milton Keynes Transmediale
festival for digital art and culture Berlin Tisch School of the Arts, NYU
Armeno Alberts - VPRO
Arno Lambert
Arnoud Noordegraaf
8m2stereo - musician networker
Artur Nowak
Abe Ingle - Experimental Systems
Associazione culturale Avventure in Elicottero Prodotti
Achim Bornhoeft - Universitaet Mozarteum Salzburg
Atau Tanaka - Newcastle University
ADACHI Tomomi
Audrey Chen
Adam Alexander - Victoria School of Architecture and Design
Axel Mulder - Infusion Systems
Adam Butler
Barbara Lueneburg
Adam Linson
Barbara Van Der Vaart - Verpleeghuis Slotervaart
Adam Wiliams - Musician
barry threw
Adam Willetts - Audio Foundation and Elam School of Fine
Bart Van Dongen - Poon
Arts
Batuhan Bozkurt - Istanbul Bilgi University
Adinda van't Klooster - Isis Arts
Ben
Adrian Dimond
Ben Goldacre
Adrian Freed - CNMAT
Ben Neill
Agostino Di Scipio
Ben Norland - Publisher and Musician
ailed izurieta
Benjamin Lehmann - Music Tech Editor, Shook Magazine
Aiur Retegi
Benjamin Palmer - customer
Aki Onda
Bennett Hogg - Newcastle University
akihiro kubota - tama art university
Beppie Blankert
Alan J Macy - Biopac Systems
Bernhard Bockelbrink
Alan Macy - Fishbon
Bernhard Faiss - isebuki / Mobile Music Workshop 2008
Alberto de Campo - Institute For Music And Media
Vienna
Duesseldorf
Bernhard Woehrlin
Alberto munoz fernandez - Electronic experimental
Betsey Biggs - Friend
Alden Jenks - San Francisco Conservatory of Music
Betsey Biggs - Princeton
Alec Bowman - Owner of Cracklebox #287 (2005 edition)
Bianca Van Dillen
Alessandro De Francesco
Bill Thompson
Alex Adriaansens - V2_
Blanca Rego Constela
Alex Keller - Austin New Music Co-op
Board of Directors - Hellenic Electroacoustic Music
Alex Nowitz
Composers Association (HELMCA)
Alex Noyes
Bob Gilmore - Brunel University London
Alex Tkalenko
Bob Ostertag - University of California Davis
Alexander Refsum Jensenius - University of Oslo
Bob Pritchard - University of British Columbia
Ali Bilgin Arslan
Boris Debackere - Hogeschool Sint-Lukas Brussel
Alison Isadora & Jan-Bas Bollen
Bosch & Simons
Alon Ilsar
boulard - user of cracklebox as videogame producer
Alvin Curran
Brad Garton - Columbia University
Amichi Amar - University of California Santa Barbara
Brandon Bohlen - None
Ana Rewakowicz - Artist
Bret Battey - De Montfort University Leicester UK
Anaid Gomez Ortigoza - student
Brian E.L. Durocher - Art Lab 4554
Anat spiegel - Spy Collective
Brian Moran
Anders Tveit - Musician / Composer
Brigit Lichtenegger - programmer, new media artist, curator
Andew Hayleck - visiting artist
Bruce Tovsky
Andre Hayter - University of New South Wales College of Fine
Bruno Ruviaro - Stanford University
Arts
Bruno Spoerri
Andreas Breitscheid - Forum Neues Musiktheater
bryan michael - www.virb.com/_alka
Andreas Jansson - Fellow sound artist.
Buron Cédric - http://craslab.org/
Andreas Müller - Programmer, musician and media-artist
C. Tyrrell
Andreas Otto
Camille Dumas - Mains D'ouevres
Andrei Smirnov - Theremin Center at Moscow State
Camille Goudeseune - Beckman Institute Illenois
Conservatory
Carlos "ZINGARO" Alves
Andres Colubri - Department of Design|Media Arts, UCLA
Carlos Guedes - Esmae
Andrew Deakin
Carlos Sandoval - The Tilt Group
Andrew Stellman - Stellman & Greene Consulting
Carolina Perez
Angela Chang - MIT Media Lab
Casey Rice
Angela Veomett - PhD Student, Brown University
Cathy Van Eck
Angelo
Charles Johnson
Anna Dumitriu - University of Sussex
Charles Woodman - University of Cincinnati
Anne Hege - composer
chris
Anne La Berge
Chris Brown - Mills College
Anne Laforet
Chris Chafe - Stanford University
Anne Le Baron - Calarts
Chris Cousin
Anne Nigten - V2_lab
Chris De Chiara
anne wellmer - musician/composer/artist in residence
Chris Rogers - London Symphony Orchestra
Anne-Marie Skriver Hansen - Aalborg University
Chris Wittkowsky
Annet Dekker - Virtueel Platform
Christian Calon
Annie Wright
Christian Fennesz
Anouk van Dijk - anoukvandijk dc
christian müller
Anthony Bowyer-Lowe - Yamaha Corporation of Japan
Christian Schorno - Universitaet Zuerich
Antonio Camurri - University of Genoa
christian.ryan - stardotstudio
Antti Nykyri - Theatre Academy of Finland
Christina Oorebeek
Arie Altena - Frank Mohr Instituut
Christine Sehnaoui
Arie van Schutterhoef - Schreck
Christoph Brünggel
Ariella Vidach - A.i.E.P. associazione culturale
Christoph Martin
Armando Menicacci - Paris 8 university
Christophe CHARLES - Musashino Art University Tokyo
Personen
Eric Lyon - Queen's University Belfast
Christopher Salter - Concordia University Montreal
Eric Singer - Lemur
CK Barlow - University of New Mexico
Eric Socolofsky
Clare M Cooper
Erik Lezaun - Engineering Student
Cléo Palacio-Quintin
erik sinnige - musictherapist
Collin Cunningham - Make magazine
ErikM
Cort Lippe - University of Buffalo
Erin Coppens - anoukvandijk dc
Curtis Roads - University of California Santa Barbara
Evan Parker
daan brinkmann - artistic
Evelien Van Den Broek
Daan Johan - Student Artscience
Farahnaz Hatam
Damian Sol - Supporter
Fedde ten Berge - Componist / Turntablist / Performer van
Damian Stewart
elektronische muziek
Dan Nawara
Felipe Perezsantiago
Dan Overholt - Aalborg University
Dan St. Clair - Wesleyan University, School of the Art Institute Felix E. Guerrero - none
Felix Petrescu
of Chicago, Boom Design Group
ferrie (differentieel) maaswinkel - multimediaal kunstenaar
Dan Wilcox
Filipe Cunha Monteiro Lopes
Daniel A. Weymouth - Stony Brook
Florian Cramer - Piet Zwart Instituut
Daniel Haver - Native Instruments
Florian Grote - Native Instruments
Daniel Hirschmann
Florian Hecker
Daniel Koppelman
Frances-Marie Uitti
Daniel Lacey-McDermott - Interest
Frank Boehle
Daniel McKittrick Ramirez - Adobe Systems, Inc.
Frank Kämpfer
Daniel Teruggi - GRM
Frank Scheffer
Daniela Swarowsky
Frank van de Ven
Danielle Wilde
Frankie Mann
Danny De Graan
Frans Evers
Danny Mc Carthy - Art Trail Ltd
Franziska Baumann
DasArts
Fred Frith
Dave Krooshof
Fred Lonberg-Holm
Davi Rodriguez
Gael Tissot - Univeristy of Toulouse
David A Meeks - Musician
Gahlord Dewald - Product User
David Behrman - Merce Cunningham Theater Company
Galen Richmond
David Borgo - University of Califormia San Diego
Gary Lee Nelson - Oberlin College
David Fodel - University of Denver
Gaudenz Badrutt
David Galbraith
Gavin Burke
David Garcia
Geir Johnson - Director of Ultima Oslo Contemporary Music
David Grubbs
Festival
David Kim-Boyle - University of Maryland
Gene Carl
David Michael DiGregorio
Georg Hajdu - Hochschule für Musik und Theater Hamburg
David Rogerson - Sonic Arts Network
Georg Katzer
David Stevens
George E Lewis - Columbia University
David Stout - College of Santa Fe
Gerald Fleming - Music Enthusiast
David Toop
Germán Toro-Pérez - Zurich University of the Arts
David Wessel - CNMAT
Gerry Hemingway
Dawn Stoppielio - Troika Ranch
Gert Jan Prins
Debashis Sinha
Gideon Kiers
Deborah Meibergen - Mediamatic
Gil Kuno
Demarle Francois - Ircam - Grm - Cemamu
Gil Wasserman - Waves Audio Ltd
Dennis Bathory-Kitsz
Gill Arno
Derek Holzer
Giovanni Cannata - Experiential Design Lab Pvt. Ltd.
Dick Raaijmakers
Gordon Monro - Monash University (postgrad student)
Dirk Haubrich
GOTO10
Dirk Johan Stromberg - Saigon Technology University
greg davis - musician
Dolf Kamper - audio research, sound artist, director of
Greg Kuwaye - Brown University
ANALOG
Greg Scarth - music journalist and cultural researcher
Dominik Landwehr - Migros
Gregor Asch
Dorothea Krishnabhakdi
Guillaume VALADON - LIP6
Doug Francis - Electronic music audiophile and fabricator
Guy De Bievre
Doug Rouxel
H C Steiner
Doug theriault - Music and Dance
Haluk Babadogan
Douwe Smit
Hannah Bosma - MCN & NEAR
Dr. Lorne F. Hammond - Royal British columbia Museum
Hannah Crepaz - Osterfestival Tirol, musik+, 123tanz
Dror Feiler - the association of Swedish composers
Hans Buurman - Gemeentemuseum Den Haag
Dugal McKinnon - New Zealand School of Music
hans koch - guest at steim
Ean White - Harvard University
Hans Peter Kuhn
Eboman
Hans Tammen - Harvestworks NYC
Eduardo Ramos
Hans Timmermans - HKU
Edward Madill - Musician
Hans Tutschku - Harvard University
Edward Shanken - UCLA
hans w. koch - cologne society for contemporary music
Ekmel Ertan - amber festival
(kgnm e.v.)
Ellen Røed - Bergen National Academy of the Arts Norway
Hans-Christoph Steiner - Interactive Telecommunications
Elmar Hintz
Program, New York University
Elsa Justel
Harald Muenz - Brunel University London
Emilio Espinosa - KABK - The Hague
Haraldur Karlsson - Iceland Academy of the Arts
Enrico Cosimi - University of Rome "Tor Vergata"
Hayden Daley - Engineer
ENRIQUE TOMAS - MEDIA ARTIST
Heather Perkins
Eoin Rossney - Musician
Heiner Holtappels - NIMk
Helder Luis
Henk Heuvelmans - MCN
Henk Poot - CHI Nederland
Henrik M. Andersen
henry cyrille
Henry Vega - The Electronic Hammer / The Spycollective
Hila Peled
Hiroko Terasawa - CCRMA, Stanford University
Holger Heckeroth - none
Honor Harger - Av Festival
Huang Shi (Stone) - N/A
Hugues Vinet - IRCAM
Huib Emmer
Iain Spillane
Ian Hurd - Scholarly
Ian O'Keeffe - University of Limerick Ireland
Ian Page-Echols - V8 Media
Ignacio monterrubio – Conservatorio de Música "jesús guridi"
Vitoria-gasteiz
Igor Medeiros
Ikue Mori
Ilan Katin - GarageCube, SHARE, Mapping Festival
Insomnio
IRCAM
Ivan Franco
Ivan Mahony
Ivan Marusic
Iván Orosa Paleo
Iván Orosa Paleo - Graduate Student at the University of
Groningen
Ivo Bol
J Th Taekema - Museum Volkenkunde
J Tómas Henriques - University Lisbon Portugal
J_Milo Taylor - CRiSAP Research Unit, University of the Arts,
London
J. A. Deane - Artist, Composer, Performer
Jaap Blonk
Jack Ox
Jacopo Carreras
Jacopo Valli
Jacqueline Oskamp
Jacques Rémus
Jaime del Val
Jaime Munarriz - Doctor Professor
Jair-Rohm Parker Wells
James Bailey
James Coker
James Cunningham
James Dunn
James Fei - Mills College Oakland
James Fulkerson - Barton Workshop
James Harkins
James Maier - no direct affiliation
James McCartney - Apple Computer
James Porch
Jamie Allen - Newcastle Digital Media
Jamie Grier - The Green Door Recording Studio, Glasgow
Jamie Griffiths - Primal Divine Productiions
Jan Borchers - RWTH Aachen University
Jan Czmok - User and Supporter
Jan Hiddink - 5Daysoff & Melkweg
Jan Klug - muzikant / interactive media programmeur
Jan Peter van der Wenden
Jan St. Werner - Mouse on Mars
Jane Henry
Janek Schaefer
Jaroslaw Kapuscinski
Jason Brunton - Iridite
Jason E. Warriner - Artist/Musician
Jason Kahn
Jason Long
Jason Martinez - University of California San Diego
Jason Plumb
Jason Williams
Jean-Baptiste Barrière
Jean-Claude Risset
Jean-François Laporte
Jean-Michel Unglas
Jeannette Ginslov - Dance Tech
Jed Miner
Jeff Carey
Jeff Kaiser
Jeff Sable - ITP
Jen Carlile - Stanford/CCRMA, Euphonix
Jen Vanderpool - University of California Santa Barbara
Jeremiah Bird - Supporter
Jeremy Bernstein - Cycling '74 / independent artist
Jeremy Johnston
Jerome Mabille
Jerome Noetinger - Metamkine
Jerry Remkes - anoukvandijk dc
Jesper Elén
Jesse Kriss
Jesse Scott - Fan
JO Kazuhiro - University of Tokyo
Jodi Gilbert
Jody Oberfelder - choreographer, dance film maker
Joel Chadabe - EMF
Joel Louie
joerg piringer - artist
Johan Boberg
Johan Eeckeloo - Koninklijk Conservatorium Brussel
Johan K√∂lhi - Fylkingen!
Johan Larsby
Johann Paul Keller - Waag Society
Johannes Birringer - Brunel University London
John Bischoff - Mills College
John Dalton - Synthetik Software Inc
John Eacott - University of Westminster UK
John Eckhardt
john fothergill
John King
John Levin - I use an instrument fabricated at STEIM
John MacCallum - Educational
John Richards - De Montfort University Leicester UK
John RIdener - Experimental music fan
John Sprague
John Thackara - Doors of Perception
John Toenjes - University of Illinois
John-Mike Reed - Bleep Labs
Jon Kearns - Electronic Musician
Jon Ray
Jon Rose
Jonathan Bailey
Jonathan Quist - Greatness Inclusive
Jonathan Sterne - McGill University
Jonathan Zalben
Joost Rekveld - ArtScience
Joran Rudi - NOTAM Norway
Jos Zwaanenburg - Conservatorium Amsterdam
Josef Blersch
Josef Gruendler - University of Applied Sciences Austria
Joseph A. Paradiso - MIT
Joseph Alford - University of Salford
Joseph Butch Rovan - Brown University
Joshua Blanc
Judy Dunaway - Massachusetts College of Art and Design
Boston
Julia Escobar - Caja Ludica
Julian Parker - University of Edinburgh
Julian Rohrhuber
Julien Reydel
Julio d'Escrivan
Jun-ichi Nagahara
Juraj Kojs
Justin Bennett - BMB con
Kai Niggeman
Kai-Hugo Karstanje - Student HKU Utrecht
Karl F. Gerber
Karl Kliem
karl-otto von oertzen - artisitic
Katarzyna Glowicka - Queens University Belfast
Katerina Bakatsaki - Body Weather
Kathy Hinde
Katie Duck
Kees Tazalaar - Sonologie
Keiko Uenishi Oblaat
Keir Neuringer - Tag
Keith - music
Keith A. McMillen
Keith Bramich
Keith Fullerton Whiman
Keith Potter - Goldsmiths University of London
Keith Sanborn - Princeton University, Bard College
Kenneth Harte
Kevin Patton - Brown University
Kevin Patton - Brown University
Kevin Paul
Kevin Walker - London Knowledge Lab
Kia Ng - Interdisciplinary Centre for Scientific Research in
Music Leeds UK
Kieran Nolan
Kim Cascone
Kim Cem Duvarci
Kim Myhr
Kirsten Incorvaia - University of California Santa Barbara
Kirsty Stansfield - Doctorate Research Student, University of
Dundee, Scotland
Klarenz Barlow - University of California Santa Barbara
Kobi Kai Calev - ex-Sonology student
Koen Nutters - DNK
Koen van Soelen - Muziek
Kohji Setoh - Artist / Lecturer at Ferris Univerisity
Kohji Setoh - Artist / Lecturer at Ferris Univerisity
Koichi Nishi - Kyoto-Seika University Japan
Konrad Kaczmarek - Yale University
Korhan Erel
kris claessens - amateur musician
Kristian Thomas Mumford
Kristin Erickson
KTH Stockholm
Kyle Arthur Perkis
Laetitia Sonami
Lalya Gaye - University of Goeteborg Sweden
Larry Polansky - Dartmouth College
Lars Br√∂ndum - Composer and teacher
Laura Mello
Laura Polazzi
Laura Thomas-Merino
Laurent DAILLEAU - cracklebox user
Laurie Anderson
Lawrence Casserley
lawrence english - room40
Lawrence Fritts
leigh toro
leo learchi
Les Hall
Lisa Moren - University of Maryland
Lizzie Muller
Lonce Wyse - National University of Singapore
Lorenz Wortmann
Lorne F. Hammond - University of Victoria Canada
Louis Schultz - Virginia Polytechnic Institute
Luc Houtkamp - POW
Luc van Weelen
Luca Forcuci - Independent artist
LUCA FRANCESCONI
Lucas Evers - Waag
Lucky Leone - RISD School of Design Providence
Luiza Prado - PUC-Rio
Luka Ivanovic
Lukas Simonis - WORM & CEM
Luke Abbott - Electroacoustic Composition (by research
Student) at UEA
Luke Dubois - Columbia University NYC
Luke Selden
Maarten Altena
Madelyn Byrne
Maggi Payne - Mills College
magieke jansen - artist of allkind
Maia Marinelli
Maja Kuzmanovic - foam
Maja S. K. Ratkje
Malcolm Goldstein
Manfred Hermann
Marc Boon
Marc Leman - Universiteit Gent Belgie
Marc Weidenbaum - critic, journalist, editor, writer
Marcelo Wanderley - McGill University
Marco Limbach - vorc.org
Marcos Onemannation
Marcus Maede - Zurich University of the Arts
Marcus Schmickler - Composer
Margaret Schedel - Stony Brook
Margret Wibmer
Margriet Van Eekelen
Maria Chavez
Maria del Carmen Montoya - Rhode Island School of Design
Maria Ines Villasmil
Maria Lalou
Marie-Isabelle Collart - C RFMW
Marije Baalman
Marije Nie
Marion Woerle - Zentrum fuer Aktuelle Musik Koeln
Marja Samsom
Mark Applebaum - Stanford University
Mark Blythe - University of York
Mark Fell
Mark IJzerman - Student at the Hogeschool voor de Kunsten
Utrecht
Mark Meeuwenoord - Avans Hogeschool
Mark Soye
Marko Ciciliani
Marko Kosnik - Egon March Institute
Marleen Stikker - Waag
Marlon Barrios Solano - 4 times Artist in residence
Martijn Padding
Martin Jann - Owner of Pixelsonic / ex. Head of Sound Design
Native Instruments
martin neukom
Martin Parker - University of Edinburgh
Martin Robinson - University of the West of England, Bristol
Martin Tétreault
Martine H. Crispo
Martino Coffa - Recipient.cc
Masahiro Miwa
Masayuki Akamatsu - International Academy of Media Arts
and Sciences Japan
Massimo Scamarcio
Massy Stéphane - les Disques Bien, music label
Mathew Adkins - University of Huddersfield England
Mathew Dalgleish - University of Wolverhampton England
Mathijs van Oosterhoudt
matrix - consumer
Mats Lindström - EMS
Matt Davies - Artist
Matt Rogalsky - Queens University Ontario Canada
Matte Hearn - Teratoma Heavy Industries
Matthew Fuller - Goldsmith College London
Matthew Jenkins
Matthew Lewis Osborne - Rascending International Action
Committee
Matthew Ostrowsky
Matthew Suttor - Yale University
Matthieu Ponroy
Mauricio Pauly
Maurizio Splendore
Mazen Kerbaj
melissa coleman - visitor of steim
Michael Barnhart - Shawnee State University Ohio
Michael Bullock
Michael Dewberry
Michael Duffy - University of Minnesota
Michael Edwards - University of Edinburgh
Michael Eyal Sharon
Michael Harenberg - DEGEM
Michael Harenberg - Hochschule der Kuenste Bern
Peter Nelson - Univ Of Edinburgh
Michael Knubben
Peter Norrman
Michael Lew - EPFL / ECAL
Peter Sinclair - Ecole superieure d'art Aix-en-Provence
Michael Lyons
Peter V. Swendsen - Oberlin Conservatory of Music
Michael Sweeton
Phil Burk
Michael Zbyszynski - University of California Berkeley
Michel Gutlich - Communication & Multimedia Design Breda Philipp Gries
Philippe Monvaillier
Michele Pedrazzi
Prof. John Palmer - Composer, performer, professor of music
Michelle Teran - Interactive Institute Sweden
R Benjamin Knapp - Queens University Belfast
Midori Yasuda - New York University
r. korizek
Mike Farley - Eremos
Raed Yassin
Mirko Lazovic - visual artist
Rafael Toral
miska knapek - artist / student
Rainer Linz
Miya Masaoka
Rajmil Fischman - Keele University
Mobile Music Workshop
Ralf Merten
Modulate Collective
Raylene Campbell - Independent Artist
Moniek Toebosch
Reactable Team
motor (angelo comino)
Rebekah Wilson - Source Elements LLC
MR Daniel - Princeton University
René Mogensen
Mr.Michael T Victor - Crackle Box owner and user
rene pierre T. guerin - audio Z inc. / elektrofone records
Myles Walsh - fan
René Uijlenhoet - Conservatorium Rotterdam
Nat Muller
Rene Wassenburg - Schrikdraad Ontwerp Utrecht
Nathan Fuhr
Renger Koning
Naut Humon - Asphodel Records
Rens Machielse - HKU
Naya collective
Ricardo Dal Farra - National University of Tres de Febrero Ned Ambassade Japan
Argentina
Neil Farwell - University of Bristol
Riccardo Massari - Spiritini
Newton Armstrong - Dartmouth University
Richard Barrett
Niall Coghlan
Richard Lainhart - Intelligent Music
Niall McCaffrey
Richard Scott
Nick Collins - University of Sussex Brighton
Richard Teitelbaum - Bard College
Nick Fells - University of Glasgow
Nick Holmes - Recording Engineer Woodshed Studio, Toronto Richard Whitelaw
Rijksakademie
Nick Rothwell
Rik Evans-Deane - Australian Performing Rights Association
Nick Williams
Rob Tuck
Nicola Bernardini - Conservatorio di Padova Italy
Rob van Kranenburg - Waag
NICOLA CATALANO
Robert Alexander
Nicolas Collins - School of the Art Institute of Chicago
Robert Engelbrecht
Nicolas Horne
Robert Gluck - University at Albany
Nikolas Neecke
Robert K. L. Wheeler
NIls Quak
Robert Nuuja
NIME
Robert Rowe - Steinhardt School of Culture
Nina Czegledy
Nobuyasu Sakonda - Nagoya University of Arts and Sciences, Roberto Briceno
Roberto Garretón
associate professor
Robin Koek - Student Sound Design / Electronic composition
Ofer Smilansky
Robin Smith
Ole Heggli
Roby Bellemans - Swazoom
onur uzunismail - sound engineer
Rocco di Pietro
Orestis Karamanlis - Queens University Belfast
Roddy Schrock
Oriol Viladomiu
Roderik de Man
Pablo Sanz Almoguera
Rodney Waschka - North Carolina State University
Parag K. Mital - University of Edinburgh
Roelf Toxopeus - BMB con
Pascal Baltazar
Roger B. Dannenberg - Carnegie Mellon University
Pascal Boudreault
Roger TSAI
Patrick Delges - CRFMW asbl
rogério costa
patrick mcginley - none
Roland Spekle - MAE Ensemble
Paul Berg - Sonologie Den Haag
Rolf Gehlhaar - Coventry School of Art & Design
Paul Bertin
Rolf Grossmann - Luenenburg University
Paul Chsuncy - Imperial College London
Rombout Willems
Paul DeMarinis - Stanford University
Rosa Barba
Paul Devens - ABK Maastricht
Ross Bencina
Paul Hale - University of Wolverhampton UK
ruben patino - musician
Paul Hubweber
Rui Dias - ESART
Paul Keene- MusIC Group
Rui Penha - University of Aveiro
Paul Naughton
Ryan Connery
Paul Pignon
Ryoji Ikeda
Paul Rudy - University of Missouri Kansas City
Sachiko Hayashi
Paul Verity Smith
Sachiko Hayashi
Pauline Oliveros - Rensselaer Polytechnic Institute Troy US
Sally Jane Norman - CultureLab Newcastle
Pedro Oliveira
sam hamilton - artistic
Pedro Rebelo - Queens University of Belfast
Sam Page - Interested potential customer
Pedro Soler - Hangar.org
Sam Underwood
Per Platou
Sam White - Avid Fan
Per Samuelsson - artist
Samuel Vriezen
Peter Coyte
Sandberg Instituut
peter freeman
Sandra Mathern-Smith - Denison University Ohio
Peter J.A. van Bergen - LOOS
Sara Kolster
Peter Morgan
Sarah Nicolls - Brunel University London
Sarah O'halloran - University College Cork Ireland
Sarah Verhulst
Satoshi Morita
Scot Gresham-Lancaster - California State University
Scott Baird - N/A
Scott De Lahunta
Scott Fitzgerald - Artist/Educator
Scott Lahiff - University of Edinburgh
Scott Looney - Educator/Experimental Artist
Seamus Cater - Former resident, Founder DNK Amsterdam.
sean healy
Sean Williams - University Of Edinburgh
Seiichiro Matsumura - a perticipant of workshops,a user of
STEIM studio
Seth Cluett - Princeton University
Seth Elgart - UBS
Shailpik Biswas
Shannon O'Brien - University of Canterbury New Zealand
Shea Ako
Sher Doruff
Shigeru Kobayashi
Shintaro Miyazaki - PhD Mediatheory/ Soundtheory/
Mediamusician
shira miasnik
si carruthers - user
Sidney Fels - University of British Columbia
Sietske Klooster (MSc.) - Department of Industrial Design
TU/e
Silvia Janoskova - Podium voor Pop Cultuur en Media
Simon Emmersen - De Montfort University UK
Simon Holland - The Open University Milton Keynes UK
simon james
Simon Smith - User of Steim Products
Sofia Bustorff
Sofie Loizou
Somaya Langley
Sonia Cillari
Sonic Acts
sonig
SPIKE the Percussionist - Noizician
Staas de Jong
Stan Wijnans
Stefaan WATTé - research
Stefan Brunner
Stefan Riekeles - Transmediale Berlin
Stefan Smulovitz - Simon Fraser University
Stefan Tiedje - CCMIX
Stefania Serafin - Aalborg University Copenhagen
Stefanie Wuschitz
Stelarc
Stephen Gallagher
Steve Bradley - University of Maryland
Steve Brown - Fathom Project
Steve Dunnington - Moog Music Inc.
Steven Curtin
Steven Krentzman - International Association
Steven Roeder
Stock - V2_lab
Sukandar Kartadinata
Sung Hwan Kim
Susan Benn - PAL Founder
Suzanne Thorpe
Takaaki KUMAKURA
Terre Thaemlitz
Thanos Chrysakis
Theo Howard - Antilounge (Den Haag), Sub Continental Dub
(Australia)
Thierry BERNARD - Visual&Sound Artist
Thom Willems
Thomas Chousos
thomas felder
Thomas Myrmel
Thomas Troge - Institut Für Musikwissenschaft Und
Musikinformatik
THomas Wisbech - Medialogy student
Thor Magnusson - ixi software
Tidoni Francesca
Ties Mellema - musician
Tikva Morowati
Tim Cunnane - Lab Plus Pedals
Tim Day - Amersham & Wycombe College
Tim Howle - Music School of Arts and New Media University
of Hull
Tim van der Horst
Tina Blaine
Tobias c. van Veen - McGill University
Tobias Reber - Hochschule der K√ºnste Bern HKB
Todd Barton - Southern Oregon University
Tolga Tuzun - Istanbul Bilgi University
Tom Fenn
Tom Ferguson - UCSD
Tom Ferguson - UCSD
Tom Igoe - Interactive Telecommunications Program NYU
Tom Tlalim
Tom Whitwell - Journalist writing about innovation in music
Tomasz Kaye
Tomer Harai - Instetute for Sonology, konijnklijk
conservatory, Den Haag
Tommaso Colliva
Tommaso Perego
Tommaso Perego - Conservatorio Giuseppe Verdi Milan
Tommy DOG Prinz - Musician
Tomoko Yonezwa
tonis savi - myspace.com/tehnokeha
Tor Halmrast
Trace Reddell, Ph.D. - Digital Media Studies, University of
Denver
Travis Weller
Unie van Componisten
Vera Glahn - Dokfest
Victor Eijkhout
Virtueel Platform
vito macchione
Wada Ei
Warren Burt - Illawarra Institute of Technology Wollongong
Australia
Wayne Marshall - Brandeis University
Wayne Siegel - DIEM Denmark
Willem Velthoven - Mediamatic
William Hsu - San Francisco State University
William Matelski - Artist/Composer
William O'Donovan - Concerned Artist
Wolf Baker - myspace.com/DundasMusic
Woody And Steina Vasulka
Woody Sullender - former artist-in-residence
Wouter van Looy - Transparant & Zonzo
Yannis Kyriakides
Yoko Seyama
Yolanda Alonso Bothen
Yolande Harris
Yutaka Makino - University of California Santa Barbara
Zack Settel - University of Montreal
zurine F. Gerenabarrena

Het netwerk spreekt

Transcription

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