«THE NETWORK SPEAKS Letters and emails received between May 20 and 28, 2008 For better navigation: Individuals Armeno ...»
THE NETWORK SPEAKS
Letters and emails received between May 20 and 28, 2008
For better navigation: http://www.steim.org/netwerk/
Individuals Armeno Alberts - VPRO
8m2stereo - musician networker
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 - Fr
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 Studio für Elektronische Musik
To whom it may concern, I first encountered STEIM in 2003 on a visit to Amsterdam, when I attended an open day. What impressed me on that day was that, in stark contrast to, say, IRCAM in Paris, STEIM was more than happy to present itself and its work to absolutely anyone who was interested (and it seemed to me that on that day, there were plenty of interested visitors, both from the surrounding area and from further afield).
Since then, I have been fortunate enough to have had a 2 week residence (in 2005), attend a workshop run by the Australian music software developer Ross Bencina, and compose a commissioned piece for performance in their specially built Noise Room(both in 2006). I also mentored a student in Applied Design who in association with STEIM was prototyping a musical interface for his Masters Degree at Eindhoven University (2005).
Now that I am based in the USA, I often come across musicians and composers who know about STEIM's work, and are keen to somehow become involved. While on tour, I have found STEIM admirers as far afield as Vietnam!
STEIM is a unique institute I compared it to IRCAM above, but I could also compare it favourably to the Fraunhofer Institute (a huge state-sponsored institute, inventors of the MP3 algorithm and a world leader in robotics) in Germany where I worked for 2 years. If it ceased to exist, it would be a sad loss for electronic musicians all over the world, for Amsterdam, and also for me personally.
Adam ButlerTo whom it may concern:
I am a US citizen from California with a university degree. I have been based in Berlin, Germany for nearly 10 years. In Germany, I work both as a musician and software engineer, travelling internationally for both careers. I work regularly with established musicians, performing in a variety of locations in North America and Europe. In my music, I use a variety of technologies available to musicians as well as developing my own, for a variety of musical applications. As a software engineer, I work for international global corporations, realising technical projects, for example, in the telecommunications branch.
I am sharing this information about myself to give an indication of my experience in the area of technology, ranging from complete products currently available on the market to components which make it possible to develop and implement new technologies.
On multiple occasions over the past decade, I have had the opportunity to participate in projects at STEIM, Amsterdam. Each time, those at STEIM presented me with new working technologies which they had developed and implemented, and new technological research which far exceeded anything available on the market. Those working at STEIM have also discovered methods of redeploying existing technologies from other fields in order to make them available for the rapidly shifting cultural landscape.
At STEIM, their expertise lies, among other areas, within the realm of creating tools, both sofware and hardware, which are deployable in a wide range of applications. Their tools are flexible and highly customizable, so driving forces in culture can take advantage of STEIM's unique offerings -- not only to realise a particular goal prescribed by the tools themselves, but to achieve their own artistic goals in music, dance, video, multimedia art, and other cultural arenas. Many successful artists active on the international scene have benefited either directly or indirectly from the existence of STEIM.
On the global landscape, STEIM has presented itself as a resource not only for a small niche, but for the entire body of global culture in the 21st century. Other than STEIM, no other institution serves a public as large and diverse with regard to the important role of bridging the gap between art and technology.
Please preserve STEIM, a valuable international resource which positions Amsterdam, Holland, and the Netherlands in the center of the new global culture.
Kind regards, Adam Linson 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@example.com From: "Agostino Di Scipio" firstname.lastname@example.org Subject: steim Date: 23 mei 2008 12:35:50 GMT+02:00 To: email@example.com steim is a great adventure in today's and tomorrow's music and sound art, discontinuing support to it would be just myopic! it should not be shut down nor otherwise impoverished in its action!
agostino di scipio sound artist, researcher professor in electronic music @ conservatory of naples edgar-varese professor @ tecnische universitaet berlin
http://xoomer.alice.it/adiscipi/ Aiur Retegi Spain/Netherlands firstname.lastname@example.org
-----------------Industrial Design MSc student (TUDelft)
-----------------Dear Council for Culture!
I'm a MSc student of Integrated Product Design from TUDelft that is working in the development of a new electric violin for a dutch company (Wolf Music Products). I just discovered Steim and I think it can be a huge help for me to develop my ideas and have specialised support in musical instruments. Their knowledge and network is a key point for the success of my project. I think Im very lucky that I found such an association in Netherlands.
I discovered Steim via Dutch experimental musicians that undoubtfully recommended to contact them, so I think they are pretty well known and important for many people here.
I hope you will understand the meaning of this company and continue supporting it.
Thanks and best regards,
Institut Fuer Musik Und Medien Georg-Glock-Straße 15 / D – 40474 Duesseldorf / www.musikundmedien.net Robert Schumann Hochschule Duesseldorf / email@example.com / 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 From: firstname.lastname@example.org Subject: STEIM Date: 25 mei 2008 03:05:56 GMT+02:00 To: email@example.com
Council for Culture Postbus 61243 2506 AE The Hague
To whom it may concern:
I have been informed that STEIM is in danger of losing its sources of support for its innovative and valuable work. I hope that this can be changed. Although I have not had the opportunity to work at STEIM, as an educator and composer I have been informed and stimulated in numerous ways over the years by the work done there. I can only hope that this work can continue. Please do whatever you can to make this possible.
Alden Jenks, Director, Electronic Music San Francisco Conservatory of Music Stay informed, get connected and more with AOL on your phone.
From: Alessandro De Francesco firstname.lastname@example.org Subject: SUPPORT LETTER FOR STEIM / ALESSANDRO DE FRANCESCO Date: 25 mei 2008 12:33:50 GMT+02:00 To: STEIM email@example.com Dear Council of Culture, my name is Alessandro De Francesco and I am a 26 years-old Italian poet and performer. I teach Contemporary Italian Poetry at the École Normale Supérieure in France and through my poetry book "Lo spostamento degli oggetti" I have been invited as “Internationally recognized poet” at the European Graduate School master-classes.
I realised several digital sound installations and performances with my poetry (Berlin University of the Arts, Estonian Academy of the Arts, Kunsthaus Tacheles Berlin, Denkmalschmiede Höfgen, Ausland, Festival la poésie / nuit Lyon, festival Arezzo Poesia, festival La Primavera dei Poeti, etc.). Lots of them wouldn’t have been possible without STEIM.
I was received twice by STEIM as artist-in-residence. There I could experiment in a wonderfully kind and highly professional context things I wouldn’t even have imagined before. My activity as a performer is based on digital live and playback treatments of the spoken voice reading my texts. In discovering STEIM softwares and through the assistance of highly qualified sound artists and composers such as Robert van Heumen and Daniel Schorno, STEIM has been the most important place to be in order to understand what I really wanted to do. The experience was so deep and meaningful that also my poetry itself made progress.
Everytime I make a performance, STEIM personnel’s names and STEIM’s logo are there among the main credits. Everytime and everywhere in the world I make a lecture about my poetry and performance work, STEIM experience is one of the first things I speak about. And I’ve noticed that in all the places I mentioned STEIM (France, USA, Germany, Estonia, Italy and, of course, The Netherlands) everybody working with music and performance knows exactly what STEIM is and does.
STEIM is recognized worldwide as one of the first and most significant sound and performing art institutions: cutting its funding off instead of supporting its future would cause a serious damage to the image of Amsterdam and The Netherlands as contemporary creation and research leaders but also to the international intellectual and artistic commuinity.
I thank you for your attention and give you my best regards.
Yours truly, Alessandro De Francesco 3, rue des Quatre Chapeaux 69002 Lyon France firstname.lastname@example.org +33 (0)6 84 90 64 95
Dear Members of the Council of Culture!