Future Music Summit Adds Friday “All-star” Round Table

Posted on April 23, 2012 by Maggie Duval in FutureMusic Summit, Round Top Festival Institute

An inspiring feature of the opening night of Plutopia FutureMusic Summit, besides music and film, will be a unique roundtable discussion on the multiple facets of FutureMusic. The panel will consist of Sound designer and Richard E. Miller, virtuoso tech-inspired violinist Mari Kimura, entertainment futurist and author Derek Woodgate, Jazari cyborg ensemble leader Patrick Flanagan, electronic experimental music artist Thomas Fang, musician, visual projection artist and DJ David DeMaris, music impresario Matt Rowles, and 101X DJ and branding and marketing expert Ray Seggern.

This is an amazing, unique opportunity to help create and participate in discourse, as well as socialize with some of the world’s leading experts, thought-leaders and creators of emerging trends in the broader field of music – and is only available to 3-Day pass holders.

The FutureMusic Round Table will be held in the Upper Chapel at the Round Top Festival Institute on the evening of 11th May 2012, after the VIP reception and dinner. Available to 3-day pass holders only. Limited number of tickets still available at this level for $250 and includes all symposia, concert, meals, and Saturday after party.

Post Tagged with David DeMaris, David Stone, Derek Woodgate, Jazari, Mari Kimura, Matt Rowles, Patrick Flanagan, Ray Seggern, Thomas Fang

Future of Entertainment 2020

From Sensation to Imagination – I am the Performance. In 2020, imagination sensation entertainment will be as popular as in-the-flesh events! This will involve new approaches to and redefinitions of concepts such as content, context, performance and experience. There will be more emphasis on building relationships across the senses, with additional focus on behavioral identities and customized delivery of optimized programming, The key to future “sense events” will be experimentation, fluidity and personalization, with the audience an integral part of the performance.

Friday Night FutureMusic Round Table

An inspiring feature of the opening night of Plutopia FutureMusic Summit, besides music and film, will be a unique roundtable discussion on the multiple facets of FutureMusic. The panel will consist of sound designer Robert E. Miller, virtuoso tech-inspired violinist Mari Kimura, entertainment futurist and author Derek Woodgate, Jazari cyborg ensemble leader Patrick Flanagan, electronic experimental music artist Thomas Fang, musician, visual projection artist and DJ David DeMaris, music impresario Matt Rowles, and 101X DJ and branding and marketing expert Ray Seggern.

This is an amazing, unique opportunity to help create and participate in discourse, as well as socialize with some of the world’s leading experts, thought-leaders and creators of emerging trends in the broader field of music – and is only available to 3-Day pass holders.

The FutureMusic Round Table will be held in the Upper Chapel at the Round Top Festival Institute on the evening of 11th May 2012, after the VIP reception and dinner. Available to 3-day pass holders only. Limited number of tickets still available at this level for $250 and includes all symposia, concert, meals, and Saturday after party.

Festival Institute Concert Hall

In 1981, construction began on the 1,100 seat Festival Concert Hall. The Concert Hall is the focus of the Festival Hill campus and the site of nearly 900 concerts, many performed before the building included air-conditioning or even a roof. Today, the hall approaches completion with improvements such as concert support facilities (video recording, state of the art lighting equipment) planned for the near future. The acoustics are considered as phenomenal.

Completed in April 2007, it is one of the best in the country, acoustically speaking and strikingly beautiful.

Click here for an excellent article on the building of and acoustics of this European-style concert hall.

Edythe Bates Old Chapel One of three locations on the campus for our Symposia

The Edythe Bates Old Chapel was built in La Grange, TX in 1883 as the Episcopal Methodist Church. The congregation of the Travis Street United Methodist Church used the sanctuary for worship until it was sold to the Festival-Institute in 1994. Moving the structure to Festival Hill took from January through April of 1994. The sanctuary was extensively restored and is now used as a venue for chamber music rehearsals and concerts, organ recitals, recording session space, and as a lecture hall, for the Round Top Festival Institute educational programs.

The catalyst for the acquisition and historic makeover of the structure was the desire on the part of a number of dedicated patrons to create an organ and chamber music recital hall. The late Ted W. Blankenship, Jr., of Albany, Texas presented the 1835 Henry Erben Organ to the Round Top Festival Institute in May of 1993. Friends and family of Ted W. Blankenship along with the late Edythe Bates Old raised the funds to restore the Erben organ. Edythe Bates Old (1903-1995), a longtime friend and Festival Hill patron was a Juilliard School trained organist and vocalist. Mrs. Old provided for the purchase of the church, the extensive site preparation, including the initial construction of the lower chapel, the dismantling and move from La Grange and the reassembly of the church on the created Festival Hill site. She died in 1995 and left a bequest to complete the restoration of the sanctuary, which was named for her, the Edythe Bates Old Chapel.

The Henry Erben Pipe Organ

Henry Erben was born in New York City in 1800. He built organs under his name from 1827 to 1884, building as many as 1,000 organs including the organ in Trinity Episcopal on Wall Street. The Erben organ in the Old Chapel was built in 1835 for a church in Maine and for many years resided in a Methodist Church in Showhegan, Maine. The one manual, 11 rank organ is a rare survival of the Erben’s early work. The classical case is 14 feet tall, 9 feet wide and 6 feet deep and has 14 half stops and 484 pipes of both wood and metal. There may be a connection to the workshop of Duncan Phyfe, who supplied Erben with case materials after a fire in the Erben workshop in 1835. The organ is the oldest built American organ in use in Texas today. It is a fine example of English style organ building of the 18th century, which was common in 19th America. The organ was dedicated in May 1997.

DIY Electronic Music

Sound artist and electronic instrument manufacturer Thomas Fang will present an overview of the history and theory of circuit bending (defined as the creative short-circuiting of electronic devices that produce sounds), and will demonstrate a variety of bent gear ranging from toys to drum machines and keyboards. He will also demonstrate and discuss the work of several companies that produce inexpensive DIY kits for building experimental electronic musical instruments (including his employers, Bleep Labs and 4ms Pedals). The symposium will demystify circuits for those without experience in electrical engineering, and will offer links to extensive informational resources, kit makers, and circuit designs.

Derek Woodgate

Derek Woodgate is a practicing futurist, author, speaker and innovator, who for the past 15 years has been President of The Futures Lab, a foresight consultancy, based in Austin, Texas, USA, which specializes in creating future potential for major corporations and institutions, especially in the fields of entertainment, media and culture.

Derek has been involved with future program development for MTVShowtimeWorldSpaceBlastroClear Channel and the BBC, as has been a keynote speaker at numerous entertainment-related conferences, including: The California Arts CouncilCMJ Music ConferenceCutting Edge Business Music Conference, New Orleans, International Live Music Festival in London and has been a regular panelist at SXSW since 1995.

For the past five years he has also served as Chief Creative Officer for Plutopia Productions, Inc. – a future-focused entertainment and event production company, where he has integrated emerging technologies and approaches into the design of entertainment / performances. Derek developed a distinctive concept of inspirational, participatory experiences, which he named “Sense Events.”

Derek is also owner of Fringecore Records and Publishing and has managed and worked with a plethora of major international artists.

His books include: Future Frequencies, (2004) hailed as “creating a unique paradigm in the professional futurist field”, Future Flow (2011) with a preface by DJ Spooky, and Calling The Toads – A Burroughs Compendium (1999) co-authored with Lee Ranaldo of Sonic Youth, Allen Ginsberg and Douglas Brinkley.

Derek has a Masters in Political Economics and has lived and worked in eleven countries and is at home in seven languages.

Read here about Derek’s symposium, “Future of Entertainment 2020.”

David DeMaris

David DeMaris is a brilliant convergent renaissance man. By day he’s engaged in the design of VLSI (very large-scale integration) systems, but his interests also include nonlinear dynamics and oscillation phenomena in networks (applications to signal processing, pattern recognition, perceptual and cognitive modeling), scientific visualizationuser interface design, usability, adaptive design methods, and algorithmic composition techniques in music and visual arts.

DeMaris works in music compositionsound design, and as an improvising/performing artist in solo and group settings on piano, electronics, small instruments, and trumpet. He also creates and performs abstract film and video work under the non de plume Dr. Strangevibe in nightclub and festival settings. He has lived in Austin since 1991. He studied electronic music composition at the University of Illinois and holds a Ph.D. in electrical engineering from UT.

Cyborg Musicality

Music-making machines have existed for centuries, but interacting with them in live performance poses new technical challenges and aesthetic questions about the locus of creativity and musical expression. As the single human in Jazari, Patrick Flanagan has to collaborate and interact with cyborg musicianship. Patrick will discuss matters of performance, imagination and interaction skill as well as how cyborg musicianship embraces technology as its own medium.

Read Patrick Flanagan’s bio here.