BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//MusicTech.Education - ECPv5.13.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:MusicTech.Education
X-ORIGINAL-URL:http://musictech.education
X-WR-CALDESC:Events for MusicTech.Education
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:UTC
BEGIN:STANDARD
TZOFFSETFROM:+0000
TZOFFSETTO:+0000
TZNAME:UTC
DTSTART:20220101T000000
END:STANDARD
TZID:Australia/Sydney
BEGIN:STANDARD
TZOFFSETFROM:+1100
TZOFFSETTO:+1000
TZNAME:AEST
DTSTART:20220402T160000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:+1000
TZOFFSETTO:+1100
TZNAME:AEDT
DTSTART:20221001T160000
END:DAYLIGHT
TZID:America/Los_Angeles
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20220313T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20221106T090000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=UTC:20220506T000000
DTEND;TZID=UTC:20220509T000000
DTSTAMP:20260729T105736
CREATED:20220506T194640Z
LAST-MODIFIED:20220506T194640Z
UID:930-1651795200-1652054400@musictech.education
SUMMARY:Australasian Jazz and Improvisation Research Network Conference (AJIRN )
DESCRIPTION:The 2022 AJIRN conference theme Space is the place” invites participants to think about where improvisation occurs\, where it might occur\, how it interacts with its spaces and places\, the movements and migratory patterns of improvising artists\, what role locality in any of its forms plays in improvisation studies\, and more. Many forces today\, not least the increasing awareness that international travel on a large scale is ecologically unsustainable?conspire to drive us to rethink “the local” as the primary place of our collaborative practices. Might this lead to a culture shift in which local agency replaces the traditional hegemonic centersof creative practice? Conversely\, the COVID-19 pandemic has stimulated many novel modes of creative collaboration via technologically-afforded “virtual” spaces. So while “the local” is being reclaimed as the foundationalcollaborative locus\, it is simultaneously taking on new registers\, since even disparate spaces and places can be conjoined to form new virtual localities. Here Sun Ra’s insistence that “space is the place” takes on dynamic new valences\, from local place to cyberspace.  We welcome proposalsfor individual papers\, performances\, panel discussions\, and hybrid formats that engage this theme. Assuming travel is possible in 2022\, we are planning for a hybrid conference with robust on-the-ground activities but also opportunities for remote participation.  Host(s): Queensland Conservatorium  Website: http://www.ajirn.com/  Submissions Due: Jan 31\, 2022″
URL:http://musictech.education/event/australasian-jazz-and-improvisation-research-network-conference-ajirn/
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Australia/Sydney:20220506T180000
DTEND;TZID=Australia/Sydney:20220506T203000
DTSTAMP:20260729T105736
CREATED:20220406T193731Z
LAST-MODIFIED:20220506T194640Z
UID:890-1651860000-1651869000@musictech.education
SUMMARY:What Are You Syncing – Music NFTS
DESCRIPTION:What Are You Syncing? Music NFTS:\nOnline free course by Micha Walter. Empowering artists to create and sell your own radio ready music.
URL:http://musictech.education/event/what-are-you-syncing-music-nfts-5/
ATTACH;FMTTYPE=image/jpeg:http://musictech.education/wp-content/uploads/2022/04/6f62d2ea34f2d23f3ed172f6e991e4f0-n2be3J.tmp_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20220506T180000
DTEND;TZID=America/Los_Angeles:20220506T223000
DTSTAMP:20260729T105736
CREATED:20220406T190120Z
LAST-MODIFIED:20220506T194640Z
UID:888-1651860000-1651876200@musictech.education
SUMMARY:Reality is Boring: Expressing Feelings/Movements via Impressionistic Foley
DESCRIPTION:We will see and hear artistic use of the Foley process \, which is the recording of sound cues appropriate to the action on the screen\n\n\nZOOM MEETING 6:00PM PDT (UTC -7) \nFriday\, May 6\, 2022 \nPresented by  \nJoanna Fang \nand \nThe Pacific Northwest Section of the Audio Engineering Society \n\n\nNote that this meeting starts at 6:00pm Pacific Daylight Time\, which is UTC -7. There are many countries in the world where that is the middle of normal sleep time\, so if you intend to sleep normally that day you may want to watch the video when it comes out rather than signing up here and not showing up. \nThat said\, it’s free to sign up\, so do whatever makes you happy. \nThis will be a  Zoom meeting.  \n\n\nPresentation Description: \nIn filmmaking\, Foley is the reproduction of everyday sound effects that are added to films\, videos\, and other media in post-production to enhance audio quality. These reproduced sounds\, named after sound-effects artist Jack Donovan Foley\, can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass. Foley sounds are used to enhance the auditory experience of the movie. Foley can also be used to cover up unwanted sounds captured on the set of a movie during filming\, such as overflying airplanes or passing traffic. \nPlaces where the Foley process takes place are often referred to as a Foley stage or Foley studio. Foley artists recreate the realistic ambient sounds that the film portrays. The props and sets of a film often do not react the same way acoustically as their real life counterparts\, requiring filmmakers to Foley the sounds. The best Foley art is so well integrated into a film that it goes unnoticed by the audience. It helps to create a sense of reality within a scene. Without these crucial background noises\, movies feel unnaturally quiet and uncomfortable. \nThe Wikipedia page about Foley  \nSome questions about Foley: \nHow do we craft sound effects for a warm embrace\, a desperate walk\, or a fluttering heart?  \nFilmmakers\, game developers\, and musicians often try to render meaningful and empathetic performances through sound design and Foley. But what is the implication for Foley artists in a world that’s exponentially recorded and archived? Where is the line between “cheating” a sound for an audience’s emotional response\, and achieving forensically accurate sound reproduction in increasingly augmented or fully virtual productions? \nJoanna will address these and other issues in her presentation. \nAdditional information can be found at   \nPacific Northwest Section of the Audio Engineering Society Website.  \nGo here to get on our emailing list. \nTHIS EVENT IS FREE\, OPEN TO ALL\, AND AES MEMBERSHIP IS NOT REQUIRED \n\n\n\nAbout The Presenter\nJoanna Fang is an Emmy Award winning Foley artist and sound editor. An alumna of NYU Film\, Joanna spent the first 12 years of her career performing custom Foley and sound effects for film and TV in New York with Alchemy Post Sound. \nHaving transitioned into interactive work\, Joanna was recently brought on to co-lead and develop Sony Playstation’s in-house Foley team. \nHer Foley can be heard in films (The Texas Chainsaw Massacre)\, games (Horizon Forbidden West)\, and music videos (Mitski’s Working for the Knife).\nAlchemy Post Sound \nJoanna’s Facebook Page (must log in to Facebook to see) \n\n\nPNW AES Zoom Meetings \nWe started holding our meetings via Zoom beginning with the April 2020 meeting. Zoom has dramatically increased our reach\, well beyond our Section’s geographic area. Since doing this\, we’ve regularly had attendees from: \n-most Provinces in Canada; \n– most countries in:  \n–Europe\, \n–Central and South America;  \n-Japan\,  \n-India\,  \n-Indonesia\,  \n-Malaysia\,  \n-Australia\,  \n-and more. It’s been unbelievable how many cool audio people we’ve met. \nZoom gives the ability to record videos of our meetings\, and those recordings are individually posted in our past meetings Archive. For now\, the collected videos from our Zoom meetings can be found (mostly) at Dan Mortensen’s DansoundSeattle YouTube channel. \nWe use EventBrite to manage our free tickets to meetings. You are in the right place to RSVP for your ticket for this event.  \nThe Zoom URL and physical meeting location (if this is a hybrid meeting) will be sent in three reminders: two days\, the morning of\, and two hours before the event starts. \nWhen you register at EventBrite and when you enter the Zoom meeting\, please use your real first and last names so we can get to know each other. You do NOT need to create an EventBrite account to register. \n\n\nPlease Note\nIn order to maintain decorum and avoid interruptions\, even unintended ones\, we have established a few ground rules for meeting attendees: \n1. We want to see your full name on display in Zoom at the meeting. \n2. The presenter(s) will determine if they can accept questions during the presentation\, or wait until specific Q&A times\, and that will be announced at the beginning of the meeting. (We often use the “chat” feature to allow attendees to ask questions when they think of them\, with moderators passing them on to the presenter at the appropriate time.) \n3. Please mute your microphone when not talking (a moderator may mute you if you haven’t muted yourself; if they do\, Zoom won’t let you un-mute until a moderator clears you again.) \n4. Based on our experience with no-shows\, we reserve the right to issue more tickets than available slots. We don’t want to turn people away based on inaccurate estimates of attendance\, but we do have budgetary limits to the number of slots we can make available. If we reach capacity before you log in\, we regret that we may have no way to expand capacity at the last minute. \n5. Some presenters are distracted when confronted by a sea of video faces or other images\, so for some meetings we may ask that you turn your camera/images off during the presentation. If you forget\, one of our moderators may do it for you\, and you may or may not get a private chat note informing you. \n6. During the meeting\, there is the matter of your camera. We’re going to leave that up to the presenter; whether they want to see their audience while they present or not. If they want to see who they’re talking to\, then you can leave your camera live or not\, as you prefer\, however if the presenter doesn’t want to see the audience\, then we’ll ask you to turn your video off. \n7. Moderators have the ability to globally turn everyone’s video off\, however turning it back on is troublesome; we are forced to turn cameras back on manually\, one by one. There is no way for you to override that. You’ll need your camera live later in the meeting for the self-introductions. \n8. Best is that if we ask for cameras to be on or off\, that you do this individually on your own. \n9. It would be good if you watched the chat stream during the meeting. Not only is it a way to submit questions to the presenters\, but it’s also a way for others to contact you personally. You have the option there to direct your comment to anyone who is part of the meeting as well as to one person in particular. \nFinally\, in the rare instance of behavior by an attendee that moderators believe is disruptive\, we reserve the right to immediately eject such attendees.
URL:http://musictech.education/event/reality-is-boring-expressing-feelings-movements-via-impressionistic-foley/
ATTACH;FMTTYPE=image/jpeg:http://musictech.education/wp-content/uploads/2022/04/6c0379b64eedc1d80a9b29cb205c60e5-1-7ts9sH.tmp_.jpg
END:VEVENT
END:VCALENDAR