The Spam New Media Festival began in 2023 with activations at Freeway Park (and collaborating art institutions) by t he University of Washington’s Digital Arts and Experimental Media (DXARTS) Ph.D. candidates. DXARTS students aren't afraid to get weird with i t\, so the experience made the city a little more interesting with free so und performances\, videos\, and 'sculptural interventions' inspired by the idea of salvage\, data sets\, collective memory\, and archives. This year \, the festival returns for three days\, taking over the historic Georgeto wn Steam Plant with works by 36 wide-ranging new media artists. Expect exp lorations in 'video game technologies\, animatronics\, radio interventions \, e-textiles\, audio-visual installations\, and digitally mediated sculpt ural works\,' including brainwave-powered VR\, a Chinese cyberfeminist arc hive\, electromagnetic 'ghost sensors\,' an inflatable Puerto Rican ve jigante mask\, and Fantastic Ingenuity\, a 'multifaceted conversation of Afrofuturism.' by Lindsay Costello

Festival projects include:

* Brainwave-powered VR: Rose Ansari's technology that lets users “think out loud.”
* Chinese Cyberfeminism Archive: ephemeral:data’s Chinese cyberfeminist anthem derived from censor ed archives.
* Collaborative Extended Reality Performance brings to life an ambisonics archive realized in uniquely acoustical s paces in Washington State.
* Ghost Sensors: Brandon Da lmer uses electromagnetic sensors to detect unusual phenomena produced by entities residing within the Georgetown Steam Plant.
* Inflatab le vejigante mask: Jo Cosme transforms this folkloric Pu erto Rican colonial-era symbol of resistance into an inflatable object to highlight the power dynamics of cultural appropriation
* Machin e Learning Encounters: Lauren Sarah Hayes' interactive musical im provisations. (Photo Credit:Tobias Feltus)
* Listening Space: < /strong>Afroditi Psarra and Audrey Briot use NOAA weather satellite data a s a raw material for poetic exploration and citizen science.

~~Exhibition Hours:~~

Friday & Saturday: 4:00 PM - 9:00 PM
Sunday: 4:00 PM - 7:00 PM

Performances:

Friday from 7:00-9:00PM
Saturday from 6:00-9:00PM
(Exhibition on ly on Sunday)

Performance Schedule:

Friday September 27th\, 7pm-9pm:

Alemseged Bishu
Zeynep Özcan
Michae l Bruner & Jeff Morris
Maria Thrän
Saturday September 28th\, 6pm-9pm:

BLUES.WEAVE the INVENTORMichal Seta & Dirk Johan Stromberg
Lauren Sarah Hayes
St Celfer
Laura Luna Castillo & Ewa Treba cz & Daniel Peterson & Josiah Boothb y & Leanna Keith & Ashley Menestrina

Georgetown Steam Plant

6605 13th Ave S Seattle\, WA 98108

END:VEVENT BEGIN:VEVENT UID:9fec9f1a-24d0-48d4-8c40-9bc9137e4fe0 DTSTAMP:20260721T020421Z CATEGORIES:Exhibits CLASS:PUBLIC CREATED:20240925T180756Z DESCRIPTION:
Opening Reception
\n
Tuesday\, October 1st 4-6 pm.
\n
Location
\nThe DXARTS Gallery at McMahon 8\nUniversity of Washington\n4200 Little Canoe Channel NE\nSeattle\, WA 98195\n
\nGallery Hours\n
October 2-13 TBD and by appointment.
\n
Con tact
\n
tivon@uw.edu
\n
About
\nPoint clouds\, wireframe s\, simulations\, procedurally rendered forms.\n
How do screen-based an d algorithmic design technologies affect our
experiences and engagement with physical spaces\, often in unseen ways?\n
How have our psychologi cal and somatic encounters with real-world
environments and architectur es shifted – subtly or overtly – now that
these spaces are so thoroughl y surveyed\, surveilled\, designed\, and devised
in virtual domains?\n< br>How has the onset of artificial intelligence accelerated these affects\ , as
generative and parametric design straddle the line between a dream of
enhanced creativity and a nightmare of monotonous uniformity.\n
A nightmare of generative reality. Endless banal sameness.\n
Pattern La nguage 2-253 critically examines these questions and evolving
relations hips\, probing the potentials and limitations of language in
describing the intersections of physical and virtual spaces.\n
The project’s micr onarratives draw inspiration from the 253 chapters
of Christopher Alexa nder’s 1977 text\, A Pattern Language. Starting with
investigations of large rural landscapes and progressively zooming into
cities\, neighbor hoods\, streets\, and individual architectures\, these patterns
create a kind of prototypical hypertext\, suggesting combinations of
multiple socio-spatial forms and relationships.\n
Rather than updating Alexander ’s original text\, this project imagines 253
new\, near-future patterns by creating a matrix of relationships between
increasingly specific sp aces and various descriptive voices – paranoid\,
surreal\, speculative\ , and science fictional\, among others. These textual
provocations are generated by a natural language processing system
trained on massive am ounts of available internet data\, combined with
content from A Pattern Language itself. Thus\, the project further explores
contemporary post -digital paradigms in which not only spatial design\,
but indeed langua ge\, memory\, imagination\, and creativity are bound up
in a complex of human and machine co-production.

\nPattern Language 2-253 is made possible with the generous support of
The University of Washington’s De partment of Digital Arts and
Experimental Media\, The Graham Foundation for Advanced Studies in
the Fine Arts\, The Kreielsheimer Arts Endowme nt at the University of
Washington\, and The 2024 Bumbershoot Arts & Mu sic Festival. DTSTART;TZID=America/Los_Angeles:20241001T000000 DTEND;TZID=America/Los_Angeles:20241002T000000 LAST-MODIFIED:20241002T185058Z SUMMARY:: Tivon Rice presents 'Pattern Language 2-253' at the DXARTS Galler y TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2024-10-01/tivon-rice-presents-pat tern-language-2-253-dxarts-gallery X-ALT-DESC;FMTTYPE=TEXT/HTML:
Opening Reception

Tuesday\, October 1st 4-6pm.

Location

The DXARTS Gallery at McMah on 8

University of Washington

4200 Little Canoe Chan nel NE

Seattle\, WA 98195

Gallery Hours

October 2-13 TBD and by appointment.

Contact

tivon@uw.edu

About

Point clouds\, wireframes\, simulations\, procedurally rendered forms.

How do screen-based and algorithmic design technologies affect ourexperiences and engagement with physical spaces\, often in unseen ways?< /div>

How have our psychological and somatic encounters with real -world
environments and architectures shifted – subtly or overtly – now that
these spaces are so thoroughly surveyed\, surveilled\, designed\, and devised
in virtual domains?

How has the onset of ar tificial intelligence accelerated these affects\, as
generative and par ametric design straddle the line between a dream of
enhanced creativity and a nightmare of monotonous uniformity.

A nightmare of g enerative reality. Endless banal sameness.

Pattern Language 2-253 critically examines these questions and evolving
relationships\, probing the potentials and limitations of language in
describing the i ntersections of physical and virtual spaces.

The project’s micronarratives draw inspiration from the 253 chapters
of Christopher A lexander’s 1977 text\, A Pattern Language. Starting with
investigations of large rural landscapes and progressively zooming into
cities\, neig hborhoods\, streets\, and individual architectures\, these patterns
cre ate a kind of prototypical hypertext\, suggesting combinations of
multi ple socio-spatial forms and relationships.

Rather than upda ting Alexander’s original text\, this project imagines 253
new\, near-f uture patterns by creating a matrix of relationships between
increasing ly specific spaces and various descriptive voices – paranoid\,
surreal\ , speculative\, and science fictional\, among others. These textual
pro vocations are generated by a natural language processing system
trained on massive amounts of available internet data\, combined with
content from A Pattern Language itself. Thus\, the project further explores
con temporary post-digital paradigms in which not only spatial design\,
but indeed language\, memory\, imagination\, and creativity are bound up
i n a complex of human and machine co-production.

Pattern Language 2-253 is made possible with the generous support of
The Unive rsity of Washington’s Department of Digital Arts and
Experimental Media \, The Graham Foundation for Advanced Studies in
the Fine Arts\, The Kr eielsheimer Arts Endowment at the University of
Washington\, and The 20 24 Bumbershoot Arts & Music Festival.
END:VEVENT BEGIN:VEVENT UID:6c6fb85c-eecd-41c0-8dfc-202dcdd908eb DTSTAMP:20260721T020421Z CATEGORIES:Exhibits CLASS:PUBLIC CREATED:20240930T203948Z DESCRIPTION:
This exhibition\, titled Survival Machine\, is a three-perso n show featuring artists Althea Rao (DXARTS)\, Eunsun Choi (DXARTS)\, and Kyung-jin Kim. It will be presented at the Soil Artist-Run Gallery\, with the opening on October 3rd\, 2024\, from 5 PM to 6 PM. The show will run u ntil November 2nd\, with the gallery open Friday to Sunday from 12 PM to 5 PM.
\n
About
\n\n \n
“Now they go by the name of genes\, and we are their survival machines.”
― Richard Daw kins\, The Selfish Gene

Genes use the bodies of living thi ngs to further their own survival: to adapt to nature\, to manipulate and collaborate with other species\, to build artificial environments and crea te new ecosystems. These choices can lead to abundance or annihilation. We \, the survival machines\, can only speculate. Survival Machine < /strong>presents such speculations from artists inhabiting the survival ma chines themselves.
\n
Artists
\n \nKyungjin Kim’s work reflects on the natural selection for human vision. Blending reali ty and imagination\, he created light sculptures based on the experience o f inducing an artificial blind spot with a flash of light in his own eyes. \n\nEunsun Choi seeks to understand the genetic evolution required for humans to overcome harsh environmental cha llenges. She will create hypersensitive organic-shaped kinetic sculptures that react to artificial stimuli\, mirroring human vulnerabilities in resp onse to natural influences. \n\n Althea Rao examines intelligence trained on cloud computing and d ata as disembodied memories. Her installation will restore organic bodies back to abstract data and cloud\, and reflect on how natural phenomena rei ntroduce themselves back into the built environment and artificial ecosyst ems.\n
\n
Where
\n\nSoil Gallery\n112 3rd Ave S Seattle\, WA 98104\n
\n
When
\n\nOpening Reception: October 3rd\, 5-8pm\nGall ery Hours: October 3rd - November 2nd\, Friday-Sunday\, 12-5pm\n
DTSTART;TZID=America/Los_Angeles:20241003T170000 DTEND;TZID=America/Los_Angeles:20241004T000000 LAST-MODIFIED:20240930T204408Z SUMMARY:: Survival Machine at Soil Gallery TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2024-10-03/survival-machine-soil-g allery X-ALT-DESC;FMTTYPE=TEXT/HTML:

This exhibition\, titled Survival Machine\, is a three-person show featuring artist s Althea Rao (DXARTS)\, Eunsun Choi (DXARTS)\, and Kyung-jin Kim. It will be presented at the Soil Artist-Run Gallery\, with the opening on October 3rd\, 2024\, from 5 PM to 6 PM. The show will run until November 2nd\, wit h the gallery open Friday to Sunday from 12 PM to 5 PM.

Abo ut

“Now they go by th e name of genes\, and we are their survival machines.”
― Richard Dawkin s\, The Selfish Gene

Genes use the bodies of living things to further their own survival: to adapt to nature\, to manipulate a nd collaborate with other species\, to build artificial environments and c reate new ecosystems. These choices can lead to abundance or annihilation. We\, the survival machines\, can only speculate. Survival Machine presents such speculations from artists inhabiting the survival machines themselves.

Artists

Kyungjin Kim’s wor k reflects on the natural selection for human vision. Blending reality and imagination\, he created light sculptures based on the experience of indu cing an artificial blind spot with a flash of light in his own eyes.

Eunsun Choi seeks to understand the genetic evolution required for humans to overc ome harsh environmental challenges. She will create hypersensitive organic -shaped kinetic sculptures that react to artificial stimuli\, mirroring hu man vulnerabilities in response to natural influences.

Althea Rao< span> examines intelligence trained on cloud computing and data as disembo died memories. Her installation will restore organic bodies back to abstra ct data and cloud\, and reflect on how natural phenomena reintroduce thems elves back into the built environment and artificial ecosystems.

Where

Soil Gallery

112 3rd Ave S Seattle\ , WA 98104

When

Opening Reception: October 3rd\, 5-8pm

Gallery Hours: October 3rd - November 2nd\, Friday-Sunday\, 12-5pm

END:VEVENT BEGIN:VEVENT UID:cdcbd8e0-3d59-46f1-945f-7593ef7f2d0b DTSTAMP:20260721T020421Z CATEGORIES:Performances CLASS:PUBLIC CREATED:20240812T230218Z DESCRIPTION:
'In classical music\, a fugue is a contrapuntal\, polyphonic compositional technique in two or more voices\, built on a subject that i s introduced at the beginning in imitation\, which recurs frequently throu ghout the course of the composition.'
\nFictions in Fugue is an interdi sciplinary collaboration by new media artists/performers who come together to activate Meany Theater as a space in fugue and fragmentation. Combinin g interactive storytelling\, Extended Reality technologies and Machine Lea rning experiments\, a series of embodied narratives emerge throughout the evening. Inspired by the short story 'The Spiral' by Italo Calvino\, forml essness and “indeterminate ways of feeling oneself there” emerge as vignet tes of narrative possibilities.  \n
\nArtists/Performers:
\nAshley Menestrina
Cristina Brambila
Althea Rao
Derek Crescenti
Eunsun Choi
Emily Schoen Branch
Sadaf Sadri
Maria T hraen
Alex Lee Place
Laura Luna Castillo
Ziyu (Rose) Xu
Danie l Peterson\n
DTSTART;TZID=America/Los_Angeles:20241107T000000 DTEND;TZID=America/Los_Angeles:20241108T000000 LAST-MODIFIED:20241019T211233Z SUMMARY:: DXARTS Fall Concert: Fictions in Fugue TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2024-11-07/dxarts-fall-concert-fic tions-fugue X-ALT-DESC;FMTTYPE=TEXT/HTML:
'In classical music\, a fugue is a cont rapuntal\, polyphonic compositional technique in two or more voices\, buil t on a subject that is introduced at the beginning in imitation\, which re curs frequently throughout the course of the composition.'

Fictions in Fugue is an interdisciplinary collaboration by new media artists/performers who come together to activate Meany Theat er as a space in fugue and fragmentation. Combining interactive storytelli ng\, Extended Reality technologies and Machine Learning experiments\, a se ries of embodied narratives emerge throughout the evening. Inspired by the short story 'The Spiral' by Italo Calvino\, formlessness and “indetermina te ways of feeling oneself there” emerge as vignettes of narrative possibi lities.

Artists/Performers:

Ashley Menestrina
Cristina Brambila
Althea Ra o
Derek Crescenti
Eunsun Choi
Emily Schoen Branch
Sadaf Sadri
Maria Thraen
Alex Lee Place
Laura Luna Castillo
Ziyu (Rose) Xu
Daniel Peterson

END:VEVENT BEGIN:VEVENT UID:cdcbd8e0-3d59-46f1-945f-7593ef7f2d0b DTSTAMP:20260721T020421Z CATEGORIES:Performances CLASS:PUBLIC CREATED:20240812T230218Z DESCRIPTION:
'In classical music\, a fugue is a contrapuntal\, polyphonic compositional technique in two or more voices\, built on a subject that i s introduced at the beginning in imitation\, which recurs frequently throu ghout the course of the composition.'
\nFictions in Fugue is an interdi sciplinary collaboration by new media artists/performers who come together to activate Meany Theater as a space in fugue and fragmentation. Combinin g interactive storytelling\, Extended Reality technologies and Machine Lea rning experiments\, a series of embodied narratives emerge throughout the evening. Inspired by the short story 'The Spiral' by Italo Calvino\, forml essness and “indeterminate ways of feeling oneself there” emerge as vignet tes of narrative possibilities.  \n
\nArtists/Performers:
\nAshley Menestrina
Cristina Brambila
Althea Rao
Derek Crescenti
Eunsun Choi
Emily Schoen Branch
Sadaf Sadri
Maria T hraen
Alex Lee Place
Laura Luna Castillo
Ziyu (Rose) Xu
Danie l Peterson\n
DTSTART;TZID=America/Los_Angeles:20241108T000000 DTEND;TZID=America/Los_Angeles:20241109T000000 LAST-MODIFIED:20241019T211233Z SUMMARY:: DXARTS Fall Concert: Fictions in Fugue TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2024-11-07/dxarts-fall-concert-fic tions-fugue X-ALT-DESC;FMTTYPE=TEXT/HTML:
'In classical music\, a fugue is a cont rapuntal\, polyphonic compositional technique in two or more voices\, buil t on a subject that is introduced at the beginning in imitation\, which re curs frequently throughout the course of the composition.'

Fictions in Fugue is an interdisciplinary collaboration by new media artists/performers who come together to activate Meany Theat er as a space in fugue and fragmentation. Combining interactive storytelli ng\, Extended Reality technologies and Machine Learning experiments\, a se ries of embodied narratives emerge throughout the evening. Inspired by the short story 'The Spiral' by Italo Calvino\, formlessness and “indetermina te ways of feeling oneself there” emerge as vignettes of narrative possibi lities.

Artists/Performers:

Ashley Menestrina
Cristina Brambila
Althea Ra o
Derek Crescenti
Eunsun Choi
Emily Schoen Branch
Sadaf Sadri
Maria Thraen
Alex Lee Place
Laura Luna Castillo
Ziyu (Rose) Xu
Daniel Peterson

END:VEVENT BEGIN:VEVENT UID:9481e30d-ef3e-47cf-afb5-d548af3ceb78 DTSTAMP:20260721T020421Z CATEGORIES:Exhibits\, Performances CLASS:PUBLIC CREATED:20241212T203123Z DESCRIPTION:
\n
Me Neither is a live performance that brings togeth er movement artist Ashley and sound artist Maria\, who employs live vocals \, field recordings\, and digital synthesis through SuperCollider. Emergin g as a collaborative exploration\, the work establishes a dialogic relatio nship where sound and movement co-create a dynamic interplay—neither eleme nt leading nor following\, but continuously influencing and transforming o ne another. Maria’s vocal expressions in German\, intertwined with drone s ounds and field recordings\, craft a sonic landscape that Ashley engages w ith through movement\, unveiling\, and generating resonances. Together\, t hey investigate how bodies\, sound\, and rhythm converge to produce patter ns and meanings.
\n
\n
Situated within Jai Sallay-Carrington’s installation Reasoning with Demons\, the performance constructs an immersi ve space where the audience\, the existing artwork\, and the performers en gage in a shared dialogue. The setting invites participants to feel rather than merely observe\, experiencing sound\, movement\, and spatiality in c oherent synergy with themselves. Movement and sound function as equal agen ts of transformation\, amplifying voices and reshaping space through atten tive listening. The work delves into how embodied engagement can reveal ne w forms of connection\, rhythm\, and communication\, fostering profound en counters that transcend conventional boundaries of sound\, silence\, and p resence.
\n
Location
\n METHOD Gallery\n106 3rd Ave S\, Seattle\n
DTSTART;TZID=America/Los_Angeles:20241214T140000 DTEND;TZID=America/Los_Angeles:20241215T000000 LAST-MODIFIED:20241212T203417Z SUMMARY:: Me Neither by Maria Thrän and Ashley Minestrina at METHOD Gallery TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2024-12-14/me-neither-maria-thran- and-ashley-minestrina-method-gallery X-ALT-DESC;FMTTYPE=TEXT/HTML:

Me Neither is a live perfo rmance that brings together movement artist Ashley and sound artist Maria\ , who employs live vocals\, field recordings\, and digital synthesis throu gh SuperCollider. Emerging as a collaborative exploration\, the work estab lishes a dialogic relationship where sound and movement co-create a dynami c interplay—neither element leading nor following\, but continuously influ encing and transforming one another. Maria’s vocal expressions in German\, intertwined with drone sounds and field recordings\, craft a sonic landsc ape that Ashley engages with through movement\, unveiling\, and generating resonances. Together\, they investigate how bodies\, sound\, and rhythm c onverge to produce patterns and meanings.

Situated within J ai Sallay-Carrington’s installation Reasoning with Demons\, the p erformance constructs an immersive space where the audience\, the existing artwork\, and the performers engage in a shared dialogue. The setting inv ites participants to feel rather than merely observe\, experiencing sound\ , movement\, and spatiality in coherent synergy with themselves. Movement and sound function as equal agents of transformation\, amplifying voices a nd reshaping space through attentive listening. The work delves into how e mbodied engagement can reveal new forms of connection\, rhythm\, and commu nication\, fostering profound encounters that transcend conventional bound aries of sound\, silence\, and presence.

Location

METHOD Gallery

106 3rd Ave S\, Seattle

END:VEVENT BEGIN:VEVENT UID:4d73ceb9-b393-49dc-a846-29591f645c94 DTSTAMP:20260721T020421Z CATEGORIES:Performances CLASS:PUBLIC CREATED:20240812T230352Z DESCRIPTION:
Digital Arts and Experimental Media presents Dani el Peterson’s latest music composition\, Into the Air\, which explores the ephemeral nature of sound and the paradox of being. Inspired in part by J orge Luis Borges' Everything and Nothing\, the 80-minute piece embodies bo th presence and absence\, holding within it the traces of countless influe nces while remaining transient and unimaginable\; idiosyncratic and univer sal. The piece fuses Parmegiani's De Natura Sonorum with Beethoven's Piano Sonata No. 32 through custom algorithms written in the audio programming language\, SuperCollider. The stereo piece will be diffused in real-time a cross 20 speakers.
DTSTART;TZID=America/Los_Angeles:20250212T193000 DTEND;TZID=America/Los_Angeles:20250213T000000 LAST-MODIFIED:20250116T223818Z SUMMARY:: DXARTS Winter Concert: Into the Air TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2025-02-12/dxarts-winter-concert-a ir X-ALT-DESC;FMTTYPE=TEXT/HTML:
Digital Arts and Experimental Me dia presents Daniel Peterson’s latest music composition\, Into the Air< /i>\, which explores the ephemeral nature of sound and the paradox of bein g. Inspired in part by Jorge Luis Borges' Everything and Nothing\ , the 80-minute piece embodies both presence and absence\, holding within it the traces of countless influences while remaining transient and unimag inable\; idiosyncratic and universal. The piece fuses Parmegiani's De Natura Sonorum with Beethoven's Piano Sonata No. 32 through custom algorithms written in the audio programming language\, SuperCollide r. The stereo piece will be diffused in real-time across 20 speakers.
END:VEVENT BEGIN:VEVENT UID:71277a96-f883-4a5f-b854-564398fb4531 DTSTAMP:20260721T020421Z CATEGORIES:Exhibits CLASS:PUBLIC CREATED:20250508T052807Z DESCRIPTION:
Virtua-vertumna explores the boundaries between the digital and the organic\, asking how our perception of nature is reshaped through technological mediation. This multimedia art exhibition\, co-hosted by DXA RTS and the UW Biology Greenhouse\, invites viewers to reflect on how the virtual both mirrors the natural world and manipulates how we understand i t.
\n
By examining the evolving entanglements of humans\, machines\, and living systems\, the works speculate on hybrid ecologies. The projects question what is lost\, gained\, or transformed when physical environment s are filtered through algorithms and screens.
DTSTART;TZID=America/Los_Angeles:20250515T000000 DTEND;TZID=America/Los_Angeles:20250516T000000 LAST-MODIFIED:20250508T052807Z SUMMARY:: Virtua-vertumna TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2025-05-15/virtua-vertumna END:VEVENT BEGIN:VEVENT UID:24d15d3c-35c2-40e7-9c8b-f6c10ab43979 DTSTAMP:20260721T020421Z CATEGORIES:Performances CLASS:PUBLIC CREATED:20240812T230507Z DESCRIPTION:
Composer John Chowning is considered one of the pioneers of Computer Music. His contributions to this field\, such as the invention of FM Digital Synthesis\, had a strong cultural impact in the worlds of both classical and popular music. His invention allowed the production of one of the most popular digital synthesizers\, the Yamaha DX7\, which sold mil lions of units in the 1980s and was used by virtually every band from that era. Revenues from the licensing of this technology to Yamaha Corporation allowed Chowning to create the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University\, one of the most important Compu ter Music research centers in the world.
\n
Chowning's most important contribution to the world of music\, however\, can be found in his compos itions\, all considered masterpieces of Computer Music: Sabelithe (1971)\, Turenas (1972)\, Stria (1977)\, and Phoné (1981). These pieces will be pl ayed during the concert over a state-of-the-art ambisonic sound system. Th e program will also include Chowning’s piece\, Voices (2011)\, for soprano and live electronics\, performed by soprano Maureen Chowning.
\n
Dis cover more about the profound impact of John Chowning on electronic music in this article by T he Guardian.
\n
DTSTART;TZID=America/Los_Angeles:20250521T193000 DTEND;TZID=America/Los_Angeles:20250522T000000 LAST-MODIFIED:20250402T211537Z SUMMARY:: DXARTS Spring Concert: Celebrating John Chowning TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2025-05-21/dxarts-spring-concert-c elebrating-john-chowning X-ALT-DESC;FMTTYPE=TEXT/HTML:
Composer J ohn Chowning is considered one of the pioneers of Computer Music. His cont ributions to this field\, such as the invention of FM Digital Synthesis\, had a strong cultural impact in the worlds of both classical and popular m usic. His invention allowed the production of one of the most popular digi tal synthesizers\, the Yamaha DX7\, which sold millions of units in the 19 80s and was used by virtually every band from that era. Revenues from the licensing of this technology to Yamaha Corporation allowed Chowning to cre ate the Center for Computer Research in Music and Acoustics (CCRMA) at Sta nford University\, one of the most important Computer Music research cente rs in the world.

Chowning's most important contribution to the world of music\, however\, can be found in his compositions\, all considered masterpieces of Computer Music: Sabelithe (1971)\, Turenas (1972)\, Stria (1977)\, and Phoné (1981). These pieces will be played during the concert over a state-of-the-art ambisonic sound system. The program will also include Chowning’s piece\, Voices (2011)\, for soprano and live electroni cs\, performed by soprano Maureen Chowning.

Discover more about the profound impact of John Chowning on electronic music in this article by The Guardian.

END:VEVENT BEGIN:VEVENT UID:cecdec96-6b39-4f84-9724-dbae91c7d29d DTSTAMP:20260721T020421Z CATEGORIES:Performances CLASS:PUBLIC CREATED:20250602T185946Z DESCRIPTION:
DXARTS Professor\, Laura Luna Castillo\, in collaboration wi th Anaid Mendoza Marquez Bohor\, Agatha Simunovic\, and Matenin Sangare\, will be performing a piece at On the Boards' 2025 NW New Works Festival (S tudio Program) June 12-14\, 2025.
\n\n
Walls to Bounce Glances merges oral culture as embodied practice and latinx virtualities to reclaim soci al and technological imaginaries. The domestic is staged and augmented as an ambivalent and fragmented archive that exists between immigration and o therness\, the inhospitable and the familiar\, all unfolding halfway acros s mirages of the present and future.
\n\n\n\n\n
NW New Works returns by popular demand to showcase the most daring\, cutting-edge performances in our region once again!
\n\n
Since 1983\, this festival has been a touchstone for contemporary artists across performance disciplines\, prov iding a vital platform for experimentation and cross-pollination and celeb rating the dynamic arts community of the Pacific Northwest.
\n\n
Studio Theater
\n\n
Laura Luna Castillo (Seattle\, WA)
\n\n
Sonam Tshedzom Tingkhye (Seat tle\, WA)
\n\n
BLUE SCREEN (Seattle\, WA)
\n\n
Soeine Bac (Vancouver\, BC)
\n\n\n\n\n
Curated by ~~Kemi Adeyemi~~~~\, Roya Amirsoleymani\, and ~~Fox Whitney\,~~~~ these eight artists were selected from more t han 85 highly competitive proposals we received in Fall 2024. The curators focused on artists with compelling visions and innovative creative practi ces that enrich the fabric of Northwest performance. We owe them immense g ratitude for their time\, vision\, and dedication to this process.
\n\n
The return of NWNW is made possible through generous support by the Rayn ier Foundation\, John C. Robinson\, and Norie Sato & Ralph Berry.
DTSTART;TZID=America/Los_Angeles:20250612T200000 DTEND;TZID=America/Los_Angeles:20250613T000000 LAST-MODIFIED:20250602T193958Z SUMMARY:: Walls to Bounce Glances TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2025-06-12/walls-bounce-glances X-ALT-DESC;FMTTYPE=TEXT/HTML:
DXARTS Professor\, Laura Luna Castillo\, in collaboration with Anaid Mendoza Marquez Bohor\, Agatha Simunovic\, and M atenin Sangare\, will be performing a piece at On the Boards' 2025 NW New Works Festival (Studio Program) June 12-14\, 2025.

Walls to Bou nce Glances merges oral culture as embodied practice and latinx virtu alities to reclaim social and technological imaginaries. The domestic is s taged and augmented as an ambivalent and fragmented archive that exists be tween immigration and otherness\, the inhospitable and the familiar\, all unfolding halfway across mirages of the present and future.

NW New Works returns by popular demand to showcase the most daring\, cutting-edge performances in our reg ion once again!

Since 1983\, this festival has been a touchstone f or contemporary artists across performance disciplines\, providing a vital platform for experimentation and cross-pollination and celebrating the dy namic arts community of the Pacific Northwest.

Studio Thea ter

Laura Luna Castillo (Seattle\, WA)
Sonam Tshedzom Tingkhye (Seattle\, WA)

BLUE SCREEN (Seattle\, WA)

Soeine Bac (Vancouver\, BC)

Curated by Kemi Adeyemi\, Roya Amirso leymani\, and Fox Whitney\, these eight artists were selected from more than 85 highly competitive proposals we received i n Fall 2024. The curators focused on artists with compelling visions and i nnovative creative practices that enrich the fabric of Northwest performan ce. We owe them immense gratitude for their time\, vision\, and dedication to this process.

The return of NWNW is made possible through ge nerous support by the Raynier Foundation\, John C. Robinson\, and Norie Sa to & Ralph Berry.

END:VEVENT BEGIN:VEVENT UID:cecdec96-6b39-4f84-9724-dbae91c7d29d DTSTAMP:20260721T020421Z CATEGORIES:Performances CLASS:PUBLIC CREATED:20250602T185946Z DESCRIPTION:
DXARTS Professor\, Laura Luna Castillo\, in collaboration wi th Anaid Mendoza Marquez Bohor\, Agatha Simunovic\, and Matenin Sangare\, will be performing a piece at On the Boards' 2025 NW New Works Festival (S tudio Program) June 12-14\, 2025.
\n\n
Walls to Bounce Glances merges oral culture as embodied practice and latinx virtualities to reclaim soci al and technological imaginaries. The domestic is staged and augmented as an ambivalent and fragmented archive that exists between immigration and o therness\, the inhospitable and the familiar\, all unfolding halfway acros s mirages of the present and future.
\n\n\n\n\n
NW New Works returns by popular demand to showcase the most daring\, cutting-edge performances in our region once again!
\n\n
Since 1983\, this festival has been a touchstone for contemporary artists across performance disciplines\, prov iding a vital platform for experimentation and cross-pollination and celeb rating the dynamic arts community of the Pacific Northwest.
\n\n
Studio Theater
\n\n
Laura Luna Castillo (Seattle\, WA)
\n\n
Sonam Tshedzom Tingkhye (Seat tle\, WA)
\n\n
BLUE SCREEN (Seattle\, WA)
\n\n
Soeine Bac (Vancouver\, BC)
\n\n\n\n\n
Curated by ~~Kemi Adeyemi~~\, Roya Amirsoleymani\, and Fox Whitney\, these eight artists were selected from more t han 85 highly competitive proposals we received in Fall 2024. The curators focused on artists with compelling visions and innovative creative practi ces that enrich the fabric of Northwest performance. We owe them immense g ratitude for their time\, vision\, and dedication to this process.
\n\n
The return of NWNW is made possible through generous support by the Rayn ier Foundation\, John C. Robinson\, and Norie Sato & Ralph Berry.
DTSTART;TZID=America/Los_Angeles:20250613T050000 DTEND;TZID=America/Los_Angeles:20250614T000000 LAST-MODIFIED:20250602T193958Z SUMMARY:: Walls to Bounce Glances TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2025-06-12/walls-bounce-glances X-ALT-DESC;FMTTYPE=TEXT/HTML:
DXARTS Professor\, Laura Luna Castillo\, in collaboration with Anaid Mendoza Marquez Bohor\, Agatha Simunovic\, and M atenin Sangare\, will be performing a piece at On the Boards' 2025 NW New Works Festival (Studio Program) June 12-14\, 2025.

Walls to Bou nce Glances merges oral culture as embodied practice and latinx virtu alities to reclaim social and technological imaginaries. The domestic is s taged and augmented as an ambivalent and fragmented archive that exists be tween immigration and otherness\, the inhospitable and the familiar\, all unfolding halfway across mirages of the present and future.

NW New Works returns by popular demand to showcase the most daring\, cutting-edge performances in our reg ion once again!

Since 1983\, this festival has been a touchstone f or contemporary artists across performance disciplines\, providing a vital platform for experimentation and cross-pollination and celebrating the dy namic arts community of the Pacific Northwest.

Studio Thea ter

Laura Luna Castillo (Seattle\, WA)
Sonam Tshedzom Tingkhye (Seattle\, WA)

BLUE SCREEN (Seattle\, WA)

Soeine Bac (Vancouver\, BC)

Curated by Kemi Adeyemi\, Roya Amirso leymani\, and Fox Whitney\, these eight artists were selected from more than 85 highly competitive proposals we received i n Fall 2024. The curators focused on artists with compelling visions and i nnovative creative practices that enrich the fabric of Northwest performan ce. We owe them immense gratitude for their time\, vision\, and dedication to this process.

The return of NWNW is made possible through ge nerous support by the Raynier Foundation\, John C. Robinson\, and Norie Sa to & Ralph Berry.

END:VEVENT BEGIN:VEVENT UID:cecdec96-6b39-4f84-9724-dbae91c7d29d DTSTAMP:20260721T020421Z CATEGORIES:Performances CLASS:PUBLIC CREATED:20250602T185946Z DESCRIPTION:
DXARTS Professor\, Laura Luna Castillo\, in collaboration wi th Anaid Mendoza Marquez Bohor\, Agatha Simunovic\, and Matenin Sangare\, will be performing a piece at On the Boards' 2025 NW New Works Festival (S tudio Program) June 12-14\, 2025.
\n\n
Walls to Bounce Glances merges oral culture as embodied practice and latinx virtualities to reclaim soci al and technological imaginaries. The domestic is staged and augmented as an ambivalent and fragmented archive that exists between immigration and o therness\, the inhospitable and the familiar\, all unfolding halfway acros s mirages of the present and future.
\n\n\n\n\n
NW New Works returns by popular demand to showcase the most daring\, cutting-edge performances in our region once again!
\n\n
Since 1983\, this festival has been a touchstone for contemporary artists across performance disciplines\, prov iding a vital platform for experimentation and cross-pollination and celeb rating the dynamic arts community of the Pacific Northwest.
\n\n
Studio Theater
\n\n
Laura Luna Castillo (Seattle\, WA)
\n\n
Sonam Tshedzom Tingkhye (Seat tle\, WA)
\n\n
BLUE SCREEN (Seattle\, WA)
\n\n
Soeine Bac (Vancouver\, BC)
\n\n\n\n\n
Curated by ~~Kemi Adeyemi~~\, Roya Amirsoleymani\, and Fox Whitney\, these eight artists were selected from more t han 85 highly competitive proposals we received in Fall 2024. The curators focused on artists with compelling visions and innovative creative practi ces that enrich the fabric of Northwest performance. We owe them immense g ratitude for their time\, vision\, and dedication to this process.
\n\n
The return of NWNW is made possible through generous support by the Rayn ier Foundation\, John C. Robinson\, and Norie Sato & Ralph Berry.
DTSTART;TZID=America/Los_Angeles:20250613T170000 DTEND;TZID=America/Los_Angeles:20250614T000000 LAST-MODIFIED:20250602T193958Z SUMMARY:: Walls to Bounce Glances TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2025-06-12/walls-bounce-glances X-ALT-DESC;FMTTYPE=TEXT/HTML:
DXARTS Professor\, Laura Luna Castillo\, in collaboration with Anaid Mendoza Marquez Bohor\, Agatha Simunovic\, and M atenin Sangare\, will be performing a piece at On the Boards' 2025 NW New Works Festival (Studio Program) June 12-14\, 2025.

Walls to Bou nce Glances merges oral culture as embodied practice and latinx virtu alities to reclaim social and technological imaginaries. The domestic is s taged and augmented as an ambivalent and fragmented archive that exists be tween immigration and otherness\, the inhospitable and the familiar\, all unfolding halfway across mirages of the present and future.

NW New Works returns by popular demand to showcase the most daring\, cutting-edge performances in our reg ion once again!

Since 1983\, this festival has been a touchstone f or contemporary artists across performance disciplines\, providing a vital platform for experimentation and cross-pollination and celebrating the dy namic arts community of the Pacific Northwest.

Studio Thea ter

Laura Luna Castillo (Seattle\, WA)
Sonam Tshedzom Tingkhye (Seattle\, WA)

BLUE SCREEN (Seattle\, WA)

Soeine Bac (Vancouver\, BC)

Curated by Kemi Adeyemi\, Roya Amirso leymani\, and Fox Whitney\, these eight artists were selected from more than 85 highly competitive proposals we received i n Fall 2024. The curators focused on artists with compelling visions and i nnovative creative practices that enrich the fabric of Northwest performan ce. We owe them immense gratitude for their time\, vision\, and dedication to this process.

The return of NWNW is made possible through ge nerous support by the Raynier Foundation\, John C. Robinson\, and Norie Sa to & Ralph Berry.

END:VEVENT BEGIN:VEVENT UID:0aaf6ad3-2318-4a1a-8968-9861dfd6f033 DTSTAMP:20260721T020421Z CATEGORIES:Special Events CLASS:PUBLIC CREATED:20250819T211157Z DESCRIPTION:For its third iteration\, SPAM New Media Festival 2025 is takin g place at Georgetown Steam Plant. As we join the efforts of those remakin g the building as a space for community art and culture\, we are thinking about what custodianship and curation might mean in terms of looking after Seattle’s iconic “industrial cathedral”. \n\n\n

\n\n
Bringing together over 30 practitioners working from a postdigita l perspective\, SPAM’s 2025 program of installations\, performances and di scussions presents the work of an international community of artists\, mus icians\, technologists\, and thinkers.
\n\n
Organized and c urated by our team of community art workers\, this year’s selection of wor ks includes mediations on borders\, on commons\, on deep time\, and on bod ies\, a video game about care taking\, a VR experience about climate\, and a surveilling balloon. We have slime molds\, sink holes\, post-apocalypti c landscapes\, and something lurking in the boiler.
\n\n
J oin us for a weekend of critically engaged\, experimental\, and research f ocused new media work. Doors open at 5pm each day\, with live performances happening Friday and Saturday nights.
\n\n
Free Registration Here
\n\n
Pl ease visit our website to learn more about this year’s installations\, per formances\, and participating artists.
\n\n
spamnewmedi afestival.com
\n\n
SPAM New Media Festival 2025 is sup ported by DXARTS\, Georgetown Steam Plant\, SrcMaterial\, 4Culture\, and Student Technology Fee.
DTSTART;TZID=America/Los_Angeles:20250912T170000 DTEND;TZID=America/Los_Angeles:20250913T000000 LAST-MODIFIED:20250819T212337Z SUMMARY:: SPAM New Media Festival 2025 TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2025-09-12/spam-new-media-festival -2025 X-ALT-DESC;FMTTYPE=TEXT/HTML:
For its third iteration\, SPAM New Media Festival 2025 is taking place at Georgetown Steam Plant. As we join the efforts of those remaking the b uilding as a space for community art and culture\, we are thinking about w hat custodianship and curation might mean in terms of looking after Seattl e’s iconic “industrial cathedral”.

Bringing together over 30 practitioners working from a postdigital perspective\, SPAM’s 2025 program of installations\, performances and dis cussions presents the work of an international community of artists\, musi cians\, technologists\, and thinkers.

~~Organized and curated by our team of community ar t workers\, this year’s selection of works includes mediations on borders\ , on commons\, on deep time\, and on bodies\,~~ ~~a video game about care ta king\, a VR experience about climate\, and a surveilling balloon. We have slime molds\, sink holes\, post-apocalyptic landscapes\, and something lur king in the boiler.~~

Join us for a weekend of critically engaged\, experimental\, and resear ch focused new media work. Doors open at 5pm each day\, with live performa nces happening Friday and Saturday nights.

< a data-saferedirecturl='https://www.google.com/url?q=https://urldefense.co m/v3/__https://www.eventbrite.com/e/1591991983879?aff%3Doddtdtcreator__\;! !K-Hz7m0Vt54!nGnEE9X_j9zbnlTFFltNSicRfpCoooOBH386OHQGwOCCzFIZd26PQkwRrXns2 Mr5c_myhVK7uLQk6CkfLskCQ8j9sv35cQ$&source=gmail&ust=1755709493303000&usg=A OvVaw04r545OZzgtvYozJABkXHl' href='https://urldefense.com/v3/__https://www .eventbrite.com/e/1591991983879?aff=oddtdtcreator__\;!!K-Hz7m0Vt54!nGnEE9X _j9zbnlTFFltNSicRfpCoooOBH386OHQGwOCCzFIZd26PQkwRrXns2Mr5c_myhVK7uLQk6CkfL skCQ8j9sv35cQ$' target='_blank'>Free Registration Here
Please visit our website to learn more abo ut this year’s installations\, performances\, and participating artists.

~~spamnewmediafestival.com~~

SPA M New Media Festival 2025 is supported by DXARTS\, Georgetown Steam Plant\, SrcMaterial\, 4Culture\, and Student Technology Fee.

END:VEVENT BEGIN:VEVENT UID:0aaf6ad3-2318-4a1a-8968-9861dfd6f033 DTSTAMP:20260721T020421Z CATEGORIES:Special Events CLASS:PUBLIC CREATED:20250819T211157Z DESCRIPTION:For its third iteration\, SPAM New Media Festival 2025 is takin g place at Georgetown Steam Plant. As we join the efforts of those remakin g the building as a space for community art and culture\, we are thinking about what custodianship and curation might mean in terms of looking after Seattle’s iconic “industrial cathedral”. \n\n\n

\n\n
Bringing together over 30 practitioners working from a postdigita l perspective\, SPAM’s 2025 program of installations\, performances and di scussions presents the work of an international community of artists\, mus icians\, technologists\, and thinkers.
\n\n
Organized and c urated by our team of community art workers\, this year’s selection of wor ks includes mediations on borders\, on commons\, on deep time\, and on bod ies\, a video game about care taking\, a VR experience about climate\, and a surveilling balloon. We have slime molds\, sink holes\, post-apocalypti c landscapes\, and something lurking in the boiler.
\n\n
J oin us for a weekend of critically engaged\, experimental\, and research f ocused new media work. Doors open at 5pm each day\, with live performances happening Friday and Saturday nights.
\n\n
Free Registration Here
\n\n
Pl ease visit our website to learn more about this year’s installations\, per formances\, and participating artists.
\n\n
spamnewmedi afestival.com
\n\n
SPAM New Media Festival 2025 is sup ported by DXARTS\, Georgetown Steam Plant\, SrcMaterial\, 4Culture\, and Student Technology Fee.
DTSTART;TZID=America/Los_Angeles:20250913T170000 DTEND;TZID=America/Los_Angeles:20250914T000000 LAST-MODIFIED:20250819T212337Z SUMMARY:: SPAM New Media Festival 2025 TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2025-09-12/spam-new-media-festival -2025 X-ALT-DESC;FMTTYPE=TEXT/HTML:
For its third iteration\, SPAM New Media Festival 2025 is taking place at Georgetown Steam Plant. As we join the efforts of those remaking the b uilding as a space for community art and culture\, we are thinking about w hat custodianship and curation might mean in terms of looking after Seattl e’s iconic “industrial cathedral”.

Bringing together over 30 practitioners working from a postdigital perspective\, SPAM’s 2025 program of installations\, performances and dis cussions presents the work of an international community of artists\, musi cians\, technologists\, and thinkers.

~~Organized and curated by our team of community ar t workers\, this year’s selection of works includes mediations on borders\ , on commons\, on deep time\, and on bodies\,~~ ~~a video game about care ta king\, a VR experience about climate\, and a surveilling balloon. We have slime molds\, sink holes\, post-apocalyptic landscapes\, and something lur king in the boiler.~~

Join us for a weekend of critically engaged\, experimental\, and resear ch focused new media work. Doors open at 5pm each day\, with live performa nces happening Friday and Saturday nights.

< a data-saferedirecturl='https://www.google.com/url?q=https://urldefense.co m/v3/__https://www.eventbrite.com/e/1591991983879?aff%3Doddtdtcreator__\;! !K-Hz7m0Vt54!nGnEE9X_j9zbnlTFFltNSicRfpCoooOBH386OHQGwOCCzFIZd26PQkwRrXns2 Mr5c_myhVK7uLQk6CkfLskCQ8j9sv35cQ$&source=gmail&ust=1755709493303000&usg=A OvVaw04r545OZzgtvYozJABkXHl' href='https://urldefense.com/v3/__https://www .eventbrite.com/e/1591991983879?aff=oddtdtcreator__\;!!K-Hz7m0Vt54!nGnEE9X _j9zbnlTFFltNSicRfpCoooOBH386OHQGwOCCzFIZd26PQkwRrXns2Mr5c_myhVK7uLQk6CkfL skCQ8j9sv35cQ$' target='_blank'>Free Registration Here
Please visit our website to learn more abo ut this year’s installations\, performances\, and participating artists.

~~spamnewmediafestival.com~~

SPA M New Media Festival 2025 is supported by DXARTS\, Georgetown Steam Plant\, SrcMaterial\, 4Culture\, and Student Technology Fee.

END:VEVENT BEGIN:VEVENT UID:0aaf6ad3-2318-4a1a-8968-9861dfd6f033 DTSTAMP:20260721T020421Z CATEGORIES:Special Events CLASS:PUBLIC CREATED:20250819T211157Z DESCRIPTION:For its third iteration\, SPAM New Media Festival 2025 is takin g place at Georgetown Steam Plant. As we join the efforts of those remakin g the building as a space for community art and culture\, we are thinking about what custodianship and curation might mean in terms of looking after Seattle’s iconic “industrial cathedral”. \n\n\n

\n\n
Bringing together over 30 practitioners working from a postdigita l perspective\, SPAM’s 2025 program of installations\, performances and di scussions presents the work of an international community of artists\, mus icians\, technologists\, and thinkers.
\n\n
Organized and c urated by our team of community art workers\, this year’s selection of wor ks includes mediations on borders\, on commons\, on deep time\, and on bod ies\, a video game about care taking\, a VR experience about climate\, and a surveilling balloon. We have slime molds\, sink holes\, post-apocalypti c landscapes\, and something lurking in the boiler.
\n\n
J oin us for a weekend of critically engaged\, experimental\, and research f ocused new media work. Doors open at 5pm each day\, with live performances happening Friday and Saturday nights.
\n\n
Free Registration Here
\n\n
Pl ease visit our website to learn more about this year’s installations\, per formances\, and participating artists.
\n\n
spamnewmedi afestival.com
\n\n
SPAM New Media Festival 2025 is sup ported by DXARTS\, Georgetown Steam Plant\, SrcMaterial\, 4Culture\, and Student Technology Fee.
DTSTART;TZID=America/Los_Angeles:20250914T160000 DTEND;TZID=America/Los_Angeles:20250915T000000 LAST-MODIFIED:20250819T212337Z SUMMARY:: SPAM New Media Festival 2025 TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2025-09-12/spam-new-media-festival -2025 X-ALT-DESC;FMTTYPE=TEXT/HTML:
For its third iteration\, SPAM New Media Festival 2025 is taking place at Georgetown Steam Plant. As we join the efforts of those remaking the b uilding as a space for community art and culture\, we are thinking about w hat custodianship and curation might mean in terms of looking after Seattl e’s iconic “industrial cathedral”.

Bringing together over 30 practitioners working from a postdigital perspective\, SPAM’s 2025 program of installations\, performances and dis cussions presents the work of an international community of artists\, musi cians\, technologists\, and thinkers.

~~Organized and curated by our team of community ar t workers\, this year’s selection of works includes mediations on borders\ , on commons\, on deep time\, and on bodies\,~~ ~~a video game about care ta king\, a VR experience about climate\, and a surveilling balloon. We have slime molds\, sink holes\, post-apocalyptic landscapes\, and something lur king in the boiler.~~

Join us for a weekend of critically engaged\, experimental\, and resear ch focused new media work. Doors open at 5pm each day\, with live performa nces happening Friday and Saturday nights.

< a data-saferedirecturl='https://www.google.com/url?q=https://urldefense.co m/v3/__https://www.eventbrite.com/e/1591991983879?aff%3Doddtdtcreator__\;! !K-Hz7m0Vt54!nGnEE9X_j9zbnlTFFltNSicRfpCoooOBH386OHQGwOCCzFIZd26PQkwRrXns2 Mr5c_myhVK7uLQk6CkfLskCQ8j9sv35cQ$&source=gmail&ust=1755709493303000&usg=A OvVaw04r545OZzgtvYozJABkXHl' href='https://urldefense.com/v3/__https://www .eventbrite.com/e/1591991983879?aff=oddtdtcreator__\;!!K-Hz7m0Vt54!nGnEE9X _j9zbnlTFFltNSicRfpCoooOBH386OHQGwOCCzFIZd26PQkwRrXns2Mr5c_myhVK7uLQk6CkfL skCQ8j9sv35cQ$' target='_blank'>Free Registration Here
Please visit our website to learn more abo ut this year’s installations\, performances\, and participating artists.

~~spamnewmediafestival.com~~

SPA M New Media Festival 2025 is supported by DXARTS\, Georgetown Steam Plant\, SrcMaterial\, 4Culture\, and Student Technology Fee.

END:VEVENT BEGIN:VEVENT UID:9dad2051-a74f-4581-a537-d19c6cef8619 DTSTAMP:20260721T020421Z CATEGORIES:Performances CLASS:PUBLIC CREATED:20250828T203236Z DESCRIPTION:
Hum Under the Riverstone
We asked the stone for an a xiom\, and it gave us a poem instead
Hum Under the Riverstone explor es different forms of connection and dialogue that can unfold among variou s kinds of intelligences: human\, natural\, and machinic. The title of thi s project draws inspiration from Édouard Glissant and his concept of archi pelagic thinking.
This poet\, playwright\, and essayist contrasts tw o perspectives: that of continental thinking and that of archipelagic thin king. According to Glissant\, through continental or systematic thinking “ we see the world as a block\, or at large\, or at once\, as a kind of impo sing synthesis\, just as we can\, by way of general aerial views\, see the configurations of landscapes and mountainous areas as they pass by”\; in contrast\, “with archipelagic thinking\, one can glimpse the river’s small est pebbles and the shadow holes in the water that form underneath them\, where freshwater crabs still live.”
Thus\, this performance seeks pr ecisely to find those shadow holes in the water\, that hum under the river stone\, and to ask what other kinds of relationships and connections we mi ght establish between humans and machines.
Hum Under the Riverstone was created through a collaboration of the members of the Human-Machine In teraction Networks Directed Research Group\, coordinated by DXARTS Assista nt Professor Laura Luna Castillo.
Participants
Artistic Dir ector: Laura Luna Castillo
Associate artistic director: Cristina Brambi la
Choreographers:
Rose Xu
Ifeyinwa Onyekonwu
Spencer Morga
Echo Zhou
Performers:
Rose Xu
Spencer Morga
Ifeyinwa On yekonwu
Echo Zhou
Mary Jane Senger
Dasha Orlov
Samantha TienEmily Jiang
Vincent Le
Sadie Frisvold
Music:
Daniel Peter son
Natalia Quintanilla Cabrera
Special thanks to:
Juan Pampin
Zhuodi (Zoe) Cai
Jennifer Salk
Undercurrent (Alethea Alexander a nd Hillary Grumman)

DTSTART;TZID=America/Los_Angeles:20251105T193000 DTEND;TZID=America/Los_Angeles:20251106T000000 LAST-MODIFIED:20251104T190004Z SUMMARY:: DXARTS Fall Concert: Hum Under the Riverstone TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2025-11-05/dxarts-fall-concert-hum -under-riverstone X-ALT-DESC;FMTTYPE=TEXT/HTML:
Hum Under the Riverstone
We ask ed the stone for an axiom\, and it gave us a poem instead
H um Under the Riverstone explores different forms of connection and di alogue that can unfold among various kinds of intelligences: human\, natur al\, and machinic. The title of this project draws inspiration from Édouar d Glissant and his concept of archipelagic thinking.
This p oet\, playwright\, and essayist contrasts two perspectives: that of co ntinental thinking and that of archipelagic thinking. Accord ing to Glissant\, through continental or systematic thinking “we see the w orld as a block\, or at large\, or at once\, as a kind of imposing synthes is\, just as we can\, by way of general aerial views\, see the configurati ons of landscapes and mountainous areas as they pass by”\; in contrast\, “ with archipelagic thinking\, one can glimpse the river’s smallest pebbles and the shadow holes in the water that form underneath them\, where freshw ater crabs still live.”
Thus\, this performance seeks precisely to f ind those shadow holes in the water\, that hum under the riverstone\, and to ask what other kinds of relationships and connections we might establis h between humans and machines.
Hum Under the Riverstone was created through a collaboration of the members of the Human-Machine Inter action Networks Directed Research Group\, coordinated by DXARTS Assistant Professor Laura Luna Castillo.
Participants
Artistic Direct or: Laura Luna Castillo
Associate artistic director: Cristina Brambila< /p>
Choreographers:
Rose Xu
Ifeyinwa Onyekonwu
Spencer Morga
Echo Zhou
Performers:
Rose Xu
Spencer Morga
Ifeyinwa Onyek onwu
Echo Zhou
Mary Jane Senger
Dasha Orlov
Samantha Tien
E mily Jiang
Vincent Le
Sadie Frisvold
Music:
Daniel Peterson
Natalia Quintanilla Cabrera
Special thanks to:
Juan Pampin
Zhuodi (Zoe) Cai
Jennifer Salk
Undercurrent (Alethea Alexander and Hillary Grumman)

END:VEVENT BEGIN:VEVENT UID:217b1e99-4321-48b5-9553-b6313807b338 DTSTAMP:20260721T020421Z CATEGORIES:Workshops CLASS:PUBLIC CREATED:20251111T053002Z DESCRIPTION:
This workshop\, led by Assistant Professor Laura Luna Castil lo (UW\, DXARTS)\, merges computational linguistics and creative experimen tation. We will use Python’s Natural Language Toolkit (NTLK) to analyze\, deconstruct and algorithmically expand text corpora in a Dadaist spirit. P articipants will be guided through hands-on code examples to learn techniq ues for data augmentation and synthetic data generation. We will explore g rammatical patterns\, linguistic visualizations and randomization as meani ng-making tools that introduce surreal linguistic styles into a corpus\, g enerating endless variations of source texts. This process provides insigh t into how Large Language Models learn and adapt to linguistic styles\, al beit on a much larger scale. Time allowing\, we will use our augmented cor pus to fine-tune our own\, rustic\, language model. A laptop is required f or this hands-on session.

DTSTART;TZID=America/Los_Angeles:20251118T140000 DTEND;TZID=America/Los_Angeles:20251119T000000 LAST-MODIFIED:20251111T053829Z SUMMARY:: Exquisite Corpus: A Practical Workshop on Natural Language Proces sing for Creative Expression TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2025-11-18/exquisite-corpus-practi cal-workshop-natural-language-processing-creative END:VEVENT BEGIN:VEVENT UID:56049132-e62f-48f3-9e40-b6ea9c845441 DTSTAMP:20260721T020421Z CATEGORIES:Performances CLASS:PUBLIC CREATED:20251122T163122Z DESCRIPTION:
The Department of Digital Arts and Experimental Media (DXART S) is pleased to present an evening of 3D music showcasing recent work and world premieres of current DXARTS staff and graduate students.
soun d floats in the space around us\,
but also floats us into a space\, different than the one we are in.
sound points at us\,
points aw ay from us -
crisscrossing\, meshing\, into a blanket\,
under which
we dream.
PROGRAM
Slowly Disappear (2026)* - Daniel Peter son
couloirs… (2024) - Wei Yang
rain contained\, rain contains …(2025) - Wei Yang
Abejas (2023) - Natalia Quintanilla Cabrera
Disonancia (2024) - Natalia Quintanilla Cabrera
interrumpido y frag mentado (2025) - Natalia Quintanilla Cabrera
*World premiere
A BOUT THE COMPOSERS
Daniel Peterson is an acousmatic composer working with spatial sound using ambisonics. He completed a Mast er of Music in Composition at the University of Washington. He is currentl y working as a Postdoctoral Scholar at the Department for Digital Arts and Experimental Media\, where he received his Ph.D. His compositional intere sts include spectral analysis\, ambisonics\, and the exploration of the re lationships between literature\, philosophy\, and music.
Wei Yang is a composer/sound artist from China. He works with differ ent media\, through which he often contemplates the body’s role in sound p roduction\, sound in space\, as well as the integration of various data fr om the performance environment (reverberation\, light\, etc.). Wei compose s both instrumental and electronic music\, and often incorporates various sensors and physical computing to build performative systems that allow dy namic interaction among different actors within the system. His works have been performed internationally at various events\, including the Darmstad t Summer Festival\, Salzburg Music Festival\, BEAST Festival\, NUNC!\, ICM C\, ISAC Sonosfera\, Tomeistertagung\, ORF Musikprotokoll\, the San Franci sco Tape Music Festival\, SEAMUS\, Espacious Sonores\, Festival Atemporáne a\, Nucleo Música Nova SiMN\, Sound Image Festival\, and Ars Electronica. Wei received his Doctor of Musical Arts from the University of Washington. He is currently a PhD candidate at the university’s Center for Digital Ar ts and Experimental Media.
Natalia Quintanilla Cabrera is a composer from Mexico City. She studied music composition and musi c theory at Centro de Investigación y Estudios de la Música (CIEM) in Mexi co City and earned an M.A. in Media Arts from the University of Michigan. Her research focuses on 3D and hybrid spatial audio in composition\, engag ing with social narratives\, especially gender violence in Mexico. Her wor k has been presented in Mexico\, the U.S.\, at Ars Electronica\, Festival IZIS (Slovenia)\, Tonmeistertagung in Düsseldorf\, and in Graz as part of the ORF musikprotokoll. Her music was featured at the International Comput er Music Conference\, with research published in the proceedings. She was also commissioned by the Hopkins Center for the Arts at Dartmouth for wind ensemble works.

DTSTART;TZID=America/Los_Angeles:20260218T193000 DTEND;TZID=America/Los_Angeles:20260219T000000 LAST-MODIFIED:20260128T220727Z SUMMARY:: DXARTS Winter Concert: Floating Points TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2026-02-18/dxarts-winter-concert-f loating-points X-ALT-DESC;FMTTYPE=TEXT/HTML:
The Department of Digital Arts and Experime ntal Media (DXARTS) is pleased to present an evening of 3D music showcasin g recent work and world premieres of current DXARTS staff and graduate stu dents.
sound floats in the space around us\,
but al so floats us into a space\,
different than the one we are in.
sound points at us\,
points away from us -
crisscrossing\, meshing\, into a blanket\,
under whic h
we dream.
PROGRAM
Slowly Disappear (20 26)* - Daniel Peterson
couloirs… (2024) - Wei Yang

rain contain ed\, rain contains…(2025) - Wei Yang
Abejas (2023) - Natalia Quintanilla Cabrera
Disonancia< /span> (2024) - Natalia Quintanilla Cabrera
interrumpido y fragmentado (2025) - Natalia Qu intanilla Cabrera
*World premiere
ABOUT THE COMPOSERS
Daniel Peterson is an acousm atic composer working with spatial sound using ambisonics. He completed a Master of Music in Composition at the University of Washington. He is curr ently working as a Postdoctoral Scholar at the Department for Digital Arts and Experimental Media\, where he received his Ph.D. His compositional in terests include spectral analysis\, ambisonics\, and the exploration of th e relationships between literature\, philosophy\, and music.
~~Wei Yang~~ is a composer/sound artist from China. He works with different medi a\, through which he often contemplates the body’s role in sound productio n\, sound in space\, as well as the integration of various data from the p erformance environment (reverberation\, light\, etc.). Wei composes both i nstrumental and electronic music\, and often incorporates various sensors and physical computing to build performative systems that allow dynamic in teraction among different actors within the system. His works have been pe rformed internationally at various events\, including the Darmstadt Summer Festival\, Salzburg Music Festival\, BEAST Festival\, NUNC!\, ICMC\, ISAC Sonosfera\, Tomeistertagung\, ORF Musikprotokoll\, the San Francisco Tape Music Festival\, SEAMUS\, Espacious Sonores\, Festival Atemporánea\, Nucl eo Música Nova SiMN\, Sound Image Festival\, and Ars Electronica. Wei rece ived his Doctor of Musical Arts from the University of Washington. He is c urrently a PhD candidate at the university’s Center for Digital Arts and E xperimental Media.
Natalia Quintanilla Cabrera is a composer from Mexico City. She studied music composition and music theory at Centro de Investigación y Estudios de la Música (CIEM) in Mexic o City and earned an M.A. in Media Arts from the University of Michigan. H er research focuses on 3D and hybrid spatial audio in composition\, engagi ng with social narratives\, especially gender violence in Mexico. Her work has been presented in Mexico\, the U.S.\, at Ars Electronica\, Festival I ZIS (Slovenia)\, Tonmeistertagung in Düsseldorf\, and in Graz as part of t he ORF musikprotokoll. Her music was featured at the International Compute r Music Conference\, with research published in the proceedings. She was a lso commissioned by the Hopkins Center for the Arts at Dartmouth for wind ensemble works.

END:VEVENT BEGIN:VEVENT UID:bfbeebf2-553e-496a-a74b-df7323807158 DTSTAMP:20260721T020421Z CATEGORIES:Exhibits\, Performances CLASS:PUBLIC CREATED:20260331T000914Z DESCRIPTION:
Anomalous Textualities re-imagines the Studio Theater as a t raversable showroom. Inhabited by seven distinct works\, the margins of la nguage and meaning are re-mediated\, embodied\, and deconstructed through human-machine (mis)translations. In this performance-installation\, spatia l\, temporal\, and linguistic boundaries are blurred\, giving way to slipp ages across models\, bodies\, and forms. Within this anomalous showroom\, language models drive mechanical systems\, glitching oracles\, and choreog raphic prompts. Two further works explore non-verbal communication\, seeki ng a physical vocabulary for a world shared with a 'technological other.'
In this complex system\, there is no fixed sequence. Light and sound a re the conductors. As illumination fades in and out across the grid\, mode ls are sporadically activated. The audience is invited to navigate the sho wroom and explore multiple perspectives\, moving through the partitions to witness interactions up close\, or observing the entire system from the m argins as it breathes and stutters as a single organism.
Note:
The showroom remains in a state of continuous activation betw een 3:00 PM and 5:00 PM. Visitors are welcome to arrive at any time during this window and stay for as long as they wish to observe the shifting cyc les of the system.
Anomalous Textualities is part of the Human- Machine Improvisation Networks project\, generously supported by the Imagi native Project Award 2025-2026
Participants
Egan E Norto n
Spencer Morga
Tivon Rice
Ify Onyekonwu
Anna Czoski
Sabin Timalsena
Laura Luna Castillo
Ashley Menestrina
Cristina Brambila
Ansuya Somashekar
Natalia Quintanilla Cabrera

DTSTART;TZID=America/Los_Angeles:20260410T150000 DTEND;TZID=America/Los_Angeles:20260411T000000 LAST-MODIFIED:20260406T181012Z SUMMARY:: Anomalous Textualities: A showroom of models TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2026-04-10/anomalous-textualities- showroom-models X-ALT-DESC;FMTTYPE=TEXT/HTML:
Anomalous Textualities re-imagines the Studio Theater as a traversable showroom. Inhabited by seven distinct works\, the margins of language and meaning are re-mediated\, embodied\, and deconstructed through human-machine (mis)translations. In this perform ance-installation\, spatial\, temporal\, and linguistic boundaries are blu rred\, giving way to slippages across models\, bodies\, and forms. Within this anomalous showroom\, language models drive mechanical systems\, glitc hing oracles\, and choreographic prompts. Two further works explore non-ve rbal communication\, seeking a physical vocabulary for a world shared with a 'technological other.'
In this complex system\, there is no fixed s equence. Light and sound are the conductors. As illumination fades in and out across the grid\, models are sporadically activated. The audience is i nvited to navigate the showroom and explore multiple perspectives\, moving through the partitions to witness interactions up close\, or observing th e entire system from the margins as it breathes and stutters as a single o rganism.
Note:
The showroom remains in a state of continuous activation between 3:00 PM and 5:00 PM. Visitors are welcome to arrive at any time during this window and stay for as long as they wish t o observe the shifting cycles of the system.
Anomalous Textualit ies is part of the Human-Machine Improvisation Networks project\, generou sly supported by the Imaginative Project Award 2025-2026
Partic ipants
Egan E Norton
Spencer Morga
Tivon Rice
Ify Onyekonw u
Anna Czoski
Sabin Timalsena
Laura Luna Castillo
Ashley Menes trina
Cristina Brambila
Ansuya Somashekar
Natalia Quintanilla Cab rera

END:VEVENT BEGIN:VEVENT UID:96cbefb0-d085-4f16-81a5-efd1e9d2f9ee DTSTAMP:20260721T020421Z CATEGORIES:Performances CLASS:PUBLIC CREATED:20260406T235908Z DESCRIPTION:
Byron Westbrook
Translucents
First emerging from within New York’s experimental music scene nearly two decad es ago and now based in Los Angeles\, Byron Westbrook weaves intricate tap estries of sonority bridging the worlds of sound art\, installation\, avan t-garde electronic music and synthesis. He works between immersive install ation formats and music performance\, utilizing a wide array of sound desi gn\, synthesis techniques and field recordings. Westbrook’s practice appro aches sound in a structural way\, where the architecture of a listening sp ace becomes a key collaborator in his concerts. His work has been presente d internationally at major institutions and festivals. Inspired by optical phenomena occurring while viewing the color panels of abstract painter Bl inky Palermo\, Translucents explores the concept of “audio after-image”. T he work presents a series of audio scenes\, with the intention of imprinti ng on the listener’s mind in order to influence the way each consecutive s cene appears. It is a play with memory\, presence\, and with time\, experi menting with dynamics between perceiving presence in the space where one i s listening vs the perception of an external space or place. For this conc ert\, Translucents is presented in an expanded immersive form that differs from its published release. “…his most mesmerizing album to date – a set of electroacoustic pieces that advances the rough blueprints laid out by l egends like Maryanne Amacher\, Bernard Parmegiani and Luc Ferrari…if you’r e at all interested in electroacoustic music\, ‘Translucents’ is just abou t as good as it gets.” – Boomkat
Maria Thrän and Afroditi Ps arra
Live signals\, live bodies (in conversation)
Through different embodied antenna systems — a swinging wire tu ned to the electromagnetic field\, and diy/handheld/wearable antennas — we receive and process transmissions at the Hertzian spectrum in real time. Our performance is a practice of co-tuning\, interference\, and spatial re sonance\; an improvisation with invisible fields — received through softwa re-defined radios\, and processed through live electronics and SuperCollid er. Architecture\, bodies\, machines\, and noise converge in a listening p ractice that resists control and invites uncertainty.
For more info rmation visit: https://www.way wardmusic.org/event/byron-westbrook-maria-thran-afroditi-psarra/
DTSTART;TZID=America/Los_Angeles:20260418T200000 DTEND;TZID=America/Los_Angeles:20260419T000000 LAST-MODIFIED:20260407T001615Z SUMMARY:: Wayward Music Series Presents Byron Westbrook + Maria Thrän / Afr oditi Psarra TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2026-04-18/wayward-music-series-pr esents-byron-westbrook-maria-thran-afroditi-psarra X-ALT-DESC;FMTTYPE=TEXT/HTML:
Byron Westbrook
Translucents
First emerging from within New York’s experimental music scene nearly two decades ago and now based in Los Angeles\, Byron Westbrook weaves intrica te tapestries of sonority bridging the worlds of sound art\, installation\ , avant-garde electronic music and synthesis. He works between immersive i nstallation formats and music performance\, utilizing a wide array of soun d design\, synthesis techniques and field recordings. Westbrook’s practice approaches sound in a structural way\, where the architecture of a listen ing space becomes a key collaborator in his concerts. His work has been pr esented internationally at major institutions and festivals. Inspired by o ptical phenomena occurring while viewing the color panels of abstract pain ter Blinky Palermo\, Translucents explores the concept of “audio after-image”. The work presents a series of audio scenes\, with the intent ion of imprinting on the listener’s mind in order to influence the way eac h consecutive scene appears. It is a play with memory\, presence\, and wit h time\, experimenting with dynamics between perceiving presence in the sp ace where one is listening vs the perception of an external space or place . For this concert\, Translucents is presented in an expanded imm ersive form that differs from its published release. “…his most mesmer izing album to date – a set of electroacoustic pieces that advances the ro ugh blueprints laid out by legends like Maryanne Amacher\, Bernard Parmegi ani and Luc Ferrari…if you’re at all interested in electroacoustic music\, ‘Translucents’ is just about as good as it gets.” – Boomkat
Maria Th rän and Afroditi Psarra
Live signals\, live bodies (in conversation)
Through different embodied antenna systems — a swinging wire tuned to the electromagnetic field\, and diy/han dheld/wearable antennas — we receive and process transmissions at the Hert zian spectrum in real time. Our performance is a practice of co-tuning\, i nterference\, and spatial resonance\; an improvisation with invisible fiel ds — received through software-defined radios\, and processed through live electronics and SuperCollider. Architecture\, bodies\, machines\, and noi se converge in a listening practice that resists control and invites uncer tainty.
For more information visit: https://www.waywardmusic.org/event/byron-westbrook- maria-thran-afroditi-psarra/
END:VEVENT BEGIN:VEVENT UID:1be34535-fdfa-4041-bcf5-0005ef24b06f DTSTAMP:20260721T020421Z CATEGORIES:Exhibits CLASS:PUBLIC CREATED:20260518T204523Z DESCRIPTION:
A Diamond Is Forever explores the enigma of ‘woman’ created by the diamond industry and mass media. The work explores how concepts of nature\, commodity\, colonialism\, and patriarchy are used to both validat e and scrutinize women in relation to precious stones. The installation\, which includes a video\, prints\, and a replica lab-grown diamond made fro m the artist’s hair\, collapses the distance between subject and object.
May 18 - 22\, 10am - 4pm daily
& by appointment
Contact: Ste phanie Deumer | sdeumer@uw.edu
D XARTS Gallery
McMahon Hall\, Basement Floor
4200 Little Canoe Channe l NE
Seattle\, WA 9818
DTSTART;TZID=America/Los_Angeles:20260518T100000 DTEND;TZID=America/Los_Angeles:20260519T000000 LAST-MODIFIED:20260518T205131Z SUMMARY:: Stephanie Deumer - A Diamond is Forever\, exhibit at the DXARTS G allery TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2026-05-18/stephanie-deumer-diamon d-forever-exhibit-dxarts-gallery X-ALT-DESC;FMTTYPE=TEXT/HTML:
A Diamond Is Forever explores the enigma of ‘woman’ created by the diamond industry and mass media. The work explores how concepts of nature\, commodity\, colonialism\, and patriarch y are used to both validate and scrutinize women in relation to precious s tones. The installation\, which includes a video\, prints\, and a replica lab-grown diamond made from the artist’s hair\, collapses the distance bet ween subject and object.
May 18 - 22\, 10am - 4pm daily
& by appo intment
Contact: Stephanie Deumer | sdeumer@uw.edu
DXARTS Gallery
McMahon Hall\, Basement Floor4200 Little Canoe Channel NE
Seattle\, WA 9818
END:VEVENT BEGIN:VEVENT UID:8296bda7-dbb5-4f99-8eb6-b5626e3bbbdc DTSTAMP:20260721T020421Z CATEGORIES:Performances CLASS:PUBLIC CREATED:20260307T002219Z DESCRIPTION:
The Department of Digital Arts and Experimental Media (DXART S) is pleased to present an evening of electronic music showcasing works b y Richard Karpen\, Joseph Anderson and Juan Pampin. The works will be play ed through the DXARTS 3D audio system\, a state-of-the-art\, high-fidelity multi-channel system designed for immersive\, spatial audio experiences.
Program
Mass (1997)\, Richard Karpen
Pacific Slope (2002 )\, Joseph Anderson
Camera Cantorum (2000) \, Richard Karpen
A Line (2015/25) \, Juan Pampin
Denouement (1991)\, Richard Karpen
Mass (1997) 3:05
Richard Karpen
There are several co mmonly understood English language meanings of the word mass that are deri ved from a few different Latin or Greek roots. Mass can refer to an amount or magnitude of matter\; to the religious ritual\; to works of music base d upon texts of that ritual\; to a large group of people or things. This v ery foreshortened Mass\, on the program this evening\, opens with a quotat ion from the beginning of Little Wing by Jimi Hendrix. It ends with a flee ting step into a pastoral landscape. Between these two bookends is “betwee nness.'
Mass was composed in January 1997 as part of a set of 3-minu te pieces by various composers commissioned by empreintes DIGITALes’ for t heir Miniature Concrète CD release.

Pacific Slope (2002) 26:20
Joseph Anderson
“Assuming form\, it reveals shap es half-seen and then half-hid. In dark half-hid\, a likening\; in light h alf-dark\, shapes visible.…”
Lao Tzu
The region of the North Amer ican continent which drains into the Pacific Ocean is referred to as the P acific Slope.
Metaphor\, ‘the wave’—unending\, unyielding\, paradoxi cally powerful\, at the same time intangible.
The ocean as birth place and endless desert\, both life and death—united without sentiment. The bel l—the ancients’ call to transcendence.
At once an attempt to stay ‘the wave’\, halt death and life\; metal\, the interior of earth—touched by man .
Yet masses move unheeding.
Pacific Slope is the third of thr ee works comprising a cycle titled Epiphanie Sequence. While the three wor ks are very much concerned with musical textures and gestures\, they are a lso quite taken with turning out and hearing the inside of musical sounds. Much of the musical material is often merely a re-voicing horizontally\, in time\, or vertically\, in frequency\, of these ‘insides.’
Pacific Slope was first performed in 2002 at the Transparent Tape Music Festival 2 in Berkeley\, California. A number of people assisted in gathering sound s—Jeff Silberman engineered the recording of bells in his studio just nort h of San Francisco\, Matt Ingalls stood in icy Pacific waters at the Marin Headlands with Jeff’s Nagra strapped to him\, and Juan Pampin and Mirta W yrmzberg broke fallen trees in the Oregon Coast Range. Special thanks go t o Dave Malham for his guidance and instruction regarding Ambisonic theory and practice\, and to Sean Costello for his advice on DSP technique.
The Epiphanie Sequence is published by Sargasso Records\, London (SCD2805 6).
Mastering: Dominique Bassal (Montréal\, Canada).
Came ra cantorum (2000) 12:45
Richard Karpen
Camera cantorum (singer’s room) is a sort of sonic analog to an array of old mirrors that reflect fragments of music from several of my works prior to this one. Old mirrors can become cloudy\, cracked\, and warped\, creating reflections t hat are oddly magnified\, dimly lit\, and sometimes fractured. In Camera C antorum we can imagine it is dusk\, and we are looking into these old mirr ors at the reflections of things that are far in the distance behind us\; we might find ourselves making up a narrative or a landscape to explain wh at we are seeing/hearing. The works drawn on for this excursion include\, Sotto/Sopra for violin and computer\, Pericolose\, un giorno\, bellezze\, for soprano\, choir\, and computer\, and Life Studies #4 and #5.
Cam era Cantorum was composed in 2000 in Seattle\, and Bourges\, France. It wa s commissioned by the Institut International de Musique Electroacoustique de Bourges.

A Line (2015/25) 24:50
Juan Pam pin
“And then it has happened again\, and now it starts to happen ev erywhere. But -he astutely adds- only in the metro I can realize it becaus e to travel in metro is like being inside a clock. The stations are the mi nutes\, you know\, it is that time of yours\, of now\; but I know that the re is a different time\, and I've been thinking\, thinking…”
Julio Cort ázar\, The Pursuer
A Line was composed using field recordings from t he city of Buenos Aires\, captured over the southern springs of 2009\, 201 0\, and 2011. The title of the piece refers to subway line A\, the inaugur al subway line of Buenos Aires\, which started public service in 1913 and operated exclusively with its original wooden cars until 2013. Additionall y\, the title references the line that divides the South and North of the city along which line A traverses.
Line A served as the primary dest ination for my early urban explorations. My grandpa and I would spend coun tless hours riding in the front car\, adjacent to the motorman\, from whic h we could observe the signals and track changes. This journey would take us from the beginning to the end of the line in a loop. Occasionally\, we would get off at one of the stations to visit one of the numerous parks al ong the line\, which would momentarily divert my attention from the captiv ating underground experience. Plaza de Mayo\, Congreso\, Once\, and Parque Rivadavia were among the places that brought me joy\; where I would swing \, feed pigeons\, play soccer\, and climb trees. However\, nothing could c ompare to the exciting underground rides\, which occasionally continued ab ove the ground on the electric train that extends line A to the West\, ven turing into the suburbs.
It has been fascinating to share this exper ience with my son Eloy nearly four decades later. He quickly developed a f ondness for line A\, refusing to ride any other car except the front one. During my field recordings for the piece\, he shared numerous rides with m e\, making many comments along the way. The composition depicts an imagina ry journey through the city from his perspective: he embarks on the trip a t the tender age of five and reaches the end of the line approaching the a ge of seven. Recordings from various locations and events occurring along the line (both above and below ground) were meticulously edited and transf ormed into a sonic landscape that attempts to capture the chaotic energy o f this lively part of Buenos Aires.
A Line was composed using the Am bisonics Toolkit (ATK) in SuperCollider. The original binaural field recor dings were transcoded to Ambisonic format for subsequent image processing. Subsequently\, sounds were algorithmically segmented\, analyzed\, and cat alogued employing audio classifiers and clustering techniques. Audio segme nts underwent digital processing\, employing custom algorithms to generate textural transformations and transitions between soundscapes.
I wou ld like to thank Joseph Anderson for his assistance during the mixing and mastering of A Line. Finally\, I would like to acknowledge my son Eloy for sharing those wonderful subway trips with me.

Denoueme nt (1991) 7:00
Richard Karpen
Denouement was intended to be the final section of my piece Terra Infirma. The very end (the end of this ending) is same in both pieces. I was working on a CD project with so me other composers\, and I felt that the arc of the procession of pieces c ould use a brief final statement. I retrieved the unused part that didn’t make it into Terra Infirma from temporary musical purgatory to create a co da for the CD. We’re using it in the concert this evening in a similar way . There’s also a connection with Camera Cantorum. Although the words are n ot discernible in Denouement\, the LPC vocal re-synthesis used to create t he chant-like beginning to Denouement was based on a reading of the text t hat I used quite a few years later in Pericolose\, un giorno\, bellezze wh ich features prominently in Camera Cantorum.
Denouement was composed in 1992 in Seattle on a NeXT computer for the Centaur CD series\, Compose rs of the Computer Age\, which sounds a bit quaint 34 years later!

DTSTART;TZID=America/Los_Angeles:20260520T193000 DTEND;TZID=America/Los_Angeles:20260521T000000 LAST-MODIFIED:20260514T012504Z SUMMARY:: DXARTS Spring Concert: Aural Cinema TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2026-05-20/dxarts-spring-concert-a ural-cinema X-ALT-DESC;FMTTYPE=TEXT/HTML:
The Department of Digital Arts and Experime ntal Media (DXARTS) is pleased to present an evening of electronic music s howcasing works by Richard Karpen\, Joseph Anderson and Juan Pampin. The w orks will be played through the DXARTS 3D audio system\, a state-of-the-ar t\, high-fidelity multi-channel system designed for immersive\, spatial au dio experiences.
Program
Mass (1997)\, Richard Kar pen
Pacific Slope (2002)\, Joseph Anderson
Camera Canto rum (2000) \, Richard Karpen
A Line (2015/25) \, Juan Pa mpin
Denouement (1991)\, Richard Karpen
Mass (1997) 3:05
Richard Karpen
There are several commonly under stood English language meanings of the word mass that are derived from a f ew different Latin or Greek roots. Mass can refer to an amount or magnitud e of matter\; to the religious ritual\; to works of music based upon texts of that ritual\; to a large group of people or things. This very foreshor tened Mass\, on the program this evening\, opens with a quotation from the beginning of Little Wing by Jimi Hendrix. It ends with a fleeting step in to a pastoral landscape. Between these two bookends is “betweenness.'
< p>Mass was composed in January 1997 as part of a set of 3-minute pieces by various composers commissioned by empreintes DIGITALes’ for thei r Miniature Concrète CD release.

Pacific Slope (2002) 26:20
Joseph Anderson
“Assuming form\, it reveals sha pes half-seen and then half-hid. In dark half-hid\, a likening\; in light half-dark\, shapes visible.…”
Lao Tzu
The region of the Nort h American continent which drains into the Pacific Ocean is referred to as the Pacific Slope.
Metaphor\, ‘the wave’—unending\, unyielding\, pa radoxically powerful\, at the same time intangible.
The ocean as birth place and endless desert\, both life and death—united without sentiment. T he bell—the ancients’ call to transcendence.
At once an attempt to stay ‘the wave’\, halt death and life\; metal\, the interior of earth—touched by man.
Yet masses move unheeding.
Pacific Slope is t he third of three works comprising a cycle titled Epiphanie Sequence. While the three works are very much concerned with musical textures a nd gestures\, they are also quite taken with turning out and hearing the i nside of musical sounds. Much of the musical material is often merely a re -voicing horizontally\, in time\, or vertically\, in frequency\, of these ‘insides.’
Pacific Slope was first performed in 2002 at the Transparent Tape Music Festival 2 in Berkeley\, California. A number of p eople assisted in gathering sounds—Jeff Silberman engineered the recording of bells in his studio just north of San Francisco\, Matt Ingalls stood i n icy Pacific waters at the Marin Headlands with Jeff’s Nagra strapped to him\, and Juan Pampin and Mirta Wyrmzberg broke fallen trees in the Oregon Coast Range. Special thanks go to Dave Malham for his guidance and instru ction regarding Ambisonic theory and practice\, and to Sean Costello for h is advice on DSP technique.
The Epiphanie Sequence is publi shed by Sargasso Records\, London (SCD28056).
Mastering: Dominique Bass al (Montréal\, Canada).
Camera cantorum (2000) 12:4 5
Richard Karpen
Camera cantorum (singer’s room) is a so rt of sonic analog to an array of old mirrors that reflect fragments of mu sic from several of my works prior to this one. Old mirrors can become clo udy\, cracked\, and warped\, creating reflections that are oddly magnified \, dimly lit\, and sometimes fractured. In Camera Cantorum we can imagine it is dusk\, and we are looking into these old mirrors at the ref lections of things that are far in the distance behind us\; we might find ourselves making up a narrative or a landscape to explain what we are seei ng/hearing. The works drawn on for this excursion include\, Sotto/Sopr a for violin and computer\, Pericolose\, un giorno\, bellezze\, for soprano\, choir\, and computer\, and Life Studies #4 and #5.
Camera Cantorum was composed in 2000 in Seattle\, and B ourges\, France. It was commissioned by the Institut International de Musi que Electroacoustique de Bourges.

A Line (2015 /25) 24:50
Juan Pampin
“And then it has happened again\, and now it starts to happen everywhere. But -he astutely adds- only in the met ro I can realize it because to travel in metro is like being inside a cloc k. The stations are the minutes\, you know\, it is that time of yours\, of now\; but I know that there is a different time\, and I've been thinking\ , thinking…”
Julio Cortázar\, The Pursuer
A Line wa s composed using field recordings from the city of Buenos Aires\, captured over the southern springs of 2009\, 2010\, and 2011. The title of the pie ce refers to subway line A\, the inaugural subway line of Buenos Aires\, w hich started public service in 1913 and operated exclusively with its orig inal wooden cars until 2013. Additionally\, the title references the line that divides the South and North of the city along which line A traverses.
Line A served as the primary destination for my early urban explora tions. My grandpa and I would spend countless hours riding in the front ca r\, adjacent to the motorman\, from which we could observe the signals and track changes. This journey would take us from the beginning to the end o f the line in a loop. Occasionally\, we would get off at one of the statio ns to visit one of the numerous parks along the line\, which would momenta rily divert my attention from the captivating underground experience. Plaz a de Mayo\, Congreso\, Once\, and Parque Rivadavia were among the places t hat brought me joy\; where I would swing\, feed pigeons\, play soccer\, an d climb trees. However\, nothing could compare to the exciting underground rides\, which occasionally continued above the ground on the electric tra in that extends line A to the West\, venturing into the suburbs.
It has been fascinating to share this experience with my son Eloy nearly four decades later. He quickly developed a fondness for line A\, refusing to r ide any other car except the front one. During my field recordings for the piece\, he shared numerous rides with me\, making many comments along the way. The composition depicts an imaginary journey through the city from h is perspective: he embarks on the trip at the tender age of five and reach es the end of the line approaching the age of seven. Recordings from vario us locations and events occurring along the line (both above and below gro und) were meticulously edited and transformed into a sonic landscape that attempts to capture the chaotic energy of this lively part of Buenos Aires .
A Line was composed using the Ambisonics Toolkit (ATK) in SuperCollider. The original binaural field recordings were transcoded to Ambisonic format for subsequent image processing. Subsequently\, sounds we re algorithmically segmented\, analyzed\, and catalogued employing audio c lassifiers and clustering techniques. Audio segments underwent digital pro cessing\, employing custom algorithms to generate textural transformations and transitions between soundscapes.
I would like to thank Joseph A nderson for his assistance during the mixing and mastering of A Line. Finally\, I would like to acknowledge my son Eloy for sharing those w onderful subway trips with me.

Denouement (199 1) 7:00
Richard Karpen
Denouement was intended to be the final section of my piece Terra Infirma. The very end (the end o f this ending) is same in both pieces. I was working on a CD project with some other composers\, and I felt that the arc of the procession of pieces could use a brief final statement. I retrieved the unused part that didn’ t make it into Terra Infirma from temporary musical purgatory to create a coda for the CD. We’re using it in the concert this evening in a similar way. There’s also a connection with Camera Cantorum. Alth ough the words are not discernible in Denouement\, the LPC vocal re-synthesis used to create the chant-like beginning to Denouement was bas ed on a reading of the text that I used quite a few years later in Per icolose\, un giorno\, bellezze which features prominently in Came ra Cantorum.
Denouement was composed in 1992 in Seattl e on a NeXT computer for the Centaur CD series\, Composers of the Computer Age\, which sounds a bit quaint 34 years later!

END:VEVENT BEGIN:VEVENT UID:2ffc1f2d-404f-4e1b-ae94-14ba2e0f2637 DTSTAMP:20260721T020421Z CATEGORIES:Exhibits CLASS:PUBLIC CREATED:20260518T203824Z DESCRIPTION:Survival and Transformation explores how cultural forms - image s\, sounds\,
language - survive not through permanence\, but through re interpretation\,
recurrence\, and transformation. Co-hosted by DXARTS a nd the UW Biology
Greenhouse\, the exhibition approaches the greenhouse as both ecological
infrastructure and living archive: a space where do rmant forms are sustained\,
reactivated\, and continually reshaped by t heir environments.
Drawing from strategies of digital preservation - st orage\, emulation\,
migration\, and reinterpretation - the exhibited wo rks examine how the past
remains latent within contemporary technologic al and ecological systems.
In both biological and digital contexts\, co ntinuity depends less on fixity than
on adaptation and reinterpretation . Including works by UW students\, faculty and visiting artists:Tomas Brej lNatalia Quintanilla CabreraSofia PozzoYuanxiao MaMaria TraenAllyce WoodsC athryn PloehnJoe NilsonRose XuCristina BrambilaTivon Rice DTSTART;TZID=America/Los_Angeles:20260527T120000 DTEND;TZID=America/Los_Angeles:20260528T000000 LAST-MODIFIED:20260527T003437Z SUMMARY:: Survival and TransformationThird Annual DXARTS x Greenhouse Art E xhibition TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2026-05-27/survival-and-transforma tionthird-annual-dxarts-x-greenhouse-art-exhibition X-ALT-DESC;FMTTYPE=TEXT/HTML:
Survival and Transformation explores how cultural forms - images\, sounds\,
language - survive not through permanence\, but thro ugh reinterpretation\,
recurrence\, and transformation. Co-hosted by DX ARTS and the UW Biology
Greenhouse\, the exhibition approaches the gree nhouse as both ecological
infrastructure and living archive: a space wh ere dormant forms are sustained\,
reactivated\, and continually reshape d by their environments.

Drawing from strategies of digital preservation - storage\, emulation\,
migration\, and reinterpretation - the exhibited works exam ine how the past
remains latent within contemporary technological and e cological systems.
In both biological and digital contexts\, continuity depends less on fixity than
on adaptation and reinterpretation.
< div style='-webkit-text-stroke-width:0px\;background-color:rgb(255\, 255\, 255)\;color:rgb(34\, 34\, 34)\;font-family:Arial\, Helvetica\, sans-serif \;font-size:small\;font-style:normal\;font-variant-caps:normal\;font-varia nt-ligatures:normal\;font-weight:400\;letter-spacing:normal\;orphans:2\;te xt-align:start\;text-decoration-color:initial\;text-decoration-style:initi al\;text-decoration-thickness:initial\;text-indent:0px\;text-transform:non e\;white-space:normal\;widows:2\;word-spacing:0px\;'>
~~Including works by UW students\, f aculty and visiting artists:~~
~~Tomas Brejl~~
~~Natalia Quintanilla Cabrera~~
~~Sofia Pozzo~~
~~Yuanxiao Ma~~
~~Maria Traen~~
~~Allyce Woods~~
~~Cathryn Ploehn~~
~~Joe Nilson~~
~~Rose Xu~~
~~Cristina Brambila~~
~~Tivon Rice~~
END:VEVENT BEGIN:VEVENT UID:2ffc1f2d-404f-4e1b-ae94-14ba2e0f2637 DTSTAMP:20260721T020421Z CATEGORIES:Exhibits CLASS:PUBLIC CREATED:20260518T203824Z DESCRIPTION:Survival and Transformation explores how cultural forms - image s\, sounds\,
language - survive not through permanence\, but through re interpretation\,
recurrence\, and transformation. Co-hosted by DXARTS a nd the UW Biology
Greenhouse\, the exhibition approaches the greenhouse as both ecological
infrastructure and living archive: a space where do rmant forms are sustained\,
reactivated\, and continually reshaped by t heir environments.
Drawing from strategies of digital preservation - st orage\, emulation\,
migration\, and reinterpretation - the exhibited wo rks examine how the past
remains latent within contemporary technologic al and ecological systems.
In both biological and digital contexts\, co ntinuity depends less on fixity than
on adaptation and reinterpretation . Including works by UW students\, faculty and visiting artists:Tomas Brej lNatalia Quintanilla CabreraSofia PozzoYuanxiao MaMaria TraenAllyce WoodsC athryn PloehnJoe NilsonRose XuCristina BrambilaTivon Rice DTSTART;TZID=America/Los_Angeles:20260529T120000 DTEND;TZID=America/Los_Angeles:20260530T000000 LAST-MODIFIED:20260527T003437Z SUMMARY:: Survival and TransformationThird Annual DXARTS x Greenhouse Art E xhibition TRANSP:OPAQUE URL:https://dxarts.washington.edu/events/2026-05-27/survival-and-transforma tionthird-annual-dxarts-x-greenhouse-art-exhibition X-ALT-DESC;FMTTYPE=TEXT/HTML:
Survival and Transformation explores how cultural forms - images\, sounds\,
language - survive not through permanence\, but thro ugh reinterpretation\,
recurrence\, and transformation. Co-hosted by DX ARTS and the UW Biology
Greenhouse\, the exhibition approaches the gree nhouse as both ecological
infrastructure and living archive: a space wh ere dormant forms are sustained\,
reactivated\, and continually reshape d by their environments.

Drawing from strategies of digital preservation - storage\, emulation\,
migration\, and reinterpretation - the exhibited works exam ine how the past
remains latent within contemporary technological and e cological systems.
In both biological and digital contexts\, continuity depends less on fixity than
on adaptation and reinterpretation.
< div style='-webkit-text-stroke-width:0px\;background-color:rgb(255\, 255\, 255)\;color:rgb(34\, 34\, 34)\;font-family:Arial\, Helvetica\, sans-serif \;font-size:small\;font-style:normal\;font-variant-caps:normal\;font-varia nt-ligatures:normal\;font-weight:400\;letter-spacing:normal\;orphans:2\;te xt-align:start\;text-decoration-color:initial\;text-decoration-style:initi al\;text-decoration-thickness:initial\;text-indent:0px\;text-transform:non e\;white-space:normal\;widows:2\;word-spacing:0px\;'>
~~Including works by UW students\, f aculty and visiting artists:~~
~~Tomas Brejl~~
~~Natalia Quintanilla Cabrera~~
~~Sofia Pozzo~~
~~Yuanxiao Ma~~
~~Maria Traen~~
~~Allyce Woods~~
~~Cathryn Ploehn~~
~~Joe Nilson~~
~~Rose Xu~~
~~Cristina Brambila~~
~~Tivon Rice~~
~~END:VEVENT END:VCALENDAR~~