Podcast appearances and mentions of matthew burtner

On this episode of Free Range, Michael Livermore speaks with Matthew Burtner, a Professor of Compositions and Computer Technologies in the music department at the University of Virginia. Burtner's work explores ecology and the aesthetic link between human expression and environmental systems. His latest album is Ice Field. Burtner begins by discussion how his music tries to decenter humans. (0:51-2:29) After listeners hear a snippet from the title track, Livermore inquires about the physical logistics of how he recorded this track. (3:58 – 8:13) Burtner recalls the improvisation he did while on the ice field and describes how environmental music appreciating a new kind of beauty. (8:21 – 11:55) He goes on to explains his commitment to understanding these natural systems as independent forms of aesthetics. (12:00 – 17:30) Burtner describes how he uses sonification to translate environmental data into sounds. He describes how sonification allows us to listen to sounds new kind of sounds, like light reflecting off waves, and to transpose temporality by taking decades worth of data and turning it into a musical phrase we can perceive. On Ice Field, two of his works use sonification, “Ice Prints” which uses ice extent data from the Arctic and is mapped into piano music and “Sonification of an Arctic Lagoon.” (17:32 – 21:20) A snippet of his track “Sonification of an Arctic Lagoon” is played. This piece takes different layers of data and creates musical sounds, this 4-minute piece is 1-year worth of data mapped into musical form. (21:21 – 23:29) Livermore and Burtner discuss the differences between sonification and a more common impressionism approach to relating music to the natural environment. Burtner explains how data is not always what he may want it to sound like and may not be satisfying as music. He explains that you can either try to change the data, which won't represent the system anymore, or listen to it and find the beauty. (23:31 – 29:05) Burtner discusses different approaches to eco-acoustic music: presenting environmental data as sound (sonification), field recording natural sounds (soundscaping), and using natural features as instruments in human-environment interactions. Livermore and Burtner discuss the different technologies used in these techniques and how they are theorized. (29:15 – 36:44) Burtner delves into his favorite examples of soundscape field recording that he has done, playing snippets of both. (36:46 – 41:53) Burtner explains that these recordings transpose our listening outside of our human centered perception. (42:00 – 46:26) Livermore poses a question about aesthetics theory and how the relationship between the deep tradition we inherit affects our way of appreciating these types of music. Burtner explains that knowledge helps open up the world to different dimensions of aesthetics; that it becomes richer the more he learns. (46:30 – 51:26) Burtner discusses how environmental politics has unintentionally played a role with his music and that he appreciates that his music can be a part of that type of discourse. (51:27 – 55:43) With climate change already happening, Livermore asks how much of Burtner's work is coming to terms with these inevitable changes; Is it mourning, celebration, or are they entangled? Burtner describes that art has always given us a place to deal with tragedy, that music gives us a space to mourn. He explains that inside all of these tragedies are modes of sustainability and restoration; they don't always have to be about loss. (55:44 – 1:00:57) Livermore ends the episode inquiring about how listeners should approach and interact with these conceptual pieces at different layers. Burtner describes that the music is designed to be understood on its own and on another level as conceptual art. He hopes that it can be a multifaceted experience of listening. (1:01:03 – 1:05:43)

Scott Deal engages new pathways of computer interactivity, networked systems, and electroacoustics. His recordings have been described as “soaring, shimmering explorations of resplendent mood and incredible scale.” In the network arts, Deal is an award-winning creator, producer, author, and performer. Deal and composer Matthew Burtner were awarded the Internet2 IDEA award for their creation of Auksalaq, a telematic opera described as “an important realization of opera for today's world.” He is the founder of Earth Day Art Model, a 24-hour, worldwide telematic festival. Deal is the Director of the Tavel Arts and Technology Research Center at IUPUI, Indianapolis. Music: Auksalaq by Matthew Burtner and Scott Deal, performed by Joan La Barbara (singer/narrator), NYU New Music Ensemble (Esther Lamneck), and Percussion Ensemble (Jonathan Haas); AVATAR Improvisations, performed by Scott Deal Follow Scott on Facebook, Instagram, and Twitter. scottdeal.net Co-hosts: Taylor Long and Rob Cosgrove Follow us on Facebook, Instagram, and Twitter. ensembledecipher.com Contact us at decipherists@ensembledecipher.com. Decipher This! is produced by Joseph Bohigian; intro sounds by Eric Lemmon; outro music toy_3 by Eric Lemmon.

THE CEILING FLOATS AWAY, a groundbreaking new collaboration between sound artist Matthew Burtner, former US poet laureate Rita Dove, and ecoacoustic ensemble EcoSono. A National Endowment for the Arts commission, The Ceiling Floats Away was awarded a Special Jury Award in the 2016 American Prize in Chamber Music Composition for "Unique Nexus of Acoustics, Electronics, and Audience Interaction." Since its composition, it has been selected for performance at various festivals and venues, including the Smithsonian Natural History Museum’s Accelerate Festival. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p834/The_Ceiling_Floats_Away.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Composer and sound artist Rob Mackay traces the migratory route of the monarch butterfly, from the Great Lakes in Canada to the forests of Mexico, via the shifting coastal landscape of the eastern shores of Virginia. Along the route of this sonic road-movie Rob meets people working to protect this extraordinary species: Darlene Burgess, a conservation specialist monitoring butterfly populations on the shores of Lake Eerie; Nancy Barnhart, coordinating the monarch migration programme for the Coastal Virginia Wildlife Observatory at Kiptopeke State Park, where we also encounter composer Matthew Burtner, whose sonifications of data from the local seagrass beds help track changes in the monarch's environment; and butterfly expert Pablo Jaramillo-López giving a tour of the Sierra Chincua and Cerro Pelón reserves in Mexico. We also hear reflections from the late Lincoln Brower, the American entomologist whose legacy has inspired many of today's research and conservation efforts. The programme features Rob Mackay's binaural field recordings, and audio from live stream boxes, set up in partnership with the ecological art and technology collective SoundCamp to monitor the monarch's changing habitats. Plus Rob’s own flute playing, recorded in the Mexican forest meadows with David Blink on handpan and trumpet, alongside poetry in Spanish about the monarch by Rolando Rodriguez.

Matthew Burtner presents the haunting beauty of GLACIER MUSIC, an electroacoustic collection featuring the Alaskan natural landscape as the central instrument. with the sounds of snow, trickling streams, and the cracks, pops and thunder as glaciers break apart and fall. Burtner, who was born in Alaska and grew up among the glaciers, also sculpts scientific measurements of glacial melt into the music through a technique known as sonification. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p803/Glacier_Music.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

This episode of Warm Regards, the second of two that explore climate data as art, looks at more immersive and embodied experiences of climate data. First, an exploration of the multimedia installation World Without Ice, from producer Justin Schell, and then a conversation between Jacquelyn and Daniel Bird Tobin, who evocatively utilizes theater to help people imagine sea level rise in their own immediate communities. If you haven’t listened to our first episode climate data as art, which featured conversations with Jill Pelto and the founders of the Tempestry Project, you can find it in our podcast feed or at our website: https://warmregardspodcast.com/episodes/climate-data-and-art-part-1-the-tempestry-project-s1!2effc For a full transcript of this episode, please visit our Medium page: https://ourwarmregards.medium.com/climate-data-and-art-part-2-world-without-ice-and-daniel-bird-tobin-66f2b3e0290c Show Notes For more information on American opinion polling on climate change impacts, check out the latest Yale Project on Climate Change Communication surveys from April 2020: https://climatecommunication.yale.edu/wp-content/uploads/2020/05/climate-change-american-mind-april-2020b.pdf The website for the World Without Ice installation: https://www.WorldWithoutIceInstallation.com World Without Ice, the book by Dr. Henry Pollack that inspired the work: https://www.goodreads.com/book/show/6677106-a-world-without-ice You can also learn more about the works of the three composer-artists who created the sonic and visual dimensions to the project: Michael Gould: https://www.gouldmusic.com/ Stephen Rush: http://stephenjrushmusic.com/ Marion Tränkle: http://mariontraenkle.eu/ For much more detail on the dataset used by Rush for the composition, visit the GISS Surface Temperature Analysis (GISTEMP), visit its site on the Godard Institute for Space Studies: https://data.giss.nasa.gov/gistemp/ Note, the values used in the story to calculate the musical notes are from the meteorological year (December-November), rather than the calendar year (January-December). Calendar year calculations artificially split the coldest months of the year into different seasons, which can result in slightly skewed data. You can learn more about John Cage at the site run by the John Cage Trust: https://johncage.org If you want to start with one of Cage’s books, go with Silence: https://www.goodreads.com/book/show/765651.Silence Here are links to the other ice-based art projects mentioned: Ice Watch: https://olafureliasson.net/archive/artwork/WEK109190/ice-watch Luftwerk’s Requiem: A White Wanderer: http://luftwerk.net/projects/white-wanderer/ Matthew Burtner’s Glacier Music: https://www.ravellorecords.com/catalog/rr8001/ For more information about potential climate change impacts on sea level rise, this is a nice explainer from the NOAA website: https://www.climate.gov/news-features/understanding-climate/climate-change-global-sea-level You can find out more about Daniel Bird Tobin and his work, including Flooding the Beach, at his website: https://www.danielbirdtobin.com Center for Communicating Science at Virginia Tech: https://communicatingscience.isce.vt.edu You can learn more about Peter Sforza’s work at his website: https://www.cgit.vt.edu/people/biographies/peter-sforza.html Finally, Daniel Bird Tobin wanted to make sure he thanked Patty Raun and Carrie Kroehler for their leadership of the Center.

Today we speak with Mona Kasra, new media artist, interdisciplinary researcher and Assistant Professor of Digital Media Design at the University of Virginia. Mona uses her tech to explore, document, and augment nature, culture, theater and more. Together, Mona and Gabe discuss her trajectory into the arts initially through video experimentation, the significance and history of selfie-rallies, and her collaborative interactive and immersive VR projects which merge nature and music, and preserve and present traditional aboriginal dances.Projects DiscussedIt's Misogyny That's Humiliating Gif Animation (2013) Dwelling in the Enfolding (2020) created in collaboration with Matthew Burtner (composer)Embodied Cultural Practices & Immersive Media (2019-Present) created in collaboration with Luke Dahl (UVA Music Dept) and the indigenous community of Peppimenarti-About Mona Kasra-Mona Kasra is a new media artist, interdisciplinary researcher, and Assistant Professor of Digital Media Design at the University of Virginia (UVA).Her research trajectory involves exploring the confluence of media technologies, art, and culture, reflecting on the impact of emerging media on personal, political, and creative expression, and experimenting with affordances of such media for artistic practices of performance and installation. Currently, she is researching representational, affective, and creative possibilities of immersive media, and designing experimental and performative experiences in Virtual Reality (VR/360). One of her latest projects is in collaboration with music prof Luke Dahl where we will be exploring how motion capture, spatial audio, and interactive XR environments can represent and transmit embodied cultural practices. Mona was born in Tehran, Iran. I hold a Ph.D. in Arts, Technology, and Emerging Communication from the University of Texas-Dallas, an M.F.A. in Video/Digital Art from California State University Northridge, and a B.A. in Graphic Design and Visual Communication from the Art University of Tehran.Learn more about Mona at https://www.monakasra.com/Follow Mona @monaism

This podcast discusses the life and ecoacoustic works of Matthew Burtner. Pieces mentioned in this episode:Sound Cast of Matanuska Glacier - Matthew BurtnerLe Legende d'Eer - Iannis XenakisRiverrun - Barry TruaxPortals of Distortion - Matthew BurtnerSiku Unipkaak - Matthew BurtnerMuir Glacier, 1889 - 2009 - Matthew BurtnerThrenody (Sikigvik) - Matthew BurtnerAdditional music crafted by yours truly.Field recorded sounds taken from myself, Thomas Rex Beverly and freesounds.org.Matthew's Website: http://matthewburtner.com/Further Reading:Information on Winter Raven: http://matthewburtner.com/winter-raven-ukiuq-tulugaq/Information on Iceprints: http://matthewburtner.com/iceprints/Information on Auksulaq: http://matthewburtner.com/auksalaq/Further Listening:Glacier Music (2019): https://www.ravellorecords.com/catalog/rr8001/Further Viewing:Indie Alaska Feature: https://www.youtube.com/watch?v=57phLAijQ2sNew Music Box Feature: https://www.youtube.com/watch?v=ef8N_1j-L74&t=166s

This week on Points North: Grand Traverse Bay is freezing less and less, according to historical data. Plus, making music that sounds like melting glaciers. Ice cover on Lake Michigan is happening less and less, and that’s why Grand Traverse Bay hasn’t frozen this year. The bay had already frozen out to Power Island by this time last year and the year before. Read the full story. Matthew Burtner and Matthew Duvall brought Transient Landscapes to northern Michigan this month, making music that sounds like a glacier melting.

Editor’s note: We know the phone sounds get annoying at some points during this conversation, and we apologize.  This week, it’s all about the music, man. Matthew Burtner is an Alaskan-born composer, sound artist, and eco-acoustician whose music is inspired by the sounds of glaciers and, in many ways, the reality of climate change. David Jude is research scientist … Continue reading The Environmental Music Show →

Music by Brian Eno, Robert Rich, Gondwanaland, Deuter, Ishqamatics, iX7, Transponder, Master Margherita, Deepspace, Sven Kössler & Si Matthews, Remote Vision and Matthew Burtner. Compiled & mixed by Mike G @ Rubycon Sound, January 2019. Environments showcases evocative new music alongside some classics - a mix series about the psychoacoustic spaces and places that ambient builds in the world between our ears. Enjoy the trip. More at http://ambientmusicguide.com

This week we sat down with Dr. Omar Carmenates, the Associate Professor of Percussion at Furman University and the Front Ensemble Supervisor/Arranger of the Cadets Drum & Bugle Corps. His debut solo CD, entitled The Gaia Theory, is released through Rattle Records, and two other recent projects include a double-disc release entitled "The John Psathas Percussion Project" and a collaboration with Furman Univesity’s David E. Shi Center for Sustainability to record Matthew Burtner’s Six Ecoacoustic Quintets with the Furman Percussion Ensemble.Watch here.  Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 intro and hello0:55 Thanks, Megan - past episodes timestamps complete3:50 Omar Carmenates intro5:30 Busy busy + Dad8:03 What's new?9:05 Ben: John Psathas, composer.  Omar's Psathas arranging project.28:28 Facebook questions:  Luis Rivera: Tesla car?Robbie Green:  Greatest musical or teaching failure and what have you learned from it?33:50 Robbie Green: what advice would you have for your former self?35:50 Time at UNT and did you know Ben?  39:19 Brian Radock: 3-piece advice for a young percussionist.  When you write music,how do you know when and where to start and stop?Advice for expanding drumline show arranging work.48:30 Upcoming Cadets show? What keeps drawing you back to the drumcorps activity?56:11 How does John Psathas feel about his music in a DCI show?1:01:10 How you balance your time, fun things you enjoy?

Dominic and Cymene talk surprise interspecies encounters. Then (11:08) we talk to composer, musician and sonic activist Matthew Burtner (http://matthewburtner.com , http://www.ecosono.org) about his work in ecoacoustics that touches on environmental issues ranging from multispecies relations to climate change. Matthew explains how his upbringing in Alaska created an early interest in the environment and led him toward an accidental kind of climate activism. Then we talk wind and breathing, why he composed the world's first climate change opera (Auksalaq), how he collaborates with scientists to sonify and perform scientific data, and why he feels that music can allow us to experience time scales and environments differently. We hear the fascinating story behind how Matthew became the world's most famous composer of music for moths, the challenges of writing music for multiple species, and how creating new sonic environments could help to address environmental crises like pollination. Finally, Matthew explains why he feels it's so important to decenter humans in his art and activism. Listen on!

Matthew Burtner spent much of his childhood near glaciers in Alaska. Now he is creating music from the sounds of the melting glaciers to raise awareness of climate change. And: How are rising oceans changing the lifestyles of the people of Tahiti? Archeologist Jenny Kahn is documenting 1,000 years of the movements of Tahitian people. Plus: Centuries of dried plants carefully preserved by botanists are stashed away in drawers and cabinets all over the American Southeast. Andrea Weeks is part of an enormous project to digitize 3.4 million plant specimens, perhaps discovering new species in the process. Later in the show: Before the dinosaurs roamed the world, there were some enormous relatives that ruled over them. Sterling Nesbitt talks about these giants who ruled the earth. Plus: Tree rings don’t just show the age of a tree, they also tell us about the past and, maybe the future. Stockton Maxwell says tree rings might even help solve climate change.