A series of sound works
For each exhibition at 3,14, selected sound work are featured by a permanent parabolic loudspeaker sited in the gallery entrance hall. Now with a particular focus on special commissions/edits and work by young artists, the loudspeaker’s adjacent location offers scope for work to situate an ambience and mode of address corresponding with the simultaneous exhibition.
The sound works were first curated by Jørgen Larsson.
From March 2014 to January 2017 Parabol was organized and curated by Johnny Herbert.
NEW COLLABORATION 2019-:
PARABOL - Lydgalleriet in collaboration with Kunsthall 3,14:
For each exhibition, Lydgalleriet selects a sound work that will be featured through the parabolic loudspeaker sited in the Kunsthall 3,14's entrance hall. With a particular focus on special commissions and edits, the loudspeaker's adjacent location offers an ambience and mode of address corresponding with the simultaneous exhibition.
10.01. - 23.02.2020
"Long Distance Improvisation in Real Time"
Curated by Lydgalleriet
Lydgalleriet and PARABOL presents a fragment of Long Distance Improvisation in Real Time by Ximena Alarcón, a recorded improvisation among nine Colombian and Latin American immigrant women residing in Oslo, Barcelona and London on 7th May, 2019.
The improvisation activates an oral archive with testimonies of Colombian women in diaspora. In all three cities, the improvisors listen in headphones to the same material, but with local and random activation. Throughout the improvisation, synchronicities between the improvisors’ expressions are fortuitous and appear as a layered collective memory. Silences and disconnections are part of the aesthetics of the Internet and cell phones, and distance-mediated listening. In parallel with the migration process, Long Distance Improvisation in Real Time invites us to listen to intermediate spaces of historical memory of migration and conflict.
The INTIMAL project was developed by Ximena Alarcón at RITMO Center, University of Oslo thanks to a Marie Sklodowska Curie Individual Fellowship. The telematic performance was supported by Melahuset and VoxLab, Oslo; PHONOS Foundation (Pompeu Fabra University), Barcelona; Iklectik ArtLab and CRiSAP (University of Arts London), London.
Improvisers: Anita Ramirez, Calu, Dr. Liliana Rodriguez, Lucia Nikolaia, Manigua, Myriam Ojeda Patiño, Silvia Villalba Martínez, Violeta Ospina, Yamile Calderón Bermúdez. Collaborators: Bruna Scott, Janeth Rojas, Lida Franco.
Ximena Alarcón is a sound artist and an independent academic researcher interested in listening to our migrations and other interstitial spaces using networking technologies.
'I work with people in improvisational games, using Deep Listening® practice and through networked and telematic sonic improvisatory performances (between distant locations). For these, I create Interfaces for Relational Listening.'
20.09. - 08.12.2019
Curated by Lydgalleriet
"Shotgun Architecture" (2008) plays with concepts of subjective measurement, translations between sound and image and above all the idea of the publicness of public space.
The recordings of the sound of a pistol shot in a number of semi-public places in Amsterdam, were used to create a sound composition which explores the resonances of the chose places by repeatedly recycling or “feeding back” the sounds of the gunshots through the spaces. The resulting piece moves between a dramatic realism to an abstract composition reminiscent of the electronic music of the 1950’s.
Justin Bennett (1964, UK) is an artist working with sound and visual media. The everyday sound of our urban surroundings at every level of detail is the focus of his work where he develops the reciprocity of music and architecture, and sound and image.
A founding member of the performance group BMB con, he has played percussion and electronics in many music projects and has produced permanent installations, sound walks, CD-releases and live performances.
Recent work has focused on urban development and public space, resulting in sound, video and graphic works including drawn animation. For information about recent projects see www.justinbennett.nl
Shotgun Architecture on vinyl will be sold throughout the exhibition at Kunsthall 3,14.
21.06. - 08.09.2019
ELIDA BRENNA LINGE & MARI KVIEN BRUNVOLL
Curated by Lydgalleriet
‘Plum Garden Scores’ is a collection of schematic drawings together with a sound piece inspired by these. The score, based on the repetitive work and the components found in a specific plum garden at Linge, serves both as a recipe and as minutes, since the work is repeated year after year. The score book is bound by a plum tree back, and the paper is from the farm archive at Linge.
26.04. - 09.06.2019
Combined national anthems
Curated by Lydgalleriet
The sound component of «Combined national anthems» includes the national anthem tunes of: Cyprus, Denmark, Germany, Ireland, Italy, Latvia, Lithuania, Moldova, Poland, Portugal, Romania, Serbia, UK and USA, who all appropriate the oak as their national tree. (2mins4s) (2016)
The book component of this work can be viewed at the reception (printed on acetate, hand stitched, A5, edition of 5). Inside the book, one can read English translations of the same national anthem lyrics (popular versions) as in the sound piece. Following the same idea as the sound component, the book compiles the national anthems on top of one another to form a dense mass.
Laurie Lax, living and working in Bergen (Norway), based at USF Verftet, previously living in Bristol (UK) but originally from Southeast Kent (UK). Graduated from masters
in Fine Art in Bergen in 2018 and bachelors in Fine Art in Bath (UK) in 2010. Currently working as an active member of TEXST (a Bergen-based writing collective), and personal
projects are being developed from recent studies in Electronic Literature at UiB.
08.02. - 07.04.2019
Stereocilia for 2 Ears
Curated by Lydgalleriet
"Stereocilia for 2 Ears" is a sound piece edited from acoustic recordings of spontaneous otoacoustic emissions - clusters of simultaneously emitted tones from both ears of a single person.
Drawing on homepage by Signe Lupnow.
2017 - Det kollektivt lydverket UTSPILL
- Eleanor Clare
- Jane Sverdrupsen og Alvar Sverdrupsen
- Bjørg Taranger
- Samuel Brzeski
- Daniella Ramos Arias
NATHANIEL MACKYEY with Royal Hartigan and Hafez Modirzadeh
'Song Of The Andoumboulou 25' from Strick: Song Of The Andoumboulou 16-25
- Nathaniel Mackey – Voice and Text
- Royal Hartigan – Drum set and donno
- Hafez Modirzadeh – Zorna
Nathaniel Mackey reads Song 25 from Song of The Andoumboulou, one of his on-going poetic series, accompanied by the zorna, a Eurasian wind instrument, and percussion including the donno, widely known as the 'talking drum'. Coming from the thought of the Dogon people in Mali, "The Andoumboulou", Mackey states, "are a failed, earlier form of human being in the Dogon cosmogony."
©1995 Spoken Engine Co. Executive production: Lindsay Hill Literary production: Paul Naylor Musical production: Billy Panda
Burning Kroner (2016)
- Whilst researching the location of Stiftelsen 3,14 at the Old Norges Bank at Vågsallmenningen, Bergen, I came across the myth that at some point during its usage as a bank, the management would order money to be burned in order to control national interest rates. Constructed in 1845 and decommissioned as a bank in the 1980s, the building now functions primarily as a space for contemporary art. Since the 2008 financial crash, whilst the rest of Europe’s arts funding has suffered huge cuts, Norway’s oil wealth has allowed its cultural scene to flourish, apparently bidding to spend 1% of total government budget on culture (Financial Times, 2012). In a sense, the use of the space of the former bank for art is a consequence of Norway’s relative abundance of arts funding, looked upon jealously by European neighbours. Exploring the myth under the jocose title “Burning Kroner”, with a nod back to K Foundation’s infamous 1994 action “K Foundation Burn a Million Quid”, the piece situated in the entrance hall to the gallery is an in situ sonic meditation on what it means to burn money for art.
Annie Goh is an artist and researcher working primarily with sound, space, electronic media and generative processes within their social and cultural contexts. Recent exhibitions and performances include Sexing Sound (Chicago, US), Inside-Out Art Museum (Beijing, CN), Höhlenmediale (Wendelstein, DE), White Building (London, UK), Arthackday at LEAP and transmediale (Berlin, DE) and Tokyo Wonder Site (Tokyo, JP). Recent publications in AUDINT’s Unsound:Undead, n.paradoxa: feminist art journal & Flusseriana: An Intellectual Toolbox. She has co-curated the discourse program of CTM Festival Berlin since 2013 and is currently undertaking a PhD on echo and archaeoacoustics at Goldsmiths University of London.
28.10. - 06.11.2016
Buskers is a collection of recordings of chance encounters with street musicians across different countries and cities. A busker is an entertainer but also an opening to something else: a voice that invites reflection, standing still, or moving against. A busker creates an atmosphere for echoing, reverberating and reactivating the urban spaces we pass through. A street musician can be thought of as a pure and vivid manifestation of a city’s freeform and, most of the time, underground, unacknowledged creative fauna. Documenting the beauty of these artists proves to be a difficult task because of their fleeting nature. Most of the recordings featured in this collection were done while travelling using in-ear binaural microphones.
Campaign music, military cadences, and Muzak
All the songs presented in the parabolic loudspeaker have been used by UK and US political parties - perhaps the two countries most focussed on instrumentalising culture - to support/embody their campaigns:
- Bruce Springsteen, ‘Born in the U.S.A’ (1984) - 1984 US Republican Party (Ronald Reagan)
- Keane, ‘Everybody’s Changing’ (2004) - 2010 UK Conservative Party (David Cameron)
- U2, ‘Beautiful Day’ (2000) - 2004 & 2016 US Democratic Party (John Kerry & Hilary Clinton); 2005 UK Labour Party (Tony Blair)
- Fleetwood Mac, ‘Don’t Stop’ (1977) - 1993 US Democratic Party (Bill Clinton); 2015 UK Conservative Party (David Cameron)
- D:ream, ‘Things Can Only Get Better’ (1993) - 1997 UK Labour Party (Tony Blair)
To constellate this material are the following selection of military cadences and the poem ‘wait for it’ Fred Moten from his 2015 book of poetry, The Little Edges. >>>
The constellation of material hereabouts comes from work done on ‘Rhythm Is Gonna Get You’, the most recent issue of Grafters’ Quarterly, a publication I co-edit. Part of the research undertaken for the issue was concerned with how music has been deployed in work environments and how it has, literally, been taken into the body, offering a slight alcove of reprieve as well as a performance of intensified exploitation. In his book Work Songs, Ted Gioia links songs in prisons to the work songs (as songs sung whilst working, not those sung about work), particularly those connected with slavery:
Apothéose - just the remains, as recorded document, of that afternoon alone in my house in Cavriago, just outside Reggio nell´Emilia... when I played discreetly on all sorts of objects, turning them into a music added to a far-away echo-of-the-past: the forgotten France of Couperin (François)´s Apothéose de Lully.
- Philip Corner
the epiphany extraordinary
(Recently remembered.) My college years. So long ago. New York. Still in the early 50s. City College. Saturday night out. The two of us. 125th Street. Crowds. The cop even giving us a (nodoubt) “frendly” advise/warning. (I am telling this in Reggio Emilia som 60years later. To my frend Deborah. And az i wonder why it never occurd to me when i wrote last year the 28 Epiphanies for The Wire magazine i realyz that this might be the most important ov them all, the singl moment summing-up something really important in the musical living) But we “push on”, and thru, to the church of Daddy Grace (“As Noah was before the flood, so is Daddy Grace before the fire!” ---giv it a few mor exclamationpoints.)
The anecdotal part of this story that we were sitting unobtrusivly in the back way-in-the-back until we heard (try two nice uptown collegekids sit un ob tru siv---but not! un-observd in a Harlem church......) “This church is open to all people and all races (Daddy Grace himself speaking) and that is why we invite our white friends to come forward and join us.” which surely we did. Hidden trepidations. To the very first the front row. And they was real friendly like. Very nice people. Stayed to the social gathering afterward. Oh that sweetpotato pie! Even promised to comback the next day, Sunday morning, which surely we did. They obviously woudvliked-us to join as permanent members........ which we did not did, surely.
A lovely experience----but here is the essens:
What singing! What ecstasy! What dancing! Some-of-them going right into trance and one girl spinning wildly down the center-aisle. Envy! We “rooted” to those frontseats in uptight inhibited envy. No one fell on the floor, tho. But enough, surely. More-than-enough. Enough to draw me to the Sunday services of the Sanctified Church in Meridian listening outside the open-windows (why duz White religion havv-to-be so boring?) and leaving the impossibl dream (even the “unsanctified” black folks being denied entrance not to speak ov an upNorth whiteboy) of !moving to Mississippi!
Well, however well, that do show me what’s missing in my culture and what’s missing in my life and whut i havto- do I hav-it-to-do, and did. did-it to make-sure or try-to, make sure that that iz not whut iz missing in my music.
- Philip Corner, January 2016
Text sheet 1>>> - Text sheet 2>>>
ELEONOR CLARE and DILLAN MARSH
Partly Now and Partly Remembered
At the bottom of the stairs, before the marble archway. There I stand.
I was stroking my finger back and forth over the smooth black stone.
I was wondering about the remains of the creatures inside the rock;
Fossils, sliced in half, dissected through the cutting of each slab.
Pale grey shapes against the black; some are matte, some are pearlescent.
Some are circular or spiral, and some are shaped like tongs.
I know they were once alive, although I have never seen them living.
Eternally suspended in solid rock, frozen in time, floating in the black.
At the shore's edge, staring up into the distance, the deep dark blue.
Layers upon layers of stars, some seem closer, some so distant.
I cannot take them in all at once; first I focus on this one, then that.
Twinkling and flickering, never still, a hovering existence too far away to grasp.
Eleanor Clare and Dillan Marsh are based in Bergen, and have been producing works together since 2013, a collaboration which began as an investigation into how making artwork and writing can mutually influen-ce one another in the understanding of meaning, development of form and structure. Clare received MA Fine Art from Central Saint Martins in 2011, and Marsh MA Visual Art from Bergen School of Art in 2011. They have produced collaborative work for the following organisations: Assembly House Leeds, Edinburgh Sculpture Workshop, Yorkshire Sculpture Park, ASC Gallery, London, Deuxpiece and Büro für Problem, Basel, and Apis Press, Bergen.
Attempting to invoke a three-way correspondence between sound, image, and text, here are two texts to consider in relation to the piece ‘Angela Davis’ from Peter Ablinger’s Voice and Piano series. The first, on this page, was written by Ablinger himself for distribution to audience members when the piece is performed live, the second text I wrote as a response to the work you can hear.
The Recording of Angela Davis is from Angela Davis Speaks, 1971, Folkways Records.
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G DOUGLAS BARRETT
TWO TRANSCRIPTIONS / ODE TO SCHOENBERG, (2013)
Two Transcriptions/Ode to Schoenberg (2013) is a vinyl record based on Schoenberg’s 1942 composition Ode to Napoleon for string quartet, piano, and voice. Schoenberg’s piece has an interesting history wherein the composer arguably over-asserted his authority in writing a letter protesting a recording of the work, originally scored for a male voice, performed with a female voice. Two Transcriptions contains a pair of transcriptions of Ode to Napoleon featuring the voices of Zackary Drucker and Theodore Baer, two transgender artists.
G Douglas Barrett is an artist, musician, and writer based in New York. His artworks and performances are presented internationally by venues and galleries such as Audio Visual Arts (New York), Neutral Ground (Canada), and Landmark, Bergen Kunsthall (Norway). His writing has been published in journals such as Postmodern Culture, Contemporary Music Review, and Mosaic. A recent USF Artist-in-Residence, Barrett has received awards from DAAD and Franklin Furnace and is a 2015-2017 Schloss Solitude fellow. His first book, After Sound: Toward a Critical Music, is forthcoming on Bloomsbury Press (2016).
The text read in Pre-Eminence takes its text from Josef Pieper’s The Four Cardinal Virtues, a book in which the importance of Christian values are asserted as a counter to the “unsound over-valuation of moderation that has made contemporary morality a hollow convention” (Pieper). Greenham called her recorded sound work with the voice (often her own) ‘lingual music’:
Contrary to the traditional way of ‘setting words to music’, in ‘lingual music’ speech ‘emerges as music’. The first step in working-process is the recording of a ‘repertoire’ of letters/syllables/other fragments/words and sentences. This is then used mechanically only. ‘Lingual music’- pieces could not be performed live. The only sound-source used is the human voice (if not otherwise stated). The recorded material is electronically processed and the result leaves the listener at times in doubt whether he is listening to ‘electronic music’ or the human voice; at other times the voice comes over ‘straight’ and bears no trace of electronics.
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"Materials Recovery Facility"
Stereo audio; duration variable.
This album was recorded at the materials recovery facility (MRF) run by Casella Waste Systems, in the Charlestown area of northern Boston. The facility receives truckloads of commingled recyclables from many surrounding municipalities and universities. Fed through the facility on a network of massive overlapping conveyor belts, the materials are separated for recycling using automated methods including trommels, disc screens, optical sensors, precisely directed blasts of compressed air, eddy currents, magnets, and a large staff of human workers, who manage much of the separation by hand.
This piece formed the basis for a collaboration with Pawel Wojtasik and Toby Kim Lee that resulted first in an installation at the Museum of the Moving Image in NY, and then an audiovisual work for cinema with 5.1 surround sound, Single Stream, which was exhibited at the Whitney Museum in NY and had its international premiere at the Locarno Film Festival.
Originally published online in Sensate: A Journal for Experiments in Critical Media Practice, Summer 2012
Ernst Karel makes experimental nonfiction sound works for multichannel installation and performance. His recent projects are edited/composed using unprocessed location recordings; in performance he sometimes combines location recordings with analog electronics to create pieces which move between the abstract and the documentary. His sound works Heard Laboratories, Swiss Mountain Transport Systems, and Materials Recovery Facility have been exhibited in New York at the Whitney Museum, Diapason Gallery, and Film Society at Lincoln Center, and at KW Institute for Contemporary Art in Berlin, Audiorama in Stockholm, the Viennale Film Festival, at Tuned City Tallinn, and elsewhere. Recent nonfiction vilms on which he has done sound work include Detour de Force, The Iron Ministry, Manakamana, and Leviathan. He currently manages the Sensory Ethnography Lab and the Film Study Center at Harvard University, where as Lecturer on Anthropology, he teaches a class in Sonic Ethnography.
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Hanne Lippard, born 1984 in Milton Keynes (UK), is a writer and visual artist living and working in Berlin. Her texts are at the base of her time-based works, which include short films, sound pieces, and performance.
The installation Under-History Lessons was first presented at P.S.1, New York in 1976. The following is Vito Acconci’s description of the work:
The boiler-room of an old schoolhouse, converted into an alternative art-space. You go down a stairway into the boiler-room. In front of the boiler, and separating the boiler from the viewer’s entry, is a pit about two feet deep, like am empty swimming pool. Four wood planks, painted black, are laid down over the length of the pit. Six wood stools, very low and painted black, are placed in front of each plank. The existent electric cords, from the ceiling, are lowered so that two bare bulbs fit in-between the planks, in-between the stools, on either side, nearly touching the ground. These are the tables and stools of a schoolroom, at the base of the school. This is a schoolroom at your feet; you can step down into it, you can fall down into it. From under the tables comes an audio sound-track, like the traces of a learning exercise. From one corner, in the front, my voice announces a subject: ‘Lesson Number 1: Let’s be suckers...’ From the opposite corner, at the back, my voice re-iterates: ‘Ready: Let’s be suckers...’ From both corners, my voice talks with itself and becomes the multiple voices of students: ‘All right: We-are-suckers... Repeat: We-are-suck-ers...Again: Mm-mm-mm-mm... -->
"If I Told Him: A Completed Portrait of Picasso"
- Read by its Author, Gertrude Stein (Written: 1923, Recorded: New York, Winter 1934-35)
Your coming to the United States to lecture, Miss Stein, implies that there are many people who will be able to comprehend your ideas?
Look here. Being intelligible is not what it seems. You mean by understanding that you can talk about it in the way that you have a habit of talking, putting it in other words. But I mean by understanding enjoyment. If you enjoy it, you understand it. And lots of people have enjoyed it, so lots of people have understood it[…]But after all you must enjoy my writing, and if you enjoy it you understand it. If you do not enjoy it, why do you make a fuss about it? There is the real answer.
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Gertrude Stein (1874–1946) has published novels, poetry and plays. As a psychology student, she worked on ‘normal motor automatism’, a phenomenon hypothesized as occurring when attention is divided between two simultaneous intelligent tasks, such as writing and speaking, but later rejected the idea with regards to language. Later, her home in Paris became a meeting point for artists and thinkers from many disciplines. She is regarded as highly important figure in literature. And probably is one.
21.03. - 04.05.2014
L’Amplification des Âmes
L’Amplification des Âmes (Forsterkningen av Sjeler) is an audio essay on the amplified religious soundscape of Kinshasa in the Democratic Republic of the Congo (DRC). In 2011, Aubry recorded the sound of several christian neo-pentecostal church ceremonies in Kinshasa. The use of powerful sound amplification systems is an essential element that contributes to the creation of new ‘urban religious identities’, while simultaneously sustaining some traditional elements.
Local language 1: reduction / shift, 2014 (sound installation, text, breeze)
In Chile there are two languages in imminent danger of extinction: both belonging to nomadic coastal peoples, the Qawasqar and the Yamana, who were decimated during the 19th and 20th centuries by European colonization, genocide, deprivation and fatal diseases. Very few survivors remain in the south of the country. When they die their language will die with them due to the fact that since they do not live in their original cultural context, they cannot pass the languages down to succeeding generations.
Local language 1: reduction / shift only serves to demonstrate the impossibility of an adequate translation from a language in danger of extinction. Every "documentation" of extinct or endangered languages is the modification of the original through selection, technical procedures and abstraction from the original context. Any transposition to an expositional context is therefore only meaningful as a model for reflection on how such languages relate to dominant cultures. The installation is based on texts and vocal recordings of the language of the Qawasqar people and the different means of aesthetic interpretation and appropriation.
Rainer Krause was born in Hoyerhagen, Germany, in 1957. Since 1987 he lives and works in Santiago de Chile as a visual and sound artist. He has a Visual Arts master's degree from Universidad de Chile, where he currently has a teaching position. Krause has had solo exhibitions since 1985 in Germany, Chile, Spain, and Canada; and has exhibited in group shows in Europe and Latin America. Since 2005 he has also worked in curating exhibitions, events and sound art projects.
/kəˈlīdər/ , 9 min.
Romantikkens diktere og intellektuelle fantaserte fram tilblivelsen av en ny verden. En av dem, filosofen, geologen og poeten Novalis så det som menneskers kall “å oppdra naturen” og i Goethe-tro tradisjon søkte han dens hemmeligheter i underjordiske gruver. I mineralenes sammensetningen lå svar som lot seg åpenbare gjennom systematisering og eksperimentering. Hans oppdagelser av utvinningsmetoder av kull førte indirekte senere til den tyske industrielle revolusjon, der kjemikere overtok alkymistenes domene og der verden ikke lenger bare skulle forsøkt å bli forstått i minste detalj, men gjenskapt i teorier og omstøpt i laboratorier. Novalis drivkraft lå imidlertid i ønsket om å se og forstå naturen, ikke i å imitere den. Han lengtet etter en naturlig sensibilitet i det menneskelige maskineriet for å umiddelbart å gjennomskue naturens mysterier: “det er våre organers svakhet som hindrer oss fra å se oss selv i en magisk verden”. Et tilsvarende hjertesukk kom over hundre år seinere fra krystallografien J.D. Bernal i The world, the flesh & the devil: “We badly need a small sense organ for detecting wireless frequencies, eyes for infra-red, ultra-violet and X-rays, ears for supersonics, detectors of high and low temperatures, of electrical potential and current, and chemical organs of many kinds.”
I løp av Novalis´og Bernals århundreder ble en rekke slike utvidede sense-apparatus oppfunnet for å visualisere, gjøre hørbare eller manipulere våre “usynlige” omgivelser. Ingeniøren og oppfinneren Odd Dahl bidro til denne utstyrsparken, blant annet med å være en viktig drivkraft av utviklingen og realiseringen av den første partikkelakselleratoren på Cern, der de minste av verdens bestanddeler skulle bli oppdaget. Etterhvert som disse partiklene ble sett, navngitt og kategorisert, ble det den største gåten av dem alle presserende: hva, eller hvilken kraft, er det som binder oss og alt dette sammen? Det må være noe mer. For nylig mener Cern at de har oppdaget dette noe som gjør gravitasjon mulig: Higgs bosonet. Kunstner Ellen Røed har i lengre tid fulgt i Dahl´s fotspor og våren 2013 dro Røed og Signe Lidén til Cern for å se og forstå dette stedet og disse er i ferd med å ha svar på det som romantikkens poetiske sannhetsjegere ville kalle universets Urkraft. Utstyrt med “utvidede høreorganer” i form av kontaktmikrofoner, stetoskop og binaurale mikrofoner lyttet og opptok Lidén til lyden av “Dahls” Proton Synchrotron (partikkelakselrator). Fra den første store akselratorringen (628 m i diameter) hviner i det partikler blir sendt rundt og kollidert med hverandre, vifter og trafoer utgjør hallens ambience. En høyfrekvent, melodiøs plystring kan høres fra tid til annen, lokalisert fra en sprekk i en betongkloss midt i hallen, som viser seg å være et laboratorium for produksjon av - og forskning på antimaterie. Opptakene fra PS hallen på Cern utgjør materialet til /kəˈlīdər/.
Oppholdet på Cern var en del av Re:place, et artistic research prosjekt ved KHiB.
Signe Lidén (1981) arbeider med lydinstallasjoner og stedsspesifikk performance. Hennes arbeider er ofte auditive undersøkelser av menneskapte landskaps historie, funksjon og minne. Lidén har en MA i kunst fra KHiB fra 2012 og Nordic Sound Art MA-joint program, og har de siste årene hatt en høy utstillingsaktivitet i inn -og utland og vist arbeider i blant annet Tyskland, Italia, Danmark, Norge og Belgia. Hun jobber for tiden som vit. ass. for Re:place ved KHiB, og er i 2013 en av kunstnerne i residency programmet Resonance -European Sound Art Network.
12.04. - 02.06.2013
Nat Grant (AUS)
Thirty One, from Momentum
Nat Grant’s Momentum is the result of a yearlong, cumulative music composition and blogging project, conducted throughout 2012. For 366 consecutive days Nat recorded and collected sounds and musical material, then sculpted and layered them utilising digital, electronic manipulation. Nat invited contributions to the project, and as a result more than 60 people from all over the world collaborated on Momentum, sending sounds for Nat to include in the project.
Each day in 2012 a small audio ‘snapshot’ of the work appeared online alongside a blog, detailing the process and sharing information on sound sources and compositional approaches. The finished work comprises 12 movements, one for each month of the year; each movement is 20-30 minutes in length.
The cumulative process of creating and presenting Momentum allowed for a constant zooming in and out between small details and the larger work - building, over one year, layers of sounds and musical motifs to form an entire composition. Thirty One comprises sounds recorded at the end of January, 2012: a small marble, in a ceramic ramekin, in a big plastic bowl of water. The water changes the pitch of the glass and ceramic objects as they move about.
Nat Grant is a multi-instrumentalist, sound-artist, composer and teacher. She uses acoustic instruments, field recordings and found objects, digitally manipulating and altering these sounds to create sonic works that link natural, electronic and human environments.
01.02. - 24.03.2013
Eduardo R. Miranda
Symphony of Minds Listening (preview 2013)
This is a preview Eduardo R. Miranda’s Symphony of Minds Listening, which is due for premiere at Peninsula Arts Contemporary Music Festival on the 23rd of February 2013, Plymouth, UK. The symphony is based on the second movement of Beethoven's seventh symphony and uses the same instrumentation as the original.
Miranda deconstructed and reassembled Beethoven’s music according to fMRI brain scans taken from three people while they listened to Beethoven's movement. Each person yielded a different movement of Symphony of Minds Listening.
In this preview, scored for a string quartet, a flute and a clarinet, the composer tested some of the methods he developed to reassemble Beethoven’s music. The first section showcases reduced examples informed by the fMRI scan of a ballerina’s brain and the second section showcases ones informed by his own brain. Whereas the ballerina's brain yielded mostly rhythmic deviations from the original, Miranda’s brain yielded mostly harmonic deviations.
Eduardo R. Miranda is a composer working at the crossroads of music and science. His music is informed and inspired by his research into Artificial Intelligence (AI) in significant ways. He have composed music for symphonic orchestras, chamber groups, solo instruments - with and without live electronics - and electroacoustic music.
Miranda’s music has been broadcast and performed at festivals and concerts worldwide, by renowned performers and ensembles such as Ian Pace (piano), Frances M Lynch (soprano), Mariona Sagarra (soprano), Luciani Cardassi (piano), Catarina Domenici (piano), Ney Rosauro (percussion), Saltire String Quartet, Chamber Group of Scotland, Scottish Chamber Orchestra (SCO), Orquestra Sinfônica de Porto Alegre (OSPA), BBC Concert Orchestra, Heritage Orchestra and Ten Tors Orchestra, to cite but a few. In addition to concert music, he has composed for theatre and contemporary dance.
04.10. - 16.12.2012
Music for Listening on the Moon (2010)
“I received a commission for Music for Listening on the Moon from an art project. I decided to make it as a continuation of my last album, Wormhole Trip Ost Music for Time and Space Travel, which is based on my site-specific installation Wormhole Trip Souvenir. I now have a new installation in my washroom, which I call Wormhole 2. There is 60 minutes material from the installation, which was recorded from two pipes in the washroom via contact microphones, some tiny sounds plus electric current noises. After some compression, normalizing and noise-reduction I realized it was enough for Music for Listening on the Moon, since it will be a chance to listen to sound itself and forget music. But I did a little bit more modulation, then got the second version. I think it’s a kind of minimal musique-concrete for Listening to Music on the Earth, where we still need flavoring in our life. I’m not interested in science-fiction, I’m interested in reality, which is about creating an event by listening. My works are not intended to comfort or entertain people. I would like to confuse, hurt or isolate them, though sometimes it’s funny and entertaining anyway. The reason I chose the sounds from pipes in washroom is that it’s always satisfying to sit and listen to any tiny unknown sound at home. The earth and the moon: two potential situations for listening and thinking the tiny difference between reality and real. The simple compression and modulation: what does field recording/reality mean? What does composition/music mean? And why not listen to my digital recorder? It produces beautiful basic noise, and it’s free.”
The first version was released on Sub Jam / Kwanyin Records as Music for Listening on the Moon. The second version will be released later on Japanese label SPEKK.
Yan Jun was born in Lanzhou in 1973, now based in Beijing. B.A. of Chinese Literature. Yan's live performance engages space feedback, loop and voice/language to make hypnotic noise. He uses concepts of recycling, feedback and reduction to create sound art work, which relates to field recording, installation, image, video, publishing and multiple forms. He performed and participated in exhibitions in Paris (Nuit Blanche), Amsterdam, Berlin (Transmediale), Cologne (MusikTriennale Köln), Moers (Moers Festival), Kuala Lumpur (Street Roar), Seoul (Bulgasari), Oslo (Sound of Mu), Brussels, Copenhagen (Metropolis Biennale), toured in Taiwan and Mainland China. He has also initiated Tie Guan Yin and Pisces Iscariots, two free-form electro-acoustic impro projects. On the 15th of October in 2000, the Tree Village Declaration (written by Yan Jun and which was discussed with members of a number of bands) was finally read by Yan Jun as an amended versionon in the Garden of Joy at a show of Tongue and other bands. The statement, called "Tree Village Declaration" was subsequently signed by almost all the active bands and musicians of the rock scene at that time, who thereby denounced further cooperation with the movie Beijing Rocks. He was a well-known music critic and organizer as a driving force of China's underground music and sub-culture scene before he turned his focus into contemporary music and sound art in 2004. Yan runs the virtual creation Sub Jam since 1998. It has released some essential underground music and independent films. In 2004 he co-founded Kwanyin Records for experimental music and sound exploration. He runs Waterland Kwanyin, a weekly event of experimental / improv music and sound art since 2005, and the annual outdoor festival Mini Midi. He also curates sound projects for DIAF Art Festival since 2004, and GetItLouder07.
In June 2006, Yan Jun started the avantgarde concert series 1+ which run for about 21 times before it stopped in Spring 2007.
He has published 6 books on the topic of Chinese new music and 3 poetry anthologies.
24.08. - 28.09.2012
Make this sound (Computer Recital) (2003)
Lullatone is a Japanese musical duo based in Nagoya, whose music is characterized by an innocent, child-like quality and spare, lo-fi sounds. Although the group refers to their style of music as "pajama-pop", it is commonly included in such musical subgenres as electronic and indie pop. It draws influence from such diverse sources as bossa nova, French pop music of the 1960s, children's songs and musique concrète.
Lullatone's founder was Shawn James Seymour, a native of Louisville, Kentucky. Its other principal member is Japanese native Yoshimi Tomida (Tomida Yoshimi, in traditional Japanese name order). Seymour began musical experimentation during his high school years in the late-1990s, using keyboards and cassette tape recorders. He and Tomida met while both were attending Bellarmine University; she as an exchange student from Japan. They soon became romantically involved and when Tomida's visa was due to expire, Seymour decided to return with her to Japan. In the small apartment they shared in Japan, Seymour began composing music late at night while Tomida slept. So as not to disturb her, the songs he created were lullabies. This was the origin of the name "Lullatone", which is also a reference to Raymond Scott's 1964 album Soothing Sounds for Baby. Seymour and Tomida married in 2005.
With Seymour playing a variety of instruments, from the inexpensive Casio SK-1 sampling keyboard to the glockenspiel, melodica, recorders and other compact and simple instruments, and Tomida providing the vocals in both Japanese and English, they recorded their first album in 2003, titled Computer Recital (on the Audio Dregs subsidiary Darla Records).
18.05. - 01.07.2012
Language Removal Services:
60 Second Anthology of American Poetry (2010)
The 60 Second Anthology of American Poetry presents the some of the finest moments from many of the greatest talents in the history of spoken poetry in America. It is an audio collage of breaths, lip smacks and other bodily sounds, taken from between the words of recordings of American poets reading their works.
Language Removal Services
Chris Kubick is an artist, composer and sound designer who works under a variety of pseudonyms, including Language Removal Services, an institute and laboratory founded by one Dr. Raymond Chronic that may or may not exist solely as the Web site www.languageremoval.com. Kubick frequently collaborates with Anne Walsh, and together they have created ARCHIVE, whose best-known project ‘Art After Death’ consists of interviews with artists who have died conducted through spirit mediums. Together their work has appeared in the 2002 Whitney Biennial and at the Yerba Buena Center for the Arts, San Francisco; the Museum of Contemporary Art, Los Angeles; and the Royal College of Art, London. Kubick’s work has been heard on public radio in the U.S., Canada and Great Britain.
20.01. - 26.02.2012
"Ruined Piano: Unfinished Business" (1987)
I discovered the Ruined Piano in June 87 when Glenys my wife suggested we have a family holiday with our children Amanda and Julian at Nallan Sheep Station. After we had been there a day or so April Peterson, one of the present owners of Nallan Station, told us about a neglected piano in one of the sheds. I wasn't keen to look at it; this was meant to be a holiday and I'd seen wrecked pianos before.
This one was so totally done for however that I was totally won over. I had been preparing a variety of pianos - both uprights and grands - during the preceding three years, but this one, without the festoon of guitar jacks, rubbers, coins and pegs that I normally use, was "prepared" beyond any piano I had played or heard. Having brought a Marantz CD 330 and a pair of microphones to record an ambient tape of the crickets and a variety of sheep station sounds, I immediately hung the microphones over the rafters and made a recording of the Ruined Piano. With a variety of bugs crawling in concentric circles on the decaying front panel of the 'piano' as I played and with birds singing, roosters crowing, generators starting up, the owners complaining; in short, everyone and everything having its say, the recording turned out to be a lusty union of the environment and the piano.
The piano, that arch symbol of European musical culture (and cultural imperialism) in its present location and condition as the Ruined Piano functions is a dead end sign for the Northern Hemisphere traditions and styles that we have so gratefully and eagerly adopted in Australia. At Nallan sheep station all this is reduced to a debris of rotten wood and rusted wire. Re-entering the soil it is absorbed into the voices of the crickets and birds.
Ross Bolleter (born 1946, Subiaco, Western Australia) is an Australian avant-garde composer and improviser notable for his experimentation on ruined pianos. He has been a member of The Blackeyed Susans and he is a co-founder of the WARPS Music label. Bolleter started his career by practicing improvised music with the flautist Tos Mahoney. He later went to study music, including theory, history and composition, at the University of Western Australia, between 1964 to 1967. This re-awoke his interest in the music of composers such as Anton Webern, Karlheinz Stockhausen and Pierre Boulez, whom he had studied as part of his course. He then went investigating non-conventional timbral and rhythmic possibilities of the prepared piano. In the last 10 years Bolleter has explored playing with ruined pianos, that is old pianos that have been found after having been left exposed to the action of time and weather, thus acquiring novel and unexpected musical possibilities.
19.08. - 25.09.2011
"Stitch´n Glitch" (2011)
In this piece of performance art I pursue three of my “pet projects”:
- First off, working with machines and with dying industrial or handicraft techniques, which are transfigured into sound generators, for one last “swansong”, in my performances and installations.
- Secondly, putting together an experimental girls band, The Black Needles, with four other women artists from Mulhouse. In our music we revisit zigzag stitching, buttonholes and machine-sewn hems, transforming these tasks traditionally relegated to women into a special blend of sound art.
- And lastly, on an aesthetic level, fusing musique concrète and synthesized music in a performance combining the amplified direct sound of machines and the selfsame sound sculpted by audio synthesis tools : I use piezo microphones to capture the vibrations of sewing machines and feed them in real time into a granular synthesis program.
Cécile Babiole (1962)
From industrial music in the 1980s (with the band Nox) to an exploration of electronic and digital cultures in our day, Cécile Babioleʼs artistic trajectory has evolved laterally, cutting across the realms of music and the visual arts. Far from de rigueur interdisciplinarianism, her works move back and forth between one language and another, bleeding each code into the other in an ongoing reinterpretation of the relationship between image and sound.
Whether staged in the public realm (streets, busses) or in private venues (galleries, concert halls), her latest installations and performances (RPM, Shining Field, Doom, Iʼll be your Mirror, Circulez yʼa rien à voir, Reality Dub, Crumple Zone...) question our prevailing systems of representation – from an original and ironic angle.
Imagina 1992, Images du Futur 1992, Ars Electronica 1992, World Graph award Locarno 1992, bourse Villa Médicis hors les murs 1993, internet award from la SCAM 1999, Transmediale Festival Berlin 2003, Stuttgart Film and Expanded Media Festival 2004, Aide à la maquette DICREAM 2004, aide à la création multimédia Arcadi 2004, Aide à la création multimédia Arcadi 2009, Bourse brouillon dʼun rêve de la Scam 2009, Aide à la maquette DICREAM 2009.
la Filature, Scène Nationale à Mulhouse associated artist for 3 years from January 2008.
24.06. - 14.08.2011
Espen Sommer Eide (Phonophani)
"Kreken II" (2010)
Kreken II is an installation version of the title track off the fourth album from Phonophani, aka Espen Sommer Eide. While he has previously turned his attention to other cultures and traditions, with ”Kreken” he turned his ears to Norway´s own traditional folk music and instruments, it´s melodic content and special tuning systems. His music is about rediscovering the great mystery of music through dissecting the sound of ordinary or real world instruments and dissolving melodies into their elementary particles. The sounds of Kreken II are originally from recordings of the traditional Harding fiddle (hardingfele) and the accompanying stamping feet of the player. The Harding fiddle is a traditional stringed instrument used originally to play the traditional music of the southwest part of Norway. The instruments are similar to the violin, though with eight or nine strings (rather than four as on a standard violin) and thinner wood. Four of the strings are strung and played almost like a violin, while the rest, aptly named understrings or sympathetic strings, resonate under the influence of the other four, providing a pleasant haunting, echo-like sound. The earliest known example of the Harding fiddle is from 1651, made by Ole Jonsen Jaastad in Hardanger.
Espen Sommer Eide (Tromsø, 1972) is a musician and artist currently living in Bergen. He composes under the alias Phonophani, and as a member of the band Alog. Live he uses elaborate setups of custom made instruments, hybrids combining electronic and acoustic elements. He has several releases on the record label Rune Grammofon. Alogs album "Miniatures" was awarded the Norwegian Grammy-award (Spellemannprisen) in 2006. In addition to touring extensively with his musical projects, Eide also has produced a series of site-specific pieces and artworks, and is currently a member of the theatre-collective Verdensteatret, involved especially with building instruments and sound design.
These projects include composing and performing music for the 50-year anniversary of Le Corbusiers chapel in Ronchamp, France, the sound art installation Sonus Barentsicus for the Northern Lights Festival in Tromsø, Norway 2007, and a special performance at the Manifesta7 biennale in Italy, where local vinyl records were reconstructed into new musical instruments. Currently he is working on a permanent installation for the Eastern Sami Museum in Neiden, Norway. Eide has also been involved in a series of net-art projects with various topics connected to the Barents and arctic regions of Northern Norway, under the heading of "rural readers". In addition to making music and art, Eide has also been directing the Trollofon electronic music festival in Bergen (2001-2006), and works as artistic developer at BEK (Bergen Center of Electronic Arts).
06.05. - 19.06.2011
"Sorted Speech" (2009)
Using speech recognition Piringer analyzed a video of a speech by Barack Obama. He then sorted the snippets (containing a word each) alphabetically.
The rhetoric and persuasive nature of the American president’s talk is spelled out as statistics. On the one hand, it looses it’s original meaning, but on the other hand, it gains another poetic and thought provoking significance. The different sounds of the same word or the number of repetitions of certain words. Everyone knows voice of Obama, but here, it is reduced to a vehicle of his own words.
Jörg Piringer (b. 1974). Currently living in Vienna, Austria. Member of the Institute for Transacoustic Research. Member of The Vegetable Orchestra (Das erste Wiener Gemüseorchester). Student at the Schule für Dichtung in Wien (Curd Duca, Sainkho Namtchylak, etc). Master degree in computer science. Sound poet.
11.03. - 30.04.2011
Prepare for F1 Student Visa Interview Answers (2009)
"Here you can prepare yourself for the questions in the F1 Student Visa Interview. I propose answers that will benefit your application. Answer the questions as I say, and you will probably get in to the US."
Loc Phuong is a Vietnamese student at the Lutherian South Academy.
21.01. - 06.03.2011
In my language I am smart (2003)
“Although I have learned English relatively early, and studied it through the better part of my school years, when I came to Canada to live here in 1995 I realized quickly that I had a problem. It was not so much with my vocabulary, or my spelling – on the contrary, that part of my education was very good – but with the precise meaning and finesse of expression. The sentences I learned to use, the constructions, the tone – all came from the Hollywood movies and rock and roll, and these areas mostly use brutal, short-cut constructions. Of course, I was thinking in my mother’s tongue – Serbian – and translated my thoughts, but that didn’t help for two reasons: either I was slow with this process, and by the time I had my precise meaning translated in English the conversation had shifted in some other direction, or I would come up with a quick construction that only the most benevolent person would care to decipher. But my biggest problem was the sound of my English. Language is acquired with its sound, and the sounds I had picked from records and movies were harsh, aggressive, and presented me in a very different light from who I was and am. Suddenly I realized that somewhere in the process of acquiring the tone of modern English I had lost my identity. It was painful to realize that in my language I was smart, but I sounded stupid in English. Example: while walking with my Canadian friend one day by a church, he started talking about the architecture of that particular building, and while I wanted to say a few things about how I liked the Gothic details on the arch at the entrance, and how I admired the intelligent choice of stones, all I could squeeze out was, “Yeah, it’s cool”. Acquired meaning is superficial. Sound puts word into context, but the deeper shades of expression are not learned. I responded the way that Clint Eastwood, or some other action hero, would in one of their roles. Back in Serbian language I was connoisseur of arts; in my newly acquired language I was a cop.”
Dragan Todorović (Serbian: Драган Тодоровић; born in September 1958 in Kragujevac, PR Serbia, FPR Yugoslavia) is a writer and multimedia artist. Until 1995 he lived in Yugoslavia, where he worked as a journalist, editor, and TV personality. Todorović continued to write after moving to Canada during the early 1990s. He published in the Toronto Star, This Magazine, Saturday Night, NOW, Ottawa Citizen and other Canadian publications. In September 2005 Todorović moved to England. His memoir, titled The Book of Revenge, was published in March 2006 by Random House. It was awarded the Nereus Writers' Trust Non-Fiction Prize, and nominated for British Columbia Award for Canadian Non-Fiction.
08.10. - 14.11.2010
Alice Hui-Sheng Chang
The aqua moon behind the green sunset is nearly visible. (2006)
Extended vocal technique has been Alice Hui-Sheng Chang’s main focus since end of 2003. She improvises with extended vocal technique in hope of evoking a psychological connection to the indescribable feelings. Her work explores various combinations of layering and interactivity of extended techniques via interaction with the soundscape and acoustic properties of the environment, with attention to visual and spatial associations. Through these sounding, movement and listening experiments, she explored condensing and extracting of inner energy, in-site and spatialisation between collaborators, as well as the harmony and dissonance between them.
Alice Hui-Sheng Chang born in Changhua, Taiwan, 1984. Alice Hui-Sheng Chang finished her degree in Master of Fine Arts (sound) at RMIT-Royal Melbourne Institute of Technology University in 2006. She was awarded with a School of Art Award and was chosen to represent RMIT to be part of the Hatched 07, National Graduate Show in PICA, Perth. She received a Bachelor of Arts (Media Arts) with Distinction, RMIT in 2005, majored in sound and video. During those years, she has received grant from RMIT Union Arts in 2005. Her video work Flat had also awarded as Best Experimental in RMIT Film and Video Awards 2004. She had been involved in the selection committee of First Site Gallery and RMIT Film and Video Awards 2005.
20.08. - 03.10.2010
Hot Topic (1999)
Initially envisioned as a live back up band for Hanna's solo project Julie Ruin, Le Tigre mixed the politics and feminism of riot grrrl with electronic samples and lo-fi beats. Other members included Johanna Fateman and JD Samson. JD joined Le Tigre as a full member when co-founder Sadie Benning left the band before the Feminist Sweepstakes album was recorded. JD had previously worked with the band as a roadie and the operator of Benning's slide show during live performances in support of their first record. The self-proclaimed "underground electro-feminist performance artists" combined visuals, music and dance in their performances. JD is agay rights activist, and the excerpts in "New Kicks" are from an actual protest that JD recorded herself. Hanna is a public speaker against sexual abuse.
The song "Hot Topic" on Le Tigre's self-titled debut pays tribute to dozens of female visual artists, musicians, writers, feminists and others who have inspired them. Among those mentioned are: Yoko Ono, Cibo Matto, Aretha Franklin, Vaginal Cream Davis, Yayoi Kusama, Angela Davis, Sleater-Kinney, The Slits, Billy Tipton, Laura Cottingham, James Baldwin, David Wojnarowicz, Justin Bond and Hanna's close friend, Tammy Rae Carland. In a similar fashion the song "FYR" off the album Feminist Sweepstakes is a tribute to the chapter and ideals put forth in Shulamith Firestone's Fifty Years of Ridicule in her 1970 feminist work The Dialectic of Sex. The album contains a sample of an essay written by Mark Rothko in response to a negative review in 1942 where he debuted the style he would become famous for.
30.04. - 30.05.2010
Zhang Liming (aka Hitlike)
A Gift of Dispair for My Friends (2009)
In 2003, Zhang’s first soundscape album Summery Shuangjing Sound Sections, recorded in his hometown with a low-end mono cassette recorder, was released online. Later the same year he launched the Harbin Ice-breaking Social Organization with several friends to research and discuss any noteworthy events or issues in the art scene. After two further experimental net-releases and a part in the compilation The Sound of Silence (reconfiguration records), his debut CD in was released by Little Sound, China’s respected 3” CDR label, in 2006. The track Walking from this album was included in the China Power Station Part I exhibtion at Battersea Power Station, London, 2006.
Zhang have taken part in We-Need-Money-Not-Art, a translation workgroup for the new media art blog We-Make-Money-Not-Art, and he is also the founder of the Sound Art Forum at Douban.com
Zhang Liming (aka Hitlike), born in Chifeng, Inner Mongolia, 1981, programmer, field-recordist, now living in Harbin, Northeast China. He defines himself as a mere listener who, since 2002, occasionally creates field-recording based sound works that are concerned with acoustical textures and the meeting between the subject and environmental objects. As an unsociable person, he spends most of his time roaming the internet, through which he also releases his works.
15.01. - 21.02.2010
Google Secrets (2010)
Wang Zheying (1983) belongs to the 90’s generation of Chinese musicians who bypassed government cultural restrictions, and absorbed outside music through Internet file-sharing and black-marketed Western CDs that were originally shipped to China for disposal. He has had concert throughout the world and his sound works has been exhibited in Europe and the US.
Google Secrets is a response to the Chinese censorship of the Google search engine. The whispered words are the blacklisted search phrases on Google's chinese version.
14.08. - 04.10.2009
Yoichi Nagashima, composer/researcher/PE, was born in 1958 in Japan. He learned and played some instruments: violin, recorder, guitar, keyboards, electric bass, drums, and vocal/choral music for 35 years. He was the conductor of Kyoto University Choir and composed over 100 choral music, and studied nuclear physics there.
As the engineer of Kawai Musical Instruments, he developed some sound generator LSIs, and designed some electronic musical instruments, and produced musical softwares. From 1991, He has been the director of ”Art & Science Laboratory” in Japan Hamamatsu, produces many interactive tools of real-time music performance with sensor/MIDI, cooperates some researchers and composers, and composes experimentally pieces. He is also the key-member of Japanese computer music community.
From 2000, he has also been the associate profrssor of SUAC (Shizouka University of Art and Culture), Faculty of Design, Dapartment of Art and Science, and teaches multi-media, computer music and media-art. As a composer of computer music, he collaborates with many musicians in his composition: Piano, Organ, Percussion, Vocal, Flute, Sho, Koto, Shakuhachi, Dance, etc... He organized and was the General Chair of NIME04. On April 2007 he became a professor.
03.07. - 09.08.2009
My Favoutite Place (2004)
"My favourite Place er et stykke som kombinerer digitale lyder, feltopptak og et sample fra mitt Magnus luftorgel. Det inngår på min andre soloplate Possible Landscape som ble sluppet på Asphodel i 2004. Et flytende harmonisk landskap danner fundamentet, hvorpå en raslende rytme stykker det hele opp. Ulike feltopptak passerer i sakte tempo, en skranglende leke, en stemme eller en dör som lukkes. Min nabo sin papegøye sang av full hals ut i bakgården. Jeg firte ned med min mikrofon som om jeg var en russisk spion på hemmelig oppdrag. Senere har jeg fått vite at den rømte og forsvant. My favourite place
handler om steder en liker å være; huset ved havet, cafeen ved parken eller leiligheten i femte."
Alexander Rishaug is a sound artist and electronic musician based in Oslo, Norway. A member of the country’s fertile experimental music scene, Rishaug has toured throughout Europe and the US and appeared
on compilations on the Rune Grammofon, Jester and Smalltown Supersound labels. His first full-length, the critically acclaimed Panorama, was released in 2002 by Smalltown Supersound. Also a member of the improv trio ARM with Arne Borgan and Are Mokkelbost (Single Unit), Rishaug has collaborated with numerous
other artists including Håkon Kornstad, Pål Asle Pettersen, Tonny Klyften, John Hegre, Jørgen Træen, Toshimaru Nakamura and Salvatore.
08.05. - 28.06.2009
Weather & Worn
"Created in a short number of days, “Weather” and “Worn” actually mark the first recordings I have done solely with acoustic instruments and a minimum of effect processing. Although not entirely planned, these two pieces are quite fittingly warm and a bit noisy, scratchy and tactile. Each track is based around a drone and then extended by further explorations around the same note. There is a stillness and feeling of tension which then give way to clarity. When the work is played loudly, it becomes ever-present, yet is gentle and calm when played softly. There is a sense of struggle between the weather and my mood, between the technology and imperfection..."
Taylor Deupree (b. 1971) is an American electronic musician, graphic designer, and photographer residing in New York. In 1997, he founded 12k, a record label that focuses on minimalism and contemporary musical forms. In 12k’s 12 years of existence Deupree has released over 60 CDs by a roster of international sound artists and has developed 12k into one of the most respected experimental music labels in the world. Rooted in minimalism 12k’s sound has evolved over the years to incorporate the hyper-synthetic elements of minimal techno to acoustic avant garde and instrumental post-rock. In September 2000, Deupree and sound artist Richard Chartier formed LINE, a sublabel of 12k that curates its continuing documentation of compositional and installation work by composers exploring the aesthetics of contemporary and digital minimalism. In January 2002 (as a celebration of 12k’s fifth anniversary) Deupree launched term., an online series of MP3 releases. While 12k’s emphasis lies not only in sound but also on design and presentation, term. exists entirely in the digital domain with no physical object or package. In September, 2003, Deupree started a 3rd record label called Happy to promote unconventional japanese pop. Happy was born from Deupree’s interest in Japanese pop and the fact that it is quite unknown outside of Japan. In 2007 Happy was folded into 12k as the sounds of the two labels started to merge.
20.03. - 03.05.2009
Project Jericho (2004)
Docufictional report, BBC3, produced with Mark Burman, duration of complete program: 19:30
Gregory Whitehead uncovers the latest attempts to harness sound as a weapon.
A mock-umentary about the Jericho Institute, where the U.S. Army is researching sonic weapon applications of the Voice of God.
Gregory Whitehead is a writer, audio artist, and the director of sea-crow media. He has produced over fifty radio features, voice works, and earplays for programs in the United States and abroad. Drawing on his background in improvised music and experimental theater, Whitehead has created a body of radiophonic work distinguished by its playfully provocative blend of text, concept, voice, music, and pure sound. Production credits include: Dead Letters, Pressures of The Unspeakable (Prix Italia, 1992), and New American Radio commissions: Lovely Ways to Burn (1990), Shake, Rattle and Roll (1992) (BBC Award, Prix Futura, 1993) and The Thing About Bugs (1994). He is also the author of numerous essays on subjects relating to language, technology, and “the public”, and he co-edited Wireless Imagination: Sound, Radio and the Avant-Garde, a selective history of audio and radio art (MIT Press).