Since December, Sensxperiment has been interviewing some of the artists that has participate and that will participate at this year’s edition. Right now you can listed to the interviews with Synchronator and Optical Machines, both in English. During the next days they’ll publish new interviews, we’ll publish all the updates, but you can also follow Sensxperiment mixcloud.
Desde diciembre, Sensxperiment ha estado haciendo entrevistas a algunos de los artistas que han participado y que participarán en la edición de este año. Ahora mismo se pueden escuchar las entrevistas con Synchronator y Optical Machines, ambas en inglés. Durante los próximos días irán publicando entrevistas nuevas, nosotros informaremos de todas las novedades en este sentido, pero también podéis seguirlas directamente en la cuenta de Sensxperiment en mixcloud.
The importance of the sound track and the role of the sound recordist is often over-looked in the production of wildlife films. The successful recording of wildlife sound, and creation of the film’s sound track is a crucial and major part of the creative process. With new digital equipment available for recording and editing sound it requires skill and experience to do the job justice.
This two-day course aims to teach you the skills necessary and give you hands-on experience with some of the latest equipment. The course is suitable for aspiring wildlife film-makers, camera operators, camera assistants, producers and sound recordists. It is taught by Chris Watson, one of the world’s top wildlife sound specialists who regularly works for the BBC, and assisted by audio specialist Jez riley French.
The location is Whitwell Hall Country Centre in the centre of Norfolk, UK. Accommodation is shared rooms (or there are nearby bed and breakfasts/hotels if you prefer), and there will be excellent home-cooked food.
Please note that we run this course twice a year. The first (September 2012) is aimed at beginners who have little or no experience of field recording and with litle or no equipment yet. The second (November 2012) is for those who have some experience of recording already and their own equipment. Please make sure you enroll on the most appropriate course – contact us if you are not sure.
Costs: £275 per person
This includes tuition, accommodation and meals.
Con motivo del pasado World Listening Day (18 Jul), la New England Phonographers Union (Rick Breault, Michael Bullock, Ernst Karel, Kara Oehler, Jed Speare) realizó un concierto en Deer Island, dentro de una gigantesca planta de tratamiento de aguas residuales (la segunda más grande de los EEUU). Este evento se basó exclusivamente en grabaciones realizadas previamente por el grupo en sus instalaciones. Hace unas semanas repitieron el evento en Boston, lo cual atrajo cierto interés y curiosidad y llevó al rodaje de este video.
PuréeData is a web-browser interface for a single shared sound environment that allows live, collaborative patching for anyone, anywhere. Visitors interact with a shared PureData audio synthesis patch and listen to the results as an MP3 stream, with no software to install or set up. The project is open-source, and all are encouraged to modify, improve and set up their own PuréeData servers.
Con motivo del festival Play de hace unos meses decidimos desde Mediateletipos conversar con Andy Davies, comisario y programador audiovisual que coordinó Sonar Cinema entre 1998 y 2008, fue co-fundador del programa de video y cine experimental X-Centric en el CCCB, ademas de estar vinculado muy estrechamente a La Casa Encendida. Mas de una veintena de programas ha ensamblado para esta institución, como Campo Sonoro, Proximidad, Miradas Cruzadas, More Songs About Buildings, Vidas Iluminadas, Animaladas, El Tiempo Transfigurado o Film Ist, entre otros.
En esta entrevista intentamos averiguar su opinión como espectador y programador, sus respuestas nos hacen ver las dudas de la disciplina que transita, donde no es facil sentirse comodo y mucho esta aun por descubrir. Al final de la entrevista y justamente cuando nos comentaba su parecer sobre la inmersion, la camara dejo de grabar y solo se capto el sonido. Increíble.
Thinking about sound as vibration is relatively easy. Thinking about reality as a vibrating flow in which we exist is more complex and requires certain holistic insight, but it is also easy to understand. Experimenting that vibration as a concept, that is not so easy.
Kode9“>Steve Goodman devotes a chapter of his book Sonic Warfare“>Sonic Warfare to Mark Bain and what he calls “Vibrational Anarchitecture” in direct reference to Gordon Matta Clark‘s anarchitecture. Mark Bain works with a multichannel system of 46 geosensors or transducers and generates vibrations in the structure of the intervened space by passing the vibratory energy among the molecules of the materials in solid state. Thus the structure, the matter and the space that contains them become audible.
Goodman argues that a non-anthropocentric ontology allows us to understand the vibrating surfaces as a medium in itself capable of transmitting information and concepts. So in terms of sound, the work of Bain would appeal to the representation of space, but in a conceptual sense it is more related to an inner or contemplative listening of the matter. An understanding of reality as a vibrating flow, as a whole.
Holistic, as we said already, allows us to understand reality as a whole. In this sense we can understand the title given by ILIOS to his workshop, “We are vibration”, as a title but also as a precept in which we can spin relationships with Mark Bain in that understanding of reality beyond the borders, in a broad sense of the term. Dimitri Kariofilis aka ILIOS begins with this subject, with borders, an essay that analyses his sound work in relation to his understanding of geography and his artistic practices.
ILIOS also works with vibration, looking for unexpected answers, provoking some discomfort in the public of its performances. A stance which, as he says, avoids the classification of reality, again, in a broad sense. We could say as a whole.
The album Kenrimono by ILIOS, deliberately subtitled “Inmersion”, and the work of Mark Bain, through Goodman’s text quoted above and in relation to its architectural qualities, are obviously included within the definition of immersive. But the manipulation of mechanical and industrial materials, cars, for example, in the case of ILIOS, and architectural and debris material in the case of Bain, added to the world-view described above, is what links these two artists as artists of the vibration.
Mark Bain and ILIOS will present their live performances between November 3rd and 12th 2011 at Sensxperiment: Sensory Inmersion.
Pensar el sonido como vibración es relativamente sencillo. Pensar la realidad como un flujo vibratorio en el que existimos es algo más complejo y requiere cierta perspicacia holística, pero también es asequible. Experimentar como concepto esa vibración, eso no es tan fácil.
Esto, entre otras cosas, tiene como intención Sonic Warfare de Steve Goodman aka Kode9, codificar o conceptualizar la fuerza vibratoria, ya sea una manifestación cultural o un arma, para analizarla luego como instrumento de dominación.
No es de extrañar entonces que Goodman le dedique un capítulo del libro a Mark Bain y lo que llama una “Anarquitectura vibracional” en referencia directa a la anarquitectura de Gordon Matta Clark. Mark Bain trabaja con un sistema multicanal de 46 geosensores o transductores y hace vibrar la estructura del espacio intervenido haciendo pasar la energía vibratoria por entre las moléculas de los materiales en estadosólido. De esta manera la estructura, la materia y el espacio que las contiene, se hacen audibles.
Goodman expone que una ontología no antropecéntrica nos permite comprender las superficies vibratorias como medios en sí, capaces de transmitir información y conceptos. Por tanto el trabajo de Mark Bain, en tanto que sonoro, apelaría a la representación del espacio, pero en tanto conceptual, hablaría más bien de una escucha interna o contemplativa de la materia. Una comprensión de la realidad como flujo vibratorio, como un todo.
La holística, comentábamos al principio, permite comprender la realidad como una totalidad. Así es posible entender el título que da ILIOS a su taller: Somos vibración. Como título pero también como precepto en el que pueden hilarse las relaciones con Mark Bain en esa comprensión de la realidad más allá de las fronteras, en un sentido amplio del término. Con este tema, con las fronteras, comienza Dimitri Kariofilis/ILIOS un ensayo en el que analiza su trabajo sonoro en relación a su manera de comprender la geografía y sus prácticas artísticas.
ILIOS trabaja también con la vibración, buscando respuestas inesperadas, tratando de provocar cierta incomodidad en el público receptor de sus performances. Una postura que según él evita las clasificaciones para abordar la realidad, de nuevo, con amplitud. Podríamos decir que como un todo.
El primer track del disco KenrimonoILIOS está subtitulado deliberadamente Inmersión y la obra de Mark Bain, a través del texto de Goodman citado más arriba y en relación a las cualidades arquitectónicas del mismo, se incluyen de modo evidente dentro de esta definición de lo inmersivo. Pero la manipulación de materiales mecánicos e industriales, coches por ejemplo en el caso del primero y arquitectónicos y de desecho en caso del segundo, sumado a esa cosmovisión descrita más arriba, es lo que enlaza a estos dos artistas como artistas de la vibración.
ILIOS y Mark Bain presentarán sus directos entre el 3 y el 12 de Noviembre de 2011 en Sensxperiment: Inmersón Sensorial.
En Suiza se celebra todos los años un festival de música electrónica y experimental llamado Les Digitales que tiene lugar en diferentes parques. Se trata de un evento gratuito que intenta acercar el arte sonoro al gran público, pero también recordar a los habitantes de las ciudades que existen muchos parques urbanos en los que se puede disfrutar de la naturaleza.
Entre los eventos de la edición de este año, celebrada en agosto, se hicieron una serie de instalaciones sonoras en el Jardín Botánico de Berna que incluían experimentos como tocadiscos con agujas de cactus y discos de tronco de árbol.
El responsable de las instalaciones es el artista e ingeniero electrónico Flo Kaufmann.
The festival AudioCulture places aesthetic emphasis on compositions that work with “field recordings”. In the case of this creative approach, sounds are composed which – originating in the acoustic environment, the field of audible phenomenon – are recorded with a microphone and, to a certain degree reproduce reality. The recorded sounds, however, are not necessarily related to the original; they are often processed, made clearer or modified and arranged within new musical or narrative reference systems. Sounds are conceived and elaborated into musical elements, and new temporal structures. Thus, composed panoramas emerge that question the relationship to reality or else consciously play with the duality of reality and idea. By way of a special art of microphoning, the recordings are often of a particular conciseness, and are expounded and made perceptible in the existing acoustic nuances in the soundscapes invariably ignored in the moment in which they occur in everyday life. With their acoustic photographs, the composers create new perspectives, new acoustic-scenarios and extend the horizon of hearing and the imagination beyond the works themselves.
The festival’s point of departure is the project »Europe – A Sound Panorama« initiated in 2010 by the Goethe-Institute Belgrade, Deutschlandradio Kultur and ZKM | Institute for Music and Acoustics. The core of the work revolves around a Europe-wide request for five-minute radiophone or electro-acoustic compositions conceived such as to convey an impression of the peculiarities of one of the selected regions of Europe. From a total of 186 submissions, the international jury selected ten compositions by creative individuals from a great many countries in Europe. Under the artistic direction of media artist Thomas Köner, they have now been invited to Karlsruhe for one week in October to elaborate from their works a European co-production for the dome-formed spatial sound system at the ZKM, and a radio version for Deutschlandradio Kultur; these are to be presented on October 22, 2011.
Program
Thurs. October 20, 2011, 6 pm, ZKM_Lecture Hall
IMA | lab No.6 »Field Recording«
Workshop discussion with the participants of the European project “Klangpanorama”/ Panoramic Acoustics
and Thomas Köner. Moderation: Julia Gerlach
Fri., October 21, 2011, 8 pm, ZKM_Cube »Sound Fields«
Kirsten Reese: “Deckkraft” (UA, 2011)
Thomas Köner / Asmus Tietchens: “Contact the Youngling”
Sat., October 22, 2011, 6 pm, ZKM_Medialounge »Sound Art @ Het Apollohuis« Workshop discussion and CD presentations with Paul and Hélène Panhuysen
For the archive exhibition “Het Apollohuis”
Moderation: Julia Gerlach
Sat., October 22, 2011, 8 pm, ZKM_Cube »Europe – A Sound Panorama« (premiere, 2011)
European competition, workshop and concert
“Europe – A Sound Panorama” is a Europe-wide call for proposals for a cooperative project under the artistic direction of media artist Thomas Köner.
With Susanna Caprara, Katrinem (Katrin Emler), Francesco Giomi, Konrad Korabiewski, Stefan Maleševi, Etienne Noiseau, Tamer Fahri Özgönen, Softday (Mikael Fernstroem & Sean Taylor), Pablo Sanz Almoguera, Ladislav Železný
FIELD FEST 12 – 15 October 2011 @ RITS Cinema, BSB, Q-O2, Bruxelles, BE
Manfred Werder, Annea Lockwood, Anne Wellmer, Emmanuel Holterbach, Justin Bennett, Eric La Casa, Philip Samartzis , martiensgohome, Michael Pisaro, Jason Kahn, Mecha/Orga, Pali Meursault, Lee Patterson, Toshiya Tsunoda, Pauwel De Buck, Peter Cusack, Els Viaene, Jez riley French
FIELD FEST presents an up-to-date sampling of the artistic use of field recording: discovering the hidden sounds of Brussels through the ear of the artist, for once enjoying the noise of garbage trucks, joining an artist in the morning to go hunting sounds, immersing in fresh soundcollages in the evening,…
Twenty artists, both new and established, will settle in Brussels’ Beursschouwburg and Q-O2. Besides concerts and performances there will also be time for the artists to elaborate on their different methods to use field recording as an artistic material, from a geographical, archiving or political approach to composed or conceptual works.
The artistic use of field recordings can be numerous: in sound installations or compositions; barely recognizable as a component in electroacoustic music or very abstract as recorded silence. Also, a strong philosophical dimension emerges around the question how we position ourselves against the world and its appearances.
FIELD FEST is the official launch of the ‘Sounds of Europe’-project initiated by Q-O2 (Brussels), MTG/Sons de Barcelona (Barcelona), IRZU (Ljubljana) and CRiSAP (London). ‘Sounds of Europe’ acknowledges and explores the increase of field recording activity in music, art and science.
El 2 de octubre tendrá lugar en el hall de la Fundación Serralves Crash Music de João Paulo Feliciano.
O trabalho do artista e músico português João Paulo Feliciano (1963, Caldas da Rainha) assenta na fusão entre a música e as artes visuais. Até mesmo obras que aparentemente nada têm a ver com música são afinal por ela influenciadas em termos de processo. A não separação entre os papéis que um artista desempenha dentro e fora da galeria, o interesse em partes iguais pela cultura popular e pelas expressões artísticas eruditas fazem parte da sua prática criativa. Além disso, Feliciano revela uma urgência de comunicação com o público, uma vontade de o implicar directamente, que o distinguem num meio artístico ainda muito elitista. (more…)
