Nordic Sound Art exhibition – pictures


September 25th, 2014

Photo documentation from the Nordic Sound Art exhibition.
Academy of Fine Arts, Umeå Sweden 2014.

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Tuukka Haapakorpi

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Gallery view

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Jonas Gazell

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Jonas Gazell

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Jonas Gazell

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Jonas Gazell

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Hannah Anbert

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Hannah Anbert

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Tuukka Salonen

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Tuukka Salonen

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Gallery view

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Michael ‘Stoffer’ Christensen

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Michael ‘Stoffer’ Christensen

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Troels Holmstrøm

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Troels Holmstrøm

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Helene Førde

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Helene Førde

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Georgia Rodger

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Georgia Rodger

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Gallery view

Sound art exhibition in Umeå, Sweden


August 28th, 2014

Nordic Sound Art exhibition, Umeå

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Degree show at The Umeå Academy of Fine Art
Thursday 11th, Friday 12th & Saturday the 13th of September 2014
Official opening: Friday the 12th of September at 18:00

An intense three-day exhibition including sound installations, performances and concerts, with
artists graduating from the Nordic Sound Art programme.
Several inside, and outside locations at the Umeå Academy of Fine Art will be inhabited with sound
installations, and evenings will include sound art performances and electronic music concerts.

Works by:

Georgia Rodger
(UK) Tuukka Haapakorpi (FIN) Helene Førde (NO)
Troels Nøhr Holmstrøm (DK) Jonas Gazell (SE) Michael Christensen (DK)
Hannah Anbert (DK) Tuukka Salonen (FIN)

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Arts Campus
Umeå Academy of fine arts
Östra Strandgatan 28 B
SE-903 33 Umeå, Sweden
http://www.art.umu.se/en

Download press release in PDF format here

Field recording


November 23rd, 2013

18th Nov – 22 Nov. 2013 at the Royal Academy of Fine Art, Copenhagen Denmark.

Introduction to microphones and recording techniques.
Historical recordings and listening sessions.

Lectueres; Jonas Olesen, Rune Søchting, Eddy Bøgh Brixen.

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Eddy Bøgh Brixen blowing a balloon to be used for an impulse response.

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Collection of various field recordings released on vinyl.

 

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The Dirty Ear Forum


October 30th, 2013

Perfomances at Landmark + Marken in connection with the The Dirty Ear Forum at Khib.

The Dirty Ear Forum aims to focus on listening as a practice, questioning in what ways it participates in social life and cultural work. On 1 November the forum invites to an afternoon seminar at KHiB with presentations by sound artists and theorists, followed by an evening of performances at Landmark. Afternoon seminar Time: 1.30 – 5 pm Venue: the red room, Marken 37 Contributors: Claudia Firth / Lucia Farinati Tao G. Vrhovec Sambolec Budhaditya Chattopadhyay Evening performances Time: 7 – 11 pm Venue: Landmark, Bergen Kunsthall Contributors: David Toop Binaura / Agoston Nagy Johnny Herbert Brandon LaBelle Presented by Ny Musikk Bergen and KHiB. Experiences of listening often lead to confrontations and encounters with noises and other disturbances, as well as that of intimate sharing and assurance. How often we seek out familiar music, a quiet place, a comforting rhythm in moments of distress. And what of the excitement and intensity found in turning up the volume, repeating a particular expression, exploring the foreign or the mysterious as a break onto the familiar – such modulations of comfort zones encourage a tuning in to the broader horizon of experience. These emotional borders are activated by a listening sensibility, allowing for a diversity of social contact, which might also provide us with material for types of practice. The Forum aims to focus on listening as a practice, questioning in what ways it participates in social life and cultural work. Presentations by sound artists and theorists in the afternoon seminar will provide entry into this territory of the auditory. This will be followed by an evening of performances, creating a space of listening that may equally enrich our appreciation for the poetics and politics of sound’s diverse movements. http://www.kunsthall.no/

Reverberation Lab: The site-specifity of sound – Helsinki incubator


May 21st, 2013

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Prof. Caspar Stracke
with Marianne Decoster-Taivalkoski, Eero Pulkkinen, Jonas Olesen

May 27th – May 31th. 2013, KUVA Helsinki, Finland

The second Helsinki module of the 2012/13 Nordic Sound Art cycle will include a lecture and workshop and investigate various aspects of the notion of reverberation, defined as both, an acoustical phenomenon and a conceptual strategy in sound art.
We will research on specific projects by Max Neuhaus, Phill Niblock and listen / discuss  various case studies by Andy Graydon, Richart Garet and Helsinki sound artist  Eero Pulkkinen.

The workshop part will take place in the main water reservoir tank of an abandoned watertower in Lautasaari. This site will serve as a sound installation test site (and optional; recording site) not only for experiments with natural reverberation but also as an project idea incubator for site specific exercises. A specific space to attach a sound to and then also respond to the physical location by simple visual and sculptural means.

NSA participants will produce,  playback and re-record and sound sources, place them in a specific locations and work with various sculptural / visual elements to create relationships between the sound  source, reverberation and environment.

346348349350351Workshop will also include a number of studio critiques and an NSA evaluation.

Marianne Decoster-Taivalkoski:
Reverberation and resonant bodies

Reverberation is the result of sound propagation in an environment with reflective surface. When a sound is performed in a space, part of the energy of the sound wave is absorbed and part is reflected back and propagated until the wave hits another reflective surface.

Reverberation plays an essential role in our perception of a space. Reverberation informs the listener not only on the sound source but also on the environment, on the physical quality of a space, like its size, its shape, its materials. Acoustic spaces have their own behaviours and acoustic characteristics. Acoustic spaces can be considered as potential meta-instruments. They have their own resonant frequency. They transform or filter original sound sources that we perform or play inside them. Sound artists think of reverberating spaces as resonators, performance venues or recording studios.

Marianne Decoster-Taivalkoski (born in France in 1969), media & sound artist based in Helsinki, is currently lecturer in Media and Sonic Arts at the Centre for music and technology in Sibelius Academy, University of the Arts Helsinki.
Her work includes motion sensitive interactive sound installations and electroacoustic soundscape performances based on improvisation. Working with water sounds (live or recorded) and the poetics of water and fluids has been a recurrent theme in her pieces.

Sound as Image / History of sound art Helsinki.


November 26th, 2012

Petri Kuljuntausta lectures.

‘History of sound art’

Petri Kuljuntausta did lectures spread over three days, covering the history of sound art and experimental music. The lectures included listening examples.
Of the many subjects covered were:

Sound art (concept)
– sound in the arts (Douglas Kahn)

Early sound instruments (mechanical), Heron
Mammoth Ivory flute

Léon Scott: The phonautograph
Thomas Edison: The Phonograph
Gramophone records

Alphonse Allais: Funeral March for the Obsequies of a Deaf Man (1884)
Futurism
Dada
Kurt Schwitters: Ursonate (1922–32)

Arseni Avraamov: Sinfoniya Gudkov (“Symphony of the sirens”, Bakú 1922)

Walter Ruttmann: Weekend (1930) 11’10″

Pierre Schaeffer: Musique Concrete (1948)

Yves Klein: Monotone Symphony (1949)
Francois and Bernard Baschet: Sculptures Sonores

Karlheinz Stockhausen
– Cologne studio & Darmstadt summer courses

John Cage: 4:33
John Cage: Water Walk (I’ve Got A Secret TV show)

Fluxus

First Wave of Finnish Electronic Music in 1958-1963

Alan Lamb: the sound of telephone wires
Bill Fontana: pioneer of site-specific sound installations

Christina Kubisch: Electric Walks

The User: Silophone

Stelarc (-> Orlan)

Ryoji Ikeda: datamatics

Visit to Petri Kuljuntausta ‘Akusmata’ gallery for Sound art.

Visit to Petri Kuljuntausta studio.

Caspar Stracke:

image-to-sound/sound-to-image

The course/workshop investigates a particular set of relationships
between sound and (moving)image throughout the 20th century history
of mechanical, electro-magnetic and digital sound recording.
It ranges from spectral analysis and optical sound synthesis
and to sculptural electro-magnetic sound visualizations (“Cymatics” )
Vice versa, the sound-to-image part introduces a number of unique
moving image creations utilizing mechanical, electromagnetic and digital technologies.
The workshop part introduces optical sound track experiments,
with paint on film leader and digital equivalents.

Featured artists:  Hans Richer/ Oskar Fischinger/ Rudolf Pfenninger,
Norman McLaren, Mary Ellen Bute, Aura Satz, Derek Holzer,
Steven H. Silberg, Kilian Dellers,
Thomas Stellmach,  Maja Oschmann, Seminconductor and others.

Using ‘Phostosounder’ software to render images audible.
Setting up 33mm projector.
Setting up for drawing optical sound tracks.
Drawing optical sound tracks.

Drawing optical sound tracks.

Finished filmstrips.

Projecting the soundtracks.

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Neanderthal Electronics – Cph


November 3rd, 2012

Week one:

Definition of sound

Lecture given by Jonas Olesen on the nature of sound.
The following subjects were described:

– Sound as waves, wavelength, pitch, frequency, amplitude and phase
– Measurement units: HZ, DB
– Ultrasound, infrasound and sound as vibration
– Mechanical recording (Edison and Berliner)
– Basic sound visualization, waveform and spectrogram views.
– Nature of sine-waves and white noise
– Conversion of electromagnetism into sound

Rune Søcting – two lecture on the theory of sound and listening:

Summary

The lectures were intended as an introduction to a broad (though in no way exhaustive) range of theoretical positions, examples of key literature and concepts related to sound art. Even though it had historical references (and had a brief historical outline) it was not a historical account of sound art as such.

The notion of sound art was discussed and an entrance-point for an exploration was suggested: Rather than emphasizing the historical, formal or technological aspects of sound art, it was suggested that a sound art practice can be understood as establishing unique situations or conditions for listening.
This suggestion would then call for a reflection on how we should understand the act of listening. We would need to consider how listening as a practice can be understood in the light of a (among ohters) aesthetic, inter-subjectve, political, physical, technological, social and historical context.

The lectures then gave a critical introduction to the concepts of sound and listening through an outline of various theoretical positions.

Main emphasis was put on the following positions:

1. Theory of the sound object, the acousmatic, reduced listening. Pierre Schaeffer’s idea of a “sound object”, sound “in itself”, as it is expressed in his writing. The experience of sound qualitites in themselves for Schaeffer involves a special kind of focused attention – a perceptual reduction (“reduced listening”).

2. Ontological theory of sound as energy and as a material disturbance. From this perspective sound is a kind of energetic material disturbance: sound is in essence a physical vibration. A number of theories are developed based on this premise. Of particular interest within the scope of this theory is the relationship between signal and noise, especially as it was developed within the frames of information theory and later expanded and renegotiated by theorists such as Michel Serres and Aden Evans (and Christoph Cox). Listening in this perspective is less to be understood as a pick up of audible qualities. Rather listening is a special sensitivity towards events or energies in the environment. Listening is a kind of resonance with the vibrations of the environment.

3. Phenomenological/critical theory of the listening act. With particular reference to the writings of Jean-Luc Nancy and Salomé Voegelin, this position holds that listening is to be understood as a sensitivity to a bodily presence in an environment.
The auditory awareness (it is claimed) differs from a more static, conceptually driven and visually dominated perception. Unlike the visual knowledge-oriented attitude, listening offers an open-ended creative perceptual attitude to the environment.
This claim has a certain affintiy to the phenomenology as developed in the later writings by Maurice Merleau-Ponty.

With these theoretical positions in mind a number of (mainly “canonized” works) artworks were discussed, among others works by Pierre Schaeffer, Alvin Lucier, John Cage. A discussion unfolded based on the work by Tino Sehgal (This variation) from this years Documenta.

Literature mentioned:

Aden Evans: Sound Ideas, University of Minnesota Press, 2005
Christoph Cox: ”Sound art and the sonic unconscious”, in: Organised Sound, 14(1), 2009
Don Ihde: Listening and Voice, State University of New York Press 2007
Friedrich Kittler: Gramophone, Film, Typewriter, Stanford University Press, 1999
Jean-Luc Nancy: Listening, Fordham University Press, 2007
Pierre Schaeffer: Traité des objets musicaux, Éditions du Seuil, 1966
Salomé Voegelin: Listening to Noise and Silence, Continuum, 2010

On the (philosophical) definition of sound: Roberto Casati, Jerome Dokic: ”Sounds” (Stanford Encyclopedia of Philosophy): http://plato.stanford.edu/entries/sounds/

Lucretius: De Rerum Natura (online translation On the Nature of Things: http://classics.mit.edu/Carus/nature_things.html)

General literature mentioned
Douglas Kahn: Noise Water Meat, MIT press 1999
Caleb Kelly (ed): Sound, Documents of Contemporary Art, Whitechapel Gallery, MIT press 2011
Brandon LaBelle: Background Noise, Continuum 2006
Helga de la Motte-Haber: Klangkunst: ”Tönende Objekte und klingende Räume”, Handbuch der Musik im 20. Jahrhundert 12, Laaber-Verlag 1999
Daniel Warren & Christoph Cox (ed.): Audio Culture: Readings in Modern Music, Continuum 2004

Week two:

Neanderthal electronics. with Derek Holzer:

Pictures from the course:

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Installation, site specificity, gardens and expanded architecture


December 17th, 2011

KUNO Intensive Course
Installation, site specificity, gardens and expanded architecture.
Workshop/seminar by Alejandra Salinas and Aeron Bergman.

Funded by Nordplus programme and KUNO network.

Partner academies: Malmö Art Academy (Sweden), The Royal Danish Academy of Fine Arts (Denmark), Oslo National Academy of the Arts (Norway).

Guest lectures by Triine Friis Sørensen, Rebecca Mazzai and Joel Peterson.
InterArts Center, Malmø Sweden. Dec. 5th – Dec 16th 2011

Content:
-Series of lectures.
-Close readings in groups of assigned texts.
-Project: students will choose and occupy a space.
-Group critiques with Rebecca Mazzei, director of MOCA Detroit.
-Group critiques with Trine Friis Sørensen, curator currently pursuing a PhD at Department of Arts and Cultural Studies at University of Copenhagen.
-Lectures by Rebecca Mazzei, director of the Museum of Modern Art, Detroit US, and an improvised concert with Joel Peterson, a Detroit based sound artist/musician.
Gertrud Sandqvist, professor, Malmö Art Academy

Student projects

Students will choose and occupy a space. Produce an intervention in the space that alters its function, calls attention to its characteristics or transports it. Keeping in mind the differences and similarities of theater and architecture, the space could be inside or outside the teaching facilities. You can use digital tech if necessary, but we encourage analogue interventions. Since there is always a sound element in an installation, the intervention need not be exclusively and strictly a sound work.

Reading list:
*Boris Groys, “Politics of Installation”.
*Rosalind Krauss, “Sculpture in the Expanded Field”
*Miwon Kwon “One Place After Another: Notes on Site Specificity”
*Michael Asher “Writings 1973-1983 on Works 1969-1979”
*A A Bronson & Peggy Gale “Museums by Artists” (Worth reading all essays, but especially Daniel Buren, “Function of Architecture: Notes on work in connection with the places where it is installed”)
Marc Augé “From Places to Non-Places”
Michel Foucault “Of Other Spaces (1967), Heterotopias”
Gilles Deleuze “Against Phenomenology”
Nick Kaye “Site-Specific Art. Performance, place and documentation”
Simon Sadler “Archigram: Architecture without Architecture” (at least the first chapter)
Maria Lind “Re-Staging The Institution”
Tor Lindstrand “Express Yourself, Architecture as an Expanded Field”

http://www.international-festival.org/node/28609

Rafi Segal and Eyal Weizman “Occupation in Space and Time”

Workshop pictures:

Aeron Bergman + Alejandra Salinas lecturing

Aeron Bergman + Alejandra Salinas lecturing

Text.

Aeron Bergman + Alejandra Salinas lecturing

Aeron Bergman + Alejandra Salinas lecturing

Aeron Bergman + Alejandra Salinas lecturing

Trine Friis Sørensen lecture.

Vladas Suncovas presentation.

Lauri Eltermann presentation.

Ceclia Jonsson – plant growth projection.

Elin Vister ‘Waiting’…

Joel Peterson guitar concert.

Martinka Bobrikova and Oscar Decarmen ‘IKEA’ performance.

Visiting the Museum of Contemporeary Art, Roskilde

 

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Theory & Graphic Scores, Malmø


November 5th, 2011

Oct. 31st – Nov. 4th 2011

Inter Arts Center
Bergsgatan 29
214 22 Malmö
Sweden

http://www.iac.lu.se

Stefan Klaverdal lecturing on Cornelius Cardew.

Flopper presentation.

Flopper presentation.

Lauri Woulio presentation.

Mathias Kristersson lecture.

Mathias Kristersson lecture.

Mathias Kristersson text..

The workshop is centered around general theoretical lectures given by Rune Søchting and Gertrud Sandqvist., in relation to the student thesis work.

A walk-trough of key historical sound art works were given by Jonas Olesen.
Finally the swedish composer Stefan Klaverdal and poet and composer, Mathias Kristersson, gave lectures about experimental graphic scores.
The lectures were in part theoretical, and in part practical – each student made his or hers own score during the workshop, and their interpretation were discussed.

http://www.stefanklaverdal.com/

http://www.mathiaskristersson.com/

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MAX/MSP workshop at KUVA – The Finnish Academy of Fine Arts, Helsinki.


October 8th, 2011

Oct. 3rd – Oct. 7th.

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The workshop will explore the programming language MAX/MSP and it’s possibilities in creating interactive installtions. Different sensors will be used and the WII Remote controller will be used to gather environmental information. This data i sent to computers to create response. In the workshop the students will get hands-on guidance in realizing interactive installations that incorporates sound.

The workshop teacher will be the finnish artist Juhani Räisänen – http://www.sormina.com/

‘The history of Sound Art’ by author Petri Kuljuntausta – http://www.nic.fi/~petriear/