“Tenori-on is a sequencer styled electonic music instrument developed by Yamaha. The instrument has been developed in collaboration with media artist Toshio Iwai in order to design a new digital musical instrument for the 21st century.” via analogik.com
Atom playing listen for the jazz beat and syncopations
14.12.09
Sound squared to new dimentions...atom atom atom
Sachiko Kodama's ferrofluids and sound
Ferrofluids are so amazing, above video showcasing how it reacts to the sound.
Sachiko Kodama made an impressive art out of it, and in next step she created new experience Morpho Tower to make it easier for people to see what ferrofluid are capable of…
Take a look at Morpho Tower and nice interview with Sachiko Kodama
from cyberspace nova
19.10.09
so naughty, federman so dead so sad - wonderful teacher so missed
Federman cannot say "I am dead "...but he did write
Whether one dies in bed, dies in one's boots, dies with one's boots on, dies on the vine, dies in harness, dies prematurely or in one's sleep, dies in a gas chamber, dies while making love to one's lover, when all is done and said, that is the category of death that has reached total improvement because it can no longer be spoken.
Language vanishes into death, and death vanishes into silence. Or is it, death that vanishes into language, and language into silence?
....in "Reflections on Ways to Improve Death," an essay that reads 'like Jonathan Swift through the lens of Samuel Beckett, with marginal commentary by Ludwig Wittgenstein. It's another one of Federman's brilliant transgressions on mortality, his pas de deux with Death over the course of a nearly forty-five year long career as a literary fabulist telling many different “self-reflexive” versions of the same, living text: the joyous, terrifying, self-canceling story of his own life'.(see the Buffalo News article below)
Raymond Federman died Tuesday morning in San Diego after a long battle with cancer. He was 81.
sadly missed
http://blogs.buffalonews.com/artsbeat/2009/10/raymond-federman-19282009-on-ways-to-improve-death.html
18.10.09
27.9.09
9.8.09
22.7.09
28.6.09
14.5.09
delirious hem asks what does a feminist poet look like, and thinking again has some thought too
delirious hem recently called for responses to ...what does a feminist writer look like? click here
This is What a Feminist [Poet] Looks Like: what branch of feminism, model of feminist poetics, feminist icon, or etc. informs your poetry? Or, from which of these does your poetry diverge? Are there particular feminist tactics you employ? Do you consider yourself a feminist in many ways, but don't particularly involve it in the poetry? Feel free to take liberties with the questions! Short, long, essay, manifesto, whatever appeals to you!
I submitted a piece focusing more of what she sounds like...click here.
You asked what does a feminist poet look like?
And I want too say that we are not one. Indeed we are multifarious.
I want to reply to this question of who we are, more by exploring notions of what we are and how that effects our, and my methods. I will attempt to explain this through using quotes from the work of Luce Irigaray and Monique Wittig as they affect my work.
Indeed I am ventriloquizing their notions, here, for you. But lets [us] start from the space of the initial question of 'our look', the being seen. We are both visible and yet invisible , we are a nothing to be seen and this has its disadvantages but many advantages.
Irigaray in the Speculum of the Other Woman talks of this. The idea that a ‘nothing to be seen’… might have some reality, would be intolerable to man.
In this ‘virtual’ space, I am not one
Irigaray speaks of this 'she' indeed 'she' is 'the' whole project,
She, meaning me, and us, does not set herself up as a one, (single) female unit.
”She is not closed up, or around, one single truth or essence. The essence of a truth remains foreign to her. She neither has nor is a being. And she does not oppose a feminine truth to a masculine truth. The female sex takes place by embracing itself, by endlessly sharing and exchanging its lips, its edges, its borders, and their ‘content’, as it ceaselessly becomes other, no stability or essence is proper to her”.
Margaret Atwood in her Handmaiden's Tale relays a joke, that is said at the expense of woman but that instead actually outlines our key strength...
“Women, he said jokingly can't add up.
When I asked him what he meant?
He said, for women, one and one and one and one don’t make four.
What do they make? I said, expecting him to say five or three?
but no,
Just one, and one, and one and one, he said”.
(peels of ironic laughter)
This ability to take on complexities is a diffused space that is full of potential for women, writing, saying, thinking, and busy in being.
Irigaray again....
”It is already getting around - at what rate? In what contexts? In spite of what resistances - that women diffuse themselves according to modalities scarcely compatible with the framework of the ruling symbolic. Which doesn’t happen without causing some turbulence, we might even say whirlwinds, that ought to be reconfined within solid walls of principle, to keep them from spreading to infinity” The Sex Which Is Not One.
Instead we can an actively do take on otherness.
again...Irigaray
”Strictly speaking, one cannot say that 'she' mimics anything, for that would suppose a certain intention, a project, a minimum of consciousness.
She instead, is pure mimicry. Which is always the case for inferior species, of course. Needing to define essences, her function requires that she herself have no definition.”
Speculum of the Other Woman
These notions offer very broad and fecund spaces for feminist writers, poets, and theorists to reclaim voice and re shape knowledge claims of what it is to say.
What of my own methods you ask?
I am engaged in becoming the method of my own methods.
I listen carefully to the sound in language and write it.
I ventriloquize women's voices.
I multiply origins.
Dissociating signification's, I excavate voids, condense givens, ply and weave mannerisms, I embrace interferences and seek out and valorize polyphonies.
I am engaged in confusing genres and neutralizing techniques and media and understand this as a creative and politically creative method.
I am a paradox
Sounding language
… a multitude of multitudes
This is a method that produces notions and writing as scores of possibilities. It weaves possibilities into seemingly authentic calculations, a practice like that of Ada Countess of Lovelace.
It is a method that gives rise to monsters with voices, and monstrous voices.
Wittig, in Les Guerillieres, speaks of this colorful monster as in a permanent state of singing...?
“Somewhere there is a siren. Her green body is covered with scales. Her face is bare. The undersides of her arms are a rosy color. Sometimes she begins to sing.
The women say that of her song nothing is to be heard but a continuous O. That is why this song evokes for them, like everything that recalls the O, the zero, the circle the vulval ring”.
Paraphrasing the boys who wrote A Thousand Plateaus…lets, …Transpierce the mountains instead of scaling them, excavate the land instead of straitening it, or be it, be its voice, bore holes in space instead of keeping it smooth, and closed, turn the earth into Swiss cheese, or milk, our milk of words. Turn the frames of the known, the strictures of grammar, the separations of disciplines into their own gaping holes.
My method through this notion is a call to making these frames and language our creative zero.
Wittig again…”At this stage one must interrupt the calculations and begin again at zero. If one makes no mistake with the calculations, if one jumps with both feet together at just the right moment, one will not fall into the snake pit. If one makes no mistakes in the calculations, if one bends down at just the right moment, one will not be caught in the jaws of the trap. At this stage, one must interrupt the calculations, and begin again at zero”.
zero as a starting and being in point?
a zero plus one
plus one
plus one
Wittig… (and my own work continues her project), urges us to “take time, consider this new species that seeks a new language…” Listening to our own tongues, listening for the it in it.
make an effort to invent it
make an effort
and invent if you have to invention.
Thinking again offered a response click here
.. and then I left a comment saying...
Hi…thank you for raising such thoughtful questions re feminism and feminist practice especially in its relation to theory. And thank you for your delicious list of feminist informed writers, I look forward to reading though it. Re your mention of articulating a feminist poetics…I’d like to add to the discussion the work being done into the ‘said’ gap between practice and theory that is as we speak being filled up with a new type of theory, practice led theory and practice as theory. In this framework the insights and particularities, and the voice of a practice, are considered important and valid material to build and shape new theories and ideas across a wide range of disciplines, indeed it is making disciplines into tranies… (trandisciplinarity frameworks). It’s true some feminist theory is written for the world but some is written for a particular audience in that world. Those who can hear it. Innovative, aware, informed practice is always built for our ‘informed peers’, it always strives to move ahead and often way ahead of the dominant cultural and social frames. This isn’t snobbery or elitism but the way new things come into being through the giving and then receivership in some form. New thoughts, perspectives and means are always coming into being in this way. I am engaged in such a practice informed and creating a theory of sounded-language. I submitted the piece ‘what does a feminist poet sound like’ to the discussion on delirious hem and this is one of my key areas of interest and the core of my experimental work in theory/ literature and art.
Your right, in the past the gap between the poets practice and contemporary theory was considered a non issue, particularly and especially in academic circles. Indeed the connection was a non-event, an invisible gap in knowledge recognition. But artists/writers have always both made and made about ideas, issues, and shaped there works as knowledge claims regardless of their reception. But did we hear them? One of the complication was that the arguments/claims/ insights that privilege some notions over others, occurred within disciplines and institutions. Think the halls of the museum and the annals of art history and the halls of English literature departments etc. As the frame of cultural theory and literary and aesthetic theory has expanded, evolved and deliciously complicated each argument and firmly held belief, the artist/writer now ventriloquizes in words/paint not just the subject but their own inherent voice in a range of open experimental in a wide number of ways, transdisciplinary frameworks. The net being one of them
Before, in the not so distant past, ‘the muse’ was recognized as each one of us, practice be it art, writing, ‘the creative response’, lets call it had long been considered delivered muse-made via some sort of vacuum sealed package, though a magic blend of blessing, appeasement and struggle. The artists intensions to ‘the work’ were to be kept at an odd angle separate from the work itself and appreciation of the work that would follow by the expert, which was primarily considered in terms of its aesthetic value…, think of O’Keefe’s painted petals being ‘appreciated’ as examples of pure form…minimalism, precisionist, flattened picture plane etc, or Gertrude Stein’s work as having been built solely to confound and every now and then flirt the titillating secrets of her sexual life. But the artist’s voice and its strong voice at that, is now necessarily been heard as part of the conversation noting what is of value in culture and important to consider re knowledge frames. This voice is gaining ground now, fighting the good fight at the front, principally in academic circles and in
Feminist practice and theory has long been interested in overthrowing restrictive/ knowledge claims and in creating the voice to do it. And practice led theory and theory led practice is coming up with new ways of thinking and making that voice and its content. This is just one frame being established within a growing range of innovative theory informed practice by artists/writers who are working away in this area, rubbing out the ‘old boy’ standard. Ficto-critical frameworks and feminine ecriture in relation to practice-led theory are my two favorites…. This ongoing project for voice has and continues to be a long and hard fought for battle, not just for women, but those interested in inclusion of us all, indeed it might well be thought never over, as new voices enter the discussion and are at first always refused by the established order. But it is also one of mischief, and playfulness or gathering and disseminating ideas, or pulling threads together and of stepping back. Within connected communities of thinking, new approaches are critiqued and strengthened. I was glad to be part of the delirious hem forum as yet another example of this.
12.5.09
7.5.09
SheTube: Feminist Voices on the Small Screen
What is a feminist Video? click here
“Reflections on the Electric Mirror: New Feminist Video,” an entertaining exhibition at the Brooklyn Museum. Article review o it in New York Times
6.5.09
SONUS- The Space Between- by Katherine Norman
great sound gallery click here
quote...'Maybe a visual image has to work harder to get inside, underneath the surface. But sound has this knack of filling heads with riffs that hang around and won’t be silenced. For me, that’s how it is with these, and many other, works that speak through sound. And I keep saying ‘for me’ because who knows what these works will be for you. Every pair of listening ears is different (and I’m glad to hear it).
Lately I’ve found it helpful to think of music as autobiography of a kind, especially electroacoustic music and sound art that explores recorded materials, and ‘real world’ sounds. Recently I’ve begun to try and explain my listening through words, and connecting to my own real world stories. Maybe it’s not so far from the space of personal memory, to the space of inner listening. So there are short written reflections on my listening here. There are also programme notes and biographies, and places to find more information about the composers and their work. All these destinations can be avoided if you want, and maybe even should be.'
Kathrine also, writes great stuff on sound/language and noise, her book Sounding Art, Eight Literary Excursions through Electronic Music (Ashgate, 2004) is a gem ...click here for moreElden Tsabary also has a big collection of good sound works from the 60x60 Canada 2008-2009 collection on SONUS click here
this is not Kathrine or Elden... its a binary tree I found somewhere...
5.5.09
2.5.09
29.4.09
New Blog; Gertrude Stein and the Sound Inside It
this is a picture of Stein and Alice up to no good...
Just a started a new blog space featuring Stein and the work she did with language + my playing with her ideas.. she is featured singing wild Inuit versions of blue by you on it...
Click here
28.4.09
ADLIB, australian outsider music-sound great stuff
Fantastic site - links, real outside sound work, bee-autiful .
quote... 'Smart as members of our species like to think of themselves, there is to date still no general theory of cognition. The necessity of music in our lives is therefore still not completely understood; all we know is that we need it.
Our remote ancestors discovered that music and dance were instrumental in bonding groups larger than the nuclear family; music helps to transcend our natural state of aloneness. On the other side of that coin lie the darkest forms of tribalism by which outsiders are excluded and persecuted because of the notion of difference.
The Australia Ad Lib archive includes the music of those who are mostly excluded from any serious debate about music in this country: Australians who due to physical or mental disability express the 'other' (or indeed the 'real') through their extraordinary, sometimes brilliant and often very raw musical abilities.
We have a range of recordings from an autistic musical savant, a phenomenal guitarist who has made a physical disability into a musical virtue, a jazz pianist who shares with us his sonic maps of survival, a stammerer who became a sound poet, and the outsider super group 'The Mu-Mesons'... performers who tell it how it is and how it maybe could be."
Oh Ada... ADA LOVELACE DAY- furtherfield & all the inspiring women
FABULOSO furtherfields Ada Lovelace day contributions click here
quote... "Ada Lovelace Day was conceived of and promoted by Suw Charman-Anderson as a way of "bringing women in technology to the fore". It succeded in motivating nearly 2000 people to publish a blog post about a woman in technology whom they admired.
In support of Ada Lovelace Day we invited women working in media arts to join the NetBehaviour.org email list for a week, in March '09. They were invited to post information about their own work alongside the work of other women who had inspired them in their own practice. Some names came up a number of times but with different stories and for very different reasons. NetBehaviour provided a context for sharing and discussing influences and tracing connections: artistic, practical, theoretical, technical, historical, personal. For readability the list displayed here does not include all of the discussion but this can be traced back through the NetBehaviour archives.
Some contributors were anxious about the many excellent people who may have been missed out. We know this is not a definitive survey or list but it is an excellent resource and just one possible starting point for anyone wanting to know more about women working in media art.
26.4.09
25.4.09
23.4.09
22.4.09
inappropriate covers
I like em...."STEPHANIE SYJUCO is a visual artist who’s recent work uses the tactics of bootlegging, reappropriation, and fictional fabrications to address issues of cultural biography, labor, and economic globalization. Working primarily in sculpture and installation, her objects mistranslate and misappropriate iconic symbols, creating frictions between high ideals and everyday materials. This has included re-creating several 1950s Modernist furniture pieces by French designer Charlotte Perriand but using cast-off material and rubbish in Beijing, China; starting a global collaborative project with crochet crafters to counterfeit high-end consumer goods; photographing models of Stonehenge made from cheap Asian imported food products; and searching for fragments of the Berlin Wall in her immediate surroundings in an attempt to revisit the historical moment of “the end of History.” "
click here...
5.4.09
new blog multi-MARYfesto
welcome to a new site
A maryfesto is a list inspiring paradigms that shape creative work, be it sonic art, creative knitting, experimental ecriture writing or avant-garde painting practices...this new blog site is the place where every maryfestos written by a self identifying 'mary' is welcome.
Where are the lost maryfestos by all the brilliant mary minds of the past? What is the maryfesto frame women and mary's are working with now?...Why don't you outline your maryfesto for your creative project, projects, life etc. here, where every single web attached mary can have a look!! after one year this list could/will be compiled and published as the multi-Maryfesto, maryfesto!!!
...and then we will know where the maryfesto's are.
click here
how it was Gretrude and Alice....
Don José, Gertrude Stein & Alice B. Toklas from "Adventures of Picasso" by Tage Danielsson (Sweden, 1978). The best comedy I've ever seen!
31.3.09
aslongasittakes whydidittakesolong? fabulous work and resouce for sound thats not music but everything else
a s l o n g a s i t t a k e s, a sound poetry magazine published by the Atlanta Poets Group, is seeking submissions....heres a quote from them..."we are looking for sound poetry, scores for sound poetry and essays on sound poetry. “What is ‘sound poetry’?” you ask. Good question. It’s one of those know it when you see (hear) it kind of things. It’s probably not music (thanks Dick Higgins). It might be noise. If you think about a spectrum of possible noise made by the human body (or simulations thereof or substitutions therefor), and at one end of the spectrum is a person reading her poem and at the other end is abstract noise, we’re looking for works that fall towards the latter end. We are looking for works in/of/against the tradition(s) of Ball, Schwitters, Dûfrène, Henri Chopin, Jandl, Cobbing, The Four Horsemen, Fylkingen Group, Öyvind Fahlström. . . hopefully by now you get the idea. We’re looking for stuff that will push/redefine the limits. The magazine is Web-based".
Issue 2 is now up! Right here . And it includes work by Adachi Tomomi, the Atlanta Poets Group (performing a piece by Michael Basinski and some Love Songs by Bruce Andrews ), Gary Barwin (alone and with Gregory Betts ), Michael Basinski, David Braden, Craig Dongoski, Brian Howe , Maja Jantar (alone and with Vincent Tholome), e k rzepka, Larissa Shmailo, and Mathew Timmons (performing a Hugo Ball poem).
click here
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29.3.09
28.3.09
25.3.09
Avital Ronnel and the Idiot / the stupid
http://www.egs.edu/ Avital Ronnell, Professor of German, comparative literature, and English at New York University, where she directs the Research in Trauma and Violence project, and has also written as a literary critic, a feminist, and philosopher. Public open lecture session given at the European Graduate School, Media and Communication Studies Department Program in 2008. EGS, Saas-Fee, Switzerland, Europe.
Ronell was born in Prague to Israeli diplomats and was a performance artist before entering academia. She studied with Jacob Taubes at the Hermeneutic Institute at the Free University of Berlin, received her Ph.D. under the advisement of Stanley Corngold at Princeton University in 1979, and then continued her studies with Jacques Derrida and Hélène Cixous in Paris. She joined the comparative literature faculty at the University of California, Berkeley before moving to NYU. She is also a core faculty member at the European Graduate School. Themes of her work include technology (Test Drive, Telephone Book) and Stupidity/Idiocy. In addition to her own writing, she has produced English translations of Derrida's work.
Ronell's work in The Telephone Book focuses on three themes: technology, schizophrenia and electric speech. The book begins with a sustained examination of Heidegger's involvement with the (Nazi) National Socialist Party of Germany. Early in the book she describes it as a gesture of anti-racist activism. It proceeds through a history of the telephone, looking at the structure of "the call", as in Heidegger's "call of being", and applying that form to various subjects. A close friend of Derrida's, Ronell's work is heavily informed by the strategy of deconstruction, using close readings and looking at the play of language to find the marginalized group or idea that is pushed out from the center. In this work Ronell demonstrates the complexity of "the call" and its presence throughout contemporary culture including technology, psychology and art. In the book, the rejects the authoritarian position of the author and instead refers to herself as the "operator" of the text.
Crack Wars focuses on Madame Bovary, looking at addiction to literature and comparing it to addiction to drugs. She describes the work as being a political gesture against the hysteria of the "racist" war on drugs. It begins with a wide survey of literary discussions of intoxication, including Nietzsche, Baudelaire, Benjamin and more. The book proceeds by looking closely at Heidegger's descriptions of want, wishing and "being towards".
The Test Drive examines the underlying logic of contemporary scientific discourses and their ethical and political implications. It does so by focusing on the idea of "the test" as a basis for discovering knowledge.
Charlotte Moorman and Nam June Paik "The Originale"
Charlotte Moorman talks about how she met her long time artistic partner Nam June Paik. The details of the establishment and presentation of the 1964 premier performance of Stockhausen's "Originale" in New
Yok is described in very funny detail. She tells about George Maciunas (Fluxus) picketing the performance. Filmed in 1980 under a grant from the National Endowment for the arts. It is an excerpt from the work Charlotte Morman and the New York Avant Garde.
This piece by Fred Stern is dedicated to the Memory of Charlotte and Nam June.
steina vasulka interview
Interview with video artist Steina Vasulka. From the TV show "Kuhinja", a weekly programme on the phenomena of contemporary culture, produced by pro.ba (www.pro.ba), a Sarajevo based independent TV, film and video production company. Broadcast Thursdays 22:30 CET on BHT1 (www.pbsbih.ba)
23.3.09
Ada Lovelace Day- for women who inspire...as key players within the voice and sound technology
Image by clvrmnky via Flickr
Who was Ada??
Finally, who was Ada?
Ada Lovelace was one of the world’s first computer programmers, and one of the first people to see computers as more than just a machine for doing sums. She wrote programmes for Charles Babbage’s Analytical Engine, a general-purpose computing machine, despite the fact that it was never built.
Its Ada Lovelace day, the day and week to register the names of women who have inspired you
Ada Lovelace Day -bringing women in technology to the fore
http://findingada.com/blog/2009/01/05/ada-lovelace-day/
sign a pledge to blog about inspirational women in tech on 24th March
Heres my contribution....
MY NAME: Majena Mafe
URL: http://www.sounded-language.blogspot.com/
http://www.that-unsound.blogspot.com.au
MY WORK: Focuses on the perverse affect of sound in/as language, and its implications for digital ways of saying
INSPIRED BY:
Gertrude Stein-
For being a ground breaker, ground shaker and self described genius
For her introduction of the loop in language that eventually filtered through into digital sound
That the idea repetition is never repetition
The idea that if objects are things, so too are the word we use for them
That meaning does not lie linearly
She highlighted the non-definitive
Her play with ear-play
For her insistent sane use of disruption
Honesty that written language is mock realism
For highlighting the aurally charged nature of language and its connection to meaning
http://books.google.com.au/books?id=H__e3ZXoYMEC&dq=Gertrude+STEIN&printsec=frontcover&source=an&hl=en&ei=8RHISZvVB4yMkAWwle3DDA&sa=X&oi=book_result&resnum=4&ct=result#PPP5,M1
Meredith Monk-
For sticking with her own throat sounds
http://www.meredithmonk.org/
Cathy Berberian-
For interpreting contemporary music, Armenian folk songs, Monteverdi, The Beatles, and her own compositions in a very throated way.
Especially for best known work is her "Stripsody" (1966), in which she exploits her vocal technique using comic book sounds.
http://that-unsound.blogspot.com/2008/09/cathy-berberian-trills-me.html
Cathy Brietz-
For her elaborate video instillations
For her shots taken at media
http://www.whitecube.com/artists/breitz/texts/78/
http://www.kunstraum.net/content-en/artists/index/b/candice-breitz/view?set_language=en
Pipilotti Rist-
For being 'not the girl who misses much'
For her insistence on the perverse pleasure principle
http://en.wikipedia.org/wiki/Pipilotti_Rist
http://www.pipilottirist.net/begin/open.html
Maja Ratkje-
For her use of the voice as un-mediated instrumented sound
http://www.ratkje.com/main.php
Joan la Barbara-
For her use of multiple voices
For her use of multiple voices
For her use of multiple voices
http://www.joanlabarbara.com/bio.html
Vicki Bennett and People Like Us-
For the mischief
For her re-examining the throw away sounding out from the 40s and 50s
For the interpolation and density of sound image mashups
http://www.peoplelikeus.org/index.html
Janet Cardiff-
For being a composer/performer intrigued by change, the subtle and rthe thick in sound, fascinated with voices and definitely enamored by technology.
For using her voice as raw material, which she transmutes into machine noises, choral works or pulverizes “into granules of electro acoustic babble and glitch, generating animated dialogues between innate human expressiveness and the overt artifice of digital processing” as the Wire Magazine put it.
http://that-unsound.blogspot.com/2008/08/janet-cardiff.html
!!!!NetBehaviour are inviting all women who work in media arts and
net art to join their email list for a week between 23rd and
30th March to talk about inspirational women. At the end of the
week they will collate all of the posts in the thread and
feature them on Furtherfield.org.
http://www.netbehaviour.org/mailman/listinfo/netbehaviour
In support of Ada Lovelace Day they are inviting all women who work in media arts and net art, who are not already subscribed, to join the NetBehaviour email list for a week between 23rd and 30th March, asking them to squat the list for a week (of course we hope they'll stick around for longer:) and tell them about their work and that of other women who have inspired them in their own practice.
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22.3.09
the passions spoof on bill viola
A parody of Bill Viola's "The Passions" series & others where the viewer is probably asked to look too much into what is a seemingly dull video.
But THIS seemingly naive video video represents the painful gushes, splashes of emotions that we all suppress & conceal behind an affected & happy soundtrack of our hectic, paced life instead of flushing out our negative emotions.
*Add more BS here*
20.3.09
Ecosonic Performance.Ouija Board , Baroque Flutes and Cellos
May 2008, City University Electroacoustic Concert Series.
Peter Coyte, Kirsten Edwards - Ouija Board
Amara Guitry, Stephen Preston - Baroque Flutes
Laura Reid, Thomas Gardner - Cellos
The Ouija Board - a new form of group musical instrument. Based on the real-time video analysis of the shadows of a group of people, it reframes many of the conventions of traditional tactile instrumental control. It allows the relationship between sound material from loudspeakers and the embodied act of performance to be investigated more deeply. This occurs both in a formal research process and during performance, where the Ouija board acts as a bridge between acousmatic and traditional instrumental / vocal techniques.
The tactile quality of traditional acoustic instruments is in contrast to this remote, shadowy form of engagement. It is a negative instrument, between two worlds, casting a human shadow on the acousmatic curtain.
Ecosonics is designed to explore the almost biological aspects of primitive music making, based on the notion of music as sonic communication. Ecosonic improvisations involve relationships between sound, movement and emotion. The performers draw on the intense expressivity that lies at the heart of emotional vocal utterance. Improvisations are shaped in practice as conversations made from sonic gestures between players. The immediacy of the body defines player-instrument relationship and methods of sound production, while minimizing cognitive mediation of culturally acquired musical imperatives
18.3.09
Dual Lab- verbal and Vocal Experimentation
Group of Verbal and Vocal Experimentation Founded in 2006 by Sara Davidson and Lorenzo Durante
"Restoring Dignity to the breath, measured with the item. Rediscovering the body as medium, as a tool. The sound before sense, the sounds of language. The sound of the word field that goes beyond the page by creating units of meaning and sound. an intrinsic meaning, internal, visceral. "(Fabio earrings, [A] live Poetry - III Dual from poetry alive on Vimeo.
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