Moderated by: Gil Kuno and Melentie Pandilovski
Greenwich Mean Time, GMT Sat, Feb 25, 2023 at 12:00 midn GMT
Los Angeles, USA Fri, Feb 24, 2023 at 4:00 pm PST
New York, USA Fri, Feb 24, 2023 at 7:00 pm EST
Berlin, Germany Sat, Feb 25, 2023 at 1:00 am CET
Tokyo, Japan Sat, Feb 25, 2023 at 9:00 am JST
Melbourne, Australia Sat, Feb 25, 2023 at 11:00 am AEDT
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Sound Art has been historically with us since the time of the Dadaists, Surrealists, the Situationists, and Fluxus. It has been said that the first work Sound Artwork was Luigi Russolo’s “Intonarumori” from 1913. Artists such as Marcel Duchamp, John Cage, Max Neuhaus, Bill Fontana have been associated with Sound Art. However, the term got cemented probably with the 1979 exhibition “Sound Art”, curated by Barbara London, at the MoMA in New York.
We live in an age today which can be defined as a broad aesthetic and experimentation platform for the practice, presentation, and research of Sound Art, reflecting thus a cultural transformation happening in the beginning of the 21st century, one that can assist us in the visualizing of our future, and one that points out to the phenomenology of sound, the felt or experienced sound, the thingness of sound. Sound Art is certainly connected to “Acoustic Space”, which according to McLuhan is “a space that has no centre and no margin, unlike strictly visual space, which is an extension and intensification of the eye”. Therefore, Sound Art does not only relate to the rise of experimental, and notions of alternative psychosomatic environments, but these psychoacoustic investigations show us the new world defined by the acoustic space, through the intersection where the sensory system meets the psychological and the mental.
The presentations in this session will concentrate on unique perspectives of current and historical works.
Performer/composer Tomomi Adachi will introduce two of examples of his recent voice improvisations with non-humans, frogs and AI.
Disorientation | Tension / Imbalance __
This talk describes considerations and methodology for designing a responsive environment that purposefully misrepresents space. The installation, “Degrees of Granularity” employs computational sound to manipulate perception and heighten tension. This collaboration between sculptor Christine Cassano and sound artist Shomit Barua was an official selection of the Currents New Media Festival (2022) and featured on the Bela website (2021). Bela is an audio/sensor processing hardware and platform.
Fanfara Gdansk opened on September 16, 2022 Sensoria The Art and Science of Our Senses exhibition at LAZNIA Centre for Contemporary Art curated by Nina Czegledy. Fanfare composed, performed by Guy van Belle and Krzysztof Topolski in collaboration with Gdanks University Choir and visiting international Erasmus students from Split, Malta, Cadiz and Brest directed by Marcin Tomczak, Aneta Majda and Magdalena Niestoruk The piece was intended as a community based, participatory work, performed in the Laznia staircase by humans (artists and all others) listening to birdsongs improvising along. The birdsongs were recorded and computer generated, transmitted over local FM, and received by the musicians on headsets from their phones. Krzysztof performed on a 24“ bass drum inspired by the walking- and-making-music-on-the-move traditions of the New Orleans Second Line and Street Beat drumming. The audience was surprised and visitors improvised in turn with what they heard from the choir.
Sonifying Biometric Data and Environmental Data
Yoon Chung Han
I will be giving a talk about my research-driven projects focusing on visualizing and sonifying biometrics data and environmental data. The projects focus on revealing hidden narratives and interesting information about our society, culture, and environment by using new media technologies and multimodal interaction. It includes fingerprint data sonification, iris data visualization, 3D printed data sculptures using human veins, California drought data visualization, wildfire data visualization using machine learning-based predictive analysis, and more.
Enlightenment through Inclusive Sonic Engagement
The west has long celebrated the amorality of artists and sound makers. However amorality ceases to be purposeful when held against a greater calling. The fetish for aesthetic games cannot withstand the blowtorch of the enlightened master. The insights offered in this talk are based on the transformation of the presenter, James Hullick. As an artist, thinker and leader, his art has been transformed by his service to other artists and specifically those artists who live with neurodiversity. In a world where youth, money and glory – the materialist obsessions – are held as the ultimate goal for mainstream society, James Hullick stands in dissonance with his time and peer artists. Many speak of the power of inclusivity in the arts but very few people are legitimately interested in the experience or sacrifice of an ethically balanced and compassionate creative life. James will speak of his experience as leader of JOLT Arts and how the people with in that organization changed him.
Entropy as Retexturalization
Entropy is the retexturalization of information. An entity twitching and vibrating in a specific manner might be perceived as being a particular something. The same entity folding and shaking in a particularly different manner may be perceived as being specifically something else. Both perceptions would be equally correct.
One difference between the two said perceptions is in the mathematics one would use when making a distinction between them in the first place. An entity remains totally unchanged by the act of being perceived or not. What does totally change is the perception itself. This is one reason why so many almost never react to things; but only react to their own perceptions of things. What one sees when an entity shakes, is information. Information is the purely aesthetic and random motion which is the only kind of movement that an entity can perform. Meaning is the measurement of information. Information can mean whatever it is that one wants to measure out of it.
ma meta [Marl]
Johannes S. Sistermanns
We are always creating a Space between us and on what we See and Listen. This is Us, is Ours.
Provoked through a Sound Art Exhibition, outside in nature: we ourselves create this Space this Sound / Vibration / Silence meaningfully. As we are going back and forth. Confronted with our ‘Unknown‘. Which becomes a crucial way to the so far UN_predictable UN_repeatable UN_concludable.
The mouth is one of my primary sources for generating noise. For this discussion I will describe my circular breathing technique, and demonstrate how it can be used with instrumentation as well as sonic processing through the use of piezos and transducers.
GIL KUNO’s work is often reminiscent of the organic and social processes that surround us; yet they exceed the familiarity we often associate them with. Flung and displaced from context, natural activity is stretched into metaphorical absurdity with a sense of whimsical play. From breathing intestines, to masturbating installations, oversized antfarms, silent DJ events, and one string guitar orchestras, Gil Kuno constantly subverts our engagement with the perceptions of reality.
www.unsound.com, Instagram: @gilkuno
Dr Melentie Pandilovski is an Artistic Director who has curated over 200 projects. His roles include: Creative Producer at JOLT Arts in Melbourne, Australia; Director of Riddoch Art Gallery; Director of Video Pool Media Arts Centre; Director/Curator of SEAFair.
He was Editor of Art in the Biotech Era; Marshall McLuhan and Vilém Flusser’s Communication and Aesthetic Theories Revisited. He published Perspectives on Living and Thinking Vectors of the Anthropocene, Found Sci; Arts & Science – the Intersection (re)engineered in: Wiley Blackwell; The Phenomenology of (Non)Habitual Spaces for the Bioarts in Catalyst Book Series (2017).