A talk/presentation to the general public. Sound Art and Digital Media.
Year : 2008
Location : Germany
Worktype : Sound Installation
Materials : appropriated sculpture, digital recording, mp3 player, male to female conversation (failed)
Year : 2008
Location : Germany
Worktype : Sound Installation
Materials: stereo digital recording, microphones, grand piano, playback system.
CCMR Sense of Sound Post Proceedings.(Computer Music Modelling and Retrieval 2007). Published by Springer Verlag 2008. Germany / Denmark. ISBN: 978-3-540-85034-2
Location: Bargehouse Gallery, Oxo Tower, South Bank, London,England
Worktype: Puppet Performance / Immersive Environment
Materials: trumpet, loops, electric guitar, puppets, lights, candles, bare feet, voice, chocolate, oranges, slide projection, multichannel audio.
Info: with Barbara Fuchs
A sound composition created for a multi-channel performance/installation which took place over three weeks in the Bargehouse Gallery. Visitors were asked to remove their shoes, and led into a darkened environment by candle light. The single female performer guided visitors through a multisensory immersive environment.
A micro-theatrical performance / installation that combines elements of puppetry, sound art, theatre and music. The artists create an intimate environment stimulating the audiences’ senses of smell, taste, touch, sound and sight. Leading the attention of the spectator towards small details. Talking suitcases, taste tests, feeling between your toes,
Taking a small audience through an experience and back to its beginning. The fragmented story conjures dreamlike images and situations that enthrall and the audience is magically drawn into the scene.
The piece deals with the themes of refinding childhood, and asking basic questions, inspiring the imagination of the audience. Taking them through a close, intimate, almost personal experience. Coming close, leading the audience around not just by touch, but also sound, smell and taste. A gentle path where they can focus on small things, and perhaps refind a long-forgotten part of themselves.
Being small in a big world. Being safe. Being able to be like a child, just to look and feel and letting experiences occur close to you, not having to act from your own account, just letting things happen.The small details and magical things.
The audience feels their bodies, their ears, their skin, all of their senses again. The piece aims to draw attention to all of their senses. To challenge their imaginations, they are given something to taste and they imagine something, they can smell something and imagine something. It makes them go inward somehow. Finding your senses again. A safe, womb-space. Warm and quiet and dark.
Very personal experience, everyone in the audience will have a personal experience. Leaving the performance with something in their mouth, each one different. A taste with a lable attached to it – and orange with ‘what does this sound like’. Noise and heat and power, an force and fire, the sun, heat again, running, fighting, shouting, strength. (B.Fuchs)
Performance time: 20min show. Audience of 2- 10.
A presentation at the Art of Immersive Soundscapes Conference, University of Regina, Saskatchewan, Canada.
I also participated in the Creative Forum studying with some of Canada’s most innovative composers, acoustic designers and audio artists:
Darren Copeland (Toronto): Independent audio artist and Director of New Adventures in Sound Art, Toronto.
Dr. Christos Hatzis (University of Toronto): Distinguished multi-award-winning composer, whose music utilizes multimedia and sound art.
Stephen Heimbecker (Montreal): independent audio artist, with exhibited installations in Europe and North America.
Ellen Moffat (Saskatoon): Independent audio artist, with sound installation presentations across Canada.
Gordon Monahan (Berlin): Independent audio artist, with exhibitions and performances across Europe and North America.
Barry Truax (Simon Fraser University): Internationally celebrated pioneer and teacher in audio art, technology, and electroacoustic composition.
Dr. Ellen Waterman (University of Guelph): Creative sound artist, music performer and improviser.
Hildegard Westerkamp (Vancouver), Independent audio artist, former faculty member at Simon Fraser University, with exhibitions world-wide.
Tula Centre for Contemporary Art, Russia April 2007
Moscow Book Arts Fair June 2007
For BBC Radio 4 Drama. Directed by John Dryden.
Lecture Theatre, MacRobert Building. University of Abderdeen
This presentation concerns Streaming Media and Network Radio. Of particular interest to me is the selection of two of my case studies as examples, namely Negativeland and Sam Auinger (other artists selected by Byrne are Katherin Roggla, Bruce Russell and x.y)
playback > > Background level of unknown track
Byrne begins his tracing of the topic with the over-familiar citation of Marinetti’s Futurist Manifesto for Radio, La Radio from 1933. This vision is criticised for its rather utopian scope, and the discussion moves on to a consideration of broadcast as a medium and the essential tension between the visionaries of radio, such as Marinetti, and the political reality facing such artists when working in such a capital intensive domain. Early on in the radio’s history, studios and stations became rapidly centralised, moving away from the participatory, many-to-many networks imagined by Marinetti, to become fetishised centres for the dissemination of dominant discourse to societies being organised to maximise consumption and production. Artists who chose to work in this medium worked under highly restricted parameters, including such standardisations as program length, volume, subject taboos, the use of silence, restricted playlists.
Orson Wells – War of the Worlds.
Artaud – Pour en finir avec le jugement de dieu (1947)
Of relevance to my work, is the means by which the differences by which radio art and sound art can be distinguished. Key works in this area are Radical Radio by R.M. Schaefer (1987), and ‘Towards a Definition of Radio Art (19xx).
“Radio Art is not Sound Art, nor is it Music. It is Radio”.
“Sound Art and Music are not Radio Art just because they are broadcast on Radio”.
How can these efforts to delineate radio art practice be used to articulate similar efforts in sound art?
Keywords: Kunstradio, Austria, New American Radio.
n.b Both of these work within state infrastructure. What is the significance of this?
e.g. Negativeland – Over the Edge – KPFA, Berkeley, California.
Byrne goes on to consider how web streaming has suggested new strategies and possibilities for the medium of audio broadcast. There are questions; is internet streaming Radio Art? Is it a new form? It certainly is not radio. Let us consider the similarities and differences between the two.
This can be much expanded using Shaefer, and the Micro Radio Manifesto, Italy.
Dialogue / Trialogue
1 hour format
Questions – site of reception of both? Listening environments
‘Radio Polyphony’ – The Thing, New York
Locus Sonus – audio art research group
Art Dirt Redux
Bitforms – podcast
Whitney Biennial mashup.
There is much of interest in this section, and it moves some way to explain the frustration and annoyance I felt at Hanson’s presentation. His view that the studio as object of discourse as relevant and of interest, reveals itself as an ill-informed and obsolete view of sound practice. Issues of portability, and the very examples of artists demystifying their workspaces that he presented, indicate an alternative position.
influence of Fluxus, land art, Kubisch working in situ.
Sound art for mobile phones – who presented this – get paper from Bill
While the artist studio as a trope may well be in evidence in the works he presented, their relevance, and interest is limited in scope, and represents an historically entrenched position, showing little understanding of current practice.