Posted by magnus on tisdag, mars 29, 2011
VISAS Tors – Fre 14.00 – 18.00 & Lör 12.00 – 15.00
Vernissage torsdagen den 7 april kl 14.00, välkomna
Utställning S.LOW at IDKA Kulturkiosken
S.LOW at IDKA
En utställning med interaktiv konst och ljudkonst från Berlin, Kina, Storbritannien och Irland med ljudande nedslag runt hela jorden. S.LOW i Berlin och NOVARS i Manchester samlar kreativa människor från när och fjärran för att skapa nya förutsättningar för konsten i nutid och framtid. Utställningen visare ett utsnitt av några kreativa konstskapare, Diana Salazar och Ricardo Climent från Manchester, Iain McCurdy från Berlin och Kaho Chung från Hong Kong. Ricardo Climent och Iain McCurdy från S.LOW i Berlin är PUSH residens 2011 vid IDKA med stöd av Statens Kulturråd. Utställningen sker med teknikstöd från EMS (www.elektronmusikstudion.se) i Stockholm.
‘In the summer of 2010 and for six weeks, thirty four international and national visual artists, music composers working with electronic media, musicologists, performers, engineers, physical scientists and film-makers from around the world met in Berlin to discuss the concept of s.low (slow and or low) in their creative practice.http://s.low-low.org
 |
| Diana Salazar's installation Sindlesongs, as part of Sonic Metaontology project |
Följande visas:
Ricardo Climent – Hồ A Sonic Expedition to Viet nam
Iain McCurdy – Cipher Sound Installation
Iain McCurdy – Pendulum Installation
Volkman Klien – Contributions to Homeland Sound Topography 01 – The Right Sides of the Road.
Uli Aumüller Les séries sonores (Mix) – with comments by 40 Manchester students.
Diana Salazar – Spindlesongs Installation (Quarry Bank mills, Manchester)
INSTALLATIONS:
Hồ – A Sonic Expedition to Viet nam 2009 (Ricardo Climent)
The Navigation System Through Sound is a new sonic-GPS orientation tool created to assist dynamic compositional musical methods on a live performance. It aims to help general audiences to understand and enjoy more the language of electroacoustic music and to provide them with an enhanced surround sonic experience, inspired by that achieved on the visual sensory system in planetariums and three-dimensional cinemas. It also aims to increase the awareness, for example, on areas of sound pollution, with potential for expansion beyond typical territories of acoustic ecology. The performer/composer, as ‘the captain of the ship,’ controls the interface of a ‘sound- wheel’ inspired by maritime navigation, leading audiences to an aural journey with critical stops at specific locations with unique sonic interest. Ho is a full-of-fun, but also drama, sonic-cartographic expedition to Vietnam combining composed sounds with game engine technologies. Acknowledgments: great thanks for the open source blender community (blender.org)
For more about Ho, please visit its research blog – http://wunderbarlaboratorium.blogspot.com/
Ricardo Climent works in areas of music composition and interactive media, involving the use of audio and visual metadata. Currently, he serves as Co-Director of the NOVARS Research Centre, University of Manchester and he previously held a Lecturing position at SARC, Queen’s University of Belfast. Ricardo has also served as resident composer and researcher at the JOGV Orchestra in Spain, Conservatorio of Morelia in Mexico, Sonology – Kunitachi College of Music, Tokyo, LEA labs, at the Conservatorio of Valencia, the Cushendall Tower- In you we trust, Northern Ireland, at CARA- Celebrating Arts in rural Areas, cross-border Ireland and N.K. Berlin. He was involved in the creation of a number of collaborative projects, such as, The Microbial Ensemble, (repertoire for a bunch of microbes, with Quan Gan), The Carxofa Electric Band (a children’s project using vegetables and Electronics with iain McCurdy), The Tornado-Project (a cross-atlantic set of commissioned works for flute, clarinet and computer for American wind virtuosi Esther Lamneck (clarinet) and Elizabeth McNutt (flute)), Drosophila (a dance-theatre tour of a blind fly with KLEM and Idoia Zabaleta), Ho- a sonic expedition to Vietnam, (a 3D interactive interface project for planetariums), project manager for S.LOW, (a cross-disciplinary project in Berlin) and Manchester Sonic meta-ontology (Audioguides in collaboration with Mantis and NoTours among others)
web: sonorities.org
Cipher (2009) – Sound Installation by Iain McCurdy
Cipher presents visitors with a board with an 8 x 8 grid of holes into which decorative marbles provided can be placed. Setting a marble in a hole initiates a sound idea that will continue for several minutes, gradually decaying, unless the marble is first removed. Setting another marble into another hole on the same vertical or horizontal axis as the first will, as well as triggering a new sound idea associated with that hole, cause some form of sonic transformation upon the first sound idea (if it is still active). The transformation could be a change in tempo or speed, modulation of pitch, a spectral filter, rhythmic reconfiguration, or something else specific to the nature of the original sound. Considering the structure of holes in the interface, any sound idea begun can experience a total of 14 (7 vertical and 7 horizontal) different transformations and in any combination. Bearing in mind that there are 64 basic sound ideas, sonic outcomes based upon placement of the marbles is enormous. Visitors will, as well as enjoying the sonic experience of the piece, hopefully spend some time trying to decode and understand at least some of the mechanisms of the piece. The design of the piece suggests a puzzle or strategy game and in some ways the piece is both a puzzle and a game but there is no solution (or perhaps it could be considered that there are many solutions) and there is no winner. Strategy is advanced only through listening, the visual and physical side of the piece serves only as an impression of the current musical state of the piece.
Pendulum (2008) – Installation by Iain McCurdy
The movement of a pendulum is tracked by a formation of sixty-four sensors. As the pendulum passes over a sensor a sound event is triggered. As the pendulum traces its trajectory, we experience repeating patterns of sounds. In reality, however, these patterns are constantly changing as the effects of gravity, air resistance and friction dampen the movement of the pendulum. Sounds are lost from the pattern as the pendulum’s trajectory decays but sounds can also be added to a pattern if circular or elliptical movement contracts to include sensors closer to the centre of the formation. This installation alternatively utilises sounds derived from recordings of a classical guitar or of a prepared piano. My thanks to Greg Caffrey and Simon Mawhinney respectively for assistance with these recordings.
Iain McCurdy is a composer of electroacoustic and acousmatic music originally from Belfast but currently based in Berlin. The current focus of his work is on sound installation, the creative use of electronic sensors and innovative human interface design. His work has been exhibited and performed throughout Europe and the rest of the World.
8 CHANNEL INSTALLATION
Diana Salazar Spindlesongs – Installation (Quarry Bank mills, Manchester)
Sections: Voice from the Water, Living Memory, Pulsations, The Waterwheel: A Meditation on Deafness, The Carder Starts Up, Dangerous Mechanisms, The Musical Pulse of Weaving, Looms and Words, Steam Power, Woven Words.
Spindlesongs is a sound installation which uses almost exclusively recordings gathered at Quarry Bank Mill, an 18th Century cotton mill to the south of Manchester, alongside archive recordings from the North West Sound Archive. These sounds have been edited, manipulated and layered to create sonic journeys through the sounds and stories of the cotton industry in the North West of England. Originally 8-channel surround sound was used to simulate spatial movement, referencing the motions of the machines found in the Mill, although this version is a stereo mix.
The voices heard in the work are taken from interviews with Quarry Bank Mill staff and a number of recordings of the recollections of Mill workers, archived at the North West Sound Archive, which present first-hand experiences of the cotton industry in the North West of England.
The work comprises ten short movements, each focusing on a certain sonic aspect of the Mill, the most recognizable being water, steam and specific machinery, like the looms and the carder. Spindlesongs was presented as an 8-channel installation in Quarry Bank Mill during September 2008 (pictured).
With thanks to The National Trust and the North West Sound Archive.
Biography: Diana Salazar is a composer of electroacoustic music. Her compositional output is diverse and reflects strong interests in sound spatialisation, cross-disciplinary collaboration and site-specific work. Her acousmatic works have been recognised at national and international levels, with performances including the International Computer Music Conference (Belfast 2008, Montreal 2009), Sonorities Festival of Contemporary Music (Belfast 2007), the Australasian Computer Music Conference (Sydney, 2008) and the Synthèse Festival (Bourges 2007). Works have also been broadcast on BBC Radio 3, Radio France and Swedish National Radio, and selected compositions have been released on the discparc, SCRIME and Studio PANaroma labels. She has collaborated with film-makers, visual artists, dancers and theatre practitioners on a diverse range of projects, including commissions for Universities-Scotland and Youth Music Scotland. She also regularly performs as a laptop improviser.
Volkmar Klien – Contributions to Homeland Sound Topography 01 – The Right Sides of the Road.
In a generous gesture Volkmar Klien extends an invitation to the environment to be reflected in the noises he radiates. Just as composers compose to reflect their feelings, their lovers’ beauty or their hearts’ desperate sorrow in music, Volkmar Klien blasts out loud, unrelenting and somewhat forceful noise from speakers mounted on his ruby red car’s roof, not simply to reflect just a feeling (as love is), but the physical environment as such. In the same way that things do not need to be lamps to be visible, physical objects do not have to emit sound to be heard. All that is needed for their shapes to be reflected in audible information is a reasonably loud acoustic signal directed towards them.
Driving through Austria’s East Volkmar Klien records the environment’s reflections, thus contributing greatly to the study of his fatherland’s sound topography, a branch of science he founded several days before. ”Letting the environment imprint itself in my waves and walls of noise I feel I’m able to imbibe through sound so many aspects of Austria’s beauty that would otherwise remain beyond audible arts’ scope.”, he states. Surveying topography Volkmar Klien sonically documents the wonders of Austria’s civil engineering, her inhabitants’ car parking habits as well as her countryside’s and villages’ natural beauty, especially all the magnificence beyond the right wing mirror.
Biography: Volkmar Klien works in various areas of the audible and occasionally inaudible arts spanning from installation and artistic intervention to electronic sound and instrumental composition. His work has been presented at festivals and institutions such as EMPAC, Ballett Frankfurt, Wien Modern, the Institute for Contemporary Art London, ZKM Karlsruhe, Volksoper Wien and the Huddersfield Festival of Contemporary Music. Volkmar Klien was born in 1971 near Vienna where he later studied musical composition, experimental media and philosophy. 1997 – 2002 he spent in London working as a freelance artist, a researcher at the Royal College of Arts and external lecturer at the London Institute. He gained a PhD in electroacoustic composition from City University London and after spending some time as a research fellow at the Austrian Research Institute for Artificial Intelligence he currently holds the position of a Senior Lecturer at the University for Music and Performing Arts in Vienna.
Uli Aumüller Les séries sonores (Mix) – with comments by 40 Manchester students.
Les séries sonores are a collection of 58 CDs (to date), compiled by film maker Uli Aumüller, which incorporate 70 to 80 minutes each, based on a sonic theme or journey. These include soundˆshots, ambient sounds, musique d´ameublement, acoustic wallpaper for your aural interior decoration, CDs which transform your living room into a mountain meadow, a beach, or summer in the south of France, atmospheric background music for dinner, for cuddling or just about any situation.
40 undergraduate students ar University of Manchester reviewed the CDs and some of their comments are included in this Series Sonores mix, especially authorized by Aumüller for the meta-ontology project.
Biography: Uli Aumüller was educated as a sound technician (for the psychological defence of the „old" Germany) and studied Biology and new German literature (M.A. about the high baroque poet C.v. Lohenstein), studies which led him to work in the theatre field (Munich, Landshut, Mülheim/Ruhr, Bruchsal) first and then in composing radio plays. Since he move to Berlin at the beginning of the nineties he lives as an author and director of radio feature programs about contemporary music (since then over 150 productions in a length of about 30 minutes for DS-Kultur, Deutschlandfunk, Deutschlandradio Berlin, (BR, HR, MDR, WDR, SDR, SFB, SR) and since 1993 for Television as well.
