Group items tagged

"In these works, Sung Tieu looks into alleged sonic attacks targeting the U.S. and Canadian embassy staff in Havana in 2016. This installation includes video, sound, texts, and architectural interventions that attempt to understand the incident, highlighting the impossibility of ever fully knowing what happened. Along these series of works, Sung Tieu also refers to other subjects related to the psychological dimension of warfare and acoustic weaponry, such as her research for the film No Gods, No Masters (2017) which focuses on Operation Wandering Soul, the U.S. military operation during the war in Vietnam in the 1960s"

"Developed by Pauline Oliveros in collaboration with Leaf Miller and released in 2007, the AUMI is a camera-based software that enables various forms of instrumentation. It was first created in work with (and through the labor of) children with physical disabilities in the Abilities First School (Poughkeepsie, New York) and designed with the intention of researching its potential as a model for social change."

"Ultra-red pursue a fragile but dynamic exchange between art and political organising. Through the performance of a militant sound investigation, the audio collective map contested spaces and histories as an articulation of social relations. Drawing on the formal strategies of early Conceptualism, We Come from Your Future facilitates a particular kind of discursive action whose performance of announcing and denouncing constitute an intervention. We Come from Your Future is comprised of two episodes in which Ultra-red ask, "What are the sounds of anti-racism?" Posing this question in the context of anti-racist and migrant organizing in the UK, the first episode features a set of dispatches that combine audio compositions with accompanying field reports. These online dispatches lead up to and inform an on-site event as part of the Triennial Prologues: Altermodern at Tate Britain on June 28. "

""The Ears Between Worlds Are Always Speaking is a long-form, 2 channel hyper-directional 4 act opera projected upon the ancient ruins of Aristotle's Lyceum. For this work there is no physical intervention onto the site, with the exception of sound produced by 2 LRADs - LONG RANGE ACOUSTIC DEVICES - that are mounted on rooftops around the campus periphery. At the installation, audiences experience a shifting call and response hyper-directionality of sound when walking around the ruins of the school. The Lyceum, situated between the Athens War Museum, Hellenic Armed Forces Officer's Club, and Athens Conservatory of music, offers a rich environment for engaging oral tradition, contemporary and ancient history, as well as a sense of embodied learning."

"Here's an interesting lecture philosopher Christoph Cox gave recently (January 18) in connection with a sound intervention by Andrea Hornick in the Collection Gallery of Barnes Foundation. The lecture, entitled "A brief history of sound art" explores pretty much what its name suggests, going from historical works and artists to relations between sound and other art forms. The philosopher "traces the history of sound art from the invention of audio recording in the late 19th century to the genre-bending compositions of John Cage to the explosion of sound installation in the 1960s. Cox surveys a range of sonic practices, revealing how they resemble and resist approaches in the visual arts.""

"The exercises presented in this book have been developed by the author as part of his listening workshops and artistic research on acoustics and the body. Exploring issues concerning: contact, filter, and distance, each of the exercises evokes a situation where the body is used wholly as a medium for experiencing sounds in relation to one's present self. The exercises guide listeners to encounter sounds distributed in space in relation to their sources considering shifts in frequency, amplitude, and rhythm."

Neuhaus appears rather liberal on matters of sound and noise, not surprisingly for someone who started organizing sound events in the 1960s with the LISTEN! Series, 1966-76 - these promenade tours without commentary consisted in walks to inaccessible indu

"As more than a third of the planet's human population has gone into some sort of social restriction…self-isolation, social isolation, physical distancing, quarantine…since those who have the luxury of walls have gone behind them-time has not so much stood still, but became fragmented and blurred. Our schedule markers have gone virtual, or gone away, or are far away.  As artists of various media attempt to capture some essence of this time, it may be found that fragments, notes, moments, and blurs, are what express better our experience. Text, audio, visual-both moving and still, compilations, complications, towards combobulations, if that is what comes. This is a time-capsule archive of finished works, and of fragments, reflecting a fragmented time. Fragments that feel frozen or appropriate as they are, and would then be placed with other fragments to create an unanticipated whole."

"The Sonic Bikes "The Marja Trio" are an artwork by Kaffe Matthews made with Hai Art for Hailuoto in May 2013. http://www.kaffematthews.net/ The bikes are a musical instruments playing 'The Marja trio', a specially made music for the Marjaniemi harbor and boardwalk path to Sumppu. The piece was made by Matthews during a 10 day Artist-in-Residence period in which she made recordings of the area including the three Marja turbines and lighthouse mast, and along with various digital synthesis techniques processed them into musical fragments. Inspired by the changing harmonies of the area, she linked and layered these fragments to different spots and zones, so that a visitor, when cycling one of the sonic bikes around, will trigger and so hear them play. The cyclist recreates the composition."