2013: Organism of Sound – Sound of Organism
29th May – 12th June 2013:
Information and conceptualisation of a series of concerts/ performances in the area of sound (-> beyond the music, sound art, noise, soundscapes …). The concept was prepared by the members of Cirkulacija 2 and follows the praxis and concepts devised by them (=us) in the last couple of years. More on the concept right after next few lines.
The series takes place at Aksioma art project space in Ljubljana – the opening was on wednesday 29th, May 2013 and going on until 12th of June 2013.
Aksioma
http://www.aksioma.org/
A number of artists were invited to prove the concept valid – they were mostly already briefly taking part in Cirkulacija events.
The plan:
– the event will be spread across two weeks (a combination of Total art platform and Organism of Sound – Sound of Organism series of concert performances)
– opening: wednesday 29th May 2013
– closing: 12th June 2013
These are participants envisioned now
– local organizers & participants: Stefan Doepner, Borut Savski, Boštjan Leskovšek
– international participants: Paula Pin (Barcelona), Markus Beuter (Bielefeld), Konrad Gęca (Krakow)
– special ad-hoc guests: Seppo Grundler (Graz/Avstrija), Chrs Galarreta (Peru)
Konrad Gęca
http://konradgeca.dropr.com/
Marcus Beuter
http://www.marcusbeuter.de/
Paula Pin
http://biosensing.tumblr.com/
http://transnoise.tumblr.com/
Boštjan Leskovšek
http://users.volja.net/koline/
http://www.3via.org/records
Stefan Doepner
http://www.f18institut.org/
Borut Savski
http://www.3via.org/borut
http://www.3via.org/records
Seppo Grundler
http://gruendler.mur.at/
Chrs Galarreta
http://sajjra.net/chrs/?page_id=12
Dennis Tan (as remote participant)
http://tandennis.net/
It is preferred that invited people stay for about a week and do one solo concert/ performance.
– they would be part of both projects – the solo (Organism of Sound – Sound of Organism) and the collective one (Total Art Platform; this means that we will try to do a couple of public interventions outside of Aksioma gallery).
– basically we all work together as horizontal platform
– the (Organism of Sound – Sound of Organism basic events are concert perfomances – artistic statements – this will be announced upfront – so we have to have the precise dates of concerts. We are seven – we will not make seven evenings but rather combine two events per evening
– additional events can be collaborations – these happen after the concerts (can also be video screenings or whatever you like), presentations, workshops in gallery or in urban places or in nature…
The concept tries to point to: Non-Music, Beyond the Music… festival – or not…, What Lies Over (the Borders [of Music]), In Search of the Perfect [forgotten] (Noise, Sound)…
Borut, Boštjan, Stefan (end of 2012…) made a briefing regarding the festival and these are the keywords:
not called festival | Praxis & Theory and Theory & Praxis | Organism of Sound & Sound of Organism | Shit & Gold + Competition & Cooperation | alchemistic principles of transformation and knowledge | understanding, research and use | explanation and interpretation | truth – the ethical dimension – philosophical position | individual identity = first name | participatory identity = family name | configurations | organisms | the social matter
Excerpt from the application text:
“The source of sound is not an instrument, or: instrument is already producing sound or is silent – instrument is a living or artificial organism – algoritmic or biologic event/ interface – live or recorded. Composer / sound artist is also the observer, participant in real-time of composition – improviser. Still – the concept is the firm structure. These approaches emerged in late nineties – with one branch of artists then moving to musical drama and alegoric structures, while others followed directions that are not musical but philosophical/ sociological. That’s why these are called artists (sound artists) and the others are (still) defined as musicians.”
The space will be prearranged to some extent – but not overcrowded with stuff (as you might fear knowing the Cirkulacija space…). We are proposing that you consider something closer to performances than installations – some other activities might also be included (searching for sounds…) – this is quite open – can be workshop-like during the day and concert-like in the evening.
The events would be quite fixed to a schedule, so that public announcements and leaflets are possible – there can be additional collaborations. Also: the gallery is in inhabited house, so the late hours can be a problem (but they did not have problems so-far…). The type of production is to large extent a self-production – we mainly rely to each other for any help – Aksioma gallery provides the basic equipment – but if there is some other stuff needed we can find it.
The daily dynamics would be: starting in early afternoon, preparations could go on here for the evening performances, others could go on field-recording trip (there is lot of you field recordists!), some collaborations could be arranged among participants (with visitors also).
Three or four evenings with concert performances are announced as public focuses. They would consist of two solo performances and additional performances, presentations, improvisations (collaboration or whatever) – so this would make up an evening.
Other days are quite free for any decisions made on the spot. Announcements are made less officially. Also some workshops can be arranged like this.
The spaces:
Aksioma place is a small gallery and it should not be too overcrowded with stuff – the individual output here is more important than is usually the case with Cirkulacija – so each of us should do a personal (aesthetic) statement – as a concert/ performance. The point is not to show how same we are – but how different we are (the overall concept puts us in a very similar position – so let’s not try to be similar).
It is quite clear that Cirkulacija 2 place in Rog will be used at all times – for preparations, cooking, etc.
We plan to make two public donations/ interventions: a children workshop (about two hours) with some simple amplified instruments, etc., one intervention with visuals and sound in the city, and a workshop or two as field-recording trips around the town or/ and in the nature and some postproduction/ public presentation.
Participants’ concepts:
Konrad Gęca – one of three concepts as solo-perfomance: “music for intermission”, “kompostownik”, “this is not a documentary”
Some ideas…
~~~ “untouched” – a series of untouched field recordings, no mixing, single tracks
http://www.freesound.org/people/soundsofeurope/sounds/181830/
http://www.soundsofeurope.eu/eblog/artist-in-focus-konrad-geca/
last period of time i spent mostly working with sound, few different paths – untouched field recordings, no-inputmixer, some collaborations + now thinking about workshops for kids … this is very beginning of publishing some stuff, i made a soundcloud and already the discussion started – what is music and what is not generally i like the concept of this event.
i think a lot about different approaches of working with the sound and presenting the work to the audience, i think a lot about your sentence borut – “music is dead”. organizing a concert – a situation where there is an artist presenting his work and audience that consumes the product doesn’t work so much anymore. it can work sometimes, but mainly for very few people – like us for example, cause we are interested, we have the background, we know what’s going on. but we are not majority and we need to inspire all the people and that’s why we should think more about creating situations where people can become creators as well. this was actually very well described by polish artist andrzej pawlowski in the late 60ties, 70ties, i could try to make a short talk about him
i think except the talk about organic and artificial sounds there could be a talk / lecture on other topics every day. discussion / making knowledge accessible can be more interesting for the people than seeing a cincert i think. basically engaging them …
i’m happy there will be lots of improvisation and not very precise plan. with me it’s very flux, changing the ideas day by day. the best if we decide together what i should present. maybe bit of everything …
KonradGeca bio
Marcus Beuter – sonus plexus fragmentarii
sonus plexus fragmentarii is a soloperformance. Based on field recordings I recorded by myself on several travels and in my surrounding. I work with samples, effects, repetitions. The performance is totally improvised. My main interest is to cross the borders between sounds known by everyone to new musicalised sounds. Taking the audience from analytic listening to listening to music. Disintegrate well-known sounds, bringing them to new contexts.
Workshop From Listening to Improvisation
Listening/Recording/Processing/Performing
In this workshop participants experience ways to listen to environmental sounds, make their own field recordings, edit and process their recordings and present an improvisation.
for what else i would like to do – beneath paticipating in group actions and collaborations: we are still in to do some workshops, hm? i consider 2 to 4 days, 5 to 7 participants. whats in there: listening excersises, sound- and recording walks, some easy editing and in the end an improv. in case this would be difficult i would change the presentation part from improv into installation. so we could make a small audio installation with all participants and present that. for sure i want a presentation. is more fun for the participants. in ljubljana i would like to focuss this workshop on “urban non-places”: where are we not allowed to go, where do we not go. might mainly be the suburbs, factory areas, etc. but lets see where people guide me…
one of my focuses right now – just to let you know – is the link of being able to listen (to the environment), to be aware of the acoustic environment and the ability to listen to what other people say. for sure not in a strict paedagogic sense but artistic.
furtheron is the search of changing of environmental sound into music and to balance on the border a neverending theme and will always be integrated (especially in improvisations).
what would be nice as a small project: just free and noisy, best with young people. just to let them feel that electroacoustic is not only academic…
Biographie Marcus Beuter en 12 ad
Paula Pin
I would like to create a live and autopoetic metaorganism that can generate energy for human and plant sound protheses. The organism is in us and made of us also, as well as machines, plants and the surroundings. We can´t seperate. I am interested in how all this sounds, how do we make audible or visible the intricate workings of our sex, our web of life, our ecologies. The performance is a work in progress that permits me to go into the vibrant pulse of life and come out again with more doubts and new visions.
I would also like to do some workshops making microsynths and spectral queer listening devices.
i want to hear algae growing
and the tiny rustling of the photons touching chloroplasts
my queer body is plant, flesh and machine
i want to amplify my senses
and become an immense ear for you
reproducing all the noises
from other indeterminate millenia
i want to see the waves floating inside your brain
sail through the space in your atoms
i want to find the components for our chemistry
and hear the songs that the stars sing,
embracing Karen’s difracted voice
and the 8hz rumbling of the earth beneath.
I was thinking also to improvise some performance with some local people ! !
http://paulapin.com/
http://biosensing.tumblr.com/
http://transnoise.tumblr.com/
Borut Savski – Life of Patterns ver 0.2, Music is Dead vol 2
an audio-visual performance based on visual effect called “moire”. Patterns emerge from dinamically superpositioning of two or three layers of parallel or relatively regular lines. I like to think about it as emergence of complexity – even notion of new life. And also the space (3D) emerging from the basic planar (2D) basics (hm, “primitives”). The visual effect is the starting point, and the sound dynamics will be derived from visual. Sensors will be used to drive the visuals, probably also sound, into a kind of non-linearity. So: a kind of cybernetic “organism of sound”.
The performance will be quite structured.
For the opening evening on 29th of May, i will adapt my dynamic sculpture called “The being” into a plant-like sound projecting “being”. The system uses a principle that i called strained structure, and it was first described as the genuine cybernetic system (in the Fifties by Buckminster Fuller).
http://www.3via.org/borut
http://www.3via.org/records
http://www.radiostudent.si/glasba/huda-ura
Boštjan Lesko
všek: Never the Same – Always in a different Way/ Vedno enako na drugačni poti
Moj zvočni set temelji na zankanju virov zvoka skozi digitalno analogna vezja. Njihova sestava omogoča iterpretacije logičnih soočenj enakih signalov na drugačnih poteh. Paradoksalno je sposobnost drugačnega, da isto postane različno, ko je tako na vhodu kot na izhodu prazno informacije a polno pontenciala možnosti.Ta pontencial so drugačne poti, ki zanihajo v svoji različnosti šele skozi avtonomijo samozadostnosti. Zato je sam zvok stanje iskanja, ki se lahko le zgodi in nikoli ne ponovi.
Sestava zvočnega seta: Dark Dead, Dark Dead Mini, Dark Energy.
http://users.volja.net/koline/
http://www.3via.org/records
Stefan Doepner: Robotized Instruments – “control, mechanism, error and reprise”
A journey through sound in the matrix of idea, systematization and disorder.
Improvised, experimental sound presentation with hrastniBas, kleinerOskar, batonGuitar and digital sound processing.
Seppo Grundler: “pd patch”
Seppo Grundler is one of the pioneers of sound art, doing it from the early eighties. His instrument may be a guitar but he was never afraid of new technologies and of making his own electronic instruments and interfaces and transgressing the boundaries of definitions. He is a co-creator of Austrian contemporary art scene and wider. Head of master studies media and interaction design – FH Joanneum.
Chrs Galarreta (Peru) – sound performance
Very active in the South American experimental scene since 1995. The sublime and the uncertainty are present in his actions, he gets them using broken electrical appliances, homemade audiovisual instruments, field streamings, field recordings, feedback systems, the induction of errors in the software-hardware and in the way to play musical instruments.
He transduce imperceptible physical phenomena for humans to an audible dimension (as electromagnetic fields or sub-acuatic sounds). He is mostly interested in the exploration of the aforementioned interfaces and auto-regulated systems to apply them to create inmersive experiences, experimental songs and des-compositions, hacking the human perception of space-time as a form of civil disobedience and social auto-reorganization.
http://sajjra.net/chrs/?page_id=12
