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New podcast: COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC #8.2. Exclusive works by Keith Fullerton Whitman and Carl Michael von Hausswolff
Curated by Mark Fell and Joe Gilmore. Narrated by Connie Treanor.
Each episode of this series is followed by a special accompaniment programme of exclusive music by some of the leading sound artists and composers working in the field. This show presents two process-led works by American composer Keith Fullerton Whitman and Swedish artist Carl Michael von Hausswolff.
More info: http://rwm.macba.cat/uploads/20130325/Composingwithprocess8.2_eng.pdf
00:01:11 Keith Fullerton Whitman 'Nadra Phalanx', 2012 (77'44'')
01:18:55 Carl Michael von Hausswolff 'Cairo IV (undone)', 2010 (28'13'')
Previous episodes: http://rwm.macba.cat/en/composingwithprocess_tag
New podcast: ON LISTENING #1. Thinking (through) the ear.
Curated by Arnau Horta. Music by Annie Goh. With conversations with Salomé Voegelin, Peter Szendy, Christoph Cox, Casey O'Callahan, Seth Kim-Cohen and Julian Henriques
To what extent is listening ‘thinkable’? Philosophical inquiry, deeply rooted in the visual regime, seems to struggle when it comes to theoretically coming to grips with listening and sonic phenomena. It is, after all, no coincidence that the Greek term ‘theoria’ (θεωρία) means ‘looking at, viewing, beholding’. This programme explores philosophy’s seeming difficulty in grappling with listening and its counterpart – sound – as a powerful deconstructive means to cut through some of the philosophical certainties that underpin classical and modern Western thought. Can we conceive sounds as objects, or it would be more appropriate to consider them events? How far can the phenomenological approach to sound take us, and how much can we rely on it? And what about new materialisms? Are they more useful, in hermeneutic terms, when dealing with sound and listening? These are some of the issues addressed in part one of ON LISTENING.
1:30 Salomé Voegelin - Listening as a tool to reconsider philosophical certainties and conventions.
6:40 Peter Szendy - The auscultating subject, power and the fundamental disimetry in listening.
20:50 Christoph Cox - Materialistic listening and the limits of a phenomenological approach to sound.
31:24 Casey O'Callahan - Sounds are not objects but events.
46:10 Salomé Voegelin - Possible world theory and listening.
58:21 Seth Kim-Cohen - Listening as a form of writing and inscription. Anthropocentrism versus Anthropomorphism.
1:09:19 Julian Henriques - Embodied listening as a dinamic mode of engagement with the world.
If you liked this podcast, you may also enjoy this one:
ON LISTENING. Research process: Jacob Kirkegaard
New #podcast/mix: PROBES #16.2. Auxiliaries. Chris Cutler wonders how far you can go with banjos, mandolins, balalaikas, jew’s harps and ensembles of folk instruments. And it’s pretty far.
The PROBES Auxiliaries collect materials related to each episode that try to give a broader – and more immediate – impression of the field. They are a scan, not a deep listening vehicle; an indication of what further investigation might uncover and, for that reason, most are edited snapshots of longer pieces. We have tried to light the corners as well as the central arena, and to not privilege so-called serious over so-called popular genres. In this new auxiliary, we wonder how far you can go with banjos, mandolins, balalaikas, jew’s harps and ensembles of folk instruments. And it’s pretty far.
And here you can find the complete series of PROBES!
New podcast: PROBES #15, on experimental uses of the more intractable folk instruments. Curated by Chris Cutler
In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality (which overturned the certainties underpinning the world of art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music). A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new aesthetics able to follow sound and its manipulations beyond the narrow confines of 'music'. This series tries analytically to trace and explain these developments, and to show how, and why, both musical and post-musical genres take the forms they do. In PROBES #15 we look at experimental uses of the more intractable folk instruments: bagpipes, hurdy gurdy and harmonica. Is nothing sacred?
You can find the complete series so far, here: http://rwm.macba.cat/en/probes_tag
New podcast: ON LISTENING. Research process: Jacob Kirkegaard
In 2014, we interviewed Danish artist Jacob Kirkegaard as part of a research project entitled ON LISTENING. This podcast takes us back to that conversation.
With projects on the deserts of Oman, the Chernobyl 'zone of alienation', Arctic calving glaciers and the tones generated by the human inner ear itself, mapping out Jacob Kirkegaard's artistic practice is no easy task. He allows himself to be led by wonder, focusing on hidden or unheard layers of sound and sonic phenomena in highly charged contexts.
Kirkegaard uses accelerometers – special contact microphones that record the imperceptible vibrations of materials – to capture hidden resonances. He later works these sounds into compositions or mixed media installations that channel an access to an inner world, addressing complex and often conflicting realities from a neutral standpoint: it is just sound.
A cluster of keywords may suggest an insight into his artistic practice: resonant frequencies; accelerometer; Fukushima; calving glacier; metalistening; space; Palestine; neutrality; radiation; John Cage, hydrophones, cochlear; layering; otoacoustic emissions; Arctic; rooms; disharmonic; sleep; nuclear; recording.
Kirkegaard is a graduate of the Academy for Media Arts in Cologne and a member of the sound art collective freq_out. He regularly collaborated with the late electronics pioneer Else Marie Pade. His first retrospective solo exhibition was held at the Museum of Contemporary Art in Roskilde, and he has presented his work at galleries, museums, and concert spaces throughout the world. His sound works have been released on labels such as TOUCH, Important Records, VON Archives and Posh Isolation.
In this podcast, Kirkegaard reflects on the importance of listening and argues that sound art can create purely sensory spaces that go beyond our immediate perception, helping us to grasp the unfathomable.
02:04 The medium is not often the message
06:48 Framing ressonant frequencies
10:26 Maybe I never went to Chernobyl
17:52 Sound as side effect
20:02 Isfald, 2013
25:33 On neutrality
27:05 How to record a place
31:51 Doubt, knowledge, wonder
37:45 Otoacoustic Emissions
47:30 Earprint: Spontaneous Otoacoustic Emissions
53:43 If a tree falls in a forest and no one is around to hear it, does it make a sound?
56:09 "House of Mare", 2010