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  DESERT DWELLING (last edited: 2018) author(s): Christine Hansen connected to: Faculty of Fine Art, Music and Design, University of Bergen This exposition is in progress.
  Desert Dwelling is a research project conducted by Associate professor Christine Hansen and Independent Artist Line Anda Dalmar. The desert is used as a site and framework to reflect on landscape, environment and time. In addition, Desert Dwelling endeavor to explore the act of observation and documentation. The project uses mainstream documentation/observation methods such as photography, video and sound. In addition, we employ more time-consuming observation means such as drawing, casting and watercolor painting. Different observation methods render the world differently, and provide noninterchangeable information. Much of the visual material is from a field study in deserts in California in spring 2018. The study took place mainly in Death Valley and Joshua Tree and had a processual method. We selected a place in the desert and stayed there until we found something interesting to work with. Every day, we made experiences that we built on the next day. The working method focused on the fluid relationship between process, work and documentation.
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  Almat - Continuous Exposition (last edited: 2018) author(s): Hanns Holger Rutz, David Pirrò This exposition is in progress.
  Continuous Exposition is a dissemination strategy of the project Algorithms that Matter (ALMAT). It serves as an entry point to the mesh of our activities.
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  Almat - Iteration EG (last edited: 2018) author(s): Hanns Holger Rutz, David Pirrò, Erin Gee This exposition is in progress.
  Discourse and materials pertaining to the experimental iteration with Erin Gee, during the Algorithms that Matter (Almat) artistic research project.
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  Editorial: Materials of Sound (2018) author(s): Caleb Kelly published in: Journal of Sonic Studies
  Editorial: Materials of Sound
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  Not at Home: The Uncanny Experiences of Radio Home Run (2018) author(s): Heather Contant published in: Journal of Sonic Studies
  In this paper, I attempt to better understand the Japanese media artist Tetsuo Kogawa’s concept of radioart by examining the relationship of this concept to movement. To do this, I focus on the Japanese term ika, which can be used to describe the uncanny feeling that results from aesthetic strategies, such as Viktor Shklovsky’s artistic techniques of defamiliarization or Bertolt Brecht’s alienating tactics of Verfremdungseffekt (V-Effekt). Discussions of ika not only circulated through and around the intellectual and artistic communities that Kogawa participated in during the 1970s and 1980s, they also influenced the practices of the very low-powered FM radio stations, Radio Polybucket and Radio Home Run, established by Kogawa’s students in the early 1980s. By discussing the emphasis of ika and physical movement in Radio Polybucket’s and Radio Home Run’s practices, I begin to trace a central element in Kogawa’s concept of radioart, which I call a kinetic interaction with the material conditions of radio. Through this kinetic interaction, Kogawa makes the material aspects of radio phenomena—its technology, its electromagnetic waves, and its sonic content—perceptible in a new way and thereby reveals previously hidden possibilities.
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  Bodies and Energy, Circuits and Sound: Rethinking and Listening to Leon Ernest Eeman’s Relaxation Circuit with a Bio-synthesizer (2018) author(s): Pia van Gelder published in: Journal of Sonic Studies
  Leon Ernest Eeman’s Cooperative Healing: The Curative Properties of Human Radiations (1947) documents decades of the author’s experiments with bio-circuits, beginning in 1919. Detailing the many configurations and uses of Eeman’s Relaxation Circuit, the book proposes that these circuits promote muscular relaxation, counter fatigue and disease, and stimulate activity by harnessing and circulating radiant energy from within the body. Using only electrical conductors and copper wire, the circuit connected subjects to themselves, redirecting energies internally, or in parallel with a number of subjects, sharing energy collectively. Eeman’s work explores the body as a kind of battery, working with configurations based on polarities—from head to toe and left to right. Although writing on Eeman is scarce, recent literature examining historical conceptions of energy and the body, including the work of Carolyn Thomas De La Peña, stress the importance of examining similar practices of energetic healing using bioelectricity as they inform our present relationships with technology, medicine, energy and the body. This paper will introduce Eeman’s work and discuss my artistic reenactment of the Relaxation Circuit as a participatory installation. This work, also entitled Relaxation Circuit, was presented in 2015 at Underbelly Arts Festival on Cockatoo Island in Sydney. The work recreated Eeman’s circuit for five participants with the addition of a bio-synthesizer, which included five oscillators modulated by the conductivity of each participant’s skin. In this reworking, participants were asked to lie in the circuit and listen to the amplified sounds of their collective bodies. This paper examines people’s experiences with bioelectricity in the work, both embodied and sonified.
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Tone Åse
Norway (residence)

Phoebe Stubbs
United Kingdom

Allison Stringer
Netherlands (residence), Canada (citizenship)

Shanti Nachtergaele

Isabela Grosseova

Phil Sawdon
United Kingdom (residence)

Elina Saloranta
Finland (residence)

Linda H. Lien
Norway

Niklas Adam
Norway (residence), Denmark (citizenship)