Rooms of Resonance
(2022)
author(s): Lars Greve
published in: Rhythmic Music Conservatory, Copenhagen
This is the final exposition for Lars Greves artistic research project "Rooms of Resonance" (2019-21), undertaken at the Rhythmic Conservatory in Copenhagen.
The project seeks to investigate the artistic potentials in Greves acoustic solo improvisations, the concert room's acoustics and selected objects, which are brought into vibration.
Through experiments and procedural concerts, the research has hoisted artistic, technological and methodological experiences which will be unfolded in this exposition.
Animas: Disaster, Data, and the Resonance of a River
(2019)
author(s): Brian House
published in: Journal of Sonic Studies
In this paper, I discuss the conceptual framework and development of Animas, an artwork which links sounding materials to the Animas River in Colorado. The Animas River is heavily contaminated by leakage from abandoned gold mines, including a 2015 spill in which three million gallons of wastewater were accidentally released into the river by the Environmental Protection Agency (EPA), turning the water a bright orange and threatening agriculture, tourism, and an already “disturbed” alpine ecology. Animas draws on precedents in sound art and explores transduction as a means of relating to more-than-human agencies and avoiding over-simplified representations of environmental degradation. Changes in the clarity of the water, invisible indicators of the dissolved metals within it, and the dynamics of its daily and seasonal flows all become sound in the gallery, producing timbral "color" from the river's continually changing composition—these data are provided by the Southern Ute Water Quality Program and the United States Geological Survey (USGS). The piece acknowledges how our limited temporal sensibilities are challenged by the imbrication of the geologic time of minerals, the historical time of extractive industries, and the immediate urgency of equitable responses to ecological change.
Educational transduction
(last edited: 2016)
author(s): Iñaki Imaz Urrutikoetxea
This exposition is in progress and its share status is: visible to all.
From the conviction that artistic practise is, in a deep sense, investigation, this exhibition is about its relationship to teaching. It is about the search for a balanced way to articulate the discursive and the material; it is about making art while speaking or writing about it without renderning it banal or attempting to exhaust the meaning of producing and what is produced; without intending to justify it solely through the ineffable nature of the material.
As a possible means of resolving this, I propose transduction as a methodological resource for making the passage from the studio into the classroom a natural, effective movement. Transduction is then seen as an exemplary resource for supporting artistic discovery without the need to analyse or explain it while making full use of it.
The most important contribution of this exhibition is that here, transduction is not seen merely as an object for speculation and analysis, but as the way in which the exhibition has grown and taken shape. These texts were written while the paintings were being made and the exhibition environment designed, in different styles (summary, theoretical reflection, manifesto). The relationship between text and image is not exactly the habitual relationship between work and its representation, but is constructive and structural in the sense that I have attempted to form the exhibition as a work in itself.
I consider this exhibition to be of interest to anyone preoccupied with art education as a practice.