Mouvance. Approaches to re-enacting medieval music
(2020)
author(s): Jostein Gundersen, Ruben Sverre Gjertsen, Alwynne Pritchard
connected to: SAR Conference 2020
published in: VIS - Nordic Journal for Artistic Research
This exposition presents three approaches to re-enactment of medieval musical ideas, as explored through the artistic research project Wheels within Wheels. New approaches to interactions between performers and composers. The research project took place at the University of Bergen, Faculty of Art, Music and Design, Grieg Academy – Department of Music, from 2015 to 2018 under the auspices of the Norwegian Artistic Research Programme. The project led to three concerts and a sound installation. This exposition presents documentation of the results and gives an account of the research materials, tools and work methods, as well as discussing ethical and aesthetical dimensions of the working processes and the results.
metamusic
(2020)
author(s): alien productions
published in: Research Catalogue
metamusic aims to develop interactive sound installations and electronic instruments for animals held in captivity. The project's target is to improve the animals’ quality of life, by designing an interactive musical environment that takes the specific needs and skills of the animals into consideration. metamusic, developed by the artists' group alien productions in collaboration with the zoologists and animal keepers of the ARGE Papageienschutz, centers its attention on grey parrots.
Sound Art / Street Life: Tracing the social and political effects of sound installations in London
(2016)
author(s): Christabel Stirling
published in: Journal of Sonic Studies
This article draws on ethnographic fieldwork conducted in London (2013-14) to address the social and political effects of installation and place-based sound-works. I begin by reviewing a number of theoretical approaches to the city, using my own and others’ ethnographic accounts of London to problematize some of the affirmative conceptualizations of the city being propagated by non-representational theories and cultural geographers. In so doing, I provide the theoretical and contextual substratum for my ensuing discussion of the sound-works, and offer an initial view on why physical urban public space remains crucial to progressive politics. I then examine the sonic re-arrangement of public space in three site-specific sound installations. Through ethnographic analysis of the social dynamics summoned into being by each sound-work, and the “multiple mediations” that animated such dynamics (Born 2005), I offer interpretations as to whether, and if so how, the sound installations might be enlisted as part of a process oriented towards mobilizing democratic designs.
Urban sonic acupuncture: sonic strategies for the city space
(last edited: 2022)
author(s): Josué Moreno Prieto
This exposition is in progress and its share status is: visible to all.
This thesis accompanies the artistic projects I have implemented during my doctoral research as a reflection and summary. My practice ranges from traditional music composition to other forms of music-making, such as electroacoustic music, live electronics, generative art, and sound installations.
Urban Sonic Acupuncture is an artistic practice that intervenes in public, urban spaces with sound composition elements that aim to alter the atmosphere of a place through subtle, almost imperceptible resonances, textures, and other forms of sonic infiltration. The practice consists of applying sonic pressure points on sites that affect the aural awareness and attention thresholds of the listeners. Interestingly, the altered attention thresholds remain effective even after they left the site where the acoustic intervention happens.
Aural Weather exists without the need for an acoustic intervention, as a pre-existing acoustic atmosphere, upon which the urban sonic acupuncture practitioner acts. We can also understand Aural Weather as an organising principle: placing sounds in space rather than time. This principle promotes a listening mindset where the audience takes responsibility for the temporal narrative. The development and implementation of my the different Urban Sonic Acupuncture art-works build on this crucial concept.
Between 2016 and 2021, four artistic projects and several parallel test cases were carried out to explore these notions, illuminating aspects of public and urban spaces through sonic interventions. The first project was an indoor public space sound installation in a winter
garden, the second one took the form of a museum concert promenade and resonance installation, the third project was an outdoor installation inside an underpass tunnel, and the fourth project presented a sonic perception exercise as a radio programme.
Within the processes of making these works, I found that the best results often arose from invisible, non-object-based interventions. Combined with ‘lowercase’ ambiguous sounds that blend with the environment, this approach helped me to achieve non-disruptive ways of infiltrating daily urban life and influencing site perception.
The projects sparked conversations among the general public, passers-by, and the local art scene. This non-disruptive approach to sonic public-space interventions has shown to be effective for infiltrating daily life. Aware of the existing aural weather, the transient audience is invited to a conscious urban sonic dwelling.
Focus (a document)
(last edited: 2017)
author(s): Gabriel Paiuk
This exposition is in progress and its share status is: visible to all.
Focus deals with the ways we engage with sound in an environment saturated by audio media technology. Taking the form of a sound installation, Focus invites the visitor to explore the exhibition space by moving throughout, standing or sitting. Through the superimposition of multiple loudspeaker constellations, Focus sets up sound as a sensitive fabric for the listener to traverse, each point prompting diverse modes in which the experience of the sonorous emerges: as a quasi-tactile phenomenon, as an impression of distance, as an activation of memories of lived or recorded spaces. In Focus, the technology of sound emission is not hidden but rather disclosed, enhancing the physical interaction of the listener with these devices, emphasizing how their material properties breed memories and conditions we utilize to make sense of sound around us.
This exposition presents three approaches to re-enactment of medieval musical ideas, as explored through the artistic research project Wheels within Wheels. New approaches to interactions between performers and composers. The research project took place at the University of Bergen, Faculty of Art, Music and Design, Grieg Academy – Department of Music, from 2015 to 2018 under the auspices of the Norwegian Artistic Research Programme. The project led to three concerts and a sound installation. This exposition presents documentation of the results and gives an account of the research materials, tools and work methods, as well as discussing ethical and aesthetical dimensions of the working processes and the results.open exposition comments (0)
metamusic aims to develop interactive sound installations and electronic instruments for animals held in captivity. The project's target is to improve the animals’ quality of life, by designing an interactive musical environment that takes the specific needs and skills of the animals into consideration. metamusic, developed by the artists' group alien productions in collaboration with the zoologists and animal keepers of the ARGE Papageienschutz, centers its attention on grey parrots.open exposition comments (0)
Focus deals with the ways we engage with sound in an environment saturated by audio media technology. Taking the form of a sound installation, Focus invites the visitor to explore the exhibition space by moving throughout, standing or sitting. Through the superimposition of multiple loudspeaker constellations, Focus sets up sound as a sensitive fabric for the listener to traverse, each point prompting diverse modes in which the experience of the sonorous emerges: as a quasi-tactile phenomenon, as an impression of distance, as an activation of memories of lived or recorded spaces. In Focus, the technology of sound emission is not hidden but rather disclosed, enhancing the physical interaction of the listener with these devices, emphasizing how their material properties breed memories and conditions we utilize to make sense of sound around us.open exposition comments (0)