Jeremy Woodruff

°1973
en

Jeremy Woodruff is a lecturer in composition, music theory and sound studies at the Center for Advanced Studies in Music (MIAM), Istanbul Technical University, Turkey. His  compositions and sound art are informed by his research in sound studies and ethnomusicology. He is a skilled and versatile performer with multiple wind instruments and electronics. He has collaborated with various artists not only on sound art but also in video, dance theater and radio works, including with Bani Abidi, Egill Sæbjörnsson, Meg Stuart and others. His radio shows “Memory Space” and “Berlin School of Sound” can be heard every month on Colaboradio, FR-BB, 88,4 FM in Berlin and 90,7 FM in Potsdam.

 

His writings have been published by Klangzeitort (Berlin), Interference: A Journal of Audio Culture, Journal of Sonic Studies, KunstMusik, Verlag für Moderne Kunst (Nürnberg), Bloomsbury Press, Les Presses du Réel and by Errant Bodies Press. His sound art has been presented in various galleries, including the KW Berlin, AD Gallery Bremen, Kasa Gallery Istanbul and Art Bangaluru, and Bangalore, India. His concert works have been commissioned by Ensemble Decibel (London), Hezarfen Ensemble (Istanbul), Kammerensemble Neue Musik, Deutschen Kammerorchester Berlin and others. He was a founding member of the Errant Sound collective in Berlin, with whom he is currently founding Berlin School of Sound and he is co-founder and curator of the Dystopie/Distopya Sound Art Festival since 2018.

 

www.jeremywoodruff.net 

research

research expositions

  • Remaking Pittsburgh: Permaculture soundscapes (2014) author(s): Jeremy Woodruff published in: Journal of Sonic Studies
    In this essay I confront how sound art might make a contribution to groups practicing progressive ecology in a city as well as how that pursuit can enrich a sonic practice. As a result of research in permaculture gardening (a philosophy of ecological landscape design started in the late 70s) and ethnomusicology (especially on gamelan), I reimagined my creative process. I investigate whether it is possible with permaculture's philosophy to compose social connections, both in the imagination of sound and in the artwork's actual dissemination. I see how these structures impact the work's reception and the Hazelwood Food Forest (HFF) in Pittsburgh where the piece was developed. In this essay on my installation Gongburgh: Steeltown Forests I describe what my composition contributed and how that urban garden ensured a rich listening experience alongside other sound sources, including gamelan and steel factories. Gongburgh is an experiment in sustainable music making: in return for a (monetary) donation to the HFF on my website, listeners may download the forty-minute long composition that uses sound from the garden. In this way I promote the garden, but in return hope for repayment in organic food from the HFF as a form of worktrade. The sound of work in an urban garden versus that in a steel factory, in combination with gamelan music brings out novel similarities and differences between the sounds and, in turn, between ideas inherent in their social organization. This opens up political questions for both the garden and an anonymous listener. Further speculation on connections between specific permaculture principles and sound art emerge in a brief discussion of another one of my sound works, Phonosynthesis.
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