31.8.11
Early sound girrls...
bein' contemporary (and thus temporary) casting back trawling back to sound >... and the Queen of DaDa
Baroness Elsa von Freytag-Lorington 'Queen of DADa'
k
k
k
Ildrich mitzdonja—astatootchNinj—iffe kniek —
Ninj—iffe kniek!
Arr—karr —
Arrkarr—barr
Karrarr—barr —
Arr —
Arrkarr —
Mardar
Mar—doorde—dar —
Mardoodaar!!!
k
k
Elsa von Freytag-Loringhoven, “Klink—Hratzvenga (Deathwail),” The Little Review 6.10 (March 1920), 11; in Body Sweats, 180.Aggnntarrr—nnjarrre—knntnirrr —
Eigasing—kjnnquirrr!
Hussa—juss—huss—jalamund —
Mund—avnurrr!
Narre—tnarrr—tarrr
Ornaksin—eigasing—lahilu!
Lihula—halljei—alsuiiii —
Jalamund—mund arrrljo-i-tuuu!
Ooo—ooo—acktasswassknox —
Orljfo—eigasing—ornimachtu!
Jass—hass—wass must—
Mustjuamei—jalamund—mund odajmi!
K
K
K
Elsa von Freytag-Loringhoven, “Duet: Eigasing Rin Jalamund,” Body Sweats, 181–83.Who was she...?
'Like no other’s, the Baroness’s corporeally-charged sound poetry embodied the Dada motto of The Little Review: “Making no compromise with the public taste.” A maverick who consistently confounded the boundaries of life and art, the Baroness was known for her remarkable do-it-yourself art aesthetics, adorning her body with objects and self-made costumes, while also producing mischievously titled assemblages made from junk she found in the streets. But it was her sound poetry that provided a touchstone that created a neat division between mainstream critics who dismissed the Baroness as insane, and her admirers who championed her precisely because they recognized in her practice the promise of a new corporeal language'.2
“Harpsichords Metallic Howl—”: The Baroness Elsa von Freytag- Loringhoven’s Sound Poetry1
Irene Gammel and Suzanne Zelazo from Modernism / Modernity volume eighteen, number two, pp 255–271. © 2011 The Johns Hopkins University Press
... more poems published here in Jacket
... for the sound ...
30.8.11
29.8.11
Pioneers of Sound now interviwed on GIRRL
New offerings from GIRRL (posted on features artists link to the left)
Interviews with sound artist pioneers!! Wonderful firsthand chats were they talk in-depth about their practice, their influences, their careers and what they are currently doing with sound … great stuff.
The first up is Annea Lockwood, a composer and installation artists, very famous for her sound maps of the Hudson and Danube rivers and for her, Transplants, where she has buried piano's upside down on beaches. She is interviewed here by NY sound artist Heather Dewey-Hagborg.
Here is some of Annea's work ...
Work titled Digital Whitewater
This is a 9 minute video only version of the third movement of Bow Falls. This movement features the integration of digital camera articfacts into the whitewaters of Bow Falls. The full 26 minute version of Bow Falls is a video/audio collaborative interpretation of the waterfall in Banff, Canada by Paul Ryan and Annea Lockwood in accord with the Earthscore Notational System. Paul Ryan uses handheld camerawork, slow motion, reverse motion and negative color fields to compose four movements in video. Using only non-sync sound gathered at Bow Falls, audio artist Annea Lockwood creates a sound composition that both renders waterflow patterns and engages in a play of differences with the video images. Bow Falls was co-produced with the Banff Art Centre.
Keep an eye out for the next Pioneers Interview its with Pauline Oliveros will be up on GIRRL’s site next week …
http://girrlsoundartists.blogspot.com/
Interviews with sound artist pioneers!! Wonderful firsthand chats were they talk in-depth about their practice, their influences, their careers and what they are currently doing with sound … great stuff.
The first up is Annea Lockwood, a composer and installation artists, very famous for her sound maps of the Hudson and Danube rivers and for her, Transplants, where she has buried piano's upside down on beaches. She is interviewed here by NY sound artist Heather Dewey-Hagborg.
Here is some of Annea's work ...
Work titled Digital Whitewater
This is a 9 minute video only version of the third movement of Bow Falls. This movement features the integration of digital camera articfacts into the whitewaters of Bow Falls. The full 26 minute version of Bow Falls is a video/audio collaborative interpretation of the waterfall in Banff, Canada by Paul Ryan and Annea Lockwood in accord with the Earthscore Notational System. Paul Ryan uses handheld camerawork, slow motion, reverse motion and negative color fields to compose four movements in video. Using only non-sync sound gathered at Bow Falls, audio artist Annea Lockwood creates a sound composition that both renders waterflow patterns and engages in a play of differences with the video images. Bow Falls was co-produced with the Banff Art Centre.
Keep an eye out for the next Pioneers Interview its with Pauline Oliveros will be up on GIRRL’s site next week …
http://girrlsoundartists.blogspot.com/
27.8.11
25.8.11
Chicks on Speed... show
that only showcases female artists. The line-up includes media artists from
the early 90s up to today. join us for this evening of great women in media
art!
*Saturday, September 3rd, from 18:30 to 21:30, Graben 17, Linz **
@ the internet cafe that has no name *(corner of Graben / Marienstr)*
*
with ...
... the wonderful monica panzarino
... the amazing mez breeze
... the lovely rosa menkman
... the unbelievable LIA
... the one and only cornelia sollfrank
... the great amy alexander
... the incredible melissa barron
... the overwhelming sara ludy
... the adorable jennifer chan
... the blazing dain oh
... and the unbeatable VNS matrix
curated and organized by nina wenhart
http://speedshow.net/chicks-on-speed-show/
documentation of the event will be available from *Monday, September 5th* on
www.chicksonspeedshow.tumblr.com
SPEED SHOW is an online & real space exhibition format conceived of by
German artist Aram Bartholl. visit the collection of past SPEED SHOWS on
www.speedshow.net
18.8.11
Chihei Hatakeyama...
Chihei Hatakeyama
with special guest Anonymeye
At Syncretism, the Judith Wright Centre
Thursday August 25 from 8pm
Occasionally we line up all the cards just right and August's Syncretism is just one such case - a double CD launch from two of the finest and more eccentric guitar provocateurs to grace this fine planet.
From Tokyo's outskirts comes Chihei Hatakeyama, the lauded master of saturated guitar tones and reduced harmony. His floating polychromatic style carries with it a dream-like quality, as if gazing into an old polaroid or watching some scratchy super 8 film. Over the course of the past decade he has explored the outer limits of guitar and electronics, developing a sound that is versed in ambient traditions, but harks back to the heritage of Japan's darker, rawer musics. For his first tour to Australia, Hatakeyama comes on the back of a brand new recording titled Mirror that Brainwashed calls "anything but common, exhibiting an unusual attention to detail that surpasses the efforts of many like-minded musicians."
Joining him for Syncretism is Brisbane acoustic experimentalist Anonymeye who unites various instruments (now including banjo!) with a waving collision of electronics. For his August performance, Anonymeye launches the band new LP Anontendre - a collection of esoteric audio excursions with a flare for the unexpected.
...
ROOM40 . PO BOX 191 . RED HILL . QLD. AUSTRALIA 4059
15.8.11
People (some are women) Who Do Noise
About: ... 'People Who Do Noise' is a film about the experimental music of Portland, Oregon. Extensive interviews and intimate performance footage provide an intense portrait of the motivations, emotions, and methods that go into this uncompromising, sometimes brutal musical form. Unwavering in its focus, the film brings to light an art form unfathomable to many, with only the words of the musicians themselves providing any explanation for the pulsating sonic chaos they create. The unflinching cinematic style defies any trend-setting or commercial representation, opting instead for a stark portrayal of a musical underground at its most genuine and vital. Written by Cornelius, Adam
14.8.11
Friday Sept 9th 9.30-11.00
Under the Radar Brisbane Festival
Metro Arts 109 Edward St Brisbane , Australia...
Vocalist, artist and musician Michelle Xen has been collecting words, chasing songs, finding new synth sounds and sewing sequins in preparation for a new live performance. Neon Wild featuring Chris O’Neill, Roger Gonzalex and Carly Dickeson.
Rhythm, electronica, pop, and a good party.
Free Entry
We go on at 9.45pm ♥
Vocalist, artist and musician Michelle Xen has been collecting words, chasing songs, finding new synth sounds and sewing sequins in preparation for a new live performance. Neon Wild featuring Chris O’Neill, Roger Gonzalex and Carly Dickeson.
Rhythm, electronica, pop, and a good party.
Free Entry
We go on at 9.45pm ♥
Ladyz in Noyz review by Gail Priest
click here
This is an excerpt from the article part 1: sydney scenes & sound
http://www.realtimearts.net/article/103/10347
This article is reproduced with the permission of the publisher of RealTime, Open City, and the writer. www.realtimearts.net
Image caption: Daisy Buchanan, Ladyz in Noyz, Adelaide, photo Spoz
This is an excerpt from the article part 1: sydney scenes & sound
http://www.realtimearts.net/article/103/10347
This article is reproduced with the permission of the publisher of RealTime, Open City, and the writer. www.realtimearts.net
Image caption: Daisy Buchanan, Ladyz in Noyz, Adelaide, photo Spoz
ISEA 2011 ISTANBUL 17th International Symposium of Electronic Art in SEPT!!!
Lots offered at this fantastic symposium on Electronic Art, for example...
Fantastic Workshop offered- EMOTIONAL SNAPSHOTS
by: Emilian Gatsov
Marly shook her head. How could anyone have arranged these bits, this garbage, in such a way that it caught at the heart, snagged in the soul like a fishhook?
William Gibson, Count Zero
quote ...'This is an exploratory workshop on the topic of 'sound photographs', snippets, fragments, bits and loops of sound. It will trace the connection between recorded sound and time, memory and emotions. The first syllable of a song, an unfinished phrase from a dialog or the breath someone takes before staring to speak, wind and birds entering and then suddenly leaving just out of nowhere – sounds belonging to a world which always seems placed elsewhere.
Emotional Snapshots is open to participants coming from different disciplines: musicians interested in inventing their own language but to no lesser degree to visual artists, photographers, field recordists, object makers, thinkers interested in perception and generally any curious person able to perform operations as simple as cut and paste. A multidisciplinary group is the best scenario.
Nowadays loops are something quite common: there are for example tons of drum loop banks produced for the postmodern groovster to tweak and mix, perfectly matched in pitch and tempo. On the other side, loops are handy in gallery installations because of random access, yet usually long and smooth enough not to be recognized as loops or fragments. This workshop will focus on the fragmentary nature of a loop like a memory container, an emotional snapshot,
It's about catching a piece of sound long and complex enough to have its own story told, short enough to still be a fragment, a bit of memory that remains from another world. It's about packing an emotion in a time span of just a few seconds. Or creating an emotion through fake memories: samples.
Looping such fragment 'kills' the idea of musical development on a large scale and the sense of time passing in general, turning sound into a static image, emphasizing connections between elements in an almost visual way. Some loops get easily boring, while others can be played forever; one of the main theoretical topics of the workshop is how the mechanical nature of looping and sampling in general gets a soul.
I've always found this extremely touching. A dramatic structure always requires some tension between different realities as well as a certain lack of completeness, an abrupt cut of the energy curve before it ends naturally, the illusion that something's gone, the power of finishing the unfinished through imagination.
So this workshop is about sampling of voices, sampling of movie scenes along with the atmosphere, words and foley sounds, sampling a breath, sampling one's own work. It is not about creating realistic samples of a violin or piano and it's not about turntablism and similar collage techniques, neither is it about recycling in the postmodernist sense.
Here are the main areas of explorations:
Extracting a fragment from pre-existing sound material; working within a frame. Observing what's caught in the frame and what's left outside the frame (photographic approach).
Constructing a micro-composition from a limited set of sound objects, playing with limitation and completeness.
Utilizing imperfection for the sake of dramatism and emotional appeal.
Utilizing non-musical elements (speech, field recordings, foley sounds), looking for cinematic narrative.
Compressing the message in a short time-span. Playing with cliche and archetype.
Working with personal material.
Collective process of combining snapshots within different contexts.'
...makes you think, how silent has the family album been all these years...
11.8.11
UBU Sound re sounded ...
| About UbuWeb Sound Originally focusing on Sound Poetry proper, UbuWeb's Sound section has grown to encompass all types of sound art, historical and contemporary. Beginning with pioneers such as Guillaume Apollinaire reading his "Calligrammes" in 1913, and proceeding to current practitioners such as Vito Acconci or Kristin Oppenheim, UbuWeb Sound surveys the entire 20th century and beyond. Categories include Dadaism, Futurism, early 20th century literary experiments, musique concrete, electronic music, Fluxus, Beat sound works, minimalist and process works, performance art, plunderphonics and sampling, and digital glitch works, to name just a few. As the practices of sound art continue to evolve, categories become increasingly irrelevant, a fact UbuWeb embraces. Hence, our artists are listed alphabetically instead of categorically. UbuWeb embraces non-proprietary, open source media. As such, most of our newer files are encoded in the more universally readable MP3 format. However, when a recording is still in print and available, we only serve it in streaming RealMedia; we don't wish to take whatever small profits might be made from those taking the efforts to gather, manufacture and properly distribute such recordings. Instead, we hope that by streaming these works, it will serve as an enticement for UbuWeb visitors to support the small labels making this work available. All MP3s served on UbuWeb are either out-of-print, incredibly difficult to find, or, in our opinion, absurdly overpriced. |
Sound Publisher's Errant Bodies ...
Has been publishing books and CDs on sound art, auditory issues, and forms of performative and spatial practice since 1995. Initially as a literary journal, Errant Bodies has developed its publishing practice into a number of series dedicated to developing discourses on sound, locational practice, and performance by supporting practitioners and thinkers alike. Such work reflects an overall interest to generate communicational exchanges, recognizing the book and CD as meeting places for virtual communities.
A series of monographs featuring contemporary artists working with sound, experimental music and media. The series highlights and documents the often under-represented field of sound art, with a view to fostering discourse on the subject and related auditory issues. The series articulates parameters while accentuating diversity of approaches, bringing forward those whose work advances the use of sound through multi-media presentations.
9.8.11
CRiSAP and 'HER NOISE' SOUND ARCHIVE and ELECTRA
CRiSAP are working with Electra on moving the Her Noise archive to LCC. The Her Noise exhibition took place at South London Gallery in 2005 and investigated music and sound histories in relation to gender. The archive contains material related to all stages of the project including newly commissioned works by Kim Gordon & Jutta Koether, Hayley Newman, Kaffe Matthews, Christina Kubisch, Emma Hedditch and Marina Rosenfeld. It also includes video interviews which with artists including Pauline Oliveros, Maryanne Amacher, Diamanda Galas, Else Marie Pade, Jutta Koether, Marina Rosenfeld, Thurston Moore, Jim O’Rourke, Kevin Blechdom, Kembra Pfahler, Kim Gordon, Lydia Lunch, Peaches, Kaffe Matthews, Christina Kubisch, Maia Urstadt and others.
CRiSAP will be using the archive to animate discussion on gender and the sound arts. There will be a variety of launch events in the early Summer 2011.
***CLICK HERE *** The Making of Her Noise is here on UBU Web - a film and pdf of Her Noise plus the brochure with full linear notes
'Her Noise gathered international artists who use sound to investigate social relations, inspire action or uncover hidden soundscapes. The exhibition included newly commissioned works by Kim Gordon & Jutta Koether, Hayley Newman, Kaffe Matthews, Christina Kubisch, Emma Hedditch and Marina Rosenfeld. A parallel ambition of the project was to investigate music and sound histories in relation to gender, and the curators set out to create a lasting resource in this area.
Throughout the development of the project, the curators conducted dozens of interviews, whilst also compiling sound recordings and printed materials which would eventually form the Her Noise Archive. The Her Noise Archive is a collection of over 60 videos, 300 audio recordings, 40 books and catalogues and 250 fanzines (approximately 150 different titles) compiled during the development of this project. The archive remains publicly accessible at the Electra office in central London.
Much of the material available in the archive was shot specifically for this project, and is uniquely available as part of this archive. The documentary 'Her Noise - The Making Of' was commissioned by Peacock Visual Arts, Aberdeen on the occasion of the 'Sound' festival and 'SoundAsArt' conference at University of Aberdeen.
The video documents the development of Her Noise between 2001 and 2005 and features interviews with artists including Diamanda Galas, Lydia Lunch, Kim Gordon, Jutta Koether, Peaches, Marina Rosenfeld, Kembra Pfhaler, Chicks On Speed, Else Marie Pade, Kaffe Matthews, Emma Hedditch, Christina Kubisch and the show's curators, Lina Dzuverovic and Anne Hilde Neset. The documentary also features excerpts from live performances held during Her Noise by Kim Gordon, Jutta Koether and Jenny Hoyston (Erase Errata), Christina Carter, Heather Leigh Murray, Ana Da Silva (The Raincoats), Spider And The Webs, Partyline, Marina Rosenfeld's 'Emotional Orchestra' at Tate Modern, and footage compiled for the 'Men in Experimental Music' video made during the development of the Her Noise project by the curators and Kim Gordon, featuring Thurston Moore and Jim O'Rourke.'
Women in Sound Effects
8.8.11
Pollock on Ettinger's Interpretation Theory and Encounter ... notions on the way to how we interpret sound
Cell (Eyes and Mirrors) 1989–93
Marble, mirrors, steel and glass
2362 x 2108 x 2184 mm
Tate
Article: What if Art Desires to be Interpreted? Remodelling Interpretation after the ‘Encounter-Event’
by Greselda Pollock
published in the Tate Papers Issue 15 Spring 2011
'.... Writing as both an artist and an analyst-theorist, Bracha L. Ettinger declares that it is the destiny of artworks to be interpreted. She formulates the inevitable connection between subjectivity, initially the artist’s, and the Symbolic, the field of meaning, in ways which at first echo Julia Kristeva’s notion of art as the semiotic transgression of the Symbolic order. But Ettinger goes further..."Artists continually introduce into culture all sorts of Trojan horses from the margins of their consciousness; in that way, the limits of the Symbolic are transgressed all the time by art. It is quite possible that many work-products carry subjective traces of their creators, but the specificity of works of art is that their materiality cannot be detached from ideas, perceptions, emotions, consciousness cultural meanings, etc, and that being interpreted and reinterpreted is their cultural destiny. This is one of the reasons why works of art are symbologenic." 5
And again Ettinger writes:
"Artists inscribe traces of subjectivity, Oedipal or not in ‘external’ cultural/symbolic territories (i.e. artworks), and by analyzing these inscriptions, it is possible to create and forge concepts which indicate and elaborate traces of an-other Real and change aspects of the symbolic representation (and non-representation) of the feminine within culture. From time to time the artist’s gaze is suddenly split and we find ourselves in the position of observer-interpreter. I see the inscription of oneself in the Symbolic and the recognition of one’s own desire through the Symbolic as inter-related, self-organizing, continuous events. I believe, therefore, that the Symbolic must be penetrated by women even if choosing one name/concept will be considered phallic. In that way, alternative ideas, deviating from the Phallus, may enlarge the text of culture." 6
Pollock ... Thus, it is not as a woman that the artist changes culture and brings into it new possibilities; it is instead achieved through working as an artist on these margins, opening passages from other unthought dimensions of subjectivities and sexual difference into a transformed realm of cultural meaning. In the case of feminism, this means challenging the phallocentric domination of the Symbolic and shifting or expanding its potential for supporting other, different, differencing meanings and subjectivities.
5. & 6. Bracha L. Ettinger, ‘Matrix and Metramorphosis’, Differences: A Journal of Feminist Cultural Studies, vol.4, no.5, 1992, pp.195–6.
Griselda Pollock is Professor of Social & Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History in the School of Fine Art, History of Art & Cultural Studies at the University of Leeds.
Think of the traces as SOUND. The unthought dimentions as sounded-possibilities...
Greselda Pollock writes so well about Ettingers notions of the matrixial borderspace, interpretation, language and art. Part of putting GIRRL together as to open up thinking spaces around sound and theory. I'm relying on Ettinger and Pollock and Stein to write a theory of sounded-language or soundage as I'm calling it... more of this coming soon.
Nectarines (for GB)
About Nectarines (for GB)
click here for more
Nectarines (for GB) consists of several experimental (one hour) events on Thursdays at 6 p.m. at studio 3.2, Metro Arts, 109 Edward Street, Brisbane Australia (beginning February 10, 2011). It is series of improvised meetings, or events, aimed at initiating a conversation about the possibilities for sound in visual art practices. Several artists who play with the spatial and temporal phenomenon of sound in art practice will be invited to make and present work.
Nectarines (for GB) is hosted by Brooke Ferguson, and as a project it lends itself to the legacy of George Brecht, specifically his project - Nectarine: An Assemblage. A seminal figure within Fluxus, his art practice was and still is considered playfully propositional and problematic. Brecht is heralded for introducing what is known as the ‘Event Score.’
Nectarines (for GB) is hosted by Brooke Ferguson, and as a project it lends itself to the legacy of George Brecht, specifically his project - Nectarine: An Assemblage. A seminal figure within Fluxus, his art practice was and still is considered playfully propositional and problematic. Brecht is heralded for introducing what is known as the ‘Event Score.’
image: Hayley Brandon
The Beauty and the Geeks Di Ball attempts to get her geek back...
At ISEA Singapore I presented an artist talk entitled " I am so off myFace: I used to be the oldest geek girl in the world but I lost my geek ...". In 2011, I will attempt to get my geek back. Proclaiming myself " Beauty in residence", I will participate in the greatest gathering of geeks and blog the results. If you see me across a crowded room, please HELP ME!!
Dates:
Saturday, 17 September, 2011 (All day)
Location:
Sabanci Center, LeventArsmanifesto blogged:
(...........) Between pop culture, human grittiness, provocative undermining of contemporary technology and a sane sense of humor about the insanity of our contemporary lives, the nostalgia and sentimentality of her art practice filters through the wit of her performances.
Like a disco ball faceted with multiple mirrors, she reflects aspects of popular culture using an ever-growing series of individual personas, each with a name derived from her own. There’s Krystal Ball the cyber clairvoyant, Fleur Ball the cuntry (sic) & western singer, Meet Ball the online introduction agency madam, and most recently Glo (Gloria) Ball the international traveller and celebrity hunter. (……..)
She has a beady eye for the most exquisitely naff aspects of modern life and an ability to find the user-friendly aspects of French feminist theory. Ball is part Julia Kristeva part Edna Everage She revels in a promiscuous familiarity with lowbrow aspects of the mass media, from new age women’s magazines to television body makeovers. [1]
"The Beauty & the Geeks" appropriates its name from a reality tv show where intelligent geek stereotypes are matched with pneumatic bosomed peroxided barbie babes in the hope that they will learn to love the differences in each other and find common ground. I will "perform" the beauty, in itself a comment on popular culture ideals of beauty. My mission statement is to attend lectures, workshops and of course parties and document this hopeful journey back to geekdom. I describe this project as a performance or intervention, and the blog outcome a self portrait borrowing from the Foucault notion that "we must create ourselves as works of art".
“Di’s itinerary of personae each have ‘boundary stories to tell – how they came to be here – and roles to play in both virtual and real life. (Her) personae (…)represent various of Di’s subjective and embodied experiences. In short, as Di claims, “all my work is about me and the things I’ve done”. Given this, the personae are not merely masks, but rather biographic renderings emerged from a really ‘out there’ life. [2]
2. Carroli, Linda (1999) Krystal Clear: catalogue essay
click here for more ...
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