Digicult presents: DIGIMAG!!!

DIGIMAG 67 - SEMPTEMBER 2011

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"...This interest comes from sound in itself and then from being interested in humans and their lives, histories, conditions etc. But we also wanted to go beyond the object and to not objectify and we came across audio as being, in the context of visual arts, in a certain way less, or differently, objectifying than the photograph or the video image; and also for its sculptural and material, or immaterial, qualities; of travelling through space instead of being fixed in its place, or just having one line of projection like video, for example, whose image has a more fixed format. We have been working with sound for a long time: sound was part of the environments we did during the first years of our collaboration; then we used it as a means of intervention in public space. We usually used concrete sound in relationship with space, as a way of shaping it or intervene in it, more than as a narrative element..."

Libia Castro & Ólafur Ólafsson, from "Radicant Aesthetics. Libia Castro &

Ólafur Ólafsson" by Elena Biserna

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[INTERVIEWS]:

RADICANT AESTHETICS. LIBIA CASTRO & OLAFUR OLAFSSON

http://www.digicult.it/digimag/article.asp?id=2154 - by Elena Biserna

LANFRANCO ACETI. LEA, ISEA AND OTHER CHALLENGES

http://www.digicult.it/digimag/article.asp?id=2155 - by Herman Bashiron

Mendolicchio

ART/TAPES/ 22. INTERVIEW WITH MARIA GLORIA BICOCCHI

http://www.digicult.it/digimag/article.asp?id=2158 - by Claudia D'Alonzo

TOUCHING THE MUSIC. BASCHET LABORATORY OF SOUND SCULPTURE

http://www.digicult.it/digimag/article.asp?id=2149 - by Barbara Sansone

PARALLEL WORLDS. THE MYSTERIOUS DORON GOLAN

http://www.digicult.it/digimag/article.asp?id=2152 - by Michael Szpakowski

NEW MEDIA ART IN JAPAN. HIDEAKI OGAWA AND THE DEVICE ART

http://www.digicult.it/digimag/article.asp?id=2147 - by Mauro Arrighi

PABLO GARCIA-VALENZUELA. THE SOUND ART IN MEXICO CITY

http://www.digicult.it/digimag/article.asp?id=2148 - by Felipe Zuniga

MAURO CEOLIN: ETHNOGRAPHY OF THE IMAGINARY

http://www.digicult.it/digimag/article.asp?id=2157 - by Claudio Musso

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[ESSAYS]:

KOEN VANMECHELEN. CHICKENS, CHICKS & EXPERIMENTAL SUBJECTS

http://www.digicult.it/digimag/article.asp?id=2150 - by Silvia Casini

THE THEATRE OF SOUND. ACOUSTIC RESEARCH BY FANNY & ALEXANDER

http://www.digicult.it/digimag/article.asp?id=2156 - by Enrico Pitozzi

A GUIDE TO AN A-DOCUMENTARY. VISION - RAPRESENTATION - RICREATION

http://www.digicult.it/digimag/article.asp?id=2159 - by Emanuele Andreoli

OPERATIVE TRANSFORMATIONS - PART 2

http://www.digicult.it/digimag/article.asp?id=2146 - by Eugenia Fratzeskou

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[REPORTS]:

ART & NETWORKED CULTURE. TALLIN AND THE NEW MEDIA ART

http://www.digicult.it/digimag/article.asp?id=2151 - by Mathias Jansson

WEB AESTHETICS. VITO CAMPANELLI AND THE MEDIA AESTHETICS

http://www.digicult.it/digimag/article.asp?id=2153 - by Pasquale Napolitano

BIOARTCAMP. AN ADVENTURE UPON THE ROCKY MOUNTAINS

http://www.digicult.it/digimag_eng/allegato.asp - by Jamie Ferguson

[THE DIGICULT PROJECT]:

From 2005, Digicult has being an online/offline cultural and editorialplatform which focuses on the impact of new technologies and sciences on art, design, culture and contemporary society. Founded and directed by Marco Mancuso, is now based on the active participation of quite 50 professional people, who represent a wide international Network of journalists, curators, artists, theorists, practioneers and critics. Digicult is also the editor of the monthly magazine Digimag, which focuses on some cultural, productive and

artistic issues like: internet & networks, hacking & hacktivism, video art & experimental cinema, sound art & electrinic music, audiovideo and live media, design & architecture, art & science, new media & social media, software art & generative art, performing art & interactive dance, with a strong critic and journalistic approach.

Sarah Boothroyd's sound pieces ...

 

Visit Sarah's site here to hear her ...

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...