Sound Publisher's Errant Bodies ...

Errant Bodies: publishing as practice (Berlin)

Errant Bodies-Publishing

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.

Errant Bodies-critical ear

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. 

Errant Bodies-audio issues

Book series dedicated to essays, meditations, and performance-texts on sound, auditory culture, and questions of sonological understanding. The series aims to provide a context for addressing contemporary viewpoints on "sound studies" by probing, defining, and listening in to the acoustical paradigm. With the advent of digital culture, network society, and mobile communications, the emergence of an auditory culture is increasingly prevalent as witnessed in the aesthetics of sound-art and electronic music, web-radio and live audio streaming, interactive and responsive systems. The prominence of such aesthetical shifts parallels an epistemological transformation from “seeing is believing” to a globe of voices: the digital age is marked by a re-emergence of oral culture from print culture; a displacement of fixed boundaries as witnessed in “liquid” architectures; and a radiophonic disruption of forms of representation, turning static graphics upon the page into animated expressions. Audio-Issues functions to engage such transformations by fostering new modes of thinking, writing, and performing the auditory.

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.'

Electra is a London-based contemporary arts agency founded in 2003. Electra commissions and produces artworks across sound, moving image, performance and the visual arts, which it presents in the UK and internationally. Recent projects include a film/performance commission "Perfect Partner" by Kim Gordon, Tony Oursler and Phil Morrison (Barbican Centre), group exhibition "Her Noise" (South London Gallery), "Sound And The Twentieth Century Avant Garde" lecture series (Tate Modern and Stavanger, Norway), soundtrack consultancy on films by Daria Martin working with composers Zeena Parkins and Maja Ratkje respectively, "The Sounds Of Christmas" installation by Christian Marclay (Tate Modern), "Emotional Orchestra" and "Sheer Frost Orchestra" by Marina Rosenfeld (Tate Modern), "Once Seen" Programme for The British Council (Oslo and Tromso, Norway).

Women in Sound Effects

 

Archive pic of the week: Sound Effects Chief Oscar Lansbury training Dorothy Lober, the first girl appointed Sound Effects Operator in the ABC (circa 1938). Does anyone know what sound the glass box produced?

Pollock on Ettinger's Interpretation Theory and Encounter ... notions on the way to how we interpret sound

Louise Bourgeois 1911–2010
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.’

 

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)

 

Di Ball in her of­fice

Lo­ca­tion: 

Sa­banci Cen­ter, Lev­ent

 

In 2008 at ISEA Sin­ga­pore I pre­sented an artist's talk en­ti­tled " I am so off my­Face: I used to be the old­est geek grrl in the word but I lost my geek and now I am just the old­est grrl in the world". I ex­plained that as tech­nol­ogy had moved to meet my needs, I had be­come more un­able to use it. I de­scribed my jour­ney both IRL (in real life), and URL (un­real life); I in­tro­duced Fleur Ball and Krys­tal Ball and Beach Ball and Glo Ball. I spoke of my work as an early techo­e­van­ge­list and called her iBall. I ended with a frame grab of my hideous fat-ar­sed hara­juku avatar ac­ci­den­tally set­ting fire to her own hair in an at­tempt to enter Sec­ond Life.
Ar­s­man­i­festo 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.

My life has  been de­scribed to me as a search for my medium of cre­ativ­ity. I have been an ar­chi­tect, a per­former in a wheelie bin en­sem­ble, a coun­try and west­ern singer and a human statue. I now call  my­self an artist (new media, hy­brid, what­ever is the lat­est term for mixed and var­ied ) and op­er­ate/per­form dif­fer­ent per­sonae under the uber­ti­tle " the ball­Park: my life as a theme park".

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]

Tech­nol­ogy has pro­vided me with a medium al­low­ing for mul­ti­ple out­comes, and in the heady early days I rev­elled in its po­ten­tial. As i was sub­sumed by the joy of con­nec­tiv­ity, I felt like the kiddy in the candy shop, nose pressed against the glass of pos­si­ble plea­sure. I want to re-con­nect my ideas with the po­ten­tial ofered by to­days' tech­nol­ogy and yearn a re­turn to wear­ing my geek­grrl badge with pride.

"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]

1. Mor­rell, Tim­o­thy (2006) Aus­tralian Art Col­lec­tor, p126

2. Car­roli, Linda (1999) Krys­tal Clear: cat­a­logue essay

click here for more ...

Further Noises new August issue out...

Welcome to the August issue of Furthernoise, which is positively bursting with a slew of reviews and new tunes queued for you. Alan Lockett at the helm while Roger Mills is still stranded in the doldrums of academe.

Furthernoise issue August 2011
http://www.furthernoise.org/index.php?iss=95

"On Gravity: George Russell and the Lydian Chromatic Concept of Tonal Organization - Robert Peterson" (feature)
George Russell is a complex character in the story of jazz music. He's widely considered the first person to write a general theory of music from the standpoint of American jazz. Through his work, the Lydian Chromatic Concept of Tonal Organization (LCC), he sought to reorient our concept of musical arrangement, and by extension the sociological implications of music.
http://www.furthernoise.org/page.php?ID=427
feature by Robert Peterson

"Orogenetics in 2011" (feature)
Sound artist Michael Northam initiated 2011 with twin strategies to disseminate his music: handmade CDs in micro-editions announced on his mailing list and distributed from his web site, and archival projects available from on bandcamp. The new CDs display his growing assurance with live improvisation combined with studio wizardry, and the archives offer a panoply of his work over the last fifteen years.
http://www.furthernoise.org/page.php?ID=425
feature by Caleb Deupree

"A Slow Feather Falls" (review)
A collaboration between under the radar British texturalist Ian Holloway and Arizona-based field recordist Banks Bailey. A Slow Feather Falls is a half-hour of chronostatic drone scenes with a backdrop of crystal clear Arizonan field recordings from Banks Bailey, a man seemingly weaned on the early works of Monos, and other Northern Drone-meisters.
http://www.furthernoise.org/page.php?ID=414
review by Alan Lockett

"Avatara" (review)
Steve Brand's Avatara is a slab of cosmic ambient drone with ritual inflections in the US space music tradition: long synth sustains and processed tones with field recordings and the odd percussive rattle. ?Avatara? refers to the descent of avatars in various cultures, which may, eschewing spiritual signifiers, be taken more as serving suggestion than prescription.
http://www.furthernoise.org/page.php?ID=417
review by Alan Lockett

"Faryus & Vadim Bondarenko ? Quiet Songs From Misty Places" (review)
Faryus creates suggestive and ethereal environments for Bondarenko's acoustic instruments, familiar instruments in mysterious and otherworldly venues. Suspended in Faryus's sonic biosphere, Bondarenko's piano is by turns contemplative and dramatic, monophonic and lushly harmonized, pentatonic and chromatic.
http://www.furthernoise.org/page.php?ID=412
review by Caleb Deupree

"Handle this wino like he was an angel: Baubles & Gewgaws 2002-2008" (review)
A set of out-takes from the sessions that spawned the Psychic Space Invasion albums. Ian Holloway seemingly sometimes creates weird, little pieces on his computer that never fit on any 'real' release. Eight years of these are now compiled for Handle this wino like he was an angel, navigating interstices between ambient noise, clicks'n'cuts, and plunderphonics.
http://www.furthernoise.org/page.php?ID=415
review by Alan Lockett

"Intangible" (review)
Hypnos has sought over a decade and a half to give voice to fresh new artists in the field of ambient and space music. Equally, it has a feel for what's worth sustaining, extending and refreshing, be it reissues or returning artists, as with Intangible, a collab between two music-makers familiar to US ambient-spacers from solo work spanning three decades.
http://www.furthernoise.org/page.php?ID=416
review by Alan Lockett

"Resolutions" (review)
Sourced from recordings made in 1997-98 in Edinburgh, transferred to digital in 2006 and re-assembled in 2010 for a run of only 35 cassettes, Resolutions is now reissued on a dinky 3". It finds David Wells and Richard Canaday?s pianos drawn out into long languorous organ-like tones, obscure with clouds of delay in a winsome piece of minimal drone, with a euphonic chiming resonance.
http://www.furthernoise.org/page.php?ID=426
review by Alan Lockett

"Roel Meelkop's Old Cows" (review)
Herbal International deserves kudos for its superb reissue package for some Roel Meelkop vinyl rarities, Oude Koeien. The abstract and austere music, with its sudden transitions and dry events knitted together with static sound fields, extends from the early tape works from Cologne to resolute Basic Channel rhythms.
http://www.furthernoise.org/page.php?ID=413
review by Caleb Deupree

"The Path Of White Clouds" (review)
Of this issue's three Hypnos albums, the quietest and most spacious is The Path Of White Clouds. Singing bowls, chants and long synth sustains commune in vaguely ritual musical acts; no doubt meant to enlighten and elevate, concept coming via head Nebulæ guy Oophoi and his reading of "The Way of the White Clouds - A Buddhist Pilgrim in Tibet."
http://www.furthernoise.org/page.php?ID=418
review by Alan Lockett

Roger Mills
Editor, Furthernoise